H.264 blu-ray 720P60 sync problem

I'm not able to maintain sync between sound and video when encoding 720P59.94 sequences (avi or mov) to 720P 59.94 h.264 Blu-ray (standard PrPro export settings). The sync is lost gradually, and at the end of a 42 minute clip, is off by more than a second. In trying to chase this down, I noticed that the exported elementary video file is longer than the source sequence by about 1 frame per minute. The elementary sound file (Dolby or PCM) appears to be the same length as the source sequence.
Although I first noticed this in Encore (Blu-ray project), an import of the "encode" files back into Premiere Pro confirmed the situation.
I checked very carefully to ensure that my sequence settings and export settings are consistant - 1280x720 P 59.94.
I don't see this sync problem with the non-blu-ray h.264 (multiplexed) encode, and I don't see this problem with the mpeg2 blu-ray encoder.
I'm interested to know if this issue is unique to my setup, and if not, if there's a fix or workaround.
I'm running the latest versions of software -
Adobe CS 6.03 (monthly account)
Kona LHi 10.3.2 (up to date)
win 7, i7, 16G ram
Thanks...Ben

Jim,
I found that, of the sequences I've been working with, those that were created by dragging the footage onto the "new" icon were NDF. Sequences that I initiated from scratch are DF. But even after exporting to h.264 from a "DF" sequence, when re-imported and dropped on the "new" icon, a NDF sequence was created.
So...I established a new DF AVI sequence, and copied the source footage into it. This gave me a 720P59.94 DF cineform avi sequence, which doesn't seem any different than the NDF predecessor. Audio and video are in sync from beginning to end - 42 minutes duration.
I did a fresh export from this sequence to the adobe h.264 blu-ray preset (720P59.94, dolby, high, 4.1).
I then re-imported the resulting m4v, and dragged it onto an unused track in the source sequence. As expected, It extended beyond the source by 78 frames (in 42 minutes), and had the gradual drift out of sync.
I applied the 50 % crop, and looked for the first sign of change between the two tracks. I noted that at 00;01;01;42, the h.264 "encode" track seem to take one step backward, resulting in a 2 frame difference for a while. I tried to find the next exact place where a change occur, but found it impossible to do so.
Since this seems kind of weird, it would be helpful to know if anyone else has been successful in exporting a 720P59.94 sequence to h.264 blu-ray, without gradual loss of sync. The duration would need to be long enough for the sync loss to be obvious - 15 minutes or so?

Similar Messages

Audio not in sync after encoding to H.264 Blu ray

I have recently been trying to author my first blu-ray and keep running into new problems everytime I think I find a new solution. My new problem is that when I encode my sequence from Ppro CC to H.264 Blu-ray and place the video file and audio file into Encore CS6 the audio seems to be falling out of sync. I tried placing both files into a new PPro sequence and checked the playback and they are also out of sync there.
Things I've tried:
1) I went back and just encoded the audio from the sequence but this time I switched the audio coding to DD 320 bitrate instead of PCM. When I placed this file into the PPro sequence the playback was perfect. However, when I try placing the same two files (video and audio) into Encore they are out of sync.
2) I decided to take the encoded video file and place it back into the original PPro sequence and use it to replace the original video track. The playback again fell out of sync. Since this sequence had the original pre-encoded audio track, I came to the conclusion that it is actually the video that is not keeping up with the audio once encoded.
I am trying to encode to 1920x1080 HD 23.967 fps H.264 Blu Ray. I know I can just encoded to .avi match source and then let Encore do the transcoding, but figuring out this problem is a learning experience for me. Does PCM or Dolby Digital make a difference? What is the best way to do?

It sounds like things went wonky the first time around. Try exporing the whole thing again.
PCM is higher quality. Blu-rays have a lot of room compared to DVD, so I feel it's often the better choice. I'd recommend using DD only when you have to. But considering that I've put 3 hours of HD onto disk and still only filled 17GB, I think it's the very rare occasion when you'll run out of room and have to use DD on Blu-ray.

Premiere Pro CC H.264 Blu-ray rendering problem

Hi!
I have a problem when try to render AVCHD files (.m2ts) to H.264 Blu-ray. This is the issue that follows me from Premiere Pro CS6 and old machine. When I create a sequence from AVCHD (.m2ts) files and try to export it with H.264 Blu-ray settings (only two changes I made in default settings are multiplexing to TS and change audio to Dolby digital) i got few seconds shorter video file than the original timeline and automatically audio and video are out of sync. I notice that when I try to play rendered video with Windows media player (Media player classic and VLC player also play it the same way) after a while audio is starting to be out of sync. When I import rendered file again into Premiere Pro CC and put it in timeline I can see that my rendered video is shorter than original timeline (I have 4h 30min project and rendered video is 4sec shorter; everything is there but 4sec shorter - probably faster, it is hard to notice how faster because of long timeline, but obviously 4sec faster)
Also, when I take that same project to my friend and render it again everything is ok. He is running a little bit better machine but also he is running Premiere Pro CS6 and I'm running Premiere Pro CC. That was the issue also when he was running Premiere Pro CS 5.5 and run Premiere Pro CS6 a year ago. All settings stays the same when I render and when my friend render the same sequence. I have audio out of sync and he haven't
One more question: Premiere Pro and AME not using Mercury Payback Engine GPU Acceleration at all. In AME I chose renderer: Mercury Payback Engine GPU Acceleration but when I look at NVIDIA inspector I can see that GPU usage is 0% when rendering is in progress. Any idea?
THX!

Thank you Jim,
but I'm confused. Same project, absolutely same settings but with different hardware got different results?
About 2 years ago I had AMD Athlon 3200+, ATI Radeon X800XL, 8GB DDR2 RAM, Win 7, Premiere Pro CS6 (AVCHD input, rendering to .m2t, all settings to default, just multiplexing set to TS because I need audio and video multiplexed to be able to play directly from external HDD to LED TV via USB) - result: audio is out of sync.
My friend had Intel i7, nVidia GTX 550, 16GB DDR3 RAM, Win 7, Premiere Pro CS5.5 (same project, AVCHD input, rendering to .m2t, all settings to default, just multiplexing set to TS) - result: everything OK.
Few days ago same thing, but with new hardware - my hardware: Intel i5, nVidia GTX 760, 16GB DDR3 RAM, Win 8.1, Premiere Pro CC (AVCHD input, rendering to .m2t, all settings to default, just multiplexing set to TS) - result: audio out of sync (as a matter of fact video is shorter - I didn't realize that few years ago, but just now).
My friend with his same hardware as above, few years old (AVCHD input, rendering to .m2t, all settings to default, just multiplexing set to TS) - result: everything OK.
Why is video (rendered) shorter than the original timeline? Is it possible because of multiplexing to TS? If it is the reason, why Adobe left us to choose do we want to use multiplexig or not, when it causes such drastic problem? Why Adobe left us so much option to play with? They don't want to certificate every peace of hardware (graphic card, although many graphic cards are compatible and can be used "at our own risk") because, as they said, it can cause problems, and they left us so much option to change before rendering, and some of them causing problems and aren't compatible with each other If I check some box then I got bad result, and if I not check it, then everything is OK? Don't understand why they left us that option when it's not OK to use it, because it produce bad result?
Not to mention that rendering (AVCHD to H.264 or MPG2 Blu-ray) is significantly faster with i7 than with i5, because, as I can see, GPU Acceleration is not used at all for rendering (maybe just for few effects, that I didn't used yet).
THX!

AE CS4 render engine / Adobe Media Encoder won't create a container for h.264 blu-ray

here's the problem.
First, I tried to render a comp using the render engine inside AE using h.264 blu-ray preset.
It was supposed to create 1 file, but I ended up with 3 : audio track, video and a file with .xmpses extension.
I then decided to render it in lossless .mov, which works fine, but 3:40 minutes is taking up over 8gb, which is of course, unacceptable.
After that, I've put the .mov file into Media Encoder to try h.264 blu-ray there.
Absolutely the same ********.
I'm using the Mac version of AE CS4.
Here is the screenshot of original .mov file and the result. As you see, it refuses to make a container. This is absolutely unacceptable

It raises another question: what settings do I need to encode the comp in 720p resolution without taking up lots of space?
Well, it depends on whether you need a production master (something for broadcast, for example, or to use as a source for other encoding tasks) or if you want a version for distribution. If it's the former, there's nothing wrong with "lots of space" - A Quicktime file with PNG or Animation codec is a good idea, but it will take a lot of space. If it's the latter, H264 is perfect but there's no built-in preset to take 720 material to the web.
You could do this:
* Pick the generic H264 template. You'll see that it will give an error if you attempt to render, because the default setting uses an H264 profile/level which doesn't let you use HD resolutions.
* In the H264 video options, set the "Profile" menu to "Main" and "Level" to 4.0. That will keep it compatible to Quicktime and Flash player, while allowing larger frame sizes and higher bit rates.
* Set Target Bitrate to 5-8 Mbps and Maximum Bitrate to 9-10 Mbps if you're targetting web delivery. That's a bit over what Apple uses for 720p content on the Apple TV, for example.
The H264 original preset will instruct you in the comment field to stretch to 640x480 in Output Module. There's no need, since you are using a profile/level combination which allows higher frame sizes.

CS4 - Adobe Media Encoder - Encore - H.264 Blu-ray

As many folks are aware, Encore's transcoding can sometimes be less than optimal. I played with the AME settings and with the help of other folks on these and other forums finally determined all the right settings so that Encore would treat my DVD quality videos as native and not attempt to transcode them.
I am now trying my hand at Blu-Ray and am running into similar problems but so far I have not really found any answers that have worked. Based on my research, the following settings should work:
AME
Format: H.264 Blu-ray
_Video_
TV Standard: NTSC
Frame Dimensions: 1920x1080
Frame Rame: 23.976
Field Order: None (Progressive)
Pixel Aspect Ratio: Widescreen 16:9
Profile: High
Level: 4.1
_Bitrate Settings
Bitrate Encoding: VBR, 1 Pass
Target Bitrate: 18
Max Bitrate: 22
_Audio_
I have Multiplexing disabled because I am using DD 5.1 encoding and for DVD quality, I learned that Multiplexing is a no-no to prevent Encore from trying to transcode things. I assume the same thing applies to Blu-Ray so I'm not really worried about the Audio.
Encore
_Project Settings_
Authoring Mode: Blu-ray
_Settings
Television Standard: NTSC
Codec: H.265
Dimensions: 1920x1080
Frame Rate: 23.976
Fields: No Fields (Progressive Scan)
_Automatic Transcoding
Maximum Audio/Video Bitrate: 25.0 Mbps
_Audio Transcoding
Audio Transcoding Scheme: Dolby Digital
I have tried a number of other settings around these (including using 29.97 frame rate to match my source), but after 4 days of trying different things with AME, I am completely stumped. What I am primarily looking for is someone to be kind enough to post their settings, in the level of detail above, that allow them to import an asset into Encore so that it doesn't want to transcode the video.
I know there are other tools out there that can do these things, but I paid my $ for Adobe Mastersuite so that it would do all these things for me. If at all possible, I would really like to stick with just these tools.
I am not sure if it matters, but my source is a Panasonic HDC-TM700 set to record in 1080p30 (I don't use their proprietary 60 frame format). I have successfully downconverted this source with AME to DVD quality. I have also successfully outputted from AME to 1080p that was uploadable to Youtube. Again, I'm not sure that it matters other than I can make useable video from my source. Here are the properties of the video according to Premiere:
Type: MPEG Movie
File Size: 2.6 GB
Image Size: 1920 x 1080
Pixel Depth: 32
Frame Rate: 29.97
Source Audio Format: 48000 Hz - compressed - 6 channels
Project Audio Format: 48000 Hz - 32 bit floating point - 6 channels
Total Duration: 00;22;23;25
Average Data Rate: 2.0 MB / second
Pixel Aspect Ratio: 1.0
My actual clip is about 6min, but my intention would be to use clips of up to an hour in length.
Oh, I'm not sure if it is clear from my above information, but I am not using Adobe Dynamic Link. I'm not sure if that is where my problem lies, but my one attempt to use it did not produce the results I was looking for either.
Thanks in advance for your time and for making it this far into my post
-Jay

Well, that's a bit of a disappointment. I have to imagine most Adobe users are bald due to Adobe providing settings/output options that it's own software doesn't like. I really don't understand the sense of that.
In any event, I attempted to use:
Format: H.264 Blu-ray
Preset: HDTV 1080i 29.97 High Quality
And Encore still wants to transcode the video. It also wanted to transcode the audio that the format put out (PCM audio). I tried messing with some of the settings in Field Order, Profile, and Level and no love all around. I also tried one of the 1440 formats and no love there.
Does anyone truly have this working natively or am I just chasing my own tale? It really should not be this hard to get Premiere to output something that Encore will use without difficulty.
-Jay

Is PrProCS3 able to encode H.264 Blu-ray file?

It seems I overestimated the capabilities of CS3. I have been unable to export a file to create a Blu-ray disc.
System specs:
2009 Mac Pro 4,1 3.33GHz Quad core
ATI Radeon HD 4870 512 (Apple)
16GB RAM
640GB HD for OS X 10.6.4, and all programs
3x 1TB HD in RAID 0 via Apple RAID card for data, scratch
LG WH10LS30 10x Super-Multi Blu-ray burner (kit for Mac Pro from OWC)
Adobe Production Premium CS3 (updated to 3.2.0 for Pr)
File specs:
DVCProHD P2 MXF footage, shot on Panasonic AG-HVX200P
1280x1080 29.97(24P), aspect ratio = 1.5
Project settings:
DVCProHD 1080i/1080p, 60Hz
23.976 frame rate, progressive scan
The project is 1 hour 32 minutes long, and I've tried Export to Encore, Export to AME and Export Movie to H.264 Blu-ray m4v, using the preset for 1080p High Quality 24p and 23.976fps. Codec is MainConcept H.264. The target bitrate is 25Mbps, Max 30Mbps. I've tried both Main and High profile. After I post this question, I'll be trying to change VBR to 1-pass, since it gets through the first pass during encoding every time, but crashes Pr during the second pass. It doesn't even make it to Encore... it just won't encode the export file, despite my attempts to follow all the rules.
I'm out of ideas. I don't want to give up and say Premiere Pro CS3 is worthless to me until I can confirm that as a fact. I purchased CS5, and it's sitting on my shelf awaiting installation, but I thought switching versions in the middle of a feature film edit was bad, so I've been holding off. However, if CS3 is unable to produce a Blu-ray copy, I might have to try that next.

Hi,
I have cs3 but dont have a machine powerful enough to edit HD of any kind that is more than about maybe 20 min ...I have a PC.
It slows up a LOT if I have HD on my timeline and I add effects etc. That is why I haven't responded to your thread.
I have (approx ) a dual core 3ghz cpu and 4 gig ram, 2 hard drives with OS and programs on boot drive and projects on 2nd drive. I have no problems with SD video at all but HD is just NOT something I can do.
I suspect there may be some others using CS3 that also shun large HD projects simply due to the machines they have.
With the new 64bit OS and CS5, allowing PC users to actually "see" more than 4gig of ram, most HD users are now using new 64 bit OS and CS5....with a lot of ram and multiple cpu's and raid drive setups.
Although this doesnt help you out a lot re: your problem, at least it might explain a little bit why so few have responded yet...it's simply because I don't think that many cs3 ( 32 bit program ) users have done what you are trying to do.
Perhaps you could try exporting to encore for blue ray a very small segment of ONE timeline, and see if your hardware works OK with THAT... ?? Sorry I can't help more

Adobe prem / media encoder h.264 blu-ray jitters, flickers /w slow-mo

hello
using the Adobe Production Premium CS4 pack... hardware is not an issue, also all the latest updates are installed.. prem 4.2.1 (003), encoder 4.2.0.006
after export and authoring, we are having strange glowing flickers, and bad slo-motion effect playback
the problem seems to be consistent with slo-motion and time remapping, frame holds and especially when an additive dissolve is thrown in.
the edit's are far from saturated with these effects, but a simple frame-hold with motion-rotation and motion-scale occurring with keyframes. the problem also happens with something as simple as a 30% speed/duration added onto a clip..
the footage is captured and on a timeline at - 1440x1080 (1.3333) HD Anamorphic, 25fps (50i)
the export profile after edit is - H.264 Blu-ray - 1440 x 1080i 25 High Quality
i get the feeling the problem may be occurring as the footage is remaining as interlaced footage through-out and not being blended or discarded to progressive.
i have tried making the footage progressive on export thinking it might solve the problem, but it turns out there is no such thing as progressive HD PAL in media encoder and encore
i love adobe's workflow but we have never been fond of main-concept from the start with things like this, even Mpeg2-DVD exports come out softer than you'd expect
any thoughts, light or general directions on what to do to help figure out the problem would be great..

after around 30 small sample exports, builds and different renders... I have discovered the problem and am now on track to fixing it..
it turns out certain adobe effects such as 'lighting effects' do NOT work well with slo-mo or frame held clips.. upon taking this one effect off, the clip looks flatter and less dynamic in context of my edit, but the clip plays normally no matter what the export settings, codec or format..
what's hallarious is that these effects and edits export and author perfectly fine onto DVD through Mpeg2.. i guess they just flatten better etc.. i get the impression when Adobe started crafting their software for HD they just built on top of the normal effects etc they already had and expected them to work.. if only Premiere could get the updates, priority and attention Photoshop does..
again, i love premiere's work flow, i just can't see how they can put the word 'Pro / Professional' near this software...
many thanks all
Steve

AME Shuts Down when exporting H.264 Blu Ray

I have a current project that was shot in HDV and I am trying to export an H.264 Blu Ray file. This is a 4 Disk set and the other 3 files exported with no problems but for some reason I cannot get this last one (which happens to be Disk #3). I will start AME running as I am getting ready to leave my office. When I come back in the morning there is nothing open on my desktop, just the normal screen. Anyoen have any ideas??? Below are my export setting and computer info
Format: H.264 Blu Ray
Preset: Custom
Pixel Aspect Ratio: Widescreen 16:9
Profile: High
Level: 4.1
Bitrate Encoding: VBR 2 pass
Target Bitrate: 20 Mbps
Maximum Bitrate: 25 Mbps
Audio: PCM
Multiplexing: None
Computer
Windows XP Pro 64
Intel Core 2 Quad 2.5GHz
4 GB RAM
300 GB System Drive
1.5 TB Video Dive with 700 GB of free space.
Thanks
Phil

This is from the regular LOG.
5/9/2009 12:37:29 PM : Queue Started
- Source File: C:\DOCUME~1\ADMINI~1\LOCALS~1\Temp\Kapadia Wedding_24.prproj
- Output File: V:\DVD's\Kapadia\From Premiere\Disk_3_HD.m4v
- Preset Used: Custom
- Video: NTSC, 1440x1080, 29.97 [fps], Upper
- Audio: PCM Audio, 48 kHz, Stereo
- Bitrate: VBR, 2 Pass, Target 20.00, Max 25.00 [Mbps]
That is it... It does not show that there was a problem or that it was completed.
I then went into the Errors Log and there was nothing about this particular project.
Do you think that maybe the PC is shutting down and restarting? Not sure how I would know that...
Dont get me started on the Pr not supported by XP 64 thing. Quite frustrating to me....
Phil

CS6 H.264 Blu-ray 5.1 Dolby

CS6
I don't seem to have the option of Dolby Digital 5.1 sound export from the H 264 Blu-ray preset.
I have not activated the Surcode plugin yet ( I'm waiting for the code email) but the Mpeg 2 dvd and Blu-ray give the 5.1 option.
Richard Knight

In fact, we discover that the lack of MPEG2 support will be resolved in CS6, but AA CS6 still do not import, but PPro CS6, Encore, AE, will import with no problems , and even that infamous error when importing a project from 5.5 , or CS5 in CS6, he says that there are no importers to decode the content, resolves, it is clear that using external plugins like I use, (Boris, Magic Bullet, Mojo, etc.) must be also be installed on CS6, finally, the CS6 is now open smoothly projects with contents in MPEG2 normally as did the previous one.
The problem is that this solution costs about $ 1000 .... !! yes ... unfortunately ... This price is high as this way when purchasing all the modules that includes all exporters standards for digital cinema, as Motion JPEG and other formats used in Digital film.
To work without need this exporters, the amount paid is less.
The whole problem in this story is that WE HAVE TO BUY, AND PAY more money for a software package of plugins to do something that the old versions were already done .
I think it must have a trick with the Adobe for the behalf of MainConcept, to increase their sales.
For CS5 and 5.5 the version of this package is the MainConcept Suite 5.1 and the CS6 version changed its name to ROVI TOTALCODE V6.01.
Another benefit from ROVI TotalCode is the full support of CUDA hardware from NVIDIA. It can be used to import, play the timeline smootthy , better than Mercury Engine, and
can be use to export ( acceletated presets on Rovi´s Settings pane ) , that cut off substantial time in our work.
I hate to accept that this new purchace was the only solution we learn after months of researh , to get this solutions for us here. The most part of our material is in MPEG, SD or HD.
We here love MPEG !!!!
You guys can get more information on their website in www.mainconcept.com.
So with this solution , all tha way we are accostumated, returns. The PProCS6 goes directely to Encore, to generate our BluRays and DVD etc ...

Downsides to multiplexing audio for H.264 Blu-ray disc?

I have a 9 minute video; personal/consumer use; 1280x720; 59.94; source video from a Contour+ helmet camera that stores .mov, H.264; audio is on a separate track from my own selection of mp3 files (it is a music video). I have three intended playback targets: Blu-ray disc, Sony PS3 native, and PC/Windows Media Player. Is there a big downside on video or audio quality in this case using multiplexing to produce a single .m2t file imported into Encore to produce the BD vs. separate .m4v/.wav files? Not a huge deal, but having to maintain one production files vs. three is a minor plus if it makes little to no difference on the BD front.
Depending on the answer, If I use the H.264 Blu-ray format/preset in PP to produce the .m2t file does Encore have to re-encode? I am assuming Encore does not reencode if I am using separate .m4v/.wav files.
Thanks

You must always remember gents, when you multiplex, there is a BUFFER attached to that (computer term that means a chunk of size and bit defined fast memory space that holds an intermediate piece of data for shuttling to the next piece of hardware). This changes the MAX Bitrate allowed for your video (but it doesn't show in AME cs6 and I don't think it shows in lower versions; not sure about cc). Since you are tying one stream to another, and effectively weaving the data into one stream, you are maxing out the amount of data you can pass in that stream. Only certain types of data can be read in this manner. Think of it this way, you have taken two sets of data with different bit widths, and different bit-sample rates, and tied them together into one stream. This stream still has to fit in the max data rates of the medium. Your video cannot exceed 30mb\s and you are also left with another problem. Audio, without mux, has so many different formats and bit fiddling profiles that it would be difficult to make sure it was within the sizing for data. If, however, you limit it to one major codec, and use predefined bit\sample rates that can be sized up, you'll be able to tell if all the settings are "legal" or not, as you then have a predefined data-size for both audio and video. If you don't multiplex, you get 2 streams. It takes longer to load the disc, but both streams are cached. Typically, with more motion, I like to non-plex, but with more emphasis on audio, I start leaning toward a TS file. IF you want forward compatibility, select an intermediate codec, with little to no compression, save to a disc image, then burn a disc and file it away. Every 10-15 years, hire an intern to turn their hair white recoding all your video and following the same procedure (unpaid internship time), but make them happy by hiring them as "Labor" on a short job or two and pay them well for standing around or stroking the egos of the "Talent". What can I say, we all work more diligently and creatively when we feel more connected with it, whether we're brooding and trying to communicate the angst of a lost generation, or felling powerful enough to choreograph leaping tall buildings in a single bound. Misery loves company, and powerful loves to be reminded it is by everybody whether it is or isn't.
If you need better clarification...
Lets go back to dvd for a moment. DVD structure is Video TS and Audio TS. TS is Transport Stream. A stream is a BUFFERED movement of data that is transferred quickly in set sized chunks. In DVD there were two transport streams to play back early on. Later, many started muxing those streams and encrypting them, so that upon Decrypting they could be played. Muxing made the encryption easier, as only one stream needed to be encrypted and it was all in the Video TS. Audio TS folders are still written, but there is little data there. In fact, removing this folder when no data is actually present has shown in some cases to do no damage, while in others, it will not play. This is because, it is used as a shell to copy. It initiates the audio stream playback on older players, and on newer players it isn't necessary.
Blu-ray yields similar limitations. You need to match the size of the buffer you are feeding. Most players max out around 35mps from the old sets, and newer players actually pull more like 50mps. If you don't know your target, you'll be out of luck. I've seen blu-rays that don't play on older players being sold at video stores, at Frys, everywhere. I've played them on an old one and found them to be unplayable. Newer formats do not work with older players, but, they note it on the package that you need to meet certain specs, and those specs can usually be found on a sticker on your device so you can see if they match. Remember your Target BitRate and Max Bitrate. The Target should be less than the max for the device you aim for. CS6 won't usually allow anything over 32.7mps, anyway, so setting this in AME even with dynamic linking could cause problems. However, you do have the choice to locate a transcode... ...presents an interesting possibility. I've been trying to get a project done or I'd try this myself:
I'd use the x264 free codec, with some basic options and blu-ray-compatible flag, with --fake-interlaced, to create a transcode and link it into encore. However, encore hasn't liked any of my transcodes that use multiple passes. I'm going to try with a single pass later, and produce an intermediate output for now.

VBR or CBR for H.264 Blu-Ray?

When encoding a 2 and a half hour H.264 Blu-Ray project from Media Encoder, is it better to use VBR 1 Pass, VBR 2 Pass, or CBR? I want it to be a total of 15 Gigs when it's done encding in Media Encoder.
When working in DVD Studio Pro, I always use CBR without a problem. Those were not Blu-Ray discs though.
My Target Bit Rate is at around 12
My Max Bit Rate is 25 or 20.
Media Encoder 5
Premiere Pro cs 5.5

Jim Simon wrote:
Neither. CQ mode is best.
http://tangentsoft.net/video/mpeg/enc-modes.html
http://www.videohelp.com/tools/XviD4PSP
For more information on a description of Constant Qiuality (CQ) vs Constant or Variable Bitrate (CBR, VBR) have a look here on page 5..
http://www.x264pro.com/wp-content/uploads/x264_PRO_Help.pdf
The Adobe bundled h.264 doesn't have CQ though so it's best to go with VBR vs CBR because it will steal bits from less complex frames before and after when it's needed. It will also allow short term bursts of information (up to the Maximum threshold) so that when bits are needed it can use them. - eg a scene change.
Also, do 2-pass. The first pass it will learn about when it's going to easy and hard to make frames. With that information on the second pass it can steal from the future since it knows that the future frames might not need many bits.
Also, if you have a very simple frame it will reduce the bitrate and save you on the total size. If you use Constant Bitrate you don't have any of these efficiencies.
Constant Quality doesn't look at the problem from a bit perspective. It makes a variable bitrate based on the quality of each frame you want to hit.
'hope that helps.

Color Shifts when rendering to H.264 Blu-ray

Since upgrading to After Effects CS5 I am seeing the following:
Whenever I render out a video file using the "H.264 Blu-ray" Output Module option, the resulting m4v video has a different color appearance than the After Effects composition from which it was rendered. The rendered file appears to have a yellow cast to it, especially evident in red highlights. This appearance is seen within After Effects (after importing the file and dropping it in a composition) as well as in VLC media player. In addition, a blu-ray disc created using the m4v file also has the yellow appearance when viewed on an HDTV. In other words, the color shift is consistant in various players as well as within After Effects itself.
Here is the bug report I submitted:
******BUG******
Concise problem statement:
Steps to reproduce bug:
1. Create a project with HDTV (Rec. 709) color space, 8 bit.
2. Import a 1920x1080 video file (any kind).
3. Render out to H.264 Blu-ray (using project color space).
4. Import the resulting m4v file and compare it to the original video.
Results: The color has been shifted; has a yellow cast to it.
Expected results: the color should appear the same for the rendered file as the original.

Chris,
Thanks for your input.
"I can assure you this isn't a widespread problem as I've rendered a fair amount of h.264 directly out of AE and haven't noticed it. Nor have I heard anything from our testing department."
Try this simple test:
Make a 1920x1080 comp in AE with your choice of footage, using any AE settings/color management etc. you want to.
Render to format "H.264 Blu-ray" (or plain "H.264") with any settings you care to choose, with the goal being best color fidelity possible.
After rendering, import the output file into After Effects.
Drop it in the original comp.
A / B the two and compare the color.
Do they match?
If so, then you have achieved what I cannot, and what no one so far has demonstrated to me that they can do, and at that point I would greatly appreciate your sharing with me the secret of your success.
If not, then join the club, because I can assure you that I am not the only one.

Encore insists on transcoding H.264 Blu-ray encoded file (Blu-ray legal)

I have a Blu-ray legal .m4v file encoded out of Adobe Media Encoder as H.264 Blu-ray VBR 2-Pass, maximum render, target 25Mbps, maximum 30Mbps.
My project is H.264, maximum 40Mbps.
Encore keeps listing the video file as untranscoded and wants to transcode it.
I've tried encoding just a portion of the video file instead of the whole thing using the same settings and when I bring this into Encore it recognizes it as Blu-ray legal and sets it to "Don't Transcode".
Can anyone think of a reason as to why this is happening? I really don't want to sit through another eight hour encode that could degregade pq further.
Thanks!

A .264 file from x264Pro or MeGUI that is BD-legal will import into En and be automatically set to Do Not Transcode. So the file extension isn't the problem. There are some esoteric H.264 parameters in x264 that must be set precisely in order to have En set the .264 file to DNT. I suspect those same parameters will have to be set in MainConcept's encoder.
If you want to jump in the deep end, here are the x264 parameters that produce BD-legal output that also make En happy:
program --pass 2 --bitrate 16000 --stats ".stats" --open-gop bluray --interlaced --pic-struct --level 4.1 --bframes 3 --ref 4 --slices 4 --aud --nal-hrd vbr --b-pyramid strict --keyint 30 --min-keyint 3 --vbv-bufsize 30000 --vbv-maxrate 40000 --weightp 0 --colorprim "bt709" --transfer "bt709" --colormatrix "bt709" --output "output" "input"
Obviously interlacing, bitrate, vbv-maxrate and such can be set as desired based on the source footage and delivery requirements.
Jeff

H.264 Blu-ray Rendering is Blocky at Start

Hi,
I'm rendering some 1920x1080 23.98 video out to H.264 Blu-ray M4V files in After Effects. Once we start authoring the Blu-ray disc in Scenarist we notice the very start of the video, for the first 12 frames or so, is very blocky. It then cleans up and looks great throughout the rest of the video. We are using a bitrate of 25 average and 30 max.
A temporary solution is to render out to uncompressed 10-bit 4:2:2 quicktime and then compress with our CinemaCraft(which doesn't support ANY type of compressed files). But this is a few extra steps and the quicktimes are so big it's kind of a pain and rendering straight out of After Effects would be ideal.
Does anyone have any experience with why it may end up blocky at the start? I've tried this on both Mac and PC versions on After Effects CS3. I don't have CS4 yet, so maybe that solves the problem.
Sorry if this has been covered before, I searched around and didn't see anything. Thanks for any help!
Rey

Ultimately, you're going to get a lesser quality encode directly from AE - it's just not the ideal tool for compressing anything using a temporal compression algorithm, by nature of how AE works.
It's rare for me to use AE as a compression tool. Standard operating procedure is to render a lossless/uncompressed file from AE and encode with a more appropriate tool. In your case, if you're using a Mac, Compressor is the obvious choice. On the PC, you've already mentioned you have Omni CinemaCraft. Either of these tools will be superior to AE as an encoder.

H.264 Blue Ray audio question

I have seen this question brought up before but not answered fully.
The background:
i need to make a video that is
(Video)
File format: MP4 H.264
Aspect Ratio: 16 x 9 (1920 x 1080)
NTSC HD 60i (interlaced)
Square Pixel
(Audio)
48kHz
24 bit stereo
When exporting i selected H.264 Blue Ray and set the video accordingly (set the resolution to 1920 x 1080 @ 29.97, upper, square pixle) the problem I’m having is setting up the audio to be 24 bit. From my understanding AC3 only supports 16 bit but what about Dolby Digital can i get 24 bit audio if i use it and what setting do i change to get 24 bit audio at 48 kHz?

Do you HAVE sound in your comp? You'd be surprosed by the number of embarassed "no" replies.
Did you use the AE Render Queue? You have to specify that you actually want to inclue an audio track in the th Output Module; it isn't automatic. Most people don't even bother with audio when rendering from AE.
But here's the big thing: don't use AE to render H.264 files in the first place. AE stinks at it. Instead, use Adobe Media Endoder. You Can open an AE project in AME, then make an H.264 of any comp in the project.

H.264 blu-ray 720P60 sync problem

Similar Messages

Maybe you are looking for