720p24 HDV to SD mpeg2 for anamorphic 24pDVD?

I have tried everything to perform this compression this cleanly. So far, the results ARE really crummy, seems to be all pixelated and such.
I have done many searches and read hours of posts. And NO, I am not going to drop sequences into other sequences and carefully touch settings to make this work. I should NOT have to deal with any field issues since this is progressive material. So, field dominanace issues shuld not come into play? right?
There has got to be a way to make a compressor droplet, etc, that does this correctly! Any other settings I am missing, I am trying to use the regular compressor settings?
Marc Smiler

I am using curent 10.4.8, COMP 2.3, and FCP 5.1.2, I'd like to make a FULL HDV clip (or reference movie) and then drop it onto a droplet and make the mpeg2, but in SD...
right now using VBR it looks horrible, I mean blocky and stuff. I think I have tried using/setting frame controls to everything under the sun! Isn't this something that compressor should be able to do...easily? I mean caprture in HDV, edit in HDV, and compressor to current SD mpeg2?
I appreciate your help.
Others seem to have been having problems with HCV1080i going to sd, but it seems mostly about field issues, which as I mentioned, should not be an issue (I think). I think I could do CBR, but not on ALL of my projects.
Thanks,
Marc

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Mpeg2 for Lion

I purchased mpeg2 for quicktime but it doesn't install on Lion. Anyone knows a solution?
Thanks. renzo

La soluzione è questa che peraltro è sempre stata adottata anche prima di Lion.
Me ne ero dimenticato e leggendo il tuo problema (che era anche il mio) mi è venuto in mente....basta installare questo http://www.macupdate.com/app/mac/22923/perian
Io non riuscivo a vedere i miei film su iTunes perchè ognuno ha un codec video diverso e Perian interviene, uniformando.
This is the solution from always adopted to uniform the different video codec http://www.macupdate.com/app/mac/22923/perian

Sony HDV Walkman not seen for video playback

Hello.
Bit of a problem - have just taken delivery of two spanking new Sony GV-HD700E decks to use in our edit suites at work.
Capturing from the decks works like a charm in both HDV (at both 1080i50 and 25p) and DV-PAL (4:3 and Anamorphic). Playback controls are also working fine.
The problem is when I use 'Print To Video' - everything works fine in DV, but unfortunately the settings under 'Video Playback' for all HDV formats are greyed out - I can't get ANY playback in HDV to the deck at all.
I've tried all the HDV Device Control Presets without success (including unplugging the Firewire cables, restarting the deck and the Mac after each change).
The Sony site says the device definitely takes HDV in, so I was just wondering if it's a driver issue?
Any ideas?
Thanks.
Jim
NB - I did plug the Firewire cables back in each time...
OS 10.5.2
FCP 6.0.2
MBP 2.33 and Mac Pro 8-core 3 GHz
Message was edited by: blooblooblum

What that means is you cannot externally monitor HDV without a 3rd party card or box. You can, however, Print to Video with HDV. I've done it successfully with a Sony V1U with FCS 1 (FCP 5.1.4) and now with FCS 2.
If everything is connected and powered up in the proper order, it should work with the same Easy Setup used to originally capture the footage for the project.
It's very important that the camera or deck be connected to the mac via firewire and then powered up before the computer is turned on. After powering up the mac, launching FCP, and opening your project, make sure the timeline window with your finished, rendered/conformed sequence is activated.
Then, go to Print to Video, make your selections, select the 'Start Recording Automatically' box, and hit OK. Your sequence will do some additional conforming, and then your camera/deck should begin to record as the sequence plays out.
In addition, make sure other firewire devices and cables are disconnected during the Print to Video operation. I've done it successfully with other drives and devices connected, but it could cause problems with certain setups.
Message was edited by: Red Jacket Mike

Advice on exporting PPCS3 HDV Project to file for WD TV player

I would like to maintain HD quality through the Export process to create a file that will be played on a Western Digital TV HD Media Player. I have tried a multiple of export settings without success. My goal is to play back using the WD TV player with the file stored on a USB drive...file size is not an issue.
I capture the HDV footage from a Canon HV30 camcorder into PremProCS3
I use the Project Settings preset = HDV, HDV 1080i30 (60i)
I have stabbed around with Export, Movie... as well as with the Adobe Media Encoder and can't find the magic
When I capture/edit in iMovie09 on a MacBookPro, I can easily export to a .m4v which plays back in great HD quality on my 46" TV via the WD TV player. But I can't seem to find the right preset or custom setting within Premiere Pro to get the job done. I greatly prefer the PP editing environment and want to stick with it.
The attached jpg file is a scan from the WD TV User Manual...supported video formats.
Thanks, in advance.
- Mike -
HP Desktop E6750 Core 2 Duo, 2 Gb, dual internal SATA drives, GeForce 8500GT, 30" LCD monitor, Vista Home Premium, Adobe Premiere Pro CS3

Hey, I'm glad I found you guys. This problem has been messing up my workflow for over a year. Maybe you can help:
I'm shooting HDV with Sony HD1000, capturing with HDV split, editing in Premiere. (So far, so good) Problem is, exporting from premiere (HDV 60i project) produces "squashed" and letter-boxed video, and my graphics and titles are "mis-aligned" with the video. It's like premiere scales down my video files, letter-boxes them, but leaves graphics untouched, which of course throws everything off. My only work around is to edit in an NTSC project, and scale down every single video clip myself, which yields lots of rendering. I thought I solved the problem, by importing the entire premiere project into after effects. Export worked great, no loss of quality, but after effects doesn't recognize premiere time-remapping, titles or wipe transitions (and has issues with .m2t audio)!
I've tried every form of exporting from an hdv project (adobe media encoder, straight to encore). ALWAYS squashes and letter-boxes the video files, while leaving the graphics/titles as is (now appearing larger than they did in the program monitor and less crisp.)
Any help would be greatly appreciated. I love premiere for standard dv, I just can't get around this obstacle with HDV...

Final Cut Pro Video Playback not in Widescreen for Anamorphic Material

I have a Panasonic DVX-100B hooked up to my computer and am running Final Cut Pro. I shot everything in the anamorphic squeeze mode. When I play this material back through my camera (which displays the material as widescreen because I forced it on the camera menu) it doesn't playback on the TV in widescreen, it stretches it back out vertically. Is there a setting in Final Cut that will send the signal as a 16:9 signal to the TV, so that it will understand it correctly?

baadayakazi wrote:
Is there a setting in Final Cut that will send the signal as a 16:9 signal to the TV, so that it will understand it correctly?
No, FCP does not send out an anamorphic flag via firewire. What I mean is, it sends out the video to your deck simply as 720x480, without telling the deck (and therefore the monitor, as well) if that is supposed to be a 16:9 or 4:3 image. In order to monitor with the correct ratio, you'll need to have a monitor that can correct for aspect ratio.
If you're working on a pro monitor, it should have a 16:9 button (or menu setting, at least). Some recent - as in the last 4-5 years - consumers TVs also have an anamorphic squeeze feature that will compress the image vertically. If you've got a 16:9 TV, you'll need to use the stretch feature (of all things) to correct your preview image.
All that said, I'm guessing you fall into the last camp: you're previewing out to a consumer TV that cannot do vertical compression? If so, your only alternative is to nest your anamorphic sequence in a 4:3 one for preview purposes. Of course, this is needlessly cumbersome (and you run into the dreaded issues with nests failing to update every now-and-then) and requires more CPU horsepower. Either that or edit with the distorted image...
Or are you in a whole 'nother situation?

How to: export 4:2:0 MPEG2 for Visual Circuits Firefly MC

I am trying to make a series of videos for a multi-channel media player called FireFly MC by Visual Circuits. It plays on 3 monitors and I am trying to make a multi screen presentation to give the illusion that it spans all 3 at times and the goes back to individual montors and back or whatever.
Every time i export and MPEG2 from Premiere Pro and play it on the system, there are tons of artifacts. and color changes to B & W and back to color.
There is a manual online, but the encoding requirements are not really something i am altogether familiar with.
Here are some:
1. Files must be program stream MPEG2 or system stream
MPEG1 of audio/video, or elementary stream MPEG2 or
MPEG1 of video only or audio only.
2. Use 4:2:0, not 4:2:2 encoding.
3. In MPEG-2, both audio and video fields should be encoded.
This is the normal default.
4. Audio only (Dolby Digital or MPEG Layer 2) files cannot be
mixed with files containing videos (MPEG, MPEG2 program
stream, video only).
5. Firefly – Standard IDE Hard Drive): The total bit rate of a
Firefly player must not exceed 40 mbps across four channels
(i.e. averaging 10 mbps per channel). Channels may be
encoded at different bit rates (up to 15 mbps on a given
channel) as long as 40 mbps is not exceeded across a single
hard drive (4-channel player).
6. The presentation time stamp (PTS) values contained in the
audio and video streams in a file must be continuous and
increasing. In particular, the PTS values should not reset to 0 at
any point in the file. The time between the first and last time
stamps in a file should reflect the actual duration of the file.
7. Files should be no less than 4 megabytes in size. If some of
your files are smaller than 4 megabytes, use an editor to
combine the files to create a single file at least 4 megabytes in
size.
8. Files should be no larger than 2 gigabytes in size.
Anyone ever work with this system or know how to export this type of file?
Thx in advance.

Hi Jim, I too am confused!
Why should the video codec for Option 1 be V210? Isn't this reserved for 10-bit video?
http://www.fourcc.org/yuv.php#V210
http://help.adobe.com/en_US/premierepro/cs/using/WS398C372B-B748-4ef6-BA0D-396D2E360707.ht ml
I would have thought that the UYVY option was the correct choice for 8-bit video.
http://www.fourcc.org/yuv.php#UYVY
Videos exported using Option 2 definately do not play correctly in Windows Media Player - I get no video, just audio. I have tried many different computers running different versions of Windows and Windows Media Player. I'm running Premiere CS5 v5.03 if that makes any difference.
I don't understand why videos from Option 1 play fine in Windows Media Player even though the systems don't have AJA hardware installed (or any video I/O device) - they are just plain vanilla office PCs

HDV/ sony ZIU workflow for editing & mastering

I'm new to this forum so first off thanks for having me.
I'm trying to develope a successful workflow that will carry this studio throught the upcoming year of producion.
We wil be shooting HDV w/ the Z1U and editing in FCP 5.0...
We need to edit webisodes weekely as well as log and master the HDV footage for stock footage, broadcast use and other future applications.
Here is my initial game plan:
I was planning to work in SD by capturing the footage with the downconvert option (HDV-DV) strait off the camera. I'm doing this to keep my logging speed and disc space low. Also, I'm assuming that for exporting QTs for the web the quality will still look great.
Then later for my HDV masters I will open a new project in FCP, compile all my clips and re-capture the footage in HDV.
At this point I would be running all my FCP setups for native HD, 1080i60, etc. Then, Print to Video from my FCP project back to the Sony Z1U camera.
Does this make sense to other out there, considering we can't afford and HDcam deck or AJA Kona at this juncture?
Has anyone had issues re-capturing footage in HDV and/or printing back to tape?
Thanks and Aloha,
BGP Editor
G5 Mac OS X (10.3.9) AJA Io, FCP 5.0, Sony Z1U

Welcome!
I can't comment on you workflow,
however since you are looking towards the future, I would strongly recommend that you upgrade your OS X to 10.4.8, and purchase the FInal Cut Studio 5.1 crossgrade for $50.00 (before offer expires sometime in Dec I believe).
http://www.apple.com/universal/crossgrade/
FInal Cut Pro 5 was last updated to 5.0.4, there will be no more updates.
G5 1.8 DP (PCI-X) Mac OS X (10.4.8) ATI X800 XT, 4GB RAM, 20" & 23" ACDs, M-Audio Revolution 5.1, Fostex D15 DAT

VHS to MPEG2 for DVDSP

I have over 50 hours of VHS to program to menu DVD.
I have FCP and DVDSP.
Is there a proven method to bypass capture into FCP and export via Compressor by capturing directly to MPEG2 realtime via a MPEG2 encoder card and import these files into DVDSP?
Thanks
G5 dual 2 gig Mac OS X (10.3.9)

Is there a proven method to bypass capture into FCP and export via Compressor by capturing directly to MPEG2 realtime via a MPEG2 encoder card and import these files into DVDSP?
I would buy a (domestic) DVD recorder, and connect the VHS direct to that using an S-VHS lead, and the audio line input/outputs. Record to DVD-R for real-time MPEG2 encoding. Then put the resulting disc in your Mac. You can extract the .mp2 s & ac3 s using Cinematize or various free tools. Import the files into DVD SP, drop onto the timeline, and trim the IN and OUT times as required. Custom build your own menu, and you are done.
Note that - for VHS transfers - a DVD recorder is likely to be perfectly adequate quality, and a much cheaper real-time encoder than a hardware card for a computer.

HDV: best export format for client viewing?

I am working on a project in HDV 1080i (1440).
What is the best export format to create a sample for a client to view- one that will give the proper aspect ratio.
I've tried everything I can think of, and the export is still squashed 1440 and not full 1920
I am a pretty experienced Motion user.....please give me the video and the output settings.
thanks!

hemmster- thanks I really appreciate the specific info
I dont mean to be dense but....I don't see those buttons anywhere in Motion 4. When I go to File>export what I see is:
Export: (quicktime)
Use: set to current project
When I click on the "options" button I am taken to the export options window with 2 tabs: "Video/audio" and "output"
Can you please translate your settings into those parameters....? I am assuming that under "video/audio" that compressor is H.264. The advanced button lets me set the data rate.
The Output tab lets you choose from a full range of resolutions. I could select "Custom" and set to 1280. No options for deinterlacing to be seen. Interlacing is a big problem with this project....
I have read the complete manual (twice) and the peachpit books. There is little info on this subject to be found there, so I am depending on the kindness of strangers
Thanks, you are awesome........!

Upscaled dv for anamorphic and want to know about adjusting gamma etc.

I took my dv ntsc 4:3 (3:2 really shot on dvcam on the dvx100a) timeline and nested it in an anamorphic sequence to render out a quicktime with the 1:85 matte on it and to apply an rgb limiter as when it upscales some of my broadcast safe get hot again in the high end. This output is going to a theatrical presentation. Unfortunately now they are only going to show it with dvcam and want this anamorphic output so it matches another filmmaker's settings and the projectionist doesn't have to get confused (?) so anyway...
Back to my question...when I upscale this to 133.33 to fill the screen in the anamorphic of course things get washed out...I readjusted gamma to 1.05 which is subtle but brings the blacks back...I do have a bunch of monitors but I distrust that on my little 14" broadcast sony crt what is going to project won't be washed out so I'm relying somewhat on a sony flat screen panel with settings to match my smaller crt but by eye...
In any case anyone out there doing this a lot do you find there are general settings you use that would adjust and resaturate color and gamma levels etc. and any other levels I need worry about so the picture won't look so washed out when it's projected? Does readjusting gamma to 1.05 sound right to you or should it be more as a general thing?
I have a color balance set up for highs and mid range but don't know that I need to use them on this file which I output as an uncompressed it seems to not have lost much in the color itself it's mainly the gamma issue...I also want to get this right because it's a pain working with the uncompressed nested sequence and rendering it is extremely time consuming.
...when I output a quicktime earlier using dv ntsc compressor settings "as is" I found I would lose saturation and the picture would get dark if I applied the gamma and instead color corrected just with color balance settings and the rgb limiter.
thank you

What kind of problem are you having? I've used Netbackup for doing Oracle backups quite a bit without a problem. If you can shutdown the instances, just have a script do it before the backup starts. Usually, I do a cold backup on the weekends and then backup of the archive logs during the week to save tape space. Just stick in a little script to do a log switch before the backup starts to make sure you get the current changes. If you're running 24x7, you'll need to look at buying the RMAN module from veritas or roll your own hot backup script.

Setting timeline for Anamorphic footage shot 24fps

I have footage I shot with a Panasonic DVX100a.
I shot 24p with the Anamorphic lens.
When I import into the FCP timeline the settings give me a choice of 24fps..or Anamorphic. There does not seem to be an option that includes
both.
I need to cut this film for output to film- so I need to have a 24 timeline.
of course - I also want to see the image at the right aspect.
How can I do this?

you need to go in and edit the capture preset... I usually copy the preset and rename it. add the anamorphic check box.
HOWEVER... did you shoot 24p or 24pA.
If you shot 24p then leave it as a normal 29.97 sequence. The cadence is 3.2.3.2 not 2.3.3.2.
CaptM

Converting HDV to H.264 for storage. Any simple way dates and clip splits can be preserved?

THE PROBLEM
Tapes are one of the riskiest ways to archive footage as not only is there the possibility of tape damage but the very real chance that the camera will fail after a few years leaving you with unplayable footage .. .. .. .. unless you are lucky enough to find a replacement one or are prepared to spend money on obsolete equipment.
A further disadvantage is the linear nature of tape which takes ages to import or spool through.
THE SOLUTION
Digital storage on hard drives, memory sticks or SD cards has none of these problems and your video can be played anywhere on any computer etc.
Furthermore after converting to H.264, the video is virtually identical in quality and only takes up 35% of the space (using FCP X's convert to H.264 default setting).
THE SNAGS
I intend to import all my HDV tapes, stick each one on the FCP X timeline and export it as mentioned above.
This will reduce my HDV file size to around 4GB which would also fit conveniently on one DVD, as well as the above mentioned storage devices.
The only problem I can see is that I wll lose the date/time and also the clip-breaks.
The precise date/time is not a serious problem but I would like to preserve clip breaks if possible, even though the inability to do so would not be too serious.
THE HELP?
So have there been any recent developments that would help me with either of these problems cheaply and quickly.
P.S. I know that I could burn the date/time on the first frame of every clip but that would take an eternity. I could also export every clip singly to H.264 but that too would take an age.

Thanks for the reply, however, unless I am missing something there would be no advantage over simply retaining the original imported HDV files and avoiding the additional time taken to create the archive?
The H.264 route preserves the quality whilst dramatically reducing the file size and will probably be a more universally accepted format than HDV.
Luckily I can live without the metadata and timecode but it would be nice to be able to preserve it.
Naturally I have written details but as they are not integral with the video, there is always the strong possibility of them being lost after my demise.
I intend to keep the HDV tapes and camera of course, but I don't know how long the camera (even when unused) will survive.
My original Canon Video 8 camcorder, bought in 1992 packed in after 8 years leaving me with 25 unplayable tapes until last year, when by a minor miracle I was able to borrow a Video 8 tape deck.
Similarly, my first mini-DV camera purchased in 2000, packed in recently but luckily I have another DV camera together with my HDV one which can still play them.
From the research I have done it seem quite general that many cameras, even when little used, bite the dust after a decade, probably due to electronic deterioration/malfunction. They work perfectly but the next time you use them the transport mechanism refuses to function even though there is obviously no mechanical wear.

Best conversion for mpeg2 for use in iMovie 08?

Hi, there...
Still new to this Mac world, so I'd appreciate any support. I have an Sony DVD 101 Camcorder that records in mpeg2. My Mac won't recognize it, so I have to convert my movies to a format that iMovie recognizes. I just don't know what format to choose. I have the software, I just don't know what is the best resolution, etc. to convert to. Any ideas? I'd be most grateful. A nice picture from a 4:3 would do nicely! Thanks!

What format do movies have to be to use in iMovie 08?
AppleMan and Patrick have basically covered the import/capture formats. However, if you are importing files at the Finder level, then DV (DV audio with DV video), DV25, DVCPRO25, DVCPRO50, AIC, Motion-JPEG, Photo-JPEG, MPEG-4, and H.264 are probably the ones most commonly used. For audio -- DV, Linear PCM (Big Endian & Little Endian) , and AAC are probably the ones most used. NOTE: Avoid Apple Animation and Apple Video files. They will import and edit but will not export properly.

Mpeg2 for editing in imovie?

Hi all
I've read many of the posts concerning this but I'm still a little in the dark.
I'll start at the beginning - I have a hi8 video tape, no camera, MPEG streamclip (without the mpeg2 20 dollar thingy) and imovie HD. A local company I found offers to convert your tapes to a format that can be edited in imovie, - MPEG2 according to them.
Is this correct? Some of the posts say that I'd have to convert to dv in streamclip and that I'd lose quality - I'm not making lord of the rings 4 but I bought an apple for a reason and I'd rather not lose quality on an already probably awful video tape.
What is the MPEG2 extra thing for streamclip? do I need it?
Can someone help - or direct me to one of those great little websites that generous, kind, giving members of the apple community put together.
Much appreciated.
H

Hi H:
Here's one of those "one of those great little websites that generous, kind, giving members of the apple community put together."
http://www.danslagle.com/mac/iMovie/qt_plugins/3007.shtml
Sue

What are the best sequence settings for anamorphic?

sorry for the long explanation....
i have a project that was shot 16:9. my question is what is the best sequence setting to use so that when i export it to tape it will look right on a regular TV? on the FCP viewer it looks right with either setting. the difference is that if i choose a regular sequence setting ("anamorphic" unchecked), the video clips need to be rendered (it's green, but it will limit my ability to add effects and watch them without rendering). therefore i would prefer to use the anamorphic setting that does not need rendering. However, when i export the movie it comes out stretched (and only works with TV that has an anamorphic setting).
Can i edit the whole project with the anamorphic sequence setting and in the end copy it to a regular sequence without it becoming stretched?
i tried this on a little test sequence and it appeared to work, but i'm afraid that if the project becomes elaborate... well, last time i tried editing an anamorphic sequence (a while back, on FCP 2) i had to redo my whole film cut by cut with a regular sequence setting and then render it anamorphic so that it will look right.... it simply didn't work to just cut and paste the project onto a new regular sequence (could this have happened because i had many effects?). it came out stretched as it would when you merely uncheck the "anamorphic" box. has this been solved in the newer versions?

Your settings -- between the Compressor, Pixel Aspect Ratio and Frame Size -- are oil-and-water.
If this is going to YouTube (meaning not going to be viewed on traditional TVs) and it's mainly Photos, try using this:
Frame Size: 1280x720
Aspect Ratio: HDTV 720p
Pixel Aspect Ratio: Square
Editing Timebase: 29.97
Compressor: Motion JPEG A
Quality: 100% (though in a lot of cases, you could drag this down to about 75-80% and quality will not suffer)
Unfortunately, you won't get much (if any) real-time effects. Unless, of course, you're on FCP 6 or later, where you can use a ProRes compressor instead. But with your signature saying 10.4. something, I wasn't sure if it was safe to assume that. The Motion-JPEG setting should work in all versions.

720p24 HDV to SD mpeg2 for anamorphic 24pDVD?

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