Workflow for converting 4X3SD to 16X9 HD?

I have 4X3 SD material on tape. I'd like to convert it to 16X9 HD.
Can you give me a basic workflow regarding capture settings, sequence settings, etc? I realize cropping and repositioning will be part of the process.
Thanks in advance.

Correct. The HD Capture card will be doing the conversion for you. Far better quality than software conversion. Although I do recommend the AJA Kona 3 over the Decklink cards. It can capture SD to 20p or 1080i, and cross convert 720p to 1080i or the reverse. The Decklink cards cannot cross convert, or capture to 720p. Plus the upconvert process is easier with the Kona, in my experience. The Software is very straight forward.
By that I mean the 4X3 frame will be cropped at the top and bottom in order to fit the 16X9 HD frame.
You can either crop off the top and bottom, or capture as "pillar box" leaving black on the sides. I tend to crop off the top and bottom.
I may want to use the top part for some shots and the bottom for others (which I figured I do by keyframing).
In that case you will need to look at Compressor for this, or Instant HD...or a Terranex at a post facility.
Shane

Similar Messages

Workflow for converting SonyHD Cam footage via KonaLHe to DVCPro HD?

Hi,
I've got a project starting tomorrow and the producer had to switch cameras the day before the shoot! They are now brining in Sony HDCam 1080psf 23.98 (don't know the camera). I've rented an HD Cam deck with SDI out (no FW). I have the Kona LHe so SDI input will be fine. The project is destined for digibeta 29.97 SD so I'm trying to figure out a good workflow for capture and editing. To keep file bandwidth down, I think DVCPro HD is a good solution, but I'm not sure where or how the conversion takes place using the Kona LHe and FCP. Do I set the Kona frame buffer to DVCPro HD 720p @ 23.98 and set capture settings the same in Final Cut? Or, as I have the internal RAID space, just capture native 1080, edit native, then convert the program to 29.97 window 16x9 at the end of the edit? Clarifications, recommendations and comments welcomed! Tnanks!

Conversion is done in FCP. But all you have to do is connect it to the Kona via HD SDI and set the capture settings in FCP. The signal coming in from the card is the full signal, you are just telling FCP in which format to save that signal as. And DVCPRO HD 1080p24 would be the setting. I doubt your internal RAID could handle uncompressed 1080p HD.
Shane

Workflow for converting PAL DVD to NTSC

Hi,
I have read this thread
"http://discussions.apple.com/message.jspa?messageID=7387015#7387015"
but am a little unclear and would appreciate some help.
I have shot 3 short movies in PAL anamorphic, edited in Final Cut Express HD 3.5, exported using the Quicktime Movie option, altered with QT Pro to put back to anamorphic, then added to an iDVD '08 widescreen project.
Everything is fine, but I have realised that some of the recipients are in the Bahamas and require NTSC.
The project is a paid commission so I want to ensure the conversion is as good as possible, without any re-digitising / editing.
I duplicated my iDVD project and have used the project info pane to change to NTSC format. I deleted the encoded assets and this has set of iDVD to re-encode. Is a re-burn all that is required once encoding is done?
It seems this is the easiest option, but are you suggesting the conversion can be better if i use the free JES deinterlacer product.
To integrate this into my workflow I am assuming I could duplicate my asset folder (that contains the quicktime exports from Final Cut) and convert them using JES.
Modification to these quicktimes (ie. a re-edit and export from Final Cut) would usually result in iDVD updating its content upon open.
Am I on the right track?
I have had a quick look at JES. I have added a file to convert and looked at the projects tab.
Do I just have to choose "Standards conversion" & select "NTSC"? What should I set out of "Blend, Telecine or Minimal Blend" for best quality.
I am using an Intel iMac with 2gb of memory.
Thanks
Eric

Thanks for responding. I am currently trying a few options in JES but I was wondering if you have any idea of the best options to select.
I have tried the Export radio button option to DV Stream and Quicktime, but the resulting output is quite a bit smaller than the Final Cut Express Movie File that is the source. I am concerned the quality is reducing.
I am now using the Direct / DV-NTSC output option to see the file size of that.
With regards to iDVD, that process took a hour or so for the automatic re-encode of the project assets and then a burn. It seems to play fine on my MacBook, and there appears to be no detectable degradation. The process seems fine. Has Apple caught up with JES Deinterlacer, or is the benefit not appreciable when not using HD footage or better?
Thanks
Eric

Recommended Workflow for Converting from .avi to .m4v

I would like to take an edited .avi file and prepare it for playing on both iPods and in QuickTime/iTunes. I downloaded the trial version of PE7 to see if I could use it for this. From what I understand and have tried out, I can create an h.264 (MPEG-4, part 10) .mp4 file using PE7. What is the best way to convert this to the .m4v format? My OS is Windows Vista Ultimate. I tried using iTunes to convert it, but the resulting file did not play smoothly. I also tried downloading MPEG Streamclip and found I could not play the .mp4 file smoothly.
Am I sacrificing quality by starting with a tool that cannot export to .m4v, namely PE7?

Thank you so much. I appreciate your time very much. That link is quite interesting and will help me understand what I'm dealing with better.
I'm doing this for a podcast, so I need to have one file that will work for everyone who has iTunes or an iPod to include in the rss feed as an enclosure. I don't want to maintain two feeds.
So I think I'm going to try QuickTime Pro and hope that solves my woes.
I'm wondering now if I should still buy PE7 for editing. I like the product and have spent some time with it now. Of course, I wish I could do everything just in PE7 but don't think that's possible at this point.
So I still have a question about the workflow if anyone can help. Just to clarify, if I import .avi files into PE7 and do some editing, then can I just export to .avi and then open the new .avi file in QuickTime? Is that the workflow I would use? I'm assuming that QuickTime Pro can de-interlace the video, change the pixel aspect ratio, and allow me to make other adjustments to reduce the file size. I would export from QuickTime as .mp4 and hope that .mp4 files that QuickTime renders will work in the latest version of the QuickTime player. Otherwise, I'll have to export to .m4v, which I don't think can be used by other players???
Anyway, I think I'm on the road to a solution. Hopefully, QuickTime Pro won't have similar issues.
Thanks again for your time and advice.

Best workflow for converting HD footage for broadcast?

I've been banging around the forums for a while tonight looking for someone who's been down this road before, but to no avail. Here goes...
We shoot a weekly "Top 20" show using a Sony XDCAM EX-1 @ 1080p. It's a Top 20 video countdown show, which means that along with my footage (a DJ in a studio as your Top 20 host), I incorporate graphics and music videos ripped from DVD's. The final product from all of this winds up on a local cable channel, which broadcasts SD.
I use the Sony XDCAM Xfer software to convert the data from the SxS card to QT files. (So far, so good.) I open up FCP and place these files into my project. Once I drag one of these clips into my timeline, I'm asked by FCP if I want to change the sequence settings to match the clip I'm putting onto the timeline. I answer "No" (because I've preset the FCP sequence settings to 720x480, since the cable channel broadcasts in SD. Could this be where I'm screwing up?) I bring everything into the timeline (including the ripped videos) and get everything edited nice and tight. But wait...
I've been staring at my Mac monitor this whole time. When I play the project back and look at it using the broadcast monitor, well...it looks sorta sick. Certainly not what I would expect from HD-to-SD footage. Everything looks pixelated and sorta blurry. If it looks this way in the studio, you can imagine what it looks like when it airs on TV. It's not pleasing to the eye.
I would ask about what the best way is to deliver a show like this to a cable channel, but since the stuff on my broadcast monitor looks so crappy, the problem's gotta be home-grown. What am I leaving out?

If you know you are going SD why film in HD at all?
Its not like you are going to be re-airing your shows down the road in HD,
Most likely, the video's you are ripping from DVD are not HD either...
Depending on the deck you are exporting your show to, some of them have a down convert feature, mine does Sony HVR-M25U.
I have a weekly show I do, but I do it all in SD until the channels it broadcasts on will take HD footage.
Though if I am doing a commercial, I usually shoot it HD and leave it HD

Best workflow for converting NTSC tv show to PAL?

The company I work for edits a TV show in DVCPRO HD 1080i60. We distribute it to a station in Europe, and for about a year we've sent them the programs on DVCAM tape, 16:9 letterbox, NTSC, rendered in a 720x480 sequence, 29.97 fps. I figured they took care of the process of switching it PAL since they never asked us to do anything differently.
Well now they have. Now any tape we send them needs to be in 16:9 anamorphic and PAL.
In regards to the first issue, changing to 16:9 anamorphic seems as simple as clicking the Anamorphic check box in the sequence settings. But the PAL issue has me stumped. An engineer friend told me that all I should have to do is print the program to a PAL DVCAM deck, and that should do the trick. So my thinking is that I export the program as a DVCPRO HD Quicktime file, put that into a PAL 16:9 anamorphic sequence, and print to tape using a PAL deck.
Anything I'm missing? Is it as simple as that or more complicated? Any thoughts are welcome.
jesse.

Sorry fellow Missoulian, it is NOT that simple. FCP doesn't convert the frames rates properly...the proper pulldown removal, frame rate conversion does not happen well in FCP. If you have Avid 4.0...it would. That version does this VERY well. BUT, we are talking FCP.
Best option, output NTSC and send to a dub house to have the conversion done on proper machinery. Bill the client for this dub...unless it is part of the deliverable and therefore part of the money they pay you. If they changed the deliverable to require this conversion, then they should be then paying more money so that you can have this conversion done right.
Second best option, export a self contained QT file, and use Compressor to do the conversion, frame settings set to FULL. The drawback? This takes a LOT of time. And you will have to do tests to see if it looks right, and adjust settings to match.
ME? I send it out of house to be dubbed. But you are in Missoula where that doesn't exist, and finding someone with a KONA/DECKLINK/MATROX card is a challenge.
Shane

Workflow for converting NTSC to PAL with Premiere/AME

Hi everyone,
After searching the forums, I see that to convert NTSC to PAL for standard def DVD, most recommend using Canopus Procoder software for the MPEG2 encoding, or using a hardware based solution. I don't have the money for those options, so I was hoping you could clear up something for me. Which of these options is best?:
Option #1: import the NTSC footage into Premiere and edit on a NTSC timeline with settings matching the original footage. Then use Adobe Media Encoder to encode a PAL format MPEG2 file for the standard def DVD.
Option #2: import the NTSC footage into Premiere and edit on a timeline set up with PAL resolution and framerate settings, and simply scale up the NTSC footage to match the larger PAL resolution. Then use Adobe Media Encoder to encode a PAL format MPEG2 file for the standard def DVD.
Thanks for the help!!
Mike
Intel i7-930 2.8GHz
12 GB RAM
1 GB VRAM
Adobe CS 5

pal to ntsc is not quite the same as ntsc to pal.
pal has more scanlines and there for makes a better end result to ntsc than ntsc to pal.
Usually ntsc converted to pal does not look very good on a tv.
That's why i recommend to leave it in ntsc, most pal players can be switched to ntsc.

Workflow for converting english titles to french in livetype and motion

Hi everyone,
I am about to embark on a french version of a 20 minute video and I'm looking for some advice.
In the english version, I created titles in both motion and livetype. I'm still a bit of a novice with these programs so I admit that I relied on Final Cut Pro to further manipulate the titles in terms of sizing and placement with a touch a slow motion to get the timing right. It was exciting to discover that any text changes in these programs would automatically update in the timeline in Final Cut Pro as long as I didn't change the file name.
So, that got me thinking.... I'd like to change the english titles to a french version and take advantage of the automatic updating in FCP. But how do I protect my english master?
My backup plan is to create new file names for the french titles and try the " copy content" approach but I have some reservations.
As always, I look forward to your feedback.
Cheers and Happy Holidays.
Chris

Hi Everyone,
I want to provide an update on my progress for those who might be interested.
I have some 50 english titles in this project, some motion and some livetype and some boris.
To prepare for the french version, I did a "save project as" to create a french version of the project as suggested. Then, I did a "save as" on each title file, adding "french" to each one and saving the new version in a new file folder for my french stuff.
I've made a duplicate of my english master timeline and here's where it gets interesting.
I'm finding that if I "right click" on the title in the timeline to open it in the Editor to make changes, it opens the original english title, thus putting my english version in jeopardy! I'm guessing because I simply made a copy of the english version.
Here's my plan of action... Control Click each title in the french version timeline and use reconnect media to connect the title to the new version that I've saved in my french stuff file folder. Change the english text to french.. place in oven to bake at 350 degrees for 25 minutes, let stand for 2 and voila - one french version ready for voice over.
Can someone let me know if I'm on the right track?
Cheers,
Chris

Specs and workflow for creating opening/closing titles for video

I'm trying to create specs/workflow for videos that I will be adding opening and closing titles to (black background with colored text), using QuickTime Player 7 (Pro).
The videos are .mov, AVC coding, 1280x720, millions, 30fps, a sample video had a data rate of 7,463 kbits/second.
I created 1280x720 300dpi (perhaps I should have used 72dpi?), saved as a .jpg (highest quality), then copied the .jpg contents into a QuickTime Player 7 (Pro) blank document multiple times until I had enough frames for my need. The resultant video was very large; 339,743 kbps/second. I then exported to H.264, which brings the data rate down to only 214 kbits/second (and looks fine) and then copied that into the head of my AVC coding video.
Questions:
1) When I exported to H.264, the x pixels increased by 6, to 1286. After pasting that video into the AVC coding (1280x720) video, the resultant movie is 1280x720. Did my graphic get compressed by 6 pixels horizontally?
2) Does my method of converting the huge graphic movie to H.264, and then pasting it into the AVC coding make sense? The combined video has AVC coding, according to Movie Inspector; does the H.264 of the graphic get converted automatically? Any better way to approach creating my titles?
Note: these AVC coding videos may get converted to H.264 for some use, but for now, I'm keeping the highest quality (source) video I have to work with.
Thanks,
Bob

"First, tell use why you're not using FCP's titling and keying capabilities."
I don't own FCP.
"Then, explain why you're doing it this way."
I'm able to create graphics with plenty of control in a graphics program (PhotoShop in this case).
"There is no dpi in video, there are only pixels."
Sorry, I posted my thread then realized I left out a bit of info, but couldn't edit the post. I should have written that I created my graphics file in PhotoShop, hence the dpi reference.
"A black background for text is not the same as using an alpha channel."
OK. The portion of my video with titling stands by itself; that is, I'm not overlaying titles on existing video. Is there a use for alpha channel if I'm working up standalone title video frames? Uses less data rate?
It seems from your inference I would be best served by purchasing FCP, so I'll probably take that advice and buy it.
From a general video production point of view, I'd still like to learn more about creating titles in a graphics app and bringing them into QT Player; what format to bring them in as (e.g., H.264 into an AVC coding video, as I've done, or ?), and what happens when my graphics video gets converted from 1280x720 to 1286x780 (AVC export to H.264), and then brought into an AVC codec movie, and the movie remains at 1280x720-- does the graphic get horizontally widened, or the vertical compressed? Thanks.
Bob

Workflow for moving photos/videos from iPhoto to LR

I used to use iPhoto, but have switched to LR. I'd like to move all the images/videos I have in iPhoto to LightRoom.
What is the workflow for making this move?
thanks
Greg

You can't run an iPhoto Library from a NAS. iPhoto needs to have the Library sitting on disk formatted Mac OS Extended (Journaled). Users with the Library sitting on disks otherwise formatted regularly report issues including, but not limited to, importing, saving edits and sharing the photos.
You can't convert a Managed Library to a Referenced Library (see below for definitions of managed and referenced) with iPhoto - and you probably shouldn't anyway, especially when the masters are on one volume and the library on another. See
https://discussions.apple.com/thread/3062728?tstart=0
for more on why.
With Aperture, you can easily have the Masters on one volume and the Library on another, and you can convert the Library from Managed to Referenced easily.
However, if you di any editing your planned set up will not work. Both iPhoto and Aperture will never edit your original file. All processing in these apps is virtual. So, if you fix red-eye for instance, the image in iPhoto/Aperture will have the red-eye fixed. But the image on the NAS will be your original file, with the red-eye. So any device that accesses the images directly from the NAS will have he original image, not the processed one.
Is that what you want?
Regards
TD
Definitions:
A Managed Library, is the default setting, and iPhoto copies files into the iPhoto Library when Importing. The files are then stored in the Library package
A Referenced Library is when iPhoto is NOT copying the files into the iPhoto Library when importing because you made a change at iPhoto -> Preferences -> Advanced. (You unchecked the option to copy files into the Library on import) The files are then stored where ever you put them and not in the Library package. In this scenario you are responsible for the File Management.

Workflow for Order to Delivery Cycle

Hi,
I need some help to find the workflows for "Order to Delivery" Cycle.
I want to know whether there is any Standard workflows for this cycle from "Order to Delivery".
My requirement is
1) Marketing Department Generates the Quote with a validity of 2-days.Soon as a quote is created in the system a mail should get triggered to Quality and Production Users.
2) Once the Quotation is converted into the order an alert mail should go to the customer.
3) Once the Goods is produced (once the goods has been accepted by QC) Mail should get triggered to the customer.
4) Once the goods are dispatched Mail alert should get triggered to Production Head.
5) Once LWB is raised the mail alert should be raised to Customer and Accounts Head.
This is the total cycle form Oredr to Delivery.I'am unable to find a standard workflow for this.
Please guide me if there are any standard workflows are available,if not please let me know what is the other alternative.
With Regards.
Pradeep.B

ttpa,
What exactly details you are looking for?
well for your specific condition type you can either use solution described above in post.
Alternatively you can use check FM (go to SWE2 , double click on your BO and event linkage) . Inside check FM will have sales order no. so you can go into condition tables (I think konv/komv) and check it, raise an exception in your FM if you dont want to trigger the workflow.
Cheers
Jai

Efficient workflow for annual report

I've been busy last days to make an annual report. The source file was a 100+ page Word document with lot's of tables with different content and sizes, and legal texts with multi level list styles.
I think I got most out the importing of the Word file and converting all Word styling to the right Indesign styles, but the tables seem to be very time consuming still, as some are just text listings and others contain many numbers in various structures, sub headings and specifically highlighted cells.
I bet there's a much more efficient workflow for this and I try to find out about it. I'm afraid I couldn't ask the financial people to start working in a XML workflow, Incopy or anything much different from the Word+Excel software they are used to. However I reckon there's a better way they could deliver the content to me, maybe by giving separate excel sheets instead of embedded tables in Word or by using stricter formatting rules?
Ideally the workflow should also support the flexibility of linked Word/Excel files, so revised input would painlessly be updated into the formatted Indesign document.
Does anybody has any advice, tips/tricks to make a smarter workflow for such a project?

FWIW I create a new, separate library for each book. I assemble the photos to be used in to an album in the main library and then copy it to the book library with the paid version of iPhoto Library Manager.
When I'm done with the book and it's ordered I cull out the photos I didn't use in the book and then archive the book library to another HD, a CD or DVD disk (if small enough to fit). This way the book is isolated from the day to day use of my main library and any accidental deletions of photos in the book. If I want to reorder a copy, edited or not, I know the book is intact.

Best (PAL) workflow to convert HDV interlaced to DV progressive?

Question - What is the best (PAL) workflow to convert HDV interlaced to DV progressive?
Software: Pr, En and Ae - all CS4.
My Camera: (Sony Z1) shoots HDV 1080i.
When capturing and editing, I keep everything HDV and interlaced.
Premiere Pro:
Capture HDV - mpeg 1440 x 1080 (1.3333)
Sequence - 1440 x 1080 (1.3333) HD Anamorphic 1080 (1.333) Upper Field First - (HDV 1080i25 Preset)
Once edit is complete, I dynamically link sequences into Encore.
Question - Should I dynamically link to Encore or export sequence from Pro?
If you aren't a fan of dynamically linking the sequences and believe exporting the sequences from Premiere Pro is the way to go, please advise of best export settings. I assume during the export (from Pr) is when the converting from HDV interlaced to DV progressive takes place?
At present, I dynamically link the sequences into Encore. This means Encore handles the conversion to DV progressive.
Question - What are the best (Encore) transcode settings to transcode HDV 1080i25 to DV progressive widescreen?
I've tried numerous workflows but as yet, I've not been 100% happy with any of them.
I'm finding it quite a challenge to take HDV 1080i and produce a good looking DVD i.e minimal artifacts and no interlaced jaggies.
I used to downconvert to DV in-camera during the capture process, but I'm finding I'm getting much better results by editing in HDV and downconverting during post. This is what my post is really all about i.e. finding the best workflow to do this.
I would be very keen to hear of how others are shooting and editing in HDV to then produce best/high quality DVDs.
Thanks for reading

Hi DaveMD,
Thank you so much for your Q&A post. It is so helpfull for me. I will test it right now. Unfortunatly for you, I reply your post with no answer, just a feedback..Sorry
Nevertheless, my details are :
Software: Pr, En and Ae - all CS4.
My Camera: (Sony FX-1000) shoots HDV 1080i.
Premiere Pro:
Capture HDV - mpeg 1440 x 1080 (1.3333)
Sequence - 1440 x 1080 (1.3333) HD Anamorphic 1080 (1.333) Upper Field First - (HDV 1080i25 Preset)
I have exported the media in DVD MPG (.m2v) from Premiere and Build the final DVD from that .m2v into Encore.
I have to say that I am not very happy with the final result when I convert into PAL Widescreen.
I can see little artefacts, flikers and jaggies...
- Do you think that this "double" DVD MPG export could lower the quality?
- Could it be the FullHD screen (1080x1920) on which I display the final result (PAL 720x572) that interprates the video?
Thank you for your lights !
Appia

Best Workflow for Rich Grayscale Images on Press

Hi, we're preparing a piece that uses mostly grayscale images and we want them to look as nice and rich as possible. So wondering about proper workflow to convert the images to CMYK using best percentages for nice, rich shadows, etc.
What I've done so far is:
1) Got a photo looking pretty decent as a grayscale image.
2) Convert the image to CMYK using a custom profile I created similar to 'SWOP, 20%, GCR, Heavy' - except that I manually adjusted the Black Generation curve to remove most of the CMY from the highlight areas.
3) Do any final levels adjustments to get the photo just right.
4) Save the file embedding the profile.
Now the photo looks good in Photoshop, and is very neutral (what we want). The darkest shadow areas are 95%-99% black, but with a good 40, 30, 30 mix of CMY. The highlight areas are black only up to about 16%, then color starts creeping in at proper ratios.
NOW I'M A BIT FUZZY.
- When I drop the photo into InDesign, the Prepress defaults strip the profile and convert to US Web Coated SWOP, BUT preserves the numbers. The photo takes on a cooler, more blueish tint. Is this to be expected?
- We may not know the printer of the job ahead of time, and even if we do I've found many who don't fully understand color management and don't have a custom profile for their printer. What is safest in this case?
- If we do get lucky and find out who the printer is, and they have a printer profile, how would we implement this?
- Any other tips???
THANKS!

This may not be the most appropriate forum for your question. The separation you are using is done using the Custom CMYK engine, which is a legacy (pre-CM) mechanism in Photoshop that has no direct relationship to ICC color-managed workflows. Legacy questions may be better addressed to other forums.
On the other hand, if, rather than use the Custom CMYK engine, you wish to separate your grayscale image to a CMYK ICC profile appropriate to your output conditions, the procedures are clearly outlined in "Real World Color Management", by Bruce Fraser, Chris Murphy and Fred Bunting. (Look for it on the Amazon site.)
When the output conditions are not known, make sure to speak to the printers once they have been picked, and clearly communicate to them your concerns. You can provide a CMYK image file separated for US Web Coated (SWOP) v2, and ask them to reseparate it appropriately for their own press conditions. You could also provide the grayscale file, if they would rather have that one. In any case, make sure to tell them that you are looking for a high GCR.
It's also a good idea to send them a properly color-managed proof (aimed at US Web Coated (SWOP) v2), and tell them to make sure to match it. Other than that, and in the absence of any information that is more detailed and specific, there's not much else you can do.
>When I drop the photo into InDesign, the Prepress defaults strip the profile and convert to US Web Coated SWOP, BUT preserves the numbers. The photo takes on a cooler, more blueish tint. Is this to be expected?
InDesign is
i not
converting the image. The North America Prepress 2 color presets use the "Preserve Numbers (Ignore Linked Profiles)" policy for CMYK. This policy
i ignores
the CMYK profile embedded in the image and
i assigns
the default CMYK profile instead. The image numbers are left untouched, but the appearance changes because the default profile (U.S. Web Coated (SWOP) v2) describes print conditions that differ from those established in your Custom CMYK profile.

Best workflow for burning Blu-ray and DVD

Hi,
What's the best workflow for effciency sake for burning both a Blu-ray and a DVD of the same project?
Essientially I'd like to export and create a menu once, then be able to downrez to DVD. However, I'm not sure that is possible since blu-ray and DVD are differnt codecs.
Thank you

The only way that you can get acceptable re-scaling of menus is to go from BR to DVD, and do the editing in Photoshop. Simply re-scaling the menu here will not give acceptable results.
I usually copy the various button layers from the BR menu to a new DVD menu file created using the provided Photoshop preset. You will still have to do some manual re-scaling and alignment. The thing that has given me the most trouble over the years is round button highlights - a segment is often chopped off. Font sizes will probably need adjusting too.
Unless you are adept with handling layers and groups within Photoshop, it may be easier to start again.
Any attempt to convert within Encore is unlikely to produce acceptable menus in my experience.

Workflow for converting 4X3SD to 16X9 HD?

Similar Messages

Maybe you are looking for