Frage von cebros:
I use the Adobe Media Encoder, on the basis of the preset "PAL 16:9 High Quality", target bit rate increased to 8Mbit / s for export my HDV projects.
Out the result, however, leaves much to be desired: The film has generally blurred, and I put down irregularly occurring local blurring with fine structures, especially at slightly blurry scenes.
If I play the finished movie, but in most HDV tape, then back to DV DV to a new project (via the use of Integrated conversion of the Sony HDR-HC1E) and then export this below, this effect does not occur. Overall, the result looks better that way to classes.
I could explain to me the effect, so that is performed when downscaling the HD-SD fields on fields without clean deinterlacing.
Enable deinterlacing (assembly), however, is useless, since it caused only 25 frames per second. Although these can be exported as PAL Progressive, the reduced frame rate bothers synonymous, however.
I have tried various settings, but will in no way results are anäherd only as good as the way of the Camera and DV.
Actually, should the direct export but a better quality than this circuitous route to achieve, since even less lossy compression is necessary. Does anyone know a solution?
I've already posted this story synonymous with the Adobe forum, but received no reply. It can not be, however, that I am the only user with this problem.
Antwort von Axel:
Salut cebros,
As a not-yet-HDVler is still fishing in troubled waters, but either
s.dekodiert the AME, the material Mpeg2 to DV before putting it back zurückkodiert to Mpeg2 (because you want to make a normal DVD, strikes the most) to - it would then have a different preference than native HDV "PAL 16:9 "type, which only the clips from your timeline summarized in a downconverted SD Mpeg2 file copies without having to use DV or (???),
If I play the finished movie, but in most HDV tape, then back to DV DV to a new project (via the use of Integrated conversion of the Sony HDR-HC1E) and then export this below, this effect does not occur. Overall, the result looks better that way to classes. b) the AME good for nothing (in Comparison to the cam-converter), which I can not imagine.
But if SD from the action not only faster and is easier to process, but synonymous looks sharper than SD from APP, it is your way of working not only impractical, but precisely synonymous qualitatively worse.
I could explain to me the effect, so that is performed when downscaling the HD-SD fields on fields without clean deinterlacing. Why should be de-interlaced? It makes the material in its original condition. The earlier excitement about ugly interlaced video - of myself with fanned - was for naught. Modern TVs deinterlace very good, although the difference is still visible, but yawn -! - However, for academics (synonymous, they throw away half the picture information, which is why 1080i on a plasma, although very nice looking, but with actual 540 pixel dissolve worse than 720p. Why then builds HD Cams i in ""? Better lowlight behavior? better motion resolution? eyewash ME!) "impurities" de-interlacing is a pleonasm synonymous, since matter which way it is, discard half of the original - image information is. Your example image shows no typical signs for wrong field order. But it could be that by Downkonvertieren to SD (only about half survived 1/5tel of resolution) and subsequent "clean" deinterlacing (SD Resolutionwird again), such a difference in quality is apparent. Stop it with the De-Interlace.
As previously suspected, is the only viable workflow for the creation of an SD DVD from HDV footage to playout on the cam-integrated as a DV converter.
The workflow for HDV as an output format is the grouping of the file without changing the data rate, save to the hard drive, or export it back to Cam.
Antwort von cebros:
Thanks for the detailed answer!
The detour via the DV Camera and I want to save me actually, because it costs a whole lot more time. And besides, should theoretically be the quality of the direct export better, as no accident DV compression artifacts in the process.
Why are the results of the direct exports are so bad, because we can only speculate. I can clarify my theory on the "dirty" or de-interlacing completely lacking a little:
I suspect that the AME is simply the 1080i to 720i fields
runterskaliert-(correction: should have been called 576i) for PAL fields. It is lost but the information from each other half-frames.
To get the maximum quality, but would require all 50 fields are combined into full-screen images. For these could then be correctly extracted by the downscaling of the fields. I guess that makes Sony so.
For the thesis that there is a de-interlacing problem is, synonymous speaks, that the sharpness can be obtained if the option "Merge" (ie de-interlacing) is activated and an output PAL progressive format is selected. In this case, the AME a de-interlacing of the starting material to occur and then to scale the system takes 25 frames, which results in sharp look the same as in the way of the camera. Only this is unfortunately not an option, because the reduced frame number, is just visible in moving scenes.
But I can be wrong synonymous ;-)
On the edge it should be mentioned that the DVD export of HDV content in Permier 1.5.1 was completely unusable.
Regards
Cebros
Antwort von Axel:
Cebros Salut!
But I can be wrong synonymous ;-) I may be wrong synonymous, but at least you throw a few things mixed up.
The detour via the DV Camera and I want to save me actually, because it costs a whole lot more time. And besides, should theoretically be the quality of the direct export better, as no accident DV compression artifacts in the process. Utter confusion
I understand you correctly:
s.Du films in HDV (you should always synonymous) do
b) You captures as HDV (should one do if one wants to s.Schluß HDV)
c) You cut and filterst in HDV (should
only be done if one wants s.Schluß HDV as HDV is already
compressed so
much more) than DV, namely, Mpeg2,
if anywhere, appearing more compression artifacts, then here
Your next step is not clear to me. Now you Exportierst the finished cut HDV (= Mpeg2) to "16:9 PAL DV or immediately after a Mpeg2 SD with 8 Mbit / s?
The detour via the DV Camera and I want to save me actually, because it costs a whole lot more time. A DVD that is with 8 Mbit / s running on a normal player, a DVD in Pal-standard resolution, so the same Resolutionwie DV. It is no detour, capture directly in DV, cut, and filter and export. Where is the detour?
I suspect that the AME is simply the 1080i to 720i-fields runterskaliert fields for PAL. It is lost but the information from each other half-frames. Wrong. 1080i HDV is the
Height of the image, 720 the
width of the DV image, which is 576th Height
HDV has a maximum of 1080 x 1440 pixels = 1,555,200 pixels
DV PAL is 576X720 pixels = 414,720 pixels
HDV has therefore whopping 375% more (sometimes faked) Resolutionals DV. Statement at:
http://de.wikipedia.org/wiki/Hdv
To get the maximum quality, but would require all 50 fields are combined into full-screen images. For these could then be correctly extracted by the downscaling of the fields. I guess that makes Sony so. No.. As written, it is nowhere unasked de-interlaced,> and for good reason, loss of quality.
For the thesis that there is a de-interlacing problem is, synonymous speaks, that the sharpness can be obtained if the option "Merge" (ie de-interlacing) is activated and an output PAL progressive format is selected. In this case, the AME a de-interlacing of the starting material to occur and then to scale the system takes 25 frames, which results in sharp look the same as in the way of the camera. Only this is unfortunately not an option, because the reduced frame number, is just visible in moving scenes. What exactly have you done with the material, I do not know what you write, is backward and forward any sense. Just this: deinterlacing really means scale, and indeed, as stated by waiving 50% of the image information. So hands off.
On the edge it should be mentioned that the DVD export of HDV content in Permier 1.5.1 was completely unusable. Because there is no DVD for HDV in the German market, let alone a player. If you want to play HDV, you must do so on your calculator, or of the camera - but then no intermediate step on DV!
But so far only works for DVD, the standard resolution, convert the HDV capture in DV and then stay here!
Antwort von cebros:
Salut!
I do not think that I have since thrown that mess. A small error has crept in, however: Of course I wanted to write for PAL 576i, not 720i ...
I film and cut into HDV. First, I then play the final result in full-quality HDV back to tape. Unfortunately, this requires to play the camera, as you write synonymous. Therefore I need for everyday use today, a DVD copy. Only when Blue-ray Disc or HD DVD are available, I'll just copy the movies then.
My problem is: How do I create this additional DVD version as soon as possible in the best possible quality.
NOTES A to compression. The lower data rate of MPEG to DV is primarily attributable to the procedure. Simplified explains: In MPEG, the images are a function of other pictures in the encoded video stream and thus require less space. Only the so-called I-frames contain complete images, P-and B-frames are dependent of the preceding and following images.
In contrast, it is in DV an MJPEG-like process in which each frame contains independently of the others a complete picture.
Thus can the same picture quality with MPEG (synonymous includes artifacts, a lower data rate) to achieve, what makes exploiting synonymous HDV.
I appreciate the severity of artifacts in HDV, roughly similar to a as in DV, because of the higher Resolutionwerden them visible but in contrast to the DV artifacts only when really of large format projection. And when down sampling to lower PAL Resolutionverschwinden it extensively. Thus, should practically only the MPEG compression artifacts of the past is visible in a DVD copy of an HDV movie.
In contrast, add up to a DVD copy of a DV movie, the DV artifacts and MPEG artifacts.
And a note on the De-interlacing: Only in primitive procedures are sending 50% of the image information is lost. Modernity - and synonymous computationally intensive - using previous approaches and subsequent fields to produce a full frame. See
Antwort von cebros:
For Comparison nor the two sources. Both were then with the same settings "MPEG2-DVD" / "PAL DVD 16:9 high quality, data rate increased to 8 Mbit / s exported.
A special setting for the export of HDV MPEG2-DVD is not available.
Small note: The quality of the framing enstpricht not quite the shooting, I had to edit it in Photoshop yet. Nevertheless, they reflect the differences in quality verhältnisgetreu again.
Antwort von Axel:
Salut cebros.
We had put us both too complicated. Now everything is clear. You want both HDV as synonymous - for the time being - a standard DVD.
So it is still so that the decoder in APP is worse than the Cam, so you will (the detour yes, it is a small, unfortunately) have to go.
And a note on the De-interlacing: Only in primitive procedures are sending 50% of the image information is lost. Modernity - and synonymous computationally intensive - using previous approaches and subsequent fields to produce a full frame. See http://de.wikipedia.org/wiki/Deinterlacing. Thank you, THIS concise statement did not exist when I had looked the last time on Wikipedia. I used to be obsessed with the achievement of the "film looks" my "i"-deinterlace material. I have therefore some of these methods to (try to BOB).
Unfortunately, it is so in practice that the software methods on a small picture (Webfilm) all look very nice - even the "Skip field" - but that becomes visible when viewed on a big screen that it tasted sharpness and brilliance has. Your example could be left image (the first sample image well) of "Skip Field caused". Note that each of the following disadvantages of the methods described: blur, blurred images, artifacts, flicker (I add: strobing. Filme times a ventilator, then deinterlace. Then he could turn back) Now I have respect for The deinterlacing of TV hardware. Only Webfilme deinterlacing is required.
Since the gecapturete of the action as DV footage looks better than HDV but with a 1-chip DV-DV cam
directly recorded (this is described in the forum every now and then), it seems unlikely that deinterlaced
on the fly and re-interlaced is. Have you read it somewhere?
Conclusion () for the third time: Please do not turn willfully deinterlace, it should be in your export settings, therefore, never PAL Progressive etc. stand.
Antwort von cebros:
Hello Axel
I do not plan what to de-interlace willfully. :-) The fewer filter transformations and compressions, I expect the material has, the better ...
I am only looking for a DECLARATION, why the result looks like in the way of the camera so much better.
For clarity here are the two approaches:
1) Tape HDV -> HDV Project -> DVD MPEG (is bad)
2) HDV tape -> HDV Project -> HDV tape -> DV Project -> DVD MPEG (good)
This means that although I perform more lossy compression (3 instead of 1), the result is better: Lossless is only the capture of HDV into the Project, the export back to HDV, a new compression requires the conversion to DV with the action, too.
It only allows the conclusion that the Adobe Media Encoder conversion to the PAL resolution Poor working the subsequent MPEG compression is yes, then the same.
How exactly this conversion should work as long as one could speculate, but the absence of configuration options that you can not do anything anyway ...
Regards
Cebros
Antwort von fragile:
How about with the step HDV tape -> DV Project -> DVD MPEG? is better than the version 1?
Antwort von cebros:
In the Adobe forum, I have received the following reply:
Karl Malden - 16/5/06 11:04 (# 1 of 1)
this is an effect that is synonymous known competitor of Apple. Export simply does not go out because the quality is so bad.
There are people who make a two lane HDV de interlacte traces to scale and compositing with you 590% of each other, that will come good.
Otherwise effektv your way through the Sony camera is the choice of the moment.
Is hoped that as Adobe or MainConcept still does what, so you can export in one go. Regards
Rudi
Antwort von wolfgang:
This is an interesting thread here once. The evidence seems quite well that in the interface APP / MainConcept encoder in Runterskalieren of HDV2 to SD did not match what is expected. And compare the approach to export to SD from the camcorder with which the encoder is an interesting time.
One can now only guess whether it s.APP, s.der data transfer of APP to the encoder, or s.Encoder lies. We do not know, and there are hardly synonymous experience.
How it looks in other editing programs that also use the MainConcept encoder, one would almost durchtesten times. Vegas as often been told that the level of direct export of HDV as SD from the camcorder better quality than the Runterskalieren a HDV project to SD. Whether it is also located s.diesem problem, I do not know exactly, but could be.
In any case, an area which ought to be kept in mind - we're
still dependent on SD DVDs.
Antwort von Bruno Peter:
... yet we are reliant on SD DVDs In my case this applies only to the old DV footage of DV camcorders to ...
From HDV of
course I do
HD video, the box office, I either with an HD network player via the component input or with the HDV camcorder via the HDMI input to the True-HDTV.
I have not the whole HDV / HDTV purchase equipment to make SD DVDs to ...
Antwort von wolfgang:
Not for personal use, Bruno. Special for the transfer of the disc s.Leute to stop your playing capability have not yet ...
Antwort von Axel:
... yet we are reliant on SD DVDs
In my case this applies only to the old DV footage of DV camcorders to ... Salut,
Apologies for the ugly double quote, just fit in well. A (still) theoretical considerations, HD, I've never (yet):
If you BOTH want for yourself NOW an HDV version to this - what is it really a kind of small servers? - And BOTH an SD DVD for sharing, if it were not possible, the following workflow:
1. The whole project as HDV capture, cut and spend.
2. The capture of the movie as a DV camera and a new swing over to the DVD.
My account: a finished movie to say the one we will take 20 minutes is s.Stück synonymous gecapturet in 20 minutes. The code to Mpeg2, of course, depends on the processor and encoder, but let's say 1 hour. During this time I'm going to eat a kebab. Would that be a direct Kleinkonvertieren HDV Mpeg-File (AND Resolutionmüssen data rate to be adjusted) is actually faster conceivable? Moreover, where obviously the quality is better. What do you find it so complicated?
One more question: Is Returning a HDV camera to film after the cut actually in real time (if only cuts and no effects have been applied)?
Antwort von wolfgang:
Axel, it is basically like DV: the project must be for export to the HDV camcorder Gerend, at least the parts are calculated new, where you have filters, effects, etc. on it.
In the intermediate codecs is smartrendern as DV-avi quite possible in some applications - saving you time. If we have m2t native material in the timeline available, which is still very different - some applications can already, while others render all the material new.
In general, especially with the HDV render much higher cost than DV - if you've got 1080i but approximately 4 times the pixel count, as expected in today's PCs to the wolf. So you can take a multi-course menu Doner treat.
Antwort von cebros:
Hello Axel
Your proposal enspticht yes in principle to the approach of my practicing, so
Tape HDV -> HDV Project, cut -> HDV tape -> DV Project -> DVD MPEG
I feel the additional time required by the exigencies of the replay in DV, as a nuisance. Furthermore, I would sometimes burn an alternate version of a film on DVD, without having to use the HDV export and the camera to have.
For fully transcoded into PPro 2.0 have the entire project to export it back to tape in HDV, which synonymous with modern hardware can take quite a while.
Regards
Rudi
Antwort von Axel:
Hi Wolfgang, hi Rudy.
For fully transcoded into PPro 2.0 have the entire project to export it back to tape in HDV, which synonymous with modern hardware can take quite a while. Can you give an example? How long would be in your Calculator (Processor Product Comparison for not bad) 20 minutes to render material (say, every clip has had at least one color correction needed) and, therefore, whether it is worth it to eat at a Chinese hospital. About indeed last.
Antwort von wolfgang:
Axel, as such information is always very difficult. But today's middle class on a PC like mine (3.2 Ghz P4) would I for 20 minutes on each clip material + Farbkorrkturen treat at rest with a 1-hour lunch with a Chinsen.
Viewed please but only as a rough estimate, sowas synonymous depends strongly of the NLE and the used encoder.
Antwort von Axel:
Salut Wolfgang.
I make about 1-2 movies per month, usually under ten minutes. On average, sound mixing and effects, music and I often sit one week and come quickly to 40 to 50 hours of concentrated work. Even if my calculator is lonely after
three hours puzzling would beg, I did not begrudge it to him!
Moreover, now without the DV-tape-versus-external-hard-drive for archiving thread to try to re-open: A copy of HDV on tape I think is reasonable.
So I do not understand your complaint.
Also: Do not be a storage of the finished film on HDV removable disk synonymous rendered everything anyway?
Antwort von PowerMac:
The premiere is just bad when scaled.
Read these instructions as you in the best quality with After Effects resize. The result looks better than anything. Better than synonymous, and third party programs as Final Cut Pro.
http://www.final-cut-pro.de/stage/_inhalte/berichte/016_hdv_zu_sd.shtml?navid=2
Antwort von Axel:
Wow!
Thank you very much. And Rudy was almost right with the De-Interlace. I hang too much in the wrong forum ;-)
Antwort von wolfgang:
Nice article. Would time be interesting to know how these paths as in Comparison to propose Procoder - which is actually synonymous not bad.
But the rendering times are times be considerable, the described in the link path.
Antwort von waggis01:
Hello
I am an absolute newbie and hope I can once again "stupid to ask." On the advice of your attention, I bought an HDV camera) (SonyHC3. Well I bought Premiere Pro 2.0 open, and created after a few hours of swearing once a project with a primitive cut and title as a test.
Inexperienced, I exported the Project and frightened if the result on the DVD. Screaming. Luckily you are already s.Diskutieren for days about this problem and if synonymous, at a level where I have the terminology :-) barely understand, but that will come with time still.
Can you recommend me of a crack in simple words, how can I export a good result if I keep data on the tape anyway? Does it make sense to play the tape data into the computer hard drive, cut, export (which format?) And then burn?
And a second question. I can not jump with Premiere Pro 2.0 Record. Although the camera begins to run when I click the play icon, but I do not see a picture and in the upper left edge of the window is the message, the recording device was offline? If the s.Kabel? I do not work with an original of Sony iLink cable.
I thank you already for your help. Without this forum I would have do not even buy a camera. Super thing.
Marc
Antwort von Bruno Peter:
So the thread is horrible, when you do seem to be the most primitive things do not work out. You worked hard times in the functionality of Premiere Pro 2.0, a synonymous, and you'll get a very good result.
Inexperienced, I exported the Project and frightened if the result on the DVD. Screaming. Well, in my crystal ball, unfortunately, I do not see what you're doing well at all ...
Antwort von waggis01:
Well, as I said. I export the section in HDV quality and then burn it. The result is then a much poorer quality, designed as recorded on the original. So what is lost when exporting. I therefore wonder whether I should change it for the recording to the hard drive in the camera setting to DV, as mentioned in the post.
That with the incorporation is such a thing. Beginners as in such a complex matter. Therefore, synonymous my request for help. Most but we learn in the forums. Or is it?
The other question was whether anyone knows the problem in the Recording (function F5). I have a "normal" 400Mb cables. Not the original of Sony iLink. Although I can through the window, playing host to trigger the camera, but do not see any picture in the window on the PC. The capture device is offline. I wonder why this is so. I found it on my - certainly not amateurish - Search in the Help menu, nothing. I did so on the import WinOnCD. Go synonymous yes. The file can be synonymous without having to open another in Premiere Pro. It only comes to directly capture.
If you have no loss of quality, I would like to know how to do it. It appears that my prescribing synonymous not quite sure. Or I just do not understand it, and once asked. It is obviously yes :-) no stupid questions for beginners.
Antwort von PowerMac:
Then you have to come read this thread just 15 times. As long as you have until you understood it. The linked instructions synonymous work.
Antwort von Mr Jo:
Hi guys,
to the actual thread, the poor quality when Downconvertieren I want to contribute my own experience, these are as follows:
Have been a few weeks ago, also owner of a HDR-HC3, in principle, I can confirm the result with the DV-output of a cut HDV of Filmes Cebros.
Of course you want to cut (s) with this camera in HDV and his films are here to save the same job with an SD version - so it is the logical option, the HDV footage just by Adobe Media Encoder as a PAL SD output version .
And I do not choose a bit rate as CBR Cebros, but a VBR bit rate of 6000 Mbit AVG, MAX 8500 MBIT, MIN 4000 Mb in 2-pass procedure.
The quality here is definitely better than with the CBR also tested 16:9 version, nothing more can not satisfy them, despite a high expectation.
The version of the film replaying again on the Cam and then as SD DV output is one way in increasing the quality noticeably.
The fact clearly the best quality but I find if I the HDV Mpeg2 file with Procoder Express Converti. Here, I get exactly the HDV picture quality, but just to DV level. No compression artifacts, no color changes, which corresponds to the maximum possible sharpness of DV, also no wave formation or deformation of line for titles or filmed script.
To make this statement as targeted to that I had with various footage (all daylight shots) tested, the result was always the same and with the naked eye immediately verifiable.
The following experience I could make it out:
I Convert the home movie with the Media Encoder for HDV 1080i with 25 Mbit / s CBR anamorphic 50i, often fails to Procoder s.der Convertierung, where it cancels them out immediately or after some time, and returns either no results or only a part of the film.
In addition, I have developed the following workaround:
I export the finished cut film back into the camera. Moreover, the events of APP is rendered. The film is played when it is rendered to the camera, APP appears in a dialog that announces the end of a successful action. The OK button of this dialog can now be viewed NOT! Just at this time, I switch into Projket directory. There APP has rendered a File, just the camera to be played on the HDV footage. This file has the name "HDVExport.hdv2" - and now I copy just this file, rename the extension to *. mpg and this file makes the Procoder with no stress and can be down-no problem. But I also have the use in Procoder 2 -- pass procedure with the following settings: VBR bit rate of 6000 Mbit AVG, MAX 8500 MBIT, MIN 4000 Mbps.
After copying the files, the dialogue in the media can provide encoder (done) are viewed, and now the export file will be deleted.
What, however, the difference between the encoder with the media created the file and export file is located, I can not say exactly when, in my opinion, the media encoder file corresponds to the HDV - standard - but perhaps you can of something to someone so say ..
Greeting Mr Jo
Antwort von cebros:
@ Bruno Peter
You worked hard times in the functionality of Premiere Pro 2.0, a synonymous, and you'll get a very good result. How?
@ Mr Jo
It seems that it is in the m2t file "HDVExport.hdv2" a Transport Stream is.
This can replay with appropriate tools (for example, with CineForm HDLink of) after renaming Wegkopieren and easily onto tape.
The m2t files, however, which worked with the Media Encoder, the setting "MPEG2 / HDV 1080i 25" produced, it not with me. Thus, it seems exactly the Media Encoder with the standards not to take.
Regards
Rudi
Antwort von wolfgang:
Jo
in the way of you described should occur, however, a fundamental mistake: if you are converting HDV material in the PCE to SD material, then the spaces are not converted correctly.
Surely I'm doing, when it should be on the PCE version, which is in Edius there. But I fear that the synonymous standlone PCE version is not designed to correct color space conversion - that is just the Procoder 2, which has integrated appropriate filter.
Antwort von Bruno Peter:
Ah!
Then PCE for EDIUS in standalone operation and the Procoder Express for the conversion of HDV to DV is not at all used to prefer Wolfgang?
Antwort von wolfgang:
No, the PCE is DYABOLA via very good. But the stop is intended for an HDV to SD conversion only from the timeline of Edius out which does the actual color space conversion in the solution Edius Canopus Edius + PCE halt, and not the PCE. You do, however, know exactly ... I know, dear Bruno.
Here we went, but rather an Adobe problem, and that should solve, where synonymous Adobe (if the problem is not an operating problem, which I do not know and can exclude that the Adobe PP2 test, I will not do me).
Antwort von Jörg:
Tomorrow Wolfgang,
You write:
Here we went, but rather an Adobe problem, and that should solve, where synonymous Adobe (if the problem is not an operating problem, which I do not know and can exclude
that the Adobe PP2 test, I will not do me). It's synonymous a good thing, because then you'd have to of your everlasting "presumptions" provide time to come down and tangible.
The fact is surely: the gamut of problems PROCEXP have been known since time immemorial, (not only with APP, but probably synonymous in Vegas) as synonymous to DV HD (V)
You do, however, know exactly ... I know, dear Wolfgang!
http://www.canopus-foren.de/wbb2/thread.php?threadid=11944&hilight=Farbraum+and+Procoder
Should you be required to include a "?" In the video filters, there expand / shrink and 601/709 filter are not included in Express.
Understanding is not the Procoder Express for this conversion likely
lt.Aussage CanopusSupport Ger
The real problem: the solution of Powermac called on DA works with correct results, but not only costs money, but synonymous plenty of time, I would book a subscription to the Chinese ... or wählen.Auf Cineform plugin duration cheaper.
Gruß Jörg
Antwort von wolfgang:
Slowly, old friend. Did I behautet to the behavior of the PCES what else? No, of which the thread you linked is indeed of opened
me, and I have there, the behavior of the PCES documented and
measured it empirically. And even though s.2 points:
http://videotreffpunkt.com/thread.php?threadid=2113
and (registration required)
http://www.canopus-foren.de/wbb2/thread.php?threadid=11944
Finger tight enough?
But here we are not talking about a PCE problem. But stop some users thought that APP2 had a problem with the conversion of HDV to SD. Subjunctive in my Forumulierung - because I have the behavior of APP2 neither confirmed nor denied - I am neither Adobe, nor I am interested in this NLE intense. So synonymous is because your assertion, I would have assumed that, quite irrelevant ... my old cantankerous friend.
But I still say: Should the AP Show Pro 2 encoder described here wrongdoing, then this
is definitely a problem in pure Adobe Adobe customers. Adobe yes sells this MainConcept encoder as an integral part of its product, and it would probably take the product by Adobe.
Antwort von Bruno Peter:
... APP2 a suspected problem with the conversion of HDV to SD ... Hmm, what could that be?
Antwort von Jörg:
Ah!
Then PCE for EDIUS in standalone operation and the Procoder Express for the conversion of HDV to DV is not at all used to prefer Wolfgang? na Wolfgang, the cantankerous Jörg can at least still read.
Bruno's statement is at the top.
Now your statement is to:
No, the PCE is DYABOLA via very good. Wolfgang isser just nee nich, and that the contribution of is linked to you, that's the spicy it. There you have klipp and clearly the answer before you,
not the standalone packed because it lacks the said filter. And this is exactly what has been said Bruno.
Gruß Jörg
Antwort von Bruno Peter:
Now, please bear with you but once ...
The Wolfgang halt enjoys working s.Mücken can be to an elephant. You Jörg, stop squabbling happy with Wolfgang shrill ... what I am always very amused ...
Why solve almost always the men of war?
Antwort von wolfgang:
So is a fact that I have hingeweisen this weakness in the PCES - synonymous in this thread a few posts up next. Now do not pretend that this would not be there - and prefers to read before you write for yourself such a shameful nonsense.
Jo
in the way of you described should occur, however, a fundamental mistake: if you are converting HDV material in the PCE to SD material, then the spaces are not converted correctly.
And if I'm Bruno is in fact the leading question of whether the PCE was useless - and wishes me to say "no, that is not usable - do you think I'm so stupid and recognize that?
And that's not my opinion, is in fact quite useless. Therefore, the contextually correct answer:
No, the PCE is DYABOLA via very good. But the stop is intended for an HDV to SD conversion only from the timeline of Edius out which does the actual color space conversion in the solution Edius Canopus Edius + PCE halt, and not the PCE. But if stop your hatred / anger at Canopus and leads me to that
you will not read in truth or think logically, can not and I will help you synonymous.
The PCE has the qualities that he has just. From the mouse. Who does not like this - you want to complain but at Canopus. And I am quite violently times .... like to have.
Antwort von Jörg:
[quote = "wolfgang"]
- You think I'm so stupid and recognize that?
And that's not my opinion, is in fact quite useless. Therefore, the contextually correct answer:
No, the PCE is DYABOLA via very good. But the stop is intended for an HDV to SD conversion only from the timeline of Edius out which does the actual color space conversion in the solution Edius Canopus Edius + PCE halt, and not the PCE.
. And I am quite violently times .... like to have. Now mute me once not to judge whether you're stupid. Only you can no longer seem so clear, and clearly recognize the facts.
After quoting you again, how well the PROCEXP from Edius suitable work.
Hello, Wolfgang, the author uses AP, not Edius.
Bruno is right that the PROCEXP. it is not good. Not from Vegas, has found such a great empiricist.
But you deny your own quote.
in the way of you described should occur, however, a fundamental mistake: if you are converting HDV material in the PCE to SD material, then the spaces are not converted correctly. And you certainly have quite violently like many, I synonymous
Gruß Jörg
Antwort von PowerMac:
I am so childish as not even discuss it!
Antwort von wolfgang:
So you just twist everything - as Jo has said that he encoded in the PCE - I simply pointed out to him that there is an error in the color space conversion. Korrkt? Correct!
Jo So when I say this - I wonder why. Because problems arise because halt, of whom he apparently knew nothing.
The use of the PCES here was not my suggestion, but the of Jo. Correct? Correct!
And I'll tell you again - maybe even HIFT: Bruno suggestive one to answer it himself. The yes has the problem not at all, who wants to anyway just on the SC200 in HDV (and output) has actually quite synonymous with this high-quality output path. Whether he can use the PCE / wants - well, my reference to the space problem is here is unchanged. The "PCE for Edius"'s just meant for Edius, and not for APP.
And moreover: out of Vegas, I have never used the PCE. Where did you get this nonsense? From Vegas I just rendere directly, because the integrated encoder in Vegas there has so far shown no problems, and because I am no friend of frame servers. Vegas, I have used in the above-linked test to measure the color space using Vectoscope shift. DAS is a huge difference.
So do not try next, I turn the words in his mouth - what I said, everyone can read, which continues to stand there in black and white. And the wrangling has with the actual or potential problem APP stop even pretending nothing more.
Antwort von cebros:
The question of the thread still states: How do I get an HDV Project in PPro2.0 on DVD?
That it is an operating problem, I doubt it. But I would like to disabuse, but then I would hear of someone who works with even PPro2.0 and HDV.
Jo has presented a proposed solution, which seems to work - certainly better than the exports through the AME.
Has anyone other approaches, if possible, with proven itself?
Antwort von Axel:
Salut Rudy,
I myself am not even HDV, but if
you should have After Effects, I would read in any case, the set of Powermac link. This procedure is indeed quite ideal:
The clean curved lines of the scaling relationship must actually be deinterlaced (you were right then). Because SD is the goal, play no role Resolution exceptional losses, so it can be completely disposed of one field. A progressive picture in the same Resolutionwie an interlaced-tes is preferable to the latter, probably forever.
Antwort von wolfgang:
Personally I do not really believe it because you have made an operating error. Frankly, this is unlikely to equal 4 or 5 people that such a mistake. But an equally chop again people like Jörg if I exclude this because I did not export from APP can test and do not want to test.
So let's take time to improve the behavior of APP2 of you has been correctly described, then the simple answer would be: in APP 2 is high-quality down conversion of an HDV to a SD project is currently not possible. Maybe Adobe is doing a patch, who knows. But the time is not good enough.
And if that was further agreed, then we would have to look for a APP external solution. That could be about the standalone version of the MainConcept encoder, if the correct color space conversion dominates (which in this case I do not know because you could only) trial to test. This could be the Procoder 2, the filter for the color spaces has (but quite expensive).
This could, in extreme cases to switch to another NLE (and there are very few people do, but it would be unthinkable).
Perhaps it would even be possible to output from the timeline of APP2 out the HDV project with an HDV Project - but the SD color space -. That depends on whether the encoder APP2 the color spaces are adjustable. Are adjustable, then I give out the Project with HDV HDV Project - but before the conversion to put the color space. In a 2nd Step could then be the transformation Jo HDV (in SD color space) to SD (the SD making space) - with the Procoder Express, which can halt Umskalieren good, but not the color space conversion.
Jo may be synonymous nor consider whether the color space differences seem so particularly large - preferably as they come in red, and well you recognize the immediate halt in the Comparison. Comparison no one has the mind, one recognizes that much hold much harder.
Antwort von wolfgang:
Axel, the rejection of a field but you gibts synonymous lot of movement on the resolution, which has 1080 50i simple. You would rather go out of 1080 25i - and whether one wants to decide each synonymous itself. Could jerk occasionally, especially during fast movements.
Antwort von halbschuh:
Hello Axel
[...]
2) HDV tape -> HDV Project -> HDV tape -> DV Project -> DVD MPEG (good)
[...]
Regards
Cebros Hello everybody! I would actually use this exact method. I have an HDV project in PPro 2.0 and must deliver a whole PAL DVD, so DVD-MPEG2. Now, how you achieved it, that you can import transcoding from HDV to DV camcorder material into a PPro DV Project? When I do, take PPro on anything. Even the preview screen remains black. You can only do with certain HDV camcorders? I have a Canon XH-A1.
Thanks for the help.
Gruss,
Shoes.
Antwort von halbschuh:
Sorry for the interruption, had hingekriegt it. I had on the XH-A1 in VCR mode menu in SIGNAL SETUP> HD DOWN-CONV to ON. It is important that one is ceasing before the Firewire cable connects. Is the Firewire cable connected, this option is disabled. Then you can normally capture.
Gruss,
Brian
