I really apologize for asking so many questions...but all of this stuff is very overwhelming...it's difficult for me, and I am really determined to make a video. Hopefully, you will be able to answer my remaining questions. And thank you for being so patient!
Scintilla wrote:I don't know if you can specify fractional pixel values to AddBorders. In any case, it's much easier on the compressor if you do:
<b>LanczosResize(720,352)
AddBorders(0,64,0,64)</b>
Note that <i>this is not correct with square pixels,</i> so you wouldn't want your Internet distro copy to look like this -- BUT if you are submitting to a convention, then you would encode this to MPEG-2 with the standard 4:3 aspect ratio flag (since most of them can't handle the 16:9 flag anyway, but check with Seijin Dinger -- if the con can handle the 16:9 flag, then you don't need to resize or letterbox at all, just leave it anamorphic 720x480) and it would play back with the correct aspect ratio.
I'm so sorrrrry...but I am still getting confused. First of all, I am not exactly familiar with Seiji Dinger, but I have seen the name "Dinger" mentioned on the Sakura-con forums. How do I reach him/her? Secondly, if I used the above commands you said:
LanczosResize(720,352)
AddBorders(0,64,0,64)What will this look correct on? I have read in that tutorial that a monitor and a TV both have different shaped pixels (square vs not square). When I tried a test video using the above code and exported a movie, it looked vertically squished on my computer monitor. Would it have looked correct on a TV? Specifically, do conventions use TVs to display the videos on those big screens?
Another question...I noticed you brought it up, and a lot of other people seem to do it too, but they make multiple versions of their video? As in, one for a convention and one for internet distribution? I was under the impression that once we started a Premiere project, the resolution and pixel aspect ratio cannot be changed. How are they able to make two separate versions? Is it just a matter of going back to the main source of the footage (the AVS file), and then changing a few numbers?
Scintilla wrote:Scooby-Doo wrote:Is the only advantage of editing progressive footage mean that I won't have to deal with that "two frames blended together" look?
The main advantages are these:
- Given a constant video quality, you can encode your video to a smaller filesize if you edit and encode at 23.976 progressive than if you edit and encode at 29.97 interlaced
- You won't have to deal with deinterlacing later on for your distro copy (this is big)
- You won't have to worry about field order when editing and encoding
If your source is already 23.976 progressive right off the DVD, then there really is no reason to edit interlaced; as I mentioned, you can just telecine it after you're done if you need to.
Ask Seijin Dinger if a 23.976 progressive MPEG-2 with the 3:2 pulldown upon playback flag is acceptable. Most cons will have no problem with this (because it'll effectively play back at 29.97 interlaced anyway).
Unfortunately, I can't find the script or the MPEG-2 for the video I submitted to Sakura-Con in 2005, or I'd refer to those.
Ok, so it seems like the best thing to do from what you're saying is stay with the progressive, Force FILM footage I have and edit it at 23.976 (but really set Premiere to 24fps).
So if I made my video under those conditions of 24fps in Premiere, you're saying a process called "telecine" would make it 29.97 fps interlaced and also compatible with a convention's requirements. I just want to be sure of this so I don't start on something and then have it be worthless at the end. Sorry...but I feel safer if someone "holds my hand" through this whole process... >_<
But by doing it this way...in the way you suggested, will there be any ramifications if I edited in 24 fps progressive? Specifically I mean, when I telecine it afterwards to make it 29.97 fps interlaced, will it cause the audio (the song) to not synch up in the way that I edited in Premiere at 24 fps?
And one thing I didn't understand from the above quote is when you told me to ask Dinger if "23.976 progressive MPEG-2 with the 3:2 pulldown" is acceptable. I don't know what you mean by this. Is this telecine?
If there are no syncing issues in the end, I will follow your advice thankfully...and in order to do this, you said:
Scintilla wrote:Scooby-Doo wrote:So far, I have created my .avs and .d2v files. Before I begin editing, I would like to convert it to 29.97 fps so I won't have to worry about syncing issues later on.
Since you've already got Force FILMed footage, the usual way of doing this would be to edit at 23.976 (or 24, since you have Adobe Premiere) progressive, and then, if you HAVE to make it 29.97 interlaced, use the <b>ADTelecine()</b> AVISynth helper function that should be included in the AMVapp.
Where exactly in the whole process of making my AMV do I apply this
ADTelecine() function? Because, so far, I have only been using AVISynth to convert the VOB files straight from the DVD into something accessible by Adobe Premiere 6.5. Would I need to export my finished and edited video from Premiere, and then bring that finished product into AVISynth and apply the
AdTelecine()?