Should Progressive Source Pal Footage Be Encoded with "PAL DV Wide Progressive" Preset for DVD?

Hi,
I'm wondering how best to encode a 1080p25 video for DVD. Should I encode with Media Encoder's PAL DV Wide Progressive Preset? Or should I used the other preset, which I'm assuming is interlaced?

The wide progressive preset is correct. Avoid interlacing. If you end up with little black bars showing on the Export Settings "Output" window, you can change Source Scaling to "Scale to Fill" to eliminate black edges. At bottom of export settings, select "Max Render Quality" for best downscale quality.
EDIT: just to clarify, you do want the "MPEG-2 DVD" format, and THEN choose the PAL DV Wide Progressive preset.
Thanks
Jeff Pulera
Safe Harbor Computers

Similar Messages

How to encode Final Cut Sequences as MPEG-2 for DVD Pro

I am using Final Cut Studio (non-Universal version)
I am wanting to encode a Final Cut sequence
as an MPEG-2 for DVD Studio Pro 4
I don't want to render the Sequence, I merely
want to select the Entire Sequence and encode
it as an MPEG-2 wherein I can adjust the settings
custom-style
How do I do this?
thanks

QuickTime MPEG-2 is no longer included in new installs.
Read Apple's info doc.
http://docs.info.apple.com/article.html?artnum=301871
Because of the superior capabilities of Compressor, the QuickTime MPEG-2 encoder is superfluous and is not included with new installations of DVD Studio Pro 4 or Final Cut Studio.

Quadrature encoder with PCI-6259 DAQ board (driver for QNX)

where can I find any example for connecting Quadrature Encoders with M Series DAQ Boards ?
The only more or less suitable example I found in nimseries DDK, is
"Count pulses from an external source using an external signal to control
the count direction" (nimseries\Examples\gpctex2.cpp).
But this example is not working correctly with Quadrature Encoders
(encoders with two shifted on 90 degrees phases A&B).
i.e. in case of using this example code I get some extra count while encoder is on vibrant motor
what means enums
typedef enum {
       kG0_Up_DownHardware          = 2,
       kG0_Up_DownHardware_Gate     = 3,
} tG0_Up_Down;
and
typedef enum {
       kG0_Encoder_Counting_ModeId          = 1,
} tId;
in (nimseries\ChipObjects\tTIO.h) ?
What initalization procedure I need to work with Quadrature Encoders?
I have PCI-6259 DAQ device
and I'm writing programm under QNX6 operating system

Hello alexey_3269,
If you want to read a quadrature encoder start with gpctex1.cpp and follow the thread.
I give you my code:
BEGIN CODE
==========
boardGpct->G0_Mode.writeG0_Load_Source_Select(tTIO::tG0_Mode::kG0_Load_Source_SelectLoad_A);
boardGpct->G0_Load_A.writeRegister(InitialCount);
boardGpct->G0_Command.writeG0_Load(1);
boardGpct->G0_Load_B.writeRegister(0);
boardGpct->G0_Load_A.writeRegister(0);
boardGpct->G0_Input_Select.setG0_Source_Select(9); //see above for choices, PFI8=9, 100 kHZ=18
boardGpct->G0_Input_Select.setG0_Source_Polarity(1); //0=CCW, 1=CW
//If using 80 MHz timebase
boardGpct->G0_MSeries_Counting_Mode.writeG0_MSeries_Alternate_Synchronization(1);
boardGpct->G0_MSeries_Counting_Mode.setG0_MSeries_Encoder_Counting_Mode(3); //3 for X4 encoder counting
boardGpct->G0_MSeries_Counting_Mode.flush();
//Enable Input Pins
boardGpct->G0_MSeries_ABZ.setG0_A_Select(9); //PFI8=9,
boardGpct->G0_MSeries_ABZ.setG0_B_Select(21); //PFI10=21
boardGpct->G0_MSeries_ABZ.setG0_Z_Select(10); //PFI9=10
boardGpct->G0_MSeries_ABZ.flush();
boardGpct->G0_Mode.setG0_Gate_Polarity(1); //invert=1
boardGpct->G0_Mode.setG0_Output_Mode(tTIO::tG0_Mode::kG0_Output_ModePulse);
boardGpct->G0_Mode.setG0_Loading_On_Gate(tTIO::tG0_Mode::kG0_Loading_On_GateNo_Reload);
boardGpct->G0_Mode.setG0_Loading_On_TC(tTIO::tG0_Mode::kG0_Loading_On_TCRollover_On_TC);
boardGpct->G0_Mode.setG0_Gating_Mode(tTIO::tG0_Mode::kG0_Gating_ModeLevel_Gating); //kG0_Gating_ModeGating_Disabled
boardGpct->G0_Mode.setG0_Gate_On_Both_Edges(tTIO::tG0_Mode::kG0_Gate_On_Both_EdgesBoth_Edges_Disabled);
boardGpct->G0_Mode.setG0_Trigger_Mode_For_Edge_Gate(tTIO::tG0_Mode::kG0_Trigger_Mode_For_Edge_GateGate_Starts_TC_Stops);
boardGpct->G0_Mode.setG0_Stop_Mode(tTIO::tG0_Mode::kG0_Stop_ModeStop_On_Gate);
boardGpct->G0_Mode.setG0_Counting_Once(tTIO::tG0_Mode::kG0_Counting_OnceNo_HW_Disarm);
boardGpct->G0_Mode.setG0_Reload_Source_Switching(tTIO::tG0_Mode::kG0_Reload_Source_SwitchingAlternate);
boardGpct->G0_Mode.flush();
boardGpct->G0_Command.setG0_Up_Down(tTIO::tG0_Command::kG0_Up_DownHardware); //kG0_Up_DownSoftware_Down
boardGpct->G0_Command.setG0_Bank_Switch_Enable(tTIO::tG0_Command::kG0_Bank_Switch_EnableBank_X);
boardGpct->G0_Command.setG0_Bank_Switch_Mode(tTIO::tG0_Command::kG0_Bank_Switch_ModeGate);
boardGpct->G0_Command.flush();
boardGpct->Interrupt_G0_Enable.setG0_TC_Interrupt_Enable(0);
boardGpct->Interrupt_G0_Enable.setG0_Gate_Interrupt_Enable(0);
boardGpct->Interrupt_G0_Enable.flush();
END CODE
========
I hope this code is appropriate to you.
FV1234

PAL footage problem

I put a PAL DVD into mpeg streamclip and converted it to NTSC .dv. The video footage is fine but the audio is out of sync. Can someone explain why, and if there is a way to fix it? Thanks.

Hi - apologies in advance if it is against forum protocol to piggy-back onto someone else's thread, but it seemed to make sense as it refers to the issue I am going to ask about. I would of course be happy to post a brand new question though. Might even be more for iDVD forum.
I am in the UK and produced a DVD in PAL. Some people in the USA wanted a copy, but perhaps unsurprisingly have come back saying the discs won't play in their DVD players. So the question is what is the easiest way to provide them with an NTSC version.
I created a duplicate of the existing DVD project, saved it, went to Project Info and changed Video Mode to NTSC and went to burn the new project. It said it would have to re-encode assets. I proceeded and it took about 7 hours to complete. I was therefore hopeful that meant a successful conversion from PAL to NTSC. With that in mind I put the DVD into my player expecting it not to play, but it does. So now i'm not sure if i've actually done what I wanted to. Perhaps the only sure way to tell is to ship the disc over to the US for them to try - but before doing so thought it would be worth asking you guys if you knew what I have tried to do is an unworkable shortcut and what I need to do instead as plan B is as recommended in the other thread ie create a new DVD project using NTSC Video Mode, import the reference movie, and start the DVD project from scratch. Or is it that the conversion has worked, but iDVD makes a poor job of it and so I should resort to plan B anyway?
Many thanks in advance for your help.

Best preset for Canon HF11 (PAL)

Hi.
I'm just wondering what the best preset is when working with footages taken from the Canon HF10/HF11 (PAL)? I'm currently using one of the preset for AVCHD Flashbased camcorders - is this OK or is it better if I create a new preset for the Canon HF-series camcorders?
Thanks in advance.
Stein

Using the PAL AVCHD preset should be fine... just be sure to select the correct one. I beleive the HF11 is 1920x1080 resolution so you need the "FULL HD 1080i" AVCHD preset... you also need to use the appropriate audio preset... 5.1 if you are recording with 5.1 audio.

NTSC camcorder with PAL footage

I have a Sony DCR-TRV950 camcorder which is a NTSC version. I have recordings that where made on a PAL camcorder. Final cut does not receive a picture. At this point you may be thinking yes and it won't, but the thing is I have managed it using Adobe Premier Pro. I still have this footage and moved it into Final cut which made a comment that the footage would be better quality if I got Final cut to move in the footage. Is this true and if it is, is there a way of getting FC to get the footage?

While your camera does support playback of PAL tapes its not true PAL its going to be PAL60.
It may be FCP does not see this as a valid or true format on log and capture.
Your best bet is either have the tape converted to NTSC prior to starting the edit or hire a deck that does playback true PAL digitise from this and edit and convert the final edit to NTSC.
Of course I am assuming you want an NTSC programme in the end.
If not working with PAL60 is not really advisable and you should hire the deck to digitise the footage in the first place anyway.

Premiere CS4 - Encoding with AME ridiculously slow

Hello there.
After having read many threads on various forums, I have not come to a single hint as to why AME is encoding any type of video materal extremely slow. I'm sorry if this question has been asked many times on this forum, but maybe someone has come up with a working solution?
My computer specifications are:
Windows Vista 32bit (yes I know, upgrade is needed)
Intel Quad Core Q9000 @ 2 GHz
4 GB RAM
Nvidia GeForce 9700M GT - 512mb
500GB sATA HDD @ 5400 rpm
This is a notebook. I use Premiere CS4 and AME4 with the most current updates (v4.1)
Here is what I usually do:
I export my project media from Premier to AME with the appropriate format and encoder settings, close Premiere and kill all background tasks. My RAM usage is now at around 1.4 GB (out of 3 GB!).
In this case, I'd use the built-in MPEG2 codec with PAL settings (720x576 - 25i - 8Mbit/sec), the source file is in MPEG4 @ 20Mbit and 10 minutes long. I started the encoding process and it was slowing down from 10 minutes initially to a frustrating render time of 60 minutes. Why?
I have used VirtualDub and TMPGEnc, both achieved, compared to AME, incredibly low render times, a bit higher than double realtime. When I use AME the same way, as encoder for an avi file only and not a Premiere project, it is losing by 6-7 times of the other programs render time.
Second scenario:
I have 20 seconds uncompressed avi material (600Mbit/sec) and like to convert it to MPEG4 with AME. MPEG4 settings are at 50Mbit, I-frames only, 50fps and progressive. I started the encoding again and at first, AME was rushing through 1/4th of the progress bar in 5 seconds, and then slowing down to an overall encoding time of 50 (!) minutes and it ended about 52 minutes later.
During this rendering I had the windows resourcemonitor (of the taskmanager) open and checked the access rate to my hard disk. For the entire duration of 50 minutes, AME read between 50 megabyte and 125 megabyte per second on the hard disk. The file itself was less than 2 GB large - what on earth could it read? Also, my RAM usage came close to 2,8 GB but never reached 3 GB or higher.
Does anyone have an idea or is it just that freeware programs are superior to a costly AME?

I have already run that test about 4 hours prior to writing this thread. Now I'm not at this computer, but from top of my head the results were:
Total 180 (about)
Export Avi 38 (not entirely certain, could be up to 10 higher)
Encode MPEG 90 (not entirely certain, could be 20 lower or higher)
Render Time 7 (the only number I recall correctly)
I'm well aware my hard disk isn't fast - but why should VirtualDub be able to encode a 2gb uncompressed avi clip with a duration of 20 seconds to DivX in about a 1/3rd real time/8fps (using 50mbit, i-frames and 50fps and amazing quality) while AME takes 50 minutes (1/200th realtime) for the same file with the integrated MPEG4 encoder?
Now, I know that those are different codecs, yet their data reduction works on a similar base. From my point of view, there's not much that could explain such a high discrepancy of performance on the hardware side, other than AME just does not like my computer configuration. I know my computer is very capable to perform way better than that, just with about any other program but AME, and that is a royal pain.
Unfortunately, I am unable to install a second HDD in this notebook, because it is full. I do know it could perform better using a secondary HDD, but I have also encoded files with Adobe Premiere CS3, and that performed way better than CS4 on the same computer.

25fps footage to put on PAL and NTSC DVDs - Inverse Telecine?

So, I've shot and edited a short item in 25P from my PAL HVX200...
I'd like to create a 'movie feature'-style NTSC DVD. One that has MPEG-2 files with inverse telecine flags to tell the NTSC decoder to repeat the fields to pull up the footage to 29.97fps.
Does that mean I need to scale my footage from 720w by 576h down to 720w by 480h, set the speed to 95.904% to 23.976fps? Can I do this in Compressor? Will Compressor take the audio and speed it up too, but keep the pitch the same?
That will get me a 24P NTSC file. How do I encode this as an MPEG for an NTSC DVD?
If I wanted to create a 'progressive' PAL MPEG for DVD (with the inverse telecine flags), are they encoded as 576 by 720 frames at 23.976fps, or at 24fps?
In the PAL world, a bit in one of the 50 non-broadcast lines is used to tell TVs and DVD players that the content is anamorphic. Is there an equivalent for NTSC? Does Compressor take care of that?
G5 2x2.5GHz Mac OS X (10.3.9)

Hey Alex
a little confused here, but from what i can gather:
you have a movie shot @ 25 fps (PAL)
you want to make a NTSC dvd and a PAL DVD, is this correct from the above source and make sure they are progressive?
well ok the PAL one is easy, just take your source video into compressor and in the frame control tab, make sure that your ouput field is progressive.
the NTSC DVD is a little tougher. do you have FCP?
the only difficulty i do see, like you said was the audio pitch/speed.
i guess you CAN do a conversion in compressor, but how well it looks.. dont know i will run some tests and let you know
Mikey

I'm a bit confused. Since my original camera format was 720/60p, and I converted the footage to Pro Res422 in order to edit in Final Cut Pro 7, should I convert back to a higher quality format before sending the file to DVD Studio Pro?

I'm a bit confused. Since my original camera format was 720/60p, and I converted the footage to Pro Res422 in order to edit in Final Cut Pro 7, should I convert back to a higher quality format before sending the file to DVD Studio Pro? If so, which Compressor codec is best to use in order to preserve the original 720/60p? How do I maintain the highest quality?

No...ProRes is a high quality format. Finishing format. Many TV networks take that as a final deliverable.
BUT...DVDs aren't high definition...they are SD. You cannot make a 720p60 DVD with DVD Studio Pro. Any DVD you make will be SD...720x480. The only HD DVD format out there is BluRay, and for that you need a BluRay burner.
As for making a high quality DVD...using the BEST QUALITY settings in Compressor will work:
#42 - Quick and dirty way to author a DVD
Shane's Stock Answer #42 - David Roth Weiss' Secret Quick and Dirty Way to Author a DVD:
The absolute simplest way to make a DVD using FCP and DVDSP is as follows:
1. Export a QT movie, either a reference file or self contained using current settings.
2. Open DVDSP, select the "graphical" tab and you will see two little monitors, one blue, one green.
3. Select the left blue one and hit delete.
4. Now, select the green one, right click on it and select the top option "first play".
5. Now drag your QT from the browser and drop it on top of the green monitor.
6. Now, for a DVD from an HD source, look to the right side and select the "general tab" in the track editor, and see the Display Mode, and select "16:9 pan-scan."
7. Hit the little black and yellow burn icon at the top of the page and put a a DVD in when prompted. DVDSP will encode and burn your new DVD.
THATS ALL!!!
NOW...if you want a GOOD LOOKING DVD, instead of taking your REF movie into DVD SP, instead take it into Compressor and choose the BEST QUALITY ENCODE (2 pass VBR) that matches your show timing. Then take THAT result into DVD SP and follow the rest of the steps. Except you can choose "16:9 LETTERBOX" instead of PAN & SCAN if you want to see the entire image.

Convert PAL footage to NTSC

Hi, I have edited some PAL footage in FCP and now need to convert to NTSC. I have exported NTSC via Compressor but the footage looks "jumpy" not smooth. Is there a "best" way to do this? Should I export first then convert? Your experience would be appreciated. Thanks.

First, I used Compressor and discovered the problem, then exported a DV PAL .MOV and ran it through my Windows conversion software, ProCoder. There are slight differences but the "biggie" is still there. It was interesting as I watched the preview window of Canopus ProCoder... it would render a one second chunk quickly, then slow, and speed up again for the next second... etc. I only notice this hesitation when the video is doing a PAN, and a lot of information is being recorded. I don't notice this anomaly when the camera is moving slowly or is on a steady shot.
Your description - from the beginning of this thread, in fact - sounds like frame judder, the phenomenon where, when doing a software conversion, the convertor only does a mathematical calculation to meet frame rate requirements. In laymen's terms, when you're doing a conversion from PAL to NTSC, unless you're using advanced settings (bearing in mind the longer encoding times), your convertor is simply adding an extra frame every 5 frames (to get 30 NTSC frames out of 25 PAL frames). As you've seen, with slower action motion this isn't usually so bad. But with high-motion footage (or camera movement) the presence of the duplicate frames are jarring.
As already mentioned, if you want to use Compressor 2 (or any other software convertor) to do this, you must use the Better Rate Conversion and Resize settings, with Frame Controls set to Custom. Instead of simply duplicating frames, this redistributes the motion across frames by creating frames. If you want the quality, and don't want to fork over dollars for filters, you have to bear with the encoding times. (I fully understand if you can't bear with it, just thought I'd confirm that you can't escape it though)
Alex' suggestion of the Nattress tools is a good one, though, since his filters render very fast. Either that or get it converted at a local post house using a hardware convertor.

Exporting PAL footage to AE.

Hi all,
Could any PAL users share their settings for exporting a clip from FCP to AE and then back again?
Thanks in advance.
Simon.

If you do a lot of FCP to AE work and you want your FCP clips as separate AE layers, take a look at our Pro Import AE plug-in, many people around the world, including the PAL world, find the plug-in indispensable.
Get media out of FCP
First thing to think about is how you're getting from FCP to AE. You have a few options...
Export timeline as QuickTime movie, (File -> Export -> QuickTime Movie...) with Make Movie Self-Contained turned off
Export timeline as QuickTime movie, (File -> Export -> QuickTime Movie...) with Make Movie Self-Contained turned on
Don't export from FCP at all, instead select the master clip(s) in the bin in FCP, choose View -> Reveal in Finder, then drag the media file(s) from the Finder directly into After Effects
Use Pro Import AE
Option 1 is good because barely any disk space is required to save the file. The exported movie references the existing media files.
Option 2 is good if you're using AE on a different computer, since the exported movie has no dependencies on other files, it is very portable.
Both options 1 and 2 have a down-side, however. There are other options in the export dialog that inexperienced users might think to touch and therefore screw up the export. The export dialog should be set to Setting: Current Settings.
BTW, when going to AE don't ever export using File -> Export -> Using QuickTime Conversion.
Ok, option 3 is very nice, because AE will be using the exact media file(s) that FCP is using. There is no way you can screw up the export since no export is actually done.
Option 4 is perhaps the best of all worlds. It has the same benefit of option 3 in that no media is exported from FCP, AE uses the exact same files that FCP is using, plus you get the entire timeline in AE, with each FCP clip as a discrete layer in After Effects.
Get media in AE
If you use our Pro Import AE plug-in, you're already past this step, but if you are exporting QuickTime clips from FCP, you now need to import those files into After Effects.
No brainer, really, in AE do a File -> Import... or just drag the files from the Finder into the AE project window/pane.
Depending on what you're doing to your video, however, you're not quite ready to start being creative in AE. You need to decide about fields, should you separate them. My rule is:
If any field is going to end up in a different place than it started, either spatially (moved around the screen, as in repoed or scaled) or temporally (moved to another point in time, as in slowed or sped), the fields must be separated.
How to set the footage follows, but here are the settings:
NTSC D1: Lower Field First
NTSC DV: Lower Field First
PAL D1: Lower Field First
PAL DV: Upper Field First
HD: Upper Field First
To separate fields, select one of your footage items in the After Effects project window/pane and select File -> Interpret Footage -> Main... and in the dialog that appears make your selection from the choices above.
If you have more than piece of footage, with the same footage selected in the previous step choose File -> Interpret Footage -> Remember Interpretation. Now select the other piece(s) of footage and choose File -> Interpret Footage -> Apply Interpretation.
Create your comp
Again, if you used our import plug-in, this is already done.
If you imported your media into AE manually, you now need to create the comp in AE. The settings you select need to match the format you are going to render to. This is a key place where you can screw up, so be sure you don't (don't screw up, that is)!
Thankfully, AE does offer presets, I suggest you use them. Unless you're good at this, setting up a comp manually can be bad.
If you're unsure about what your comp should be set up to, or you don't trust the AE presets, see what FCP expects in FCP by selecting the sequence in the bin and selecting Sequence -> Settings... This will tell you the frame size, frame rate and compressor FCP expects.
Do what you do
Now you really have a chance to screw things up. Do whatever you're going to do in AE to your footage.
Render
When you're done being all creative you have to render. This will be a nice time to go for a walk, get a smoke, a drink, whatever you fancy. That is, you can take this render break if you don't have NucleoPro installed.
If you separated your fields earlier, you're going to want to field render. In your Render Settings, choose the same field order you chose when you separated your fields, or if your output isn't going to match your source format(s), choose the correct field order for what you're rendering to.
If you're unsure if you should field render, I suggest you render twice, once with field rendering on, then once with it off. See which you like better.
Next, set up your Output Module to match your sequence settings in FCP. Set the same codec that your sequence is using. If you're not sure which codec your sequence is using, you can find out in FCP by selecting the sequence in the bin and selecting Sequence -> Settings...
A good test to try
Try taking a clip from FCP, render it through AE without changing anything. Don't rotate it, don't move it, don't apply any effects.
You should be able to take this rendered clip back into FCP and intercut it with the original and see no difference in quality or color. This sanity check can help you know that if there is a difference back in FCP that you probably screwed something up and you should check your workflow.
MacBook Pro, Dual Core 2.16 Mac OS X (10.4.8) Keyboard protected with leather

Combining NTSC & PAL footage

I have HDV footage that is both 1080/60i (NTSC) 1080/50i (PAL).
i need to make an edit that includes footage from both, with final delivery being SD PAL DVDS.
what workflow would you suggest, bearing in mind issues of cost and time?
thanks for the guidance!

well in your favor the resolution of the two formats are the same, so at least the combining of the originals sources does not require scaling ... although there will of course still be some retiming
if the target format s NTSC then the best retiming you'll get is going to be by using the "Slow PAL" method ... that means you're going to slow the footage down by 4%. if the two formats will not be intercut in a manner that would make the difference in speed hopelessly obvious then thats probably the best way to go
to retime using Slow PAL, first open *Cinema Tools* and choose *File > Batch Conform...* then target your PAL media's source directory by selecting one of the source clips within that folder, and in the subsequent Batch Conform window set the *Conform To* popup to 23.978 FPS and click the Conform button.
now switch back to FCP and set the *Final Cut Pro* menu *> System Settings* window *> Playback Control* tab's *Pulldown Pattern* to 2:3:2:3
with that pulldown pattern, using the conformed PAL media in an 60i timebase sequence should produce nice results

Pal footage in FCP to NTSC in DVD Studio Pro

I've been struggling with how to take my PAL project from FCP and get it to work as NTSC in Studio to burn a DVD. I set up Compressor to to compress as NTSC but when trying to import the Asset into Studio, I get an Incompatible Media message.
Have I missed a step here? BTW, the footage was shot on a Sony HD camera, so there's that issue too. I can get a file in Quicktime, but the image is washed out and has artifacts when I make the DVD. So obviously, I'm looking for something better.
Any ideas? Thanks!

You should do this in two stages.
First of all generate a master that uses the equivalent NTSC codec that your PAL version was made with, then make the DVD SP assets from that.
Alternatives for standards conversion:
[JES Deinterlacer|http://www.xs4all.nl/~jeschot/home.html] -decent quality and free.
[Natress Standards Conversion|http://www.nattress.com/Products/standardsconversion/standardsconver sion.htm] -great quality, costs $100.
Take the original to a production facility that has either a Terranex or Snell & Wilcox converter. This will cost money so shop around. But you will get excellent results and it is real time, the other methods all take a very long time, even with a powerful high end Mac.

F4v encoded with Adobe media encoder CS4 (longer than 71 minutes)

Hi I don't know if this is the correct place for this post. So apologies me if this is the wrong place.
Encoding with Adobe Media Encoder CS4 (4.2.0.006 and 4.0 too)
Source: MOV (DVPAL) longer than 71 minutes
Dest: F4V (H.264)
Result: freezed frames and only plays audio at 01:11. Media Player goes crazy and starts showing some diferent parts freeze frames.
In Quicktime crashes, in VLC the same of MediaPlayer. Sometimes the audio starts to downsampling and sounds like the pitch goes down.
Totally agree with this other post: http://forums.adobe.com/thread/580391
(extract)
I recentlly encoded afew F4V using Adobe Media Encoder Cs4. MOst of them are working properly but I don't know why, all of my video that are longer than 71 minutes seems to have trouble playing back. They all Freeze when they reach 71 minutes or if I navigate pass this point.
thanks and help us please!
Kik

Thanks for the interest.
I'll try to explain all details:
MacPro 1.1 (mid 2006) under Mac OS X 10.4.11 (Darwin 8.11.1 kernel)
System files: journaled HFS+ and a unix based NAS (under samba connection)
I have all material on the NAS and also I make the transcoding over it. Is a simple mov containing DV PAL WIDE interlaced 25fps with stereo audio. typical settings with nothing out of DV PAL standard.
The version of MediaEncoder CS4: 4.2.0.006 (it happens with older versions too)
The settings of MediaEncoder are:
Audio: AAC stereo 44,1 kHz
Video: F4V. MainConcept H.264, fps like source, profile high, level 4,1. CBR compression.
The problem only appears with videos longer than 71 minuts. At 01:11 starts with crazy problems. It seems like the player have some read or problems.
Tell me if you need some other kind of information.
thks

Reading simulated encoder with 6602

Hello!
I'm trying to read quadrature encoder (to be more specific this is an output of the pulse train generator that simulates the encoder).
In the attached picture you can see how the signal that i'm trying to read.
I need an advise about the correct filter settings.
Please also see the attached vi.
Usefull data:
Labview 8.2.1
Capturing device PXI-6602.
The Encoder is 16384 pulses. (If the reading is x4, i should get 2^16 - 65536 ticks).
The Encoder has differential outputs, but i've connected only A,B and Z.
The rotating speed is up to 5000 rpm. You can see in on the picture. (16384*(5000/60)=1,365,333MHz).
There is no problem to read the encoder with another devices, i have a motion analyzer from Control&Robotics solution and it works great.
Thank you.
Elman Izia.
001.jpg (78 kb)
Position capture.vi (171 kb)

Hi Elman,
The filter clock is used to make sure that your signal has
integrity and eliminates glitches. In
order for signal to be counted, it must remain high for two consecutive periods
of your filter clock. There are five
time bases (5us, 1us, 500ns, 100ns and programmed) that can be used as your
filter clock. The programmed clock can
be created by another counter and this setting will let a signal be counted if
it is at least twice times the filter period.
This is a great method to help eliminate errors that can be
introduced by noise, crosstalk or transmission line effects.
The TimebaseSrc property is going to select a clock to be
used as the source. In your example that
property is correct, you would want to use the 80MHz clock. The TimebaseRate property is going to be used
to divide the clock down to specific frequency.
It will divide the master clock down by an integer value and round it to
get a rate that is as close to the value entered. I would recommend leaving this number as
80MHz.
The MinPulseWidth property is going to determine the clock
of the filter clock. This property is
going to use the TimebaseRate property to create the predefined filter clock
settings. If your signal stays high for
two consecutive periods of the minimum pulse width, then it will be counted.
You need to determine the minimum pulse width that is
acceptable for your application. Since
your signal has a pulse width of about 360ns, you might want to use the
predefined filter clock of 100ns.
In short, you are creating a digital filter that will only allow
a signal to be recognized if it remains high for two consecutive pulses.
For further explanation, refer to the PCI/PXI–6602 User
Manual page 3-20.
http://www.ni.com/pdf/manuals/322137a.pdf
Respectfully,
Rob F
Test Engineer
Condition Measurements
National Instruments

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