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No idea why they changed the PAR but select all the clips on the timeline right click and scale to framesize i would say.
> Now with 1.458 I've got black bars at both sides.
It's hard to convince people of this, but CS4 is now correct (it was wrong before).
The "active" 16x9 area (or 4x3, for that matter) within a 720x576 area is 702x576 (usually rounded to 704x576, per ITU standards).
The best way around this is to crop about 14 pixels of off both the top and bottom of the 1440x1080 frame (or 10 pixels for 1280x720).
I will back up Dan on this one: all of the CS4 apps are now technically correct regarding PAR. All versions prior were incorrect.
This is going to mess up a lot of experienced editors who never had to deal with accurate PAR ratios before.
This was a subject I researched a lot (and fought some long, hard battles about on the CS3 forum). I, for one, am really glad Adobe has embraced the ITU, ATSC and DTV standards for SD PARs (like FCP, Sony, AVID, etc.) but, yes, others will be confused.
This is particularly true for widescreen PAL users, as the old (incorrect) PAR scaled to (almost) exactly 720.
You must remember that no TV in the world will display those 8 rows of pixels on the left and right edges. As a matter of fact, 704x576 (or 704x480 for NTSC) is a perfectly legal DVD spec although Encore's workflow does not seem to support this.
704 is also the "official" SD width for digital broadcast television.
Yes, maybe it is now correct but makes a lot of troubles with converting from HDV to SD. As I said cropping or scaling is not time-effective and causes quality loose (HDV is not superb quality to enlargements). It is strange why Adobe didn't give users a choice during exporting.
ADOBE: How to say OUR clients that you changed mind about pixel aspect ratios and now black bars at sides are correct and before was incorrect
Now I'm looking for some other method to take projects from Premiere to M2V's with 1.422 PAR
>It is strange why Adobe didn't give users a choice during exporting.
To be fair, that kind of goes against the point of a specification. I realise it's frustrating in your situation, but adhering to specifications is beneficial to everyone in the long term.
> Now I'm looking for some other method to take projects from Premiere to M2V's with 1.422 PAR
I've got methods that will give you much better quality than Premiere can produce -- and probably with less encoding time. My process was originally developed for CS3 (some elements of which don't apply to CS4), but I've got a CS4 workaround. Unfortunately, I've not spent a lot of time on documenting a CS4-specific workflow. Perhaps you'd like to be my "test case" for this? I'd be glad to step you through it. A few things I'd like to know first:
1.) What is your source? (1080i, 1080p, 720p ... 50i, 50p etc.)
2.) Do your sequence settings match your source?
3.) What is your target format (NTSC, NTSC 24p, PAL) ?
4.) Do you own or have access to other encoding software, such as CCE or ProCoder? If not, don't worry -- there's a great freeware MPEG2 encoder that will do fine also.
Dan Isaacs: My source is HDV 1440x1080 50i with PAR 1.333 and I'm sure that settings match it. I used to export to MPEG2 (DVD) PAL Widescreen 25fps 720x576 (1.422). I have Procoder 3.
My temporary workaround is to export sequence to WMV or MPEG2 1280x720 square pixels and code it in Procoder to MPEG2 PAL 16x9 with PAR 1.422. Quality is fine but because of double-coding it is not time-effective.
I think that it should be posibility to use Procoder in Premiere Pro CS4 directly, but I didn't find any advice how to do that. Now I finished my job (with a little overrun deadline) and I have some time to experiments. Any tricks how to better use Procoder in this case are welcome.
Excellent. I'll post some steps later today or tonight.
OK, divo... First things first. We need an intermediary format. WMV is a bad choice. So is MPEG2 1280x720. Try this in AME: (and save the settings so you don't have to go through this again)
TV Standard: PAL
1440x1080 @ 25 fps, upper field first, PAR=1.333
Bitrate Encoding: CBR
Bitrate: 100 Mbps (or higher, if you can spare the disk space)
M Frames: 1
N Frames: 1
(uncheck automatic GOP)
Write SDE: Yes
Video Format: PAL 1440x1080
Color Primaries/Transfer/Matrix: Set all to ITU-R Rec.709
Intra DC Precision: 10 Bits
(leave other settings alone)
a.) If your sequence is stereo, choose PCM / Stereo / 48 kHz
b.) If your sequence is 5.1 (and you've got the SurCode plugin) then choose Dolby Digital 48kHz -- set the other settings as you desire
These settings should export excellent quality very quickly. Please get this step setup and then I'll move on to the next phase of procesing, OK? (sorry to do this in pieces but my time is limited today)
It's OK, I appreciate your help.
Source HDV: 60s, 115 MB
rendering time: 37s
MPEG2 file: 60s, 715 MB (100Mbps)
But it looks quite strange:
Everything is OK, or I missed something?
As reference: Premiere Pro CS3
HDV -> DVD MPEG2 PAR1.422 16x9 6Mbps CBR - 91s, 43MB
subjective quality: 4/6 (good)
The problem, I believe, is with Media Player Classic (and/or the DirectShow filters you have installed).
Try reimporting the file into Premiere. It should look OK.
1.) Download and install AviSynth 2.5.7
2.) Download my hd2sd functions and plugins package for AviSynth. Follow the install instuctions in the .txt file
3.) Create a blank text file in notepad. Enter the following and save the file as "dvd_output.avs":
hd2sd(OutputColorSpace="YUY2", OutputBFF=false, WidescreenType=1)
This is an AviSynth script file, which can be read by ProCoder. Be sure to enter the acutal path to your high-bitrate .m2v file.
4.) Open the "dvd_output.avs" file in ProCoder. Be sure to "interpret" it as 16x9, upper field first. (sorry, I'm not directly familiar with ProCoder's settings but I know it can be done)
WidescreenType=1 will crop a little from the top and bottom to fit the aspect. Change to WidescreenType=0 for (effectively) 1.422 PAR.
If you want or need lower field first, set OutputBFF=true
After creating the 720x576 .m2v from ProCoder, import that and your WAV (or ac3) file into Encore for authoring.
Hi Divo --
Have you tried it out? Let me know if anything is confusing or does not work correctly. I'll do my best to help get the process working optimally.
Hi Dan, I've followed your workflow.
I have exactly the same settings as Divo.
I only have two questions: through your method we obtain a perfect 1.33 video, but in this way the tv will mask the left and right sides.
It would be better to have a 1,422 proportion, with some black space on both left and right side of the image, so tv borders won't hide anything.
Second question: why do you pass trough an avysinth script? which advantages do you have? is it necessary? isn't it the same to open the mpeg file generated by premiere directly in procoder3?
Last question: what do you think about progressive video? some forums suggest to deinterlace videos and re-interlace them, in order to obtain smoother and sharp images (cine-look).