#Dvd architect m2ts recompress full
#Dvd architect m2ts recompress professional
#Dvd architect m2ts recompress tv

when going from HDV or SD (both 50i) to a variety of (lower) corporate web-resolutions.

I have observed the quality advantage in practice on numerous projects in the distant past, e.g.

Quality-Deinterlacing: The best way to convert from interlaced fields-to-frames is via motion/pixel/optical -based tools/techniques:.

However among the various film/video industry/application conventions, some people refer to 50 fields/second interlaced as 50i (or i50) wile others refer to it as 25i (or i25).

The concept of “doubling” the framerate is a moot point, since interlaced footage doesn’t really have a frame rate, only a field rate, because the fields are each shot at different moments in time.

#Dvd architect m2ts recompress full

If original footage was interlaced then the master should be derived so as to have one full progressive frame for each interlaced field (hence double the original frame-rate).be interlaced or progressive, but the Master (derived from this) must be progressive. Progressive: The original footage/material could e.g.However I took the view that HDV’s non-standard pixel shape (aspect ratio) was “tempting fate” when it came to reliability and possibly even quality in subsequent (downstream in the workflow) stages of scaling (down) to the various required formats (mostly square-pixel, apart from SD-Wide so-called “16:9” pixels, of 1.4568 aspect ratio (or other, depending where you read it).

One argument, possibly the best one if only making a single format deliverable or if time is no object, might be to retain the original resolution, to avoid any loss of information through scaling.Resolution: The original footage/material could e.g.Master: Produce a 50 fps (if PAL) progressive Master at the highest resolution consistent with original footage/material.Ultimately, this is the workflow that worked (and satisfied my demands): So I embarked on a combination of web-research and experimentation. Having only ever used Adobe (CS5.5 & CS6) for web-based video production, early experiences in attempting to produce a number of target/deliverable (product) formats proved more difficult and uncertain than I had imagined… For a current project, given historical footage shot in HDV (1440×1080, fat pixels), I wanted to generate various products from various flavors of HD (e.g. In my post I note the BBC Technical standards for SD Programmes state: >.

#Dvd architect m2ts recompress professional

Here’s one big fundamental: Naively one might have hoped that long-established professional NLEs such as Premiere might provide high-quality optical processing based downscaling from HD to SD, but my less optimistic intuition, about the un-likelihood of that, proved correct. What is the best workflow for going from a high-resolution footage, potentially either progressive or interlaced, possibly through an intermediate Master (definitely in progressive format) to a variety of target/deliverable/product formats, from the maximum down to lower resolution and/or interlaced formats such as SD-DVD ? Posted in Adobe, After Effects, artefacts, AviSynth, deinterlacing, DVD, DVD, Formats, interlacing, Motion, Premiere, Premiere, Twixtor | No Comments » But it is the only proper way to get the expected “perfectionist” reinterlacing to happen!

The “perfectionist” approach will instead typically avoid such flicker.

moving) scenes and objects appearing flickery.

The “NLE-simple” approach may lead to dynamic (changing e.g.

#Dvd architect m2ts recompress tv

On an interlaced display, such as an old analog TV or projector,.Most NLEs do not use this “perfectionist” method, instead they at best simply combine (ghost-blur) successive frames, with no compensation for time/motion.It achieves this by estimating the fields that would have been shot (had the original video itself been shot as interlaced) between each frame of the progressive video, via a process of motion estimation. HDp25 frames/sec) into spatio-temporal interlaced video (e.g.