AAC quality
Can you tell the difference between 192 and 224? Is it worth the change if you are going to be running it through a stereo? I heard anything over 200 is best. But I noticed 192 is most popular, why? Why not 320 or 224?
The Data Speaks for Itself
In numerous comparison tests, AAC comes out on top. Check out these impressive results:
AAC compressed audio at 128 Kbps (stereo) has been judged by expert listeners to be “indistinguishable” from the original uncompressed audio source.*
AAC compressed audio at 96 Kbps generally exceeded the quality of MP3 compressed audio at 128 Kbps. AAC at 128 Kbps provides significantly superior performance than does MP3 at 128 Kbps.*
AAC was the only Internet audio codec evaluated in the range “Excellent” at 64 Kbps for all of the audio items tested in EBU listening tests.*
You be the judge with your ears!
Similar Messages
-
Hi,
I wanted to know whether the music provided in Itunes store is AAC VBR or CBR ? if so which one is better and how does this compare with MP3 VBR And CBR? Also wanted to know whether the content provided on Itunes is ripped directly from the original music or its ripped from cds?
Please let me know thanksSudarsh2013 wrote:
Hi,
I wanted to know whether the music provided in Itunes store is AAC VBR or CBR ? if so which one is better and how does this compare with MP3 VBR And CBR?
Sudarsh, The songs sold in the iTunes Store are AAC/256 with CBR. Amazon MP3 uses MP3/256 with VBR, and Google Play uses MP3/320 with CBR. Most people, using typical equipment and typical listening conditions, will hardly notice a difference among them, but there may be personal preferences.
Also wanted to know whether the content provided on Itunes is ripped directly from the original music or its ripped from cds?
Usually from the masters. In some cases, special mastering techniques are used for better quality; see
http://www.apple.com/itunes/mastered-for-itunes/ -
Which AAC encoding is higher quality?
. . . 320 constant bit rate or 256 VBR? I am about to convert a large number of lossless files and want the best aac quality.
There is a point in audio quality where most people won't notice the difference.
for me that's about anything above a 160 bitrate.
even in an mp3.
and i think at a bitrate of anything above 200 only extreme audiophiles will tell the difference.
so go with the one that takes up less space.
unless you're really doing something where extreme quality matters. which is unlikely. -
Converting Low MP3 to High AAC
Does anyone know if there would be sound quality loss if I took a 128kbps MP3 Sound File and used iTunes "Convert Selection to..." to convert it to a 320kbps AAC.
I get a bit confused becuase I am recompressing an already compressed file but it is suppose to be a better method of compression. Does it uncompress first like a JPG? CAN it be uncompressed first and then recompressed?
Any enlightenment would be appreciated.
Thanks!
-RODI am by no means an expert on audio conversion, but as I understand it the sound quality of an audio file will be reduced when converting it from one lossy format to another, especially when trying to go from a smaller size/ lower bitrate to a larger size/ higher bitrate.
(paraphrased from Andrew Davidson's Transcoding MP3 Files - Notes & Hints)
When transcoding, the MP3 must be decompressed (if only temporarily) to a decoded format (e.g. raw PCM) before re-encoding. Because of quality concerns, transcoding is not recommended…Transcoding upwards offers no quality benefit whatsoever, and results in a bigger file, so most of the time it is completely pointless. There is no point to transcoding upward (e.g. from 128Kbps to 256Kbps) except in the extremely unusual situation of a hardware player not supporting certain bitrates.
For much more info about your question, google "convert MP3 to AAC quality loss -download" and "convert audio file smaller to larger quality loss -download" (the -download filters out most of the "download our great conversion software" hits).
G4 iMac Mac OS X (10.3.9) -
O.K. here is the situation.
A while ago I converted my whole iTunes library to AAC. I have recently notices how the volume gets quieter on songs when you convert them to AAC. If I take an AAC song (converted from MP3 to AAC) and convert it back to MP3, will it still have the original quality of the MP3 before it was converted to AAC or will have AAC quality in an MP3 format?
Thanks in advance!In your situation, you should leave the library as is; AAC files usually have better quality than MP3 for the same amount of disk space, but you will only see the quality benefit if you import from a lossless format as opposed to converting MP3 to AAC. AAC files aren't as compatible as MP3 ones.
(36315) -
WORKAROUND - Found a Way to Force iTunes Match to UPLOAD
I wanted to let everyone know that after months of living with incorrect matches (mainly The Beatles in Mono), I've finally found a semi-easy workaround to force uploads. I haven't found this anywhere else, but if someone else has documented it, I apologize. I posted this onto one of the many threads regarding the issue quite some time ago (~ 6 months), but I wanted to make sure it was seen by as many as possible. (Sorry for the long post—skip anything you're not interested in! )
MY THEORY
The basis of this was noticing that there seemed to be discrete steps to the matching process (when adding via already-ripped FILES and not CD at least):
You add the files to iTunes
You can force a scan by right-clicking and selecting "Add to iCloud"
iTunes scans the new files
iTunes reports that it is sending the file data to Apple
iTunes waits for a "Matched" or "No Match" response from Apple
If the response is "No Match," then iTunes triggers the upload
After observing this for some time, I concluded that if (edited) files could be imported that would give a definite "No Match" result, there may be time in-between steps 4 and 6 to replace the files with the real ones (which had been triggering a false match in the past). To my delight, this worked. Here's what I did:
STEP-BY-STEP:
Deleted existing files from iTunes/iCloud, but kept the files on the computer. I then moved these to a different folder.
Took existing files and converted them with dBpoweramp. This will cost money but is well worth it if you are looking for a way to force an upload to iTunes Match. I converted them using the same AAC settings (this doesn't matter), but added the "reverse" DSP, which reverses the audio. This has been enough to foil iTunes into not matching the track, while ensuring that each file will contain unique audio data. This will be quick and painless, at least for the first time. I did it this way because it will retain all of the tags AND length of the file. iCloud will get the file length from this step, and will not change it afterward...so you probably want to use files of the same length as the real ones.
Now I have a copy of the files with audio gibberish but still having correct metadata, etc. I then put these files in my "Automatically Add to iTunes" folder.
Right-clicked on these files and selected "Add to iCloud." If you use "Sort Album" like I do, you can change it before this step and it will upload into iCloud with the correct sort information. If done afterward, it doesn't usually sort correctly on my iPhone.
After iTunes displayed the message "Sending information to Apple" (don't remember the exact message), I pasted the original (correct) files and replaced my audio gibberish files. It is important to note that the filenames must be the same, e.g. "01 Come Together.m4a" if a single-disc, or "1-01 Back in the USSR.m4a" if multidisc. iTunes will also truncate the file name at 36 characters (I believe) so this will all need to be done beforehand. I use various MP3tag actions that I'd be happy to share if anyone wants them. If you are starting with a file that has already existed in your iTunes library, this will already be done (provided iTunes is managing the library).
When Apple returns a "No Match" signal back to iTunes, it then begins to upload the files which I have just pasted.
This has worked for me 100% if doing the upload one time. In some rare cases, I may decide to EQ a file and then re-upload, or otherwise edit the file. Or perhaps I have more than one version (original/remastered, or original mix/remix) that I want to coexist in my library. In those cases, I have again utilized the dBpoweramp "VST Plug-in" DSP, where I use something like Freq Show to garble the audio. It is necessary for the garbled audio to be unique each time for this to work.
A FEW THINGS I HAVE LEARNED
If you delete a file and wish to re-upload it, you can use the same files from step 2 (provided you still have them) and iTunes will recognize them as the files previously uploaded. I am not sure how long this works, but your uploaded music remains in iCloud, though invisible, for some time — even if you selected "Delete from iCloud."
iTunes/iCloud evidently does use metadata (at least Album) to help determine if you've already uploaded a song within the same album. I ran into this when trying to test an EQ/level change I had made, and even though the audio content was completely different, iTunes would not upload or would flag as duplicate. If I altered the Album field in any way it would proceed. Other tags can be kept the same.
If you do have mono content, it is trivial to use the dBpoweramp "Channel Mapper" DSP to remove one channel during the conversion from lossless to AAC. The nice thing is, I encode with Nero AAC quality 0.65 (~250 kbps VBR) and this will reduce the file size significantly. There is no real advantage to keeping both channels, since you're doing a lossy conversion anyway. Sometimes the encoders (even very good ones) don't see the file as being mono, due to different artifacts and noise in the left and right channels. Or perhaps the mono tape was transfered with a stereo tape deck, etc. Try it yourself and see if it makes a difference. Also, iTunes will report the file as "mono" when you do "Get Info." I keep the FLAC disc image/tracks in stereo so it will exactly match the CD, but only encode one channel to lossy. If you know the source is mono for sure then there is no possible advantage to keeping both channels of a lossy conversion. (If you're not sure if the source is mono, use your favorite DAW, e.g. Audacity, to invert the phase of one channel before combining left and right. Once you do that, if all that is left is very low-level noise or other artifacts, then you know it is safe to encode as mono.)
IF YOU CARE ABOUT MASTERING
It is also worth noting that if you care about what mastering you have in your iTunes library, there is no other way I know of to guarantee you have the correct version in your iCloud library except to upload it. I found this out the hard way: I had a retail CD version of Paul McCartney's "RAM" album that was recently remastered. I put the CD in, added to my library, and iTunes Match quickly returned with "Matched" for all tracks. Some time later I was listening with headphones and noticed that some tracks had hardly any hiss at all, whereas others had a good amount of it. Since "RAM" is a rather hissy album, I investigated it against the CD and finally found that many of the tracks were being matched to other versions of the song (either from the earlier CD version or compilations with different mastering). So most of the tracks were hit with heavy noise reduction for the iCloud version. I had to follow this upload procedure to be sure that I got the right version. Purchasing the item(s) from the iTunes store would work also, but I had already paid $100 for the deluxe box set. This same problem occured with the Bob Dylan mono box. I was surprised to find that iTunes actually matched my mono versions to mono versions, and continued listening until one day the stereo version played on a certain track instead of the mono. So, even if the iTunes store has the mix/mastering that you are wanting to add to iCloud, the only sure way is to upload it (or purchase it from iTunes in the first place.) If given the choice going forward I would choose the latter, since I am not hung up on physical media and cannot tell a 256K iTunes store encode apart from a FLAC file in a double blind test (almost nobody can).
This has been bothering me for months. I'm really happy to be able to play my correct files on all my devices! For those of us who have unique versions or masterings of albums we prefer, this should be a workaround until Apple decides to give us a "force upload" option. I have tested this on Windows 7 primarily. Should work on any OS.
Hope everyone finds this useful!
NickI wanted to first thank you for this, as this is the only workaround literature that seems to be floating around out there. With that said, I know it is a big ask, but is there any way that you could create a video showing step by step how to do what you do? I have several tracks that are stuck in waiting mode, and if left in itunes, will never upload or match...they only cause the upload process to hang up and restart. I've tried leaving it for days...I've tried converting the files, signing in and out of itunes (and itunes match), updating itunes match, and I tried your technique...unfortunately to no avail. Perhaps I didn't do your technique correctly. I used audacity to reverse the audio.
ANY help would be GREATLY APPRECIATED!!!
Thanks -
Universal Music Group audible watermarking on digital downloads?
Hello,
I wanted to take a moment to praise Apple for being so patient and persistent around a sound quality issue I've been noticing for months with certain of my digital purchases from the iTunes Music Store.
Start of story: I noticed that certain of my classical albums purchased had this very strange "fluttery" sound, most noticeable during quiet passages, or with solo instruments with pure tones (flute, clarinet, oboe), or soprano solo singing.
At first, I thought it might be an artifact of the bitrate or encoding of the file. I raised this with Apple, and they confirmed that no, the files were at the maximum AAC quality. I have listened to plenty of other music with similar kinds of quiet passages and pure notes, from the iTunes store, and never noticed this issue.
After making more purchases over a period of months, I finally started to notice a commonality: all of the purchases of classical music from labels under the Universal Music Group -- Deutsche Grammophon and Decca, L'Oiseau-Lyre, EMI -- had this fluttery sound issue.
I continued to be mystified, and Apple did everything they could, refreshing the purchases I'd made on the server side and having me re-download to make sure there were no issues with the files Apple had available.
Well, finally, a professional recording engineer pointed this link out to me:
http://www.mattmontag.com/music/universals-audible-watermark
The author, Matt Montag, is an engineer for Spotify, and has obviously done some close analysis of the nature of the problem.
You will find other references to Universal Music Group's audible watermarking of their files online, stretching back to 2011, maybe earlier.
I find this an abhorrent practice, not because I object to UMG's need to protect its digital rights, but because it is basically selling damaged goods at regular prices, without any indication that is the case.
I have pointed this out to Apple, as well as to the music label, and don't expect anything to come of it, unfortunately.
For me, it makes certain historic, well-known recordings by DG artists of some of the most beautiful repertoire in the world -- international treasures, that should be protected for all time, and shared properly, uncontaminated, with those who make a legitimate purchase -- virtually unlistenable.
I hope anyone else noticing this will also report it to Universal Music Group. It is not an Apple quality issue, but something they clearly have to put up with from this particular publisher.
Apple has gone to great lengths to help me, but this is beyond their control. I hope you can help them change that, as customers who should not be treated in such a shoddy way.
Please listen carefully to any UMG purchases you have, particularly quiet passages, solo instruments in acoustic spaces, solo voices; if you notice this issue, report it to UMG.
There are certainly technologies out there that can serve the security and tracking goals UMG seeks, without distorting the sound; with the watermarking technology they have committed to for those purposes presently, they are degrading distribution of their massive library of historic music, and destroying our ability to enjoy these international treasures, and, in the long run, their ability to profit from them.
Thanks for listening.Sadly, this is still present to a large extent, and it affects more than just UMG itself and more than just classical. It extends to labels distributed by UMG in North America: Disney and Marvel for one thing, but every other label distributed digitally through UMG. It also extends to pop and country (and no doubt every other genre). It's really pathetic on Universal's part that they're selling this absolutely unlistenable trash. As the original poster mentioned, they're selling damaged goods and knowingly so, with no disclaimer or warning to customers. I would venture to state that the number of defective track and albums that Universal sold exposes them to a risk of a class action lawsuit.
Sometime in 2014 I posted a rant to Universal Classics' Facebook pages. A very nice rep by the name of Danielle took it seriously and we exchanged a series of messages on the topic. I sent Danielle a number of examples (actually dozens) of affected recordings (Decca, DGG, Philips). At that time, the response she had was that this appears to be a Universal Music Canada issue and she would escalate as needed (even though she actually represented Universal USA). Reading the online forums though, it clearly isn't limited to Canada.
The bad news, is that the few times I contacted iTunes about it, the response I received was completely ridiculous. The last time, the iTunes rep sent me a canned response stating they had thoroughly examined the tracks I reported as defective, and determined that there's nothing wrong and the tracks sound "as the artist intended". I seriously doubt any artists would like to be reduced to ugly digital noise that sounds like a poorly compressed 56kbps file.
I suppose it raises another issue: no doubt the iTunes staff, if they did review the tracks, did so either on (a) laptop speakers, or (b) through the atrocious Apple earbuds. Considering how everything sounds bad on those, I don't doubt they heard nothing wrong. But the response remains ludicrous.
Perhaps the worse news, is that iTunes isn't the only one affected. I downloaded some items from 7Digital and they were equally bad; exhibiting the same issues.
The good news, is that it appears to have ceased. More recent Universal releases (say mid 2014 till now) don't show this annoying fluttering.
The even better news, for classical music at least, is that Warner got the EMI Classics catalog after Universal's purchase of EMI, and Warner releases have been thankfully free of this nonsense.
The result of this Universal fiasco, is that:
(a) I have had to repurchase a bunch of digital downloads on CD (I'm tempted to send Universal the sales receipt with a request for refund; their choice whether they want to reimburse me the iTunes purchase or the CD prices)
(b) I have significantly curtailed my iTunes purchases; reverting instead to old habits like, believe it or not, ordering CDs from Amazon
(c) Avoiding Universal Music releases wherever possible. -
What music format should I choose for a download?
I am new to downloading music and haven't used iTunes. I bought a track at theclassicalshop.net and it is now asking what format I want to download it in: WMA, WAV, AIF. I don't have a clue which one. Then in another part of the screen I have a choice between WMA and MP3.
I have an iMac, iPhone and iPad; no W******.
I would also like some background information on formats. I gather from other questions in the forum that iTunes uses AAC or something but that it is lossy, which doesn't sound good. But I also gather that iTunes can convert from and to other formats. Is there some reliable information on this subject somewheter someone could point me to? I would really appreciate it. I can't find anything on apple.com.MP3 and AAC (M4a) are both lossy. WAV and AIFF files are non-lossy but are very much larger - impracticably so for most downloading purposes. iTunes does not handle WMA files.
MP3 and AAC quality can be perfectly reasonable as long as they are not compressed too much - purchased items are usually fine. You could download AIFF if you want to be fussy, though it's likely the difference won't be obvious unless you are using a good hifi system.
You could download as AIFF or WAV and convert to MP3 or AAc but there's no point at all in doing that if you can download an MP3 version. Note that if you download an MP3 version there is no point in converting to AIFF - all you will do is make the file size larger, it won't improve the quality at all.
AAC files are slightly better quality than MP3 at the equivalent bitrate, though again the difference is minimal and not likely to be obvious in most playback situations. You could compromise by downloading AIFF and converting to AAC if you want to keep the filesize on your Mac (and more to the point your iPod) down, though the download will be a long one as a result. This post explains how to do the conversion:
https://discussions.apple.com/message/18167954#18167954 -
ASPECTHD - Low compression to High compression
This is more a Cineform question, but since they'Re so many CF users in here and it concerns Premiere workflow I guess it has it's place on this forum.
When digitizing tapes with AspectHD, if I go with Low compression to save HD space to later just have what I've used transcoded to High compression, will it give me same quality as if I'd go directly to High compression from tape.
Thank you.I am by no means an expert on audio conversion, but as I understand it the sound quality of an audio file will be reduced when converting it from one lossy format to another, especially when trying to go from a smaller size/ lower bitrate to a larger size/ higher bitrate.
(paraphrased from Andrew Davidson's Transcoding MP3 Files - Notes & Hints)
When transcoding, the MP3 must be decompressed (if only temporarily) to a decoded format (e.g. raw PCM) before re-encoding. Because of quality concerns, transcoding is not recommended…Transcoding upwards offers no quality benefit whatsoever, and results in a bigger file, so most of the time it is completely pointless. There is no point to transcoding upward (e.g. from 128Kbps to 256Kbps) except in the extremely unusual situation of a hardware player not supporting certain bitrates.
For much more info about your question, google "convert MP3 to AAC quality loss -download" and "convert audio file smaller to larger quality loss -download" (the -download filters out most of the "download our great conversion software" hits).
G4 iMac Mac OS X (10.3.9) -
Hi, I work with logic pro, and am working remotely with a colleague at a different location. is there any type of programme around where he can hear stuff i'm doing streaming directly from logic, without me having to do bounces and send them via iChat all the time? i had a look at wormhole2 but they've discontinued it, and the apple remote type programmes don't seem to solve the problem of him being able to hear audio (or is that wrong?). There's source-connect which works for protools (but not logic), and vstunnel, but they apparently haven't bought out an intel plug yet. Has anyone tried using logic with the ichat presentation feature in Leopard (i'm still on 10.4)? My understanding is you hear the audio played back through the mac's internal output, which bites.
My ideal situation would be for my colleague to be able to watch my open logic session through screen share, so that he could see the movie I'm syncing to in Logic, and hear an mp3 or AAC quality audio streaming straight out of Logic, rather than having to go through any other mics, outputs, internal conversion etc.
If anyone else has had any ideas or experience with this, I'd be extremely grateful. If not, c'mon apple. It'll change the nature of being able to collaborate remotely, particularly for screen composers.
thanks,
BobI actually ended up creating a new folder for my project on my iDisk and then gave the other composer read/write permission to the folder using their mobilme username.
I can actually open and edit the file from the iDrive right from logic studio. Though in some cases I could see where two full local copies (one in each studio) that were synced to an iDisk cloud would be more ideal.
Thanks,
Jonathan -
Sending completed GB projects to iTunes. What settings to use?
What are the correct settings, for completed audio files in GB, using an external microphone, being sent to Itunes? (MP3 of AAC better?) What should the bit rate be? What "Quality" setting should be used for the best final product? Should "use VBR" be checked?
If you want CD-Quality, disable the "compress" button. Then you will exort AIFF-file. Best Audio quality, but very large file size.
If you want a moderate file size, use mp3 or aac. The aac-quality is slightly better, but not all systems can read the files. If you want to share to windows systems, use mp3.
I don't see "use VBR" in my export panel using GB '11
Regards
Léonie -
I exported my video from Final Cut Express and when I play the .mov file, part of it plays choppy. I'm not sure what to do at this point, can anyone help me out?
File footage is from a Canon 7D
1980x1080
24fps
H.264 compressor
My export settings are:
Export using Quicktime Conversion
Compression Type: H.264
Frame Rate: Current
Key Frames Every 24 frames
Compressor Quality: Best
Dimensions: 1920x1080
Deinterlace Source Video is checked
Audio settings - AAC, quality "Best"
This is for a music video so I have an audio track with it.
The quality of the exported video is good but at different points in the exported video, the video seems to stuttering, kind of like a strobe effect. I've tried other export settings, but I lose quality with them. Any help would be really appreciated.
I don't know if this matters, but I changed my sequence settings to 1920x1080i60, but whenever I go back to the sequence settings, it seems to be back on DV NTSC 48kHzOk, sorry for the questions, but I am new to this.
To avoid having to recreate the video in Pro, would I be able to:
- Open the FCE project in Pro in order to keep my cuts and effects how I have them
- Reimport the file footage thru ProRes in FCP
- Match the media files in the timeline to the newly imported footage
- Adjust the sequence settings to match the file footage
Or do I just have to recreate the video?
Thanks for the help -
ITunes Match & iPod Classic - is that ok?
Hi,
I have a MacBook Pro, iPhone 4 and a iPod Classic.
I'm not using my iPhone for my music, but only my iPod Classic.
Is there any problem if i take Match? I would love to do it to have AAC-quality music (and use of course occasionaly my iPhone for streaming) but I want to make sure that the way I buy or rip music to my library now, and sync this every week with my iPod is not changing at all.
Can anyone confirm this?
Is the music on the iPod still a "hard" cpoy of my library on my Mac?
thanx.
Geert, Brussels, Belgium.As long as you download the Matched files to your local system, any device that supports the AAC format should be able to play them. All iPods (Classic / Nano / Shuffle), some Cowon devices, Zunes, etc.
My Matched files are played on my Ubuntu system, my Cowon D3, as well as a non-Apple music player on my PC. It's all good. -
Low File Size/Great Image Quality: H.264, AAC
1. I created a slideshow in iPhoto, exported it to a QT movie file. The properties of it is as follows:
Exibit A:
Dimensions: 720x480
Format: MPEG-4 Video, AAC, Stereo, 44.100kHz
FPS: 30
Data Rate: 7277.87 kbits/sec
Channel Count: 2
Duration: 02'46
Size: 143.58MB
2. I pulled a QT Movie file from the web with the following properties:
Exibit B:
Dimensions: 480x360
Format: AAC, H.264, Stereo (LR), 48.000kHz
FPS: 28.79
Channel Count: 2
Duration: 01'22
Data Rate: 868.14 kbits/sec
Size: 8.5MB
3. I tried to see if I could compress my movie and keep the quality as comparible to Exibit B. Here's what I ended up with:
Exibit C:
Dimensions: 720x480
Format: AAC, H.264, Stereo (LR), 44.100kHz
FPS: 30
Data Rate: 4826.73 kbits/sec
Channel Count: 2
Duration: 02'46
Size: 95.22MB
4. I tried again. This time creating the same dimension as Exibit B. Here what I got:
Exibit D:
Dimensions: 480x360
Format: AAC, H.264, Stereo (LR), 44.100 kHz
FPS: 30
Data Rate: 2577.17 kbits/sec
Channel Count: 2
Duration: 02'46
Size: 51MB
How can I create a very low size and image quality as Exibit B?
I have QTPro. Do I need something else?
Thanks.Update:
Well playing all exibits on the Windows workstation worked just fine after the update. I now has QT7.
Next...I've exported Exibit A down to 8MB (Exitbit F)by recommendations from Capt. QTKirk. Here are the properties:
Exibit F:
Format: AAC, Stereo (LR), 32.000kHz, H.264, 720x480, Millions
FPS: 15
Data Size: 8.5MB
Data Rate: 429.79kbits/sec
Overall Quality:
Video: Fair at 720x480; much better at 486x324; overall choppy transitions as well
Audio: Fair -close to mono.
Anyone else have any suggestions?
How and what are others using to get the audio/video quality as crisp and sharp as what's shown in the QT Movie Trailer site? -
Poor quality when exporting to MOV (H264/AAC) with CS5 and CS5.5
Hi there,
I need to export my HDV sequence (1440*1080 Pixel 1,33 25fps) using HDV footage only to MOV format (with H264 / AAC codecs).
I'm using 1024*576 (1.0) SD preset with a correct video bitrate CBR 6mbs and the Quality is awful.
When I use the H264 format ( to get a .MP4 file) with the same preset (1024*576 square pixel >> CBR 6mbs) the quality is quite good. I 'm pretty happy with that. The only thing is that my client (TV) needs the clip in MOV format (including H264/AAC codecs) and the quality is awful. They expect me to use FCP as most of the journalists here in France use this application.
I tried with PREMIERE CS5 on a PC (windows 7 64 bits) >> 8G0 RAM, Dual Core
and with PREMIERE PRO CS5.5 on a mac
Same awful result when trying to export to MOV (H264/AAC).
I heard that PREMIERE can't properly export to this format? Is this correct? If so, i need to convince my client to use only MP4 (H264/AAC) files since I don't really wanna use Final Cut Pro or Media Composer to edit and export my clip.
Any tips ?
Thanks guys.
JulienI had similar quality issues exporting H264 from PPro vs. Avid Media Composer. CHeck out this thread link http://forums.adobe.com/thread/854379?tstart=0.
I found it pretty helpful, it also links to another reference thread.
I think it's possible, but will take a bit of trial and error.
Good luck
Lindsay
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