Setting HD 16:9 ratio and H264 codec

Hi i have just finished some filming and have been asked to hand the video in HD 16:9 ratio and of the H264 Codec. I am a relative novice using Premier Pro 6 so a step by step guide would be greatly appericated

Exporting media using Adobe Media Encoder CS5, CS5.5, & CS6
http://blogs.adobe.com/kevinmonahan/2012/04/23/exporting-media-using-adobe-media-encoder/
What's the best export format or codec?
http://www.video2brain.com/en/lessons/whats-the-best-export-format-or-codec
I am a relative novice using Premier Pro 6...
FAQ: How do I learn Premiere Pro?
http://forums.adobe.com/thread/878529?tstart=0
Getting Started with Premiere Pro CS6
http://www.video2brain.com/en/getting-started-with-premiere-pro
Adobe Premiere Pro Help and tutorials
http://helpx.adobe.com/premiere-pro/topics.html
Premiere Pro CS5-CS6 Reference
(.pdf 12 MB download)
http://helpx.adobe.com/pdf/premiere_pro_reference.pdf

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(Read on for additional info)
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Here is sequence settings in Premiere (these setting were created by dragging an MOV into the sequence and choosing "change settings" to match clip settings.
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I am making a cartoon, which was created in FLASH,
Then the SWF's were put into After Effects and exported out as MOV's. (I've tried both AppleProRes4444 and Animation codecs).
Then I put those Mov's into Premiere. Everything looks crisp until I render. Once rendering is done, the video quality degrades. Here's a screen shot of Premiere:
On the left is the source MOV (exported from AE), on the right is the timeline viewer (after rendering). The quality on the right is degraded. Help?
If I use MP4 versions, exported out of Flash, through Media encoder, quality is not degraded.
(Read on for additional info)
It was easy and quick to create my MOV's out of AE, which is why I did it this way. I'm exporting to MOV's so I can edit quicker in Premiere. I find editing to sound in AE really difficult, and I don't edit in Flash (employees provide SWF files to me).
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CS6- updated 12\18\13 V-11.03
Hi All,
A few questions about:
Pixel Aspect Ratio and ciphering type of footage. Bare with me as I touch on two different aspects of what I feel are related:
1. Setting up a Comp-
Having AE decide on the correct footage being used- Via >Import footage,.(to Folder) then drag it on, or into the 'make comp icon' where AE is supposed to do a 'best guess' for the comp settings. Be it square pix or otherwise. What are the second value in brackets ? See pic
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3. Seperating fields-
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4. If that is in fact Interlaced and I then want to reduce the size of that 1920 footage to 66% size... Do I need to do anything in particular at this point?
For some reason I am getting an error on my end when trying to export as an AVI and reducing size to 1280
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Thanks for the details Rick.
Thanks for the insight on #1
Ref #2, You should never change the interpretation of Pixel aspect ratio on footage unless you know for a certainty that it is wrong. For example, open Photoshop or Illustrator and create a new document that is 720 X 480 pixels and AE will always interpret the image as rectangular pixels because that is a standard rectangular pixel frame size.
Unless you specifically created the image in Photoshop with rectangular pixels it is square pixels so the interpretation must be changed to avoid distortion.
--Did you mean to write:
Unless you specifically created the image in Photoshop with SQUARE pixels using a rectangle layout? I am not trying to bust your blz here, I am trying to understand the unknown. (for me)
So it may very well be AE mis-guessing the footage and the Upper first is a mistake on AE's part and I need to test it to find out? On that note...
Ref#3, Separating fields must be done right. Some 1080P footage is interpreted as having fields. This may be incorrect and if there is a question you MUST test the footage. Test the footage by making sure that the fields are being separated
How do I make sure the fields are being seperated? Does the window as in pic two from the top of my post confirm that or is there another test?
Then I do the following:
then selecting the footage in the project panel and choosing Create Composition from Selection, then opening the Composition settings, doubling the frame rate and stepping through the footage a frame at a time. If the footage is really interlaced then each of the frames will be different. (IE: 29.94 to 59.94fps) OK
If the field order is reversed then motion will be in the right direction then reverse, then go back to the right direction. ---I did not understand? Are you referring to Upper and Lower reverse? Direction, as in fwd and back in Time line? Sorry unlclear on my end...
Oh and HFR footage? HFR? High frame rate??
One last thing, Do all cameras shoot anamorphic, or could they as AE is showing my MTS files; are Square? (1.00) Pic #1
@Dave- You -
At 1080, a lot of footage is interlaced, and evidently your camera made interlaced footage
Me- How do you know? because of the 2nd pic and upper field first indication?
You-Even if you know for a fact that it was shot 30p, the camera captures the entire frame... but it records it as two fields. They give it a fancy name: Progressive Segmented Frame.
Me- Is this typical false advertisement of the sales divison of brands like not telling you what CMOS or CCD is in a cam just slapping HD 1080p on the side of the box?
You-AE will treat it as an entire frame if you interpret it as having a field order of None.
Me- Won't that be a problem mis leading AE on an interpret?
Thanks Gents for the precise details.
Best
NC

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I shoot the Nikon D3, RAW (.NEF) and convert through ACR. Through ACR, the DPI is set to 300 DPI; the DPI caries over to Photoshop.
I crop in Photoshop using the crop tool (not marquee). To maintain 2:3 or 3:2 aspect ratios, the crop tool requires the width and height in inches or pixels. If specifying resolution, the document size will crop to that DPI, if not; the DPI is derived from pixel dimensions.
In my case, I’ve been cropping at 2in by 3in (or reverse for orientation). The resulting “real” image pixel dimensions are still very high (correct to crop size) but the document size reported in PS is 2in by 3in with a wildly high DPI. By changing the resolution back to 300 DPI through Photoshop, the document size returns to normal. Therefore the picture has not lost anything; it appears to only be a function of the Meta data. The pixel dimensions remain constant while the document size and DPI change.
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What I can do to crop in PS while maintaining aspect ratio and defined DPI. Is there a work-around, magic trick, or something else I can do to fool the PS crop tool into an aspect ratio not based in inches or cm?

Just to summarize:
Setting a dimensioned ratio (e.g., 2 in by 3 in for Width and Height) in the Crop tool without filling in a Resolution value yields a crop with the desired aspect ratio, and without any resampling.
There is no way to specify a ratio with the crop tool, specifically, as the OP has requested, though in a future version perhaps specifying simple numbers there without any units might be a way Adobe could facilitate this. It would be a nice addition and with little downside.
I guess what I don't understand, though, is why the OP cares about the "high" resulting dpi value? It's just a number.
Expanding on this, the Resolution is nothing but a metadata value that can be changed at will (e.g., through Image - Image Size... - uncheck Resample) at any time in the future. There is ALWAYS a Resolution value associated with the image, both before and after the crop (though the crop tool may end up changing it; so what?). In short, the Resolution is just an arbitrary figure until such time as the user wants to use the image for a purpose (e.g. printing).
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-Noel

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I tried exporting it once with the 'default' settings offered to me by Adobe Media Encoder, and ended up with a 4GB+ file. I then tried exporting with a QuickTime format (H264 video and AAC audio), and while I ended up with a <200MB file, the audio was choppy every 10 seconds or so. Which is when I gave up and decided to come on here and ask you guys!
I'm not yet sure what media we're going to be using to play the montage, i.e. my personal laptop, my wife's Macbook, or the restaurant's own system, so I'd like to create several versions just in case --
1) .MOV (for Macs)
2) .AVI/.MPG (for Windows)
3) and a 3rd version to burn onto a DVD
My project's current settings are: 720x480 (I would like to stay at this resolution for the export), 29.97fps, 48kHz (16 bit). It's a 20-minute montage and I would like to resulting exported file size to be something manageable, perhaps <300MB at the most.
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One display/delivery possibilities would be a BD disc through Adobe Encore. That will be easily transportable, will play from any notebook with DVD/BD software player installed, and will be high quality. One can also play on almost any BD player, hooked up to a TV, or projector (HD capable).
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With CODEC packs, what often happens is that one's good, commercial CODEC's are over-written by the hacked versions. Adobe does a good job of :"hiding" its CODEC's, but their priority can still be compromised, when the CODEC pack rewrites the Registry. Also, many will install all sorts of "stuff," and much of that is unneeded, and some totally unwanted.
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HT201328 I have been given permission for unlocking my iphone 3 GS from Orange. I want to set up the phone for my wife to use with a new number and carrier. Do I unlock under my itunes account first or set one up for her and then unlock the phone.

I have been given permission for unlocking my iphone 3 GS from Orange. I want to set up the phone for my wife to use with a new number and carrier. Do I unlock under my itunes account first ( I now have a new iphone on this account) or set one up for her and then unlock the phone. I am worried about upsetting the new phone.

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Setting HD 16:9 ratio and H264 codec

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