Weird Bug / Export Settings / Workflow Question

I keep running into this issue and have been unable to find a solution for it. I'm exporting HD video sequences (1080i 60i preset) from premiere pro CS4 using Adobe Media Encoder. I want to create files that are nice high quality without being huge, since I have to send these off to clients on a vast array of different systems, both mac and pc, and they have to be delivered via web.
I found that the H.264 apple ipod video large preset in AME works very well as far as file size / quality. The problem is, for whatever reason, this codec does not seem to play properly on 99% of clients systems, the playback seems to jump from one frame to the next and back, its a very odd looking jitter type issue. And no, not everyone is on a PC, even folks on MACs here in the office have the same issue playing it in quicktime. I'm stumped as to what is causing that, but I assume its a codec / quicktime issue, maybe not though...
So, in an effort to curtail that, I tried exporting video from AME as quicktime and changing the quicktime codec to H.264. The problem with that route is the files are huge. They play stably, but I can't send a 2gb file over the web in any reasonable timeframe.
If anyone could help me out either by telling me how I'm screwing up my export settings, or if they have a setting that works better I'm all ears. This has gotten incredibly frustrating.

I use to have the same exact issue when sending files to my clients for review.
What I starded doing is exporting to windows avi and throwing the file in..... believe it or not! windows movie maker to make it smaller and email it.
The TV Station that I do work for can only accept 5mb size files via email and that's the only way they want it.
They don't want to deal with "YouSendIt" or anything else. Of course the files I send are only 30seconds long. TV ads. but that was my workaround.
They did not get the best quality delivered but it's pretty good for them to see the ad and approve it.
They said it plays clean that way and I haven't had any more complaints.
those are my 2 cents, hope it helps.

Similar Messages

Import/export and workflow questions

I am using a Canon HF-S20, it shoots in 1080i AVCHD.
When importing into imovie, how much quality is lost by importing "large" and not"full". It seems like the "full" file sizes are 4 times the size. Is "large' going to still give me good results?
And what is the best export settings to preserve as much quality as possible?
I have a PS3, what is the best way to play the exported movie through the PS3? stick the file on a flash drive?
any tips you can give me as far as the best workflow to keep high quality would be great. thanks

Karsten said:
I export my Projects from within iM09 as mpeg4/Options: h264, 720, p, 25fps, 3-5Mbit - quality is superb ..
I use Share to Media Browser to export my Large (960 x 540) projects. I export as either Large or HD (1280 x 720). The HD export produces a movie labelled "720p.mov". Opening this in QuickTime, the Inspector reveals the following settings:
Format: H.264, 1280 x 720, Millions; AAC Stereo (L R), 44,100 kHz
FPS: 25 +(Karsten & I are both in PAL country)+
Data Rate: 10.11 mbits/s
For a one hour movie the file size is about 4.5 GB
So, using Share to Media Browser at the HD setting produces a similar movie to that generated by Karsten's export method. However, the data rate is much lower with Karsten's settings - but he is still seeing excellent results. I also achieve great results using Share to Media Browser (HD), but the higher data rate is probably resulting in a much larger file size than Karsten is seeing. Clearly, either method will give excellent results, based on what Karsten and I are seeing using different approaches.
John

Color management in Illustrator CS6 and InDesign CS 6-settings & workflow questions.

I've read the color management posts and the Adobe help file regarding the Pantone + libraries and the new differences between CS5 & 6. However I'm still a bit confused as to just what my settings should be, and a few posts offer different pieces of advice, so I'm looking for clarification. I don't need to work with legacy CS files, so I don't want to swap out the old Pantone libraries for the Plus ones. However I still have my old Pantone Solid, Coated and Uncoated swatchbooks and until I can afford the new Plus swatchbooks, I'll depend on those. I'm hoping the difference between Pantone 321U and Pantone+ 321 is not great.
If I'm preparing a file for print and to be placed into an InDesign CS6 document for print, I know both document color modes should be CMYK—got that. In Illustrator CS6, I'm assuming I would use a Pantone+ Uncoated swatch (remember I'm using the old Pantone Uncoated swatch book as a visual guide and praying that the difference isn't too noticeable.)
1. In the Swatch settings pallette, should I set the Spot Color option to use the first choice—use LAB values specified by the book manufacturer, or use CMYK values from the manufacturer process books.
2. In the View menu, should I select Overprint Preview to get a (more or less-I know the drill) closer monitor color to what will be printed.
I don't want to fool around with trying to set the CMYK values as listed in Pantone Color Bridge CMYK EC (found on Scribed here: http://www.scribd.com/doc/33104/Pantoner-Color-BridgeTm-Cmyk-Ec ), and I'm not even sure of the point in doing so or what it would do for me.
What I want is to depend on a swatch book, select the named swatch from the Pantone library, have all my settings set properly, then place it in InDesign, then send the file to a digital printer and get as close an approximation to the swatch book selection as possible. I need monitor color settings to reflect the swatches as best possible.
When I can afford it, should I opt for the Pantone+ Coated and Uncoated swatchbooks, or the Color Bridge? I'm usure of the difference, and if there are any Illustrator or InDesign settings that would need to be changed depending.
As a corollary to this questions, once the settings are OK in Illustrator, what do they need to be in InDesign? There are settings for Ink Manager (all spots to process or use standard LAB values for spots, the Color palette has check options for LAB, CMYK, RGB.
I'm not sure what needs to be set in InDesign to make sure colors are consistent between what is set in Illustrator and then what InDesign does.

Let me try to help you further:
1. In Illustrator's Swatch settings pallette, should the Spot Color Mode option be set to use:
a. CMYK
b. LAB
c. Book Color (not sure if this refers to the pantone swatchbook)
- I would use "c" - Book Color. This is the file going to the printer which will use Spot Color on press. For a copy of the file to be output by your Canon, use "a" - CMYK.
2. In the View menu should Overprint Preview be checked, and why, and would it differ based on the settings for #1.
- Only if the color was transparent ( which it isn't ) would overprint preview be of any use or you use a tint value of the Spot color and a black, but even then you may not be able to detect any change in the screen view. I typically do not use any overprint preview and I do not rely on the monitor for any color deisions. You could be different and that is OK. Let me know if you are able to detect any deviates using overprint preview.
I'm sorry for being a little short. There is a lot of confusion about these issues and Adobe and Pantone are not making things any easier.
The key is your Canon will not be able to print accurate Spot color without a RIP for the necessary color tables and conversions for that particular printer. In your case, it will be necessary to build a CMYK file to print a somewhat approximate representation of that specific Spot color. Another frustrating part of this matrix is CMYK cannot match all Pantone Spot Colors.

Quicktime Export Settings for Keynote Import? Keynote freaks out 16:9 clips

I have 1440 x 1080i HDV footage imported into the latest FCP that is getting exported into Keynote. I notice that most of the exports and imports into Keynote end up doing weird stuff, like reducing the resolution, or turning it into a 4;3 format even though it is 16:9 on the export.
I don't care about the file size with Keynote, so I don't want to compress it any further than how HDV ruins footage to begin with.
So far the only thing that has worked is exporting it as a ProRes file.
Do any of you have recommendations on individual clip FCP export settings/workflows?
Thanks!

Yes, the Keynote presentation slides/project is set for 1920x1080, the reason is I'm outputting via a high lumens projector that natively projects at 1920x1080p.
Even though a Macbook Pro does not have a screen that size, the Macbook can send out even larger than 1920x1080, but I am limiting the output to the native screen res of the projector.

Sharpening export workflow question

I have a sharpening workflow question. Say I have pictures from a portrait session I just finished. I have to send 10 pictures the client ordered to a print lab and I also will make some small facebook sized pictures and upload them to my business facebook page. The level of sharpening needed for large prints (I upload to print lab as RGB JPEGS) and sharpening needed for the very small sRGB facebook-sized pictures is different. In Lightroom I have the option to set the sharpening on export and have a bunch of presets that alter the export size, color space, sharpening, etc(WHCC print lab, facebook, Client CD, etc). I don't see how to do that in Aperture. I see they have the option if you have a printer, but not on normal export.
For those of you that have to export batches of pictures in multiple different sizes (with different levels of sharpening), what is your workflow? I could use some photoshop droplets/actions after Aperture export but I was hoping there was a way to avoid the extra step. Am I overlooking an export feature? The BorderFX plug-in looks like the only other option.
Thank you in advance for time and help!
Scott

Frank Scallo Jr wrote:
The thing is guys - Once a file is sized down it WILL lose sharpening - what we are doing is sharpening the full size RAW file or rather what the full size output would be like. Once we export a version sized down it will lose some of the 'bite'. LR has sharpening options on 'output' which is not only smart but a necessity. Adobe realizes that output for screen needs another sharpen. Apple either doesn't know or didn't bother. It makes ANY output for screen less than best.
Bear in mind that there seem to be two separate issues going on here - sharpening adjustments not being applied on export, and resizing.
As far as resizing is concerned, Aperture appears to use something roughly equivalent to Photoshop's Bicubic Sharper setting. Because of this I've never had much problem with Aperture's exports when used for the web, but obviously everyone's taste for sharpening differs which is why an option for output sharpening would be good.
Sharpening adjustments not being applied on export is a separate issue and should be reported via the feedback form ASAP by everyone who is experiencing the bug.
Now printing is another animal - I wouldn't print directly from RAW in aperture either if I'm printing small. Again, LR beats Aperture here as well since they include output sharpening for print.
Aperture has had output sharpening for printing since 2.0 came out (unless it in was 1.5). In A3 you need to turn on 'More Options' and scroll down, I can't remember where it is in A2. I don't know how effective it is as I print via a lab, but it's there and it's been there for a long time...
Ian

Export settings question AME 5.5/ OSX

I have an .mov in the AME cue, I need to trim a bit of the file and when I go to the export settings I do not see the mov in the window. If I move the scrubber I see "rendering" but thats it.
Any help plz?
RD

Let me guess: OSX Lion. If so, then this is a bug introduced by Lion, and we're working with Apple on a resolution.
See http://forums.adobe.com/message/4233818#4233818/

RED Workflow questions with Mac Pro (including third party plugins)

Hello all,
I’ve been searching many forums for the better part of a day trying to get some workflow questions sorted. I’m experiencing (very) slow export times, and mediocre playback for a machine that should be screaming fast.
Here is what I’m working with:
2014 Mac Pro
-2.7 GHz 12-core intel xeon E5
-64GB Ram
-Dual AMD FirePro D700 6GB
-1TB Flash Storage
Editing all footage off 96TB Raid 6 mini-sas server (getting about 1100mbs read/write rate according to AJA system test) which is faster than any Thunderbolt/TB2 drive array I have.
Media I work with is footage from the RED Epic (normally 5K) as well as DSLR footage from the 5d.
Software:
-PrPro CC 2014 (8.1)
-Magic Bullet Looks 2.5.2
My question(s) pertains to RED post-pro workflow in combination with third party plug-ins and the different approaches to make it more efficient.
Right now, majority of the clients need a 1080p HD master, and they are generally anywhere from 2-8 minutes (usually). So my sequence settings are as follows:
Video:
Editing Mode: RED Cinema
Size: 1920 x 1080
Audio: 48Hz
Video Previews
Preview File Format: I-Frame Only MPEG
Codec: MPEG I-Frame
1920x1080
Maximum Bit Depth unchecked
Maximum Render Quality unchecked
Composite in Linear Color checked
Export Settings
H.264
1920x1080
VBR 1 pass
Target Bitrate 12mbs
Max bitrate 12mbs
Maximum render quality/depth/previews unchecked
Issues I have:
-Playback is fine at 1/2 or even full, but once effects (especially magic bullet looks) start to go on the clips, it’s very choppy and has difficult playback at 1/4
-Export times (especially with magic bullet looks) will take the better part of 1-4 hours for a video that is 3-6 minutes long. This doesn’t seem like it should be the case for a maxed out MacPro
So my questions are:
Do these seem like the right sequence/export settings for mastering at 1080p? If not, what would you suggest?
Would using offline editing help at all?
Do you place your effects on adjustment layers?
Is there anyway to improve export settings when using an array of filters?
Have you stopped using third party plugins for their inefficiency in unreliability and switched to more integrated applications like SpeedGrade?
Is there any other tweaks that you would suggest for RED workflow with PrPro?
Should I consider switching to FCPX or (besides the iMovie-likeness) does it carry problems of its own?

Hi This Is Ironclad,
thisisironclad wrote:
Hello all,
I’ve been searching many forums for the better part of a day trying to get some workflow questions sorted. I’m experiencing (very) slow export times, and mediocre playback for a machine that should be screaming fast.
The biggest issue is that most people have is that updating OS X causes certain folders to be set to Read Only. See this blog post: Premiere Pro CC, CC 2014, or 2014.1 freezing on startup or crashing while working (Mac OS X 10.9, and later).
thisisironclad wrote:
Hello all,
I’ve been searching many forums for the better part of a day trying to get some workflow questions sorted. I’m experiencing (very) slow export times, and mediocre playback for a machine that should be screaming fast.
Here is what I’m working with:
2014 Mac Pro
-2.7 GHz 12-core intel xeon E5
-64GB Ram
-Dual AMD FirePro D700 6GB
-1TB Flash Storage
It's a nice base system. How about an additional speedy disk for media cache files. You also did not mention which version of OS X you are running.
thisisironclad wrote:
Software:
-Magic Bullet Looks 2.5.2
The Red Giant website does not indicate that this software is yet updated to work with Premiere Pro CC 2014.1 (8.1). Proceed with caution here.
thisisironclad wrote:
Issues I have:
-Playback is fine at 1/2 or even full, but once effects (especially magic bullet looks) start to go on the clips, it’s very choppy and has difficult playback at 1/4
I would not use this plug-in until you get the OK from the manufacturer.
thisisironclad wrote:
-Export times (especially with magic bullet looks) will take the better part of 1-4 hours for a video that is 3-6 minutes long. This doesn’t seem like it should be the case for a maxed out MacPro
Again, I suspect your plug-in.
Keep in mind that exports are largely CPU based but you can make sure that GPU acceleration is enabled for AME at the bottom of the Queue panel.
thisisironclad wrote:
So my questions are:
Do these seem like the right sequence/export settings for mastering at 1080p? If not, what would you suggest?
It's OK.
thisisironclad wrote:
Would using offline editing help at all?
No need when you should be able to edit natively. Relinking might also be an issue.
thisisironclad wrote:
Do you place your effects on adjustment layers?
That's one way you can do it with the benefit of being more organized.
thisisironclad wrote:
Have you stopped using third party plugins for their inefficiency in unreliability and switched to more integrated applications like SpeedGrade?
I do. Of course, that's a preference.
thisisironclad wrote:
Is there any other tweaks that you would suggest for RED workflow with PrPro?
Try the following:
Sign out from Creative Cloud, restart Premiere Pro, then sign in
Update any GPU drivers
Trash preferences
Ensure Adobe preference files are set to read/write(Hopefully you checked this out already)
Delete media cache
Remove plug-ins
If you have AMD GPUs, make sure CUDA is not installed
Repair permissions
Disconnect any third party hardware
If you have a CUDA GPU, ensure that the Mercury Playback Engine is set to CUDA, not OpenCLYou have AMD GPUs.
Disable App Nap
Reboot
thisisironclad wrote:
Should I consider switching to FCPX or (besides the iMovie-likeness) does it carry problems of its own?
I really shouldn't answer that question.
Hope this helps.
Thanks,
Kevin

Export settings for sequence from FCP to Avid PC

Hi,
Please can someone give me the best export settings/codecs to use if I need to export a FCP sequence with clips shot on XDCam EX1, 1920x1080i, 35 mbs at the least quality loss possible so that it can be imported into an Avid on PC for titling, effects and other bits added? My on-line editor is on Avid PC.
Many thanks
Belinda

Hee....missed that final sentence somehow.
So...offlining imported footage on FCP that you will online in Avid? What is there to online? You imported at full resolution. Must be color correction.
OK then...you edit in FCP from imported XDCAM EX footage...and you intend to go to Avid for the final color correct and titling. Did you plan for this? Test this? because I am pretty sure that the QT files that were created when you imported with the transfer tool won't work on a PC. Unless you tested and they did. But it appears that they don't as you are asking how to get them there.
Did you not ask this question when you started this show? That is ALWAYS something you do. If you plan on doing a certain workflow, you have to make sure that the workflow in question will work. Offline and online from tape is fairly simple, as you can recapture from the tape...timecode being the big thing there. But this is IMPORTED footage. Full clips, and I don't see how you can import only what is used in a sequence.
This issue, coupled with FCP to Avid...and Avid on a PC no less. Well. Find a codec you can export from FCP that the Avid can read (this will require testing), then MEDIA MANAGE the footage to that codec. Hmm....but then how will the Avid read the FCP project file to reconnect to the footage?
Nope...I stand by my original answer. Output to XDCAM disk and recapture, or to HDCAM or HDCAM SR tape and recapture.
Shane

IMovie 6 HD - Export Movie Size Question

There is a confusing list of movie export size options that I need to get your clarification about. Some of the selections seem to be similar.
To see what I am referring to go into iMovie HD 6, under the SHARE menu, go to Save Movie For: Expert Settings Export Settings > Select Movie to QuickTime Movie (then hit the options tab to the right > Under the Video Section, select SIZE - note the Export Size Settings - DImensions drop down list. Note there are two sections. The last two items in the top section listed are (exactly worded as) 1280 x 720 HD and 1920 X 1080 HD. In the bottom section the last three entries are HD 1280 x 720 16:9, HD 1440 x 1080 16:9 and HD 1920 x 1080 16:9. What's the difference, for example, between the 1280 x 780 HD and the bottom one HD 1280 x 780 16:9? I ask because my HD camcorder movie footage (shot at 1080i, 29.97, 16:9) with an HV30 exports smooth at 1280x720 HD but jerky at HD 1280 x 780 16:9. They sound the same, but one is jerky and one smooth.
The other question I have is 1440x1040 is 4:3 ratio. But it exports at 16:9 aspect ratio. I don't understand why.

Donna:
While I have a lot of video editing experience with an SD digital camcorder, the Canon HV30 HDV cam is new to me. So I am experimenting. That said, footage that will be shot will end up in a couple of places. Some of it will be passed onto my company's web master for posting to the web in some kind of Flash video format. Other video will be used in Keynote presentations as full screen video clips. Others will be used as source video for creating 4x3 SD clips for PowerPoint on a PC by others. So, the video will be used in different formats. (In what format to shoot is another question, but I have concluded (I hope correctly) that I should just shoot HDV 1080i since it seems to be the easiest to deal with for uploading to iMovie6 HD.)
The purpose of my inquiry was to determine what the various selections are used for and what they do. Sometimes the video is jerky, sometimes an identical movie size is smooth (but must be rendered or processed differently). I was only trying to determine why there appeared to be repetative choices in the list of movie sizes as I mentioned in my original post. To be blunt, iMovie 6 HD documentation is spotty at best. The O"Reilly books don't cover the hard parts.

What are the best export settings to use...

Operating system: Vista SP1
Camera: Canon HF100 (1900x1080 HD quality 29.97fps) -- uses AVCHD compression which is H.264 I believe.
I'm able to watch my camera video files in Vista nicely. However, I'm having trouble with the watching the results of my edited and exported videos. Assuming I want the same quality and playability as the source video, what settings should I use in the export?
In the export settings window... I select:
Format: H.264
Preset: HDTV 1080p 29.97 High Quality
Source files have the extension: .m2ts
...I don't change the other values. Then I export. Now the result is an .mp4 file which does not play in Windows Media Player. It does play in Quicktime or iTunes however it plays jerkily... I would like to be able to play it as smoothly as the original source plays... And I'd like to be able to play it in windows media player just as the source can be played in media player. Media player seems to play the source more smoothly than does iTunes or Quicktime.
So what are the best export settings for me so that I can watch my edited HD video on my computer as easily as the source footage???
I've been able to edit and save the results of the edit using the crappy ImageMixer3 video editor that comes with the camera. The results are perfect and play in windows media fine. The files it exports the edited video as is the same as the soure... the file extension is .m2ts
So the problem is how to get Adobe to export the edited video to an .m2ts file or at least to a file type that plays as nicely in my system?

See
Exporting to iPods, cell phones, PSPs and other mobile devices in the PPro Help for details.
Cheers
Eddie
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Best quicktime export settings - compression - from final cut pro

i have done this for a while. still don't know.
to translate an ntsc 24p project onto a dvd, which export settings (compressor)do you use in final cut pro? i use current settings, and once i am done with idvd ("best quality") it just doesn't look high quality. is this an idvd question?
powermac g5 2.7 ghz dual Mac OS X (10.4) 2.5 gb ram

I didn't know iDVD could handle 24fps project. Or is it a 29.97 (23.98 with a pulldown).
Best quality in iDVD just means that it works on it longer to compress it more to fit more on disk. Have you tried Best Speed version?
Patrick

What project settings and export settings to use ?

So, after some trial and error i give up and need some huge help. (7.0 Pro)
I have recorded some footage through a game running at 1920:1200 resolution. So the question is what project settings should i choose under project, look at the picture below for example. Some times i get a large black area around the finished video, while one time it came out as a 4:3 vid....
http://bildr.no/view/468733
Further more, when i am done editing i want to export it uncompressed to the disk in the same format 1920:1200 (which is 16:10). Which settings should i then choose?
http://bildr.no/view/468734
Thx for any help you might be able to provide. Btw! Basically, what i want is just plain editing, no cropping of edges, resizing etc, i just want to take the raw video, edit it, and make a new file out of it with the same properties as the raw vid (source).

Your pixel aspect ratio and field order are wrong. You want PAR set to "square pixels" and field order set to "Progressive (None)". Do the same for your export settings.

Please help with highest quality export settings...

I have searched the forum and web for hours (no joke!) and I am still trying to figure out what are the best video settings to give me the highest HD quality video in daylight. I am using a Canon HF200 and the latest updated version of FCE. My problem is that I am unable to produce an HD quality video at 1920 x 1080 Full HD without being "jagged". I have two questions; what do you suggest to be the best FCE import and export settings to produce the best HD video, and what settings do you have your HF200 set to (for normal daylight conditions), to produce the best HD video file? The file will be played directly thru my computer to a plasma HDTV.
I have tried several settings, but using anything above 1280x720 16:9, makes the video "jagged". Again, I don't care about the size of the file or how long it takes, I just want the best. Is there something I am missing?
My FCP settings are the following:
I log and transfer the video from the camera into FCP (on a black MacBook; 2.16 GHz with 4 GB RAM) using the AVCHD Apple Intermediate Codec 1920 x 1080i source. I then export the video using the following:
Export using "Quicktime Conversion".
Quicktime options video settings are:
Frame Rate set to "Current"
Key Frames set to every "24" frames
Compressor quality: "best" (Encoding set to "best quality")
Data Rate set to "automatic"
Quicktime options video size are:
"HD 1280 x 720 16:9" (anything higher produces the jags!)
Deinterlace source video is NOT checked
My Canon HF 200 settings are the following:
- P mode
- FXP (17 Mbps)
- 60i framerate
all others are set to the normal default
I have read some reports saying the above is good and others suggesting changing FXP to MXP (24 Mbps) and/or the framerate from 60i to PF30. I don't care about the size of the file, I just want the highest quality HD file.
Any suggestions for the best FCE settings and/or HF200 settings would be very much appreciated!
Thanks for your help,
Evan

Thanks again for the feedback
Let me try my best to answer the above (I'm new at all this and I appreciate you guys taking the time to try and help me out).
First off, I tried rendering and that did not help.
Here is my sequence. I am not going into FCE from the camera directly. I have archived the video file from the camera using iMovie (as well as just making an exact copy of the camera files; they both appear to me to be the exact same, both can be logged and transferred into FCE, and both files give me a jagged FCE result).
Once I log and transfer the file(s), I then take the clip and add it to a sequence file (rendering or not rendering the clip(s) at this point does not make a difference), and then click/highlight the sequence file in the browser and export it.
As for "editing the video in a 1920x1080i60 sequence", I think I am. I am not doing any editing to the clip. It is logged and transferred using the AVCHD Apple Intermediate Codec 1920 x 1080i and then exported using either as a Quicktime Movie or Quicktime Conversion (set for 1920 x 1080 using H.264 compression; both ways still result in a jagged video).
That's about it...log and transfer, add clip to sequence, and then export sequence...
I hope this answers the above, but if not, I apologize; I'm still learning!
Also, if I use iMovie, with similar export (share) settings, I get a non-jagged video (I have tried with deinterlacing and not deinterlacing, and both video results are fine)
Thanks again,
Evan

VHS - DVD Recorder - PC - Premiere Pro CS6: Workflow Questions

Hello,
I hope I have this posted in the correct place. I am seeking advice and suggestions for VHS tape to digital transfers. Here is my current workflow:
VHS tape is played back on a Panasonic PV-D4744S VCR and is recorded directly (via composite A/V cable) to a Panasonic DMR-ES40V DVD recorder and onto a DVD-R, -RW, or +RW.
The disc is then copied into a Windows 7 folder with all of the contents of its VIDEO_TS folder intact; this folder is saved on several external hard drives for safe keeping.
I then open and import a copy of the .vob files into Premiere Pro CS6, where I minimally scale the video to eliminate the distortions (“VHS tearing”) on the sides and bottom of the VHS source video. The result is a very clear video which fits perfectly in a 4:3 project window on my 16:9 HD computer screen with minimal pillarboxing.
It is at the stage of export where I am stuck.
The final DVDs are going to be viewed on a 16:9 widescreen TV, as well as on an iMac computer. I’ve read all much about interlaced scanning (VHS, Laserdisc, TV) and progressive scanning (computer, LCD TVs), but I’m still not sure if I can make a DVD which will look proper on both TVs and computers. In addition to the scaling, I am using Premiere to add chapter makers and poster frames to the video, which I wish to then export to either Encore CS6 or NeroVision – I love Nero’s animated 2D and 3D menu selections. What export settings should I use in Premiere which are closest to the original, imported .vob files? I’ve exported some test videos in MPEG2-DVD format to folders, but they are huge compared to the original DVDs made on the standalone recorder, i.e., 12.8GB on Premiere export compared to the 4.7GB import.
Are there settings to make the Premiere export as close to the original DVD import of 4.7GB without sacrificing quality? Should I simply import the sequence into Encore as a timeline and let it perform the heavy lifting of automatically compressing the files to fit on a 4.7GB DVD? NeroVision seems to not accept the MPEG2-DVD files; it “sees” only the .m2v video files and not the .wav audio files.
In a nutshell:
I want to take a raw DVD-R (or -RW, +RW) recorded on a standalone and copy to hard drive, add chapter markers and minimal scaling in Premiere Pro CS6, then export and burn a DVD that will look good on both a 16:9 TV and computer screen.
I'm trying to get this project finished for a soon upcoming family get together. Any suggestions, tips, and general advice would be greatly appreciated.
Eric

Hi Eric,
The issue I would have with the workflow is that DVD is heavily compressed for delivery - not meant for re-compressing again. You're re-compressing a file that's already been compressed as small as can be. Most DVD recorders have different quality settings, like 1 hour, 2 hours, 4 hours. Use the 1 hour mode on the DVD recorder to get the "best" quality source if you must re-edit the stuff. The typical workflow would be to have some sort of capture device on the computer that records a larger, less compressed file to begin with.
As for export from Adobe using Media Encoder, choose "MPEG-2 DVD" of course, and select "NTSC DV" for the preset. Under the VIDEO tab, you'll need to adjust the encoding bitrate according to the video length. A good rule of thumb is to use 560/minutes=bitrate, and I will round down a touch for safety margin. This assumes Dolby Digital audio on the DVD (AME exports .wav audio and Encore converts to Dolby). Note that most folks don't go over 7 or 8, for best compatibility (the max limit is a bit higher, but quality of VHS source is not going to get any better anyway at higher rates, GIGO).
Regarding audio for the DVD, could be that Nero expects ONE file with audio and video. In AME, look under MULTIPLEXING and change from NONE to DVD, this will combine them. Then under AUDIO, choose DOLBY or maybe MPEG will work for you. Use a 192k bitrate for audio if going that route.
Note sure what you meant about the 16:9 screen - would recommend against putting the 4:3 source material into a 16:9 sequence in Premiere in you are, this will do more harm than good. Stay with 4:3 throughout, including the DVD creation - the DVD player and TV ought to know what to do with it. You're actually REDUCING the resolution if you use a 16:9 workflow. Note that if you encode a 16:9 DVD using 4:3 material in the 16:9 frame, and then play that DVD on a 4:3 TV, bad news - it gets letterboxed AND pillarboxed and you end up with a small video surround by black on all sides. Not cool.
I'd stick with interlaced - if you deinterlace the footage at any point, you are essentially throwing away HALF the resolution, which is weak to start with for SD. Most software players will have Preferences settings to let you tweak the playback/deinterlacing at that point, and TVs will handle it fine.
PS - if you use Encore, then just export the .m2v and .wav files using Media Encoder, import both to Encore, and Encore then does NOT recompress the video any further (as long as it fits), only the audio gets the Dolby conversion. Do NOT use Multiplexed files in Encore.
Hope this is all helpful
Jeff Pulera
Safe Harbor Computers

Export Settings for CD/print

I have been searching for the answer for a while now and finally just gave up and thought I would ask.
I want to export images to be given to my clients for them to print wherever they choose. What should the export settings be to allow them to print with good quality up to an 8x10? Anything larger I want the quality to be bad so that way if they want a larger print they will need to purchase it from me.
I am not concerned about image cropping just quality.
Thanks
And if you know of a good file compression program so i can email the images, that would help also. I am trying Stuffit but have yet to decide if I want to buy it or not.

leonieDF
thanks for the response. I ordered the book by hitting the Buy Book button. After receiving the book and not being happy with some of the colour rendition I starting browsing around Aperture. At first I thought that perhaps my on-screen proofing profile wasn't compatible with how Apple does the printing, then I started looking at the export settings. I guess its my lack of understanding on how the book gets assembled/exported that led to my question.
I still have a lot to learn about Aperture.
regards,
Larry

Weird Bug / Export Settings / Workflow Question

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