I'm having the same problem with dark video. I capture HDV video into FCP using the HDV codec in FCP, put together the video and export a QT movie using the HDV codec. The QT movie looks perfect, just like the timeline. When I make a FLV clip in CS4 media encoder the result is noticably darker than the QT movie. I open them both on my screen (which is calibrate) side by side and the FLV is considerably darker. This has happened on three separate projects and it's getting annoying. Anybody?
> I'm having the same problem with dark video. I capture HDV video into FCP using the HDV codec in FCP, put together the video and export a QT movie using the HDV codec. The QT movie looks perfect, just like the timeline. When I make a FLV clip in CS4 media encoder the result is noticably darker than the QT movie. <
HDV is a compressed MPEG2 format with what's known as a long GOP frame structure. does Adobe Media Encoder list HDV as a compatible input file?Regardless, I think most of us would export to a frame-based codec before attempting to transcode HDV to almost anything.
From various sources, old and new:
Editing performance can be improved by converting HDV to intermediate format prior to editing. These include various Cineform products, Edius HQ, Avid DNxHD and Apple ProRes 422, among others. Usage of an intermediate codec adds one more generation to the video, potentially degrading its quality. On another hand, an intermediate codec can reduce blockiness and fix other issues in the original video, like interlaced chroma in progressive recordings. Depending on NLE, it is possible to avoid generation losses by editing native HDV video using straight cuts only and saving it back to HDV.
HDV is a MPEG-2 transport stream that includes a lot of error correction. Its video uses interframe-compressed MPEG-2, at 19 megabits per second (Mbps) for 720p and 25 Mbps for 1080i. Audio is encoded with 384 Kbps MPEG-1 Layer 2 stereo. The interframe encoding enables HDV to achieve good quality video at lower bit rates, which means much more content per tape, but it increases the difficultly of editing the content.
I understand about the bit rate of HDV but my thinking has always been that since HDV is already compressed to MPEG 2 @ 25Mbps then why would you convert it to Apple ProRes 422 which is 147 Mbps for HD. The quality isn't going to get any better b/c it's already compressed to 25 Mbps? That seems like wasted disc space to me. Am I wrong?
You may or may not be confusing bitrate with frame structure, I can't tell. The lack of individual frames in the MPEG2 causes all kinds of nightmares with effects or transcoding. That's all I know.
I've been watching the HDV discussions for many years but I have never used HDV myslef. I hsot DV for a decade and we recently started shooting DVCPRO with the hpx170.
It's A frame rate issue. If your AfterEffects Comp has a frame rate of say 30fps and you encode it at 24fps or 29.97fps it will make your encoded project darker. Match the encoder fps to the fps of your comp. this should give you proper results.