Workflow from PP timeline to DVD

Premier Pro 1.5
Encore 1.5
SD 4:3 NTSC 48K 16 bit footage (DV25)
A) Once the timeline is complete in PP, what results in a better quality DVD (all transcodong settings being equal)?:
1) MPEG-2 conversion (Main Concept) straight from the PP timeline and then import to Encore
or
2) Export DV AVI from the PP timeline, import to Encore and transcode in Encore (Main Concept)
or
3) Does not matter
B) Is there any benefit to exporting the PP timeline as an uncompressed AVI or a less compressed AVI (ex: Lagarith) than as DV AVI before importing to Encore for transcoding and DVD authoring? IOW does Camera DV AVI>PP timeline>DV AVI result in additional compresion loss vs Camera DV AVI>PP timeline>uncompressed AVI?
Thanks,
George

George,
It will depend on your source footage (mainly rapid subject, or camera motion), and on the Duration of your Timeline/Sequence. If you have plenty of room on your DVD-Video disc, you can do the bit-budgeting and then Export at the highest bit-rate (up to about 8mb/s), use 2-pass VBR and fit your resulting MPEG-2 onto the disc. I'd still do Export as Video-only and Audio-only (PCM/WAV, or DVD-compliant AC3), rather than as a single muxed file, and Import the MPEG as a Timeline into Encore, and the WAV as an Asset. Just drag the WAV from the Project Panel to the appropriate Timeline and then do your navigation - done. If you have a loner Duration (or multiple Sequences, likely to fill up the disc), do get a bit-rate calculator and remember, the bit-rate will be for both the Audio & the Video combined. If you need a higher bit-rate for your Video, you can make a bit more room by using DD AC3, instead of PCM/WAV - might not be a lot, but might get you a few more b/s in your Transcode.
I do not recall if Encore 1.5 had the Automatic Transcode setting, but in Encore 2.0, I use that most of the time. I just Export my PrPro Timeline as a DV-AVI Type II (Video-only), and the Audio-only AC3 (I do DD 5.1 SS for most Projects), and follow the steps above. I find that the automatic setting will do a wonderful job in all but the most action-filled Sequences. Even then, you can pass on Automatic and set the Transcode manually.
Also, some people feel that there are other MPEG-2 encoders, that surpass the included MainConcept one. Most of these are stand-alone encoders, and in that case, I'd look into one that could handle the Lagarith Lossless CODEC, using that as an intermediate file.
Good luck,
Hunt

Similar Messages

Best workflow from HDV sequence to DVD

I have a HDV sequence 55 minutes,
- export self-contained QT movie, about 10Gig. that takes about 2-3 hours,
- sent to compressor 3, 90 mins best quality,
and it want to take 40 hours!!! to do it......
also tried Visual Hub, took 120 minutes, wrote DVD with toast, image was quite good, but sound was broken,and only half of the movie was written, toast reported an error.
have also done a few short tests using compressor and the image quality was simply awful.
love to know what is the best way, and fairly quick, and good quality to get from the sequence to a DVD.
FCP 6

I'm still a bit blown away by the complexities of HDV editing. SD seemed so simple in comparison!
Everything I read related to taking a project from an HDV timeline to an SD DVD project is such a lengthy process. Which brings me to ask this question... I have captured 1080i footage shot with my Canon XH-A1 and with my Canon HV20 and edited the footage in HDV sequences in FCP. At the time I was unaware of there being processes (such as those mentioned in the posts above) for converting HDV projects to SD DVD projects. So, I simply continued the process of burning a DVD with the HDV sequence just as I always have with SD projects. I exported a QuickTime file of my edited sequence and then imported that QT file into iDVD to burn a DVD. I was very much aware that this DVD would not contain high def footage because I was not using a high def burner or high def discs, so I just assumed that the end result would be having my HDV project deliverable on DVD in standard def. And I wasn't disappointed. My iDVD project burnt successfully and soon thereafter I was able to watch the DVD from a standard DVD player. Granted this was not a long project - it was about 10 minutes worth of video - but is there anything wrong with using this process to go from an HDV sequence to a playable SD DVD? And would the process that I just described work for projects as long as 30 minutes or more?

Workflow question - fastest workflow from AVI files to DVD?

I have recently purchased my first Mac (it is fantastic!). I am currently experimenting with both '08 and '06 iMovie.
Right now my main priority is creating individual DVD's of each of my tapes that I have previously captured via WinDV on an XP system. Those tapes are stored, each clip separately, via AVI files on external hard disks.
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Thanks in advance.

Any suggestions as to the most efficient and quickest way to create the DVD's?
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Export sequence of still images (JPGs, TIFFs) from FCP timeline into DVD without interlaced issues using Compressor

Hi,
How to export a sequence with stills (jpg) into a DVD format by using Compressor without having the interlaced issue on the outcome? The stills in the Canvas look crisp but once exported to DVD format, the outcome images look interlaced. How can I best match the crisp look of the high resolution JPGs in time line when exported to DVD?
My Sequence settings match the image settings:
Frame Size: 1024 x 768
Pixel Aspect Ratio: Square
Field Dominance: None
Compressor: Photo JPG
I tried to export the sequence of img as an independent QT movie file by using Apple ProRes 422 output settings. The video file looks great. I then imported it back to time line into new sequence and exported into DVD format trying both: deinterlace and "same as source" setting. Both output DVD files still have the interlaced issue.
I also tried to work with JPGs converted to TIFFs on a different sequence with same as Tiff settings and the issue still persists.
I will appreciate any advices.
Thank you,
Izabela

Dear Nick,
Thank you, I understand now it is the aspect ratio issue.
Are you suggesting that I should use Photoshop or Graphic Converter to convert the 1024 x 768 to 720 x 480 prior to importing them into FCP seqence?
> Give the DVD authoring software the correct size:
I am using FCP 7.0.3 to create the sequence of images (there has to be specific timing and transitions), which I then export to DVD format by using Compressor.
Do you mean that I should set the FCP timeline sequnece settings to 720 x 480?
Please let me know. Thank you,
Izabela

Jitter problem after burning DVD from avi or mpeg2 that was exported from original timeline edit

When burning a DVD directly from the timeline in Elements 7, there is usually no problem, however, when first exporting it to an .avi or .mpeg2 file, and then putting that new file back into the timeline, and then burning that new file to a DVD, there is jitter or "strobing" when the subject in the video moves (when playing the DVD).
It's not an install, or re-install issue, because before I started with this new computer, the exact same thing happened with the last computer I was using.
Thanks.

Les,
I do not know the newer Pinnacle Studio products, but going back to 8 and 9, through 9.4.3, the workflow was based on DV-AVI, just like PrE is. Pinnacle might have changed over to MPEG-2 in later versions, but I just do not know, as I have not seen a version, since Studio 10 hit was such a disaster.
One of the problems when working from DVD-Video material is that it has already been compressed to MPEG-2, loosing a good bit of data, and also converting the material to GOP (Group of Pictures), so that individual Frames are not present any longer. This precludes Frame-accurate editing, unless that compressed material is converted to all I-frame. See this ARTICLE for some background on GOP. Then, upon Burn to Disk, that I-frame material is once more compressed (again) to MPEG-2 and GOP for use in a VOB container. This WILL cause degradation of the image, most noticeable where there is motion, either subject, or camera motion. Some NLE's offer what is referred to as "Smart Rendering." This can help in some areas. For portions of the footage, where no changes have been made, beyond just cuts, the material will NOT be Transcoded again to MPEG-2, but will be used, as-is. Note: add a Transition, or a Title, or a PiP, or any Effect, and that footage WILL be Transcoded, so the Smart Rendering aspect will be moot. Sony's Vegas has been recommended for Smart Rendering, but I have never used it. This might be worth investigating. Also, if Pinnacle Studio is working fine, you might want to consider using that program. I have 5 different NLE's on my workstation, and use each for specialized situations, though the vast majority of my editing is done in PrPro.
Regarding the existing DVD-Videos, much depends of the source. PrE can Import and work with 100% DVD-compliant (very important) VOB's. Unfortunately, most DVR's do not create 100% DVD-compliant discs. This is most often manifested in the first VOB, which will contain any Menus and navigation. This ARTICLE will give you some background on VOB's, which are Video Object "containers."
As you point out, there can be issues with the resulting MPEG-2, as it will span part of VOB 1, and then all remaining VOB's. With 100% DVD-compliant VOB's, there will be a perfect flow in the MPEG-2 that spans the multiple VOB's. When the VOB's are not 100% DVD-compliant, issues can arise.
Considering your DVR, it is likely that ripping is going to be the best workflow, as that will strip out the other material in the first VOB and should then gather the data for the spanned MPEG-2. The ultimate rip will be to a DV-AVI Type II file w/ 48KHz 16-bit PCM/WAV Audio. This is an older FAQ Entry from the Encore Forum, on ripping, but might have some useful tips. Note: this was for getting material from a DVD-Video for authoring to a new DVD in Encore, and not editing.
For non-commercial DVD-Video editing, I will use an A-D bridge and my DVD deck, and capture to DV-AVI Type II w/ 48KHz 16-bit PCM/WAV Audio, and Import the resulting files into PrPro/PrE. This is exactly the same workflow that I use, with analog material, like VHS.
Also note that PrPro, a US$900 program did not get VOB Importing until CS4.2 (current version), while PrE has had it for some time now. Also, PrPro is a DV-AVI-based, I-frame, program, just like PrE, so no "Smart Rendering" there either. Same exact issues exist in "big-brother," PrPro.
Most of all, good luck,
Hunt

HDV 1440 x 1080 on timeline to dvd compliant MPEG-2?

Gents, I need your help, suggestions and advice once more.
About 2 months ago, I belatedly and finally entered the HDV world by purchasing a Canon XH-A1s which all in all I’m very pleased with. Due to time constraints, limited processing resources and the complexity of the project involved, it was only earlier this month that I submitted an HDV program to be aired on local access cable.
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My twin goals are to:
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b) To the extent possible, maintain image/footage quality so that it remains watchable. I’m looking for a workflow that will retain quality within reason.
What approach and solution would you take if you were in my shoes?
Am sure others have traveled this route before and would appreciate all input and pointers to mull over and try to apply them not only to this project, but those in the future as well.
Thanks so much.

Tutorial HD to SD w/CS4
http://bellunevideo.com/tutorials/CS4_HD2SD/CS4_HD2SD.html

Feature Request: Modify Audio Channels from the Timeline in Premiere CC.1

Why have we never been able to modify audio channels once a clip is added to a sequence? I'm guessing there's a good reason Adobe has never had this feature. The lack of this feature is explicitly mentioned a few times in the audio section of the Premiere Pro CC manual, as if it's a benefit NOT to have it. But the benefit is entirely lost on me.
In my workflow, I synchronize my double-system video and audio before anything else. I do this in PluralEyes (and unfortunately I'll have to keep doing it this way, until PPr's sync on sound feature gets fixed—for me it's never worked).
Once PluralEyes has synched hours of footage and audio and placed it on a PLURALEYES GENERATED sequence, I import that sequence into Premiere. Note: Since I haven't gone through the step of creating a blank New Sequence, I don't get the opportunity to setup my audio channels the way I'd like in my sequence (i.e. Stereo recordings should occupy ONE track, not two. Typically these tracks come from a camcorder and are used for reference sound, or ambient noise at best, so I don't need them taking up precious real estate in my sequence).
Since PluralEyes doesn't merge my clips for me (or rather I don't want it to since I'm usually doing multi-cam sequences where I want to keep all 14, or so, tracks of audio), I have to go through the clips one by one and do a Merge Clip action once I've adjusted any minor sync issues, or determined which tracks I actually want to keep. But, and here's the key, at this stage I'm not yet 100% certain whether I'll use the nat sound or the wireless mic sound (separate audio recorder, etc). Furthermore, I don't really want to think about that at this point. After I've spent a few mind-numbing hours just ingesting files, sync and merges, I want to jump into the edit as soon as possible, before I lose all will to finish this edit. If I modify my audio channels right now, I'll lose the ability to make some creative decisions later on.
I'd like to start whacking out an assembly edit. And then after I have a rough program, I can start looking at which audio tracks (nat or double-system) I like better in each circumstance. This is where I become stumped that at this stage, I'm locked into whatever audio channels I've setup (or not) in the earliest stage of the edit, back before any media was actually on the timeline! It's at this stage, and usually only at this stage that I want to start Modifying Channels—FROM THE TIMELINE!
Does anyone else feel the same? If not, what is your workflow?
Feature Summary: Right-click on any clip, (master clip, sub-clip, merged, nested or otherwise) in the timeline and choose Modify > Audio Channels.
I've submitted a feature request, with a link back to this discussion, so please pipe in—especially if you want this feature.

Maybe its your specific workflow, asset mangement and use of a 3rd party application that runs you into an issue.
Take Pluraleyes out of the equation, I would imagine my workflow is the same as most everyone else. Find footage in the Media Browser. Import it. Create a Sequence and start editing. Use the Source Monitor to set Ins and Outs and then Insert the clip on the timeline.
At this point, if the audio needs to be modified, it cannot be done on the Timeline. The workaround, of course, is to Find Clip in Project; Modify Audio in the Project panel; then do a Matchframe to replace the audio clip. This works, but requires many steps per clip. Also, Matchframe in Premiere Pro CC is not reliable.
Introducing a new Modify Audio (from Timeline) feature as seen in the fantasy screenshot above would solve it.
I dont use Pluraleyse ...which I understand to be a synching aid...so I dont know the workflow it imposes on one .
Returning to Pluraleyes workflow, this issue is compounded by the need to Modify almost ALL audio. Every stereo track is separated and placed on two MONO tracks taking up precious real estate. This is not something Pluraleyes imposes. It is due to the way Premiere imports XML timelines. This would apply to sequences imported from Final Cut as well.
In this case it would be ideal to select both the LEFT and RIGHT mono tracks and choose "Modify > Audio Channels > Merge L/R Mono to a Single Stereo track." Ideal? No. I guess Ideal would be if Premiere would interpret XML files properly in the first place.
What actually is the issue with Premieres synch and merge workflow in your case?
Audio Sync in Premiere Pro doesn't work. Period.

Can someone just spell it out for me? Going from FCP HD to DVD SD :-(

Hey folks. I hate to come here and ask a gargantuan number of questions, but this has been driving me out of my mind. I've tried asking specific question in hopes of simply finding one little problem that will fix my woes, but now it has come to this:
Can someone just spell it out for me?
How do I get my DVD going? I'll fill you in with all the knowlege I think you need.
I shot with Sony's HDR-FX1 and edited in Final Cut. That means I'm working with High defintion. The movie is set and solid, and runs One hour and twenty mintues. I'm trying to get it, the commentary track, the subtitle track, and a slew of video files (also shot in high def) onto one dvd. This goes beyond the 4.8 gig limit. Hence, i have a Dual layer burner, and have been burning onto DVD-R DL disks.
I've tried downgrading to SD format through steps from this website:
http://www3.telus.net/bonsai/Step-by-Step.html
I do all the steps to all of my files, and then start putting them into my DVD STUDIO PRO project. I have a recorded commentary which I add in, and I have written all the subtitles. The disk is in SD mode, and everything fits onto the dual layer disk. I've tried literally a dozen different ways, and something keeps going wrong. Either the menus won't come up, and just the film will play upon inserting, or the subtitle stream doesn't pick up- problem after problem. So, now I ask: Can someone simply spell out to me what steps I need to take to get my HD film onto a Dual Layer SD disk?
I apologize for how general this question is and how many directions it can go, but I'm at a breaking point after four months of failures. Thank you very much.

Hi man.
I don't really know which ways you've taken to put
the video into dvd studio, but since you're asking
for a step by step process, then here's what i do:
- export the entire hour out of FCP to a qt file
- take that QT file to compressor. the only audio you
really need is dolby 2.0. this would also reduce the
file size of video to make things fit in a single
layer dvd
I have always found that the 'Dolby 2.0' and '5.1' AC3 settings in Compressor badly affect your audio mix...it collapses the soundstage, takes away a lot of depth and imaging, and smudges the frequency range, so I usually output a 16-bit 48kHz, which holds things together much more nicely when working with a stereo mix. Problem is, for a feature-length films, the resulting output from compressor makes it too big to fit on standard DVD-R's with the M2V picture file. My workaround was to actually take take the original exported FCP QT movie (which has a 48kHz aiff soundtrack to begin with), and only lay the audio part of it in the track timeline in DVD studio pro, then lay the compressed M2V video on top of it. They're both still in sync, unless you picked different in/out points in Compressor. When you 'build' your Video/Audio TS in 'advanced burn' it somehow makes it small enough to all fit onto a DVD, while still maintaining the audio quality of the AIFF, instead of the crappy-sounding 2.0 AC3. Then you just use Toast to burn your disc. The difference in sound quality is night and day. So basically I do the picture in Compressor, but let DVD Studio Pro prepare the audio in the Advanced Burn stage.
It will be very difficult to get a good-sounding AC3 (what they call 'dolby' 2.0 or the wierd 5.1 encoding they use) unless you mix/master/encode your soundtrack professionally like regular studio films do. Just encoding it in compressor straight out of FCP or ProTools isn't enough. You lose too much.

Compressor is not working. When I export to compressor from FCP to encode DVD, FCP freezes and Compressor appears to be working but the progress bar never fills no files are created. I'm using a MacBook Pro 10.6.7 version 2.66 GHz core 2 Duo 4GB 1067 MH

Compressor is not working. When I export to compressor from FCP to encode DVD, FCP freezes and Compressor appears to be working but the progress bar never fills no files are created. I'm using a MacBook Pro 10.6.7 version 2.66 GHz core 2 Duo 4GB 1067 MH. I'm not new at this. I re-installed FCP successfully. I trashed the preferences. Please help.

Do you have any filters applied to your clips?
This happened to me before, I accidently had applied a broadcast safe filter to a color matte that was black....
I figured it out by duplicating my sequence and deleting items from my timeline 1 by 1 until I was able to export a reference movie.
Anywho, export again, this time with "self contained" movie selected.
Then try to import to Compressor.

Is Compressor 4 necessary when sending from FCP X to DVD Studio Pro

I am making a FCP X movie and when it's finished I want to put it on a DVD using DVD Studio Pro. I have done this before but now I'm wondering if I should first export it to Compressor 4 and then to DVD Studio Pro. I understand that if I was puting it on YouTube or an iPod device I would need to Compress it however why would I need to go to Compresss 4 first if ultimately going to DVD Studio Pro? Would I get a better Codec quality then what I get from exporting in FCP X using their default Compression format i.e. Quicktime? Should I use an Apple ProRes Compression from Compressor 4? I guess I really don't understand the encoding quality options very well however I do want the best quality on my finished DVD. The DVD or Sequence is somewhere around 20 - 25 minutes if that makes any difference in your response.

People will tell you that encoding in Compressor will give the best quality, but that assumes you are using a suitable preset and for your length of video the ready made ones are unsuitable and will waste time as they are all 2-pass with variable bit rates (VBR).
For DVDs under 70 minutes long the best quality and fastest encoding times are achieved using a constant bit rate (CBR) of around 7.5mbps.
For your short DVDs you should achieve the highest quality and fastest processing by simply exporting the project from the timeline as it is, drop it into DVDSP and set DVDSP to encode and burn it at the specs I gave above.
Returning to my opening comment, you will frequently find that the theoretically best solution to a problem results in no discernible improvement but often entails a lot more work and time-expenditure.
P.S. You might get marginally better quality by raising the bit rate to 8mbps but you run a slight risk that some old or cheap players may not be able to keep up, resulting in dropped frames.
Message was edited by: Ian R. Brown

How to transfer from DV tape to DVD through final cut studio?

I would like to take a my 1hr presentation tape from dv format to DVD, without capturing in to final cut pro then exporting to DVD studio and burning a disk. Can I do this?

If you forgo the DVD recorder solution, it doesn't matter which program you capture with ... ALL programs will capture in real time. So if you have a one hour tape, it will take an hour to capture in FCP. It will take an hour to capture in iMovie. It will take an hour to capture in FCE. It will take an hour to capture with QT Pro. It will take one hour to capture with CatDV.
Capturing in FCP will add no more time to the process than any other program used for capturing.
Once it's captured, then it will need to be encoded, authored and burned.
If the goal is to save time, the DVD recorder would be the quickest method. But the OP didn't state his goals.
-DH

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Is there a way to copy & paste a clip from the timeline in one project in to another project?

Hello Popular Premiere Pontificaters,
I am using Premiere 6 on a Windows 7 machine.
Is there a way to copy and paste a clip from the timeline in one project in to another project?... I can copy my clip, but when I open the other project, it will not allow me to paste it in there... but I am able to copy and paste a clip within a single project. I tried everything... pasting in to a new video track and pasting in to an existing video track in the second project, but the paste option simply isn't there when I open the second project.
And if Premiere itself will not allow me to do this in any way, will a copy-paste clipboard type of accessory app allow me to do this?... if so, which is the best, trustworthy copy-paste app that is malware free?
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Hi Bill Hunt,
I just read the page that you provided about "Handles"... thanks allot for that ARTICLE. In your article and the subsequent article HANDLES, "Transitions Overview: applying transitions" linked from your article, it indicates (in PrE and PrPro anyway - I'm in Premiere 6) that transitions can be applied to non-Video 1 tracks... the paragraph below is a quote from that "Transitions Overview: applying transitions" article...
"Whatever is below the transition in a Timeline panel appears in the transparent portion of the transition (the portion of the effect that would display frames from the adjacent clip in a two-sided transition). If the clip is on Video 1 or has no clips beneath it, the transparent portions display black. If the clip is on a track above another clip, the lower clip is shown through the transition, making it look like a double-sided transition."
So this indicates that transitions can be applied to non-Video 1 tracks since it is referring to content in tracks beneath a transparent fade that would show through... and only non-Video 1 tracks can be transparent and have other clips "beneath" them in the timeline, right?
In the screenshot sample in your article at this LINK, I see the handles (referred to as B and E) and I can see in my monitor window how those handles would be represented by the two little bracket symbols { } ... you can see how they appear in my monitor window in Premiere 6 in this screenshot, and below, from a different thread that isn't related to this topic.
But I'm still trying to figure out how the handles can be applied in the non-Video 1 tracks in the timeline to insert a transition (cross-dissolve) between two clips.
Can you advise me on this?... I posted a separate thread HERE on this topic, but I haven't got any further with finding an answer.
Thanks so much for your article,
digi

Issue Transporting Business workflow from one System to Another

Hi All,
As there are many limitations in Import/Export of Workflow I'm going for a Transport of Workflow from one sytem to another.
There are some query's reagrding transporting of the Business Workflow through Transport Request.
1)   How can get the Transport Request no. of the Workflow to be transported? (As there are no direct versions displayed from menu).
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Please describe as I'm new to workflow.
Please identify if there can be some issues after transporting workflow .
Regards,
Ujjwal

Hi Ujjwal,
Please find the below hint's.
1. Regarding the objects included in the Transport request check the Tables - E070*.
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3. To get the TR for Business object, Go to basic data ---> Transport data --> Here you can see the Request ID for the business object.
Thanks,
Viji.

I cannot boot from HDD nor CD/DVD drive - Satellite C

I want to recover my laptop & i need to boot from cd.
I pressed F12 first time & boot from cd but i discoverd that i have put another cd just when i restarted (correctly) i could not boot from cd neither hdd.
When i log in bios hdd was detected but not available in boot priority menu. Just network adapter was there & now i cannot boot from hdd nither cd/dvd. Bios version is 1.30
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> When i log in bios hdd was detected but not available in boot priority menu. Just network adapter was there & now i cannot boot from hdd nither cd/dvd.
Does this means that neither HDD nor CD/DVD drive appears in the BIOS boot option?
Strange what notebook model do you have?
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Workflow from PP timeline to DVD

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