2014 TechCon – Atlanta, GA 1| Page CREATING THE LEGAL VIDEO DELIVERABLE Slide 1 Creating the Legal Video Deliverable April 11, 2014 Bruce Balmer, MBA, CIRM, CLVS, CCVS, CME ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 2 References • Advanced Video Deposition Support for Videographers, Thomas Lorenzen, inData Corporation, October 2007 • Compression for Great Video and Audio – Master Tips and Common Sense, Second Edition, Ben Waggoner, Focal Press, 2010 • Digital Video Fundamentals, Aldo Cugnini and Alan Cavallerano, Broadcast Engineering, 2011 • MPEG-4, Utilizing New Video Formats , Thomas Lorenzen, inData Corporation, January 2012 • TMPGEnc Tutorial, John Garnett, YesLaw, 2012 • Time for a Tuneup, Jan Ozer, Streaming Media, January/February 2014 • Color Correction Handbook – Professional Techniques for Video - Second Edition, Alexis Van Hurkman, Peachpit Press, 2014 ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 3 Creating the Legal Video Deliverable • This class assumes the attendee has a basic understanding of legal video • Content in this class is not covered in depth in the CLVS manual • The references used in this presentation are readily available for purchase or downloading from the vendor’s website ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________
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2014 TechCon – Atlanta, GA 1 | P a g e
CREATING THE LEGAL VIDEO DELIVERABLE
Slide 1
Creating the Legal Video Deliverable
April 11, 2014
Bruce Balmer, MBA, CIRM, CLVS, CCVS, CME
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Slide 2 References
• Advanced Video Deposition Support for Videographers, Thomas Lorenzen, inData Corporation, October 2007
• Compression for Great Video and Audio – Master Tips and Common Sense, Second Edition, Ben Waggoner, Focal Press, 2010
• Digital Video Fundamentals, Aldo Cugnini and Alan Cavallerano, Broadcast Engineering, 2011
• MPEG-4, Utilizing New Video Formats , Thomas Lorenzen, inData Corporation, January 2012
• TMPGEnc Tutorial, John Garnett, YesLaw, 2012• Time for a Tuneup, Jan Ozer, Streaming Media, January/February
2014• Color Correction Handbook – Professional Techniques for Video
- Second Edition, Alexis Van Hurkman, Peachpit Press, 2014
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Slide 3 Creating the
Legal Video Deliverable
• This class assumes the attendee has a basic understanding of legal video
• Content in this class is not covered in depth in the CLVS manual
• The references used in this presentation are readily available for purchase or downloading from the vendor’s website
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Slide 4 For Whom Do Legal Videographers Create Deliverables?
• Two distinct clients– Production house
• Deliver a higher quality video asset to be encoded into the final deliverable(s) for end user
– End user• Deliver the final product, in the proper format, for
the appropriate use
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Slide 5 What Digital Formats Are Typically Captured?
STANDARD DEF
• DV in AVI –T1/T2
• DVCPRO
• H.264
• MPEG-2
• Quicktime
• Video OBject (DVD Disk)
HIGH DEF
• Apple ProRes 422
• Avid DNxHD
• AVCHD (AVCCHD/NXCAM)
• AVC-Intra (4:2:2)
• DVCPRO HD
• HDV
• H.264
• MPEG-2 TS
• XDCAM (etc.)
• Uncompressed Quicktime
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Slide 6 Why So Many Formats?
• Capture formats designed for instant editing and/or maintaining color depth & quality on different computer platforms– Apple ProRes 422 (Mac), Avid DNxHD (Win)
– DV in a MPEG-2/AVI-T2/MOV wrapper
• Competing camera and DVR manufacturers– Panasonic AVCHD, AVC-Intra
– Sony NXCAM, XDCAM, HDV
– Canon Long GOP MXF, MPEG-4
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Slide 7 What is Typically Delivered?
• Current Production House Digital Deliverables
– Authored DVD (Captured Live on Recorder)
– MPEG-2 file with settings that mimic or are similar to a standard play (SP) DVD
– Captured digital assets (less often)• AVCHD
• MPEG-2 TS
• DV in an AVI-T2 wrapper
– H.264/MPEG-4
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Slide 8 What is Typically Delivered?
• Typical End User Digital Deliverable
– Authored DVD
– MPEG-1• 352x240
• 720x480
– MPEG-2 file with very specific settings
– H.264 MPEG-4 (for iPad)
– MOV• 640x480
– Videosynced versions of the above
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Slide 9 NOTICE A CONFLICT?
• Other than the authored DVD, what is captured is almost never the final deliverable.
• Some vids capturing on HD-only cameras, even though deliverable is SD
• Even if it’s in the correct wrapper, the captured format typically does not have the appropriate specifications for use at trial or for synching.
• 16:9 remains difficult to manage in the deposition room– Re: Computer Forest; PhD Exhibits; Parade Wave
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Slide 10 Class Objectives
• Learn how to create properly formatted standard (or high ) definition deliverables for our two clients
• Learn how to properly convert captured HD 16:9 to SD 4:3 for client delivery
• Learn how to determine bitrates for resized video
• Set up templates in a commonly used software application to create properly formatted deliverables (only if there’s time)
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Slide 11 Class Comments
• This presentation does not address specifications suitable for day-in-the-life or settlement brochure video specifications.
• The presentation is focused on deposition video deliverables
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Slide 12 What’s Important?
• Video Specifications– Display Aspect Ratio (DAR)
• a.k.a. Frame Size
– Pixel Aspect Ratio (PAR)
– Bitrate
– Rate Control• Variable v. Constant
– Frame Rate
– Interlaced v. Progressive
– GOP (Group of Pictures)
– Profiles and Levels
• Audio Specifications– Codec
– Sample Rate• 44.1 v. 48 kHz
– Bit Depth• 12, 16, 24 bits
– Channels
– Data Rate
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Slide 13 Display vs. PixelAspect Ratio
• Display Aspect Ratio– The number of display pixels representing the
width versus the number of display pixels representing the height of the display frame
– 4:3 standard definition or 16:9 wide screen
– NTSC 4:3 actually works out to about 3:2
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Slide 14 Display vs. PixelAspect Ratio
• Pixel Aspect Ratio– The ratio of a digital pixel’s width to its height
• Ratio of 1:1 – Square Pixel
– Computer Screens
– MOV, HDV
• Ratio of 0.91/1.21 – Non-Square or Anamorphic Pixel
– NTSC
– MPEG-2, AVI-T2, DVD
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Slide 15 Impact of PAR on DAR
Pixel Aspect Ratio ≈ Shape of the pixel• Square pixels (1:1)
– 4:3 => 640x480• 480 ⁄ 3 = 160
• 160 * 4 = 640
• DV NTSC non-square pixels (8:9 or 0.91 or 10:11)
– 4:3 versus 3:2
– 4:3 => 720x480• 480 / 3 = 160 480 / 2 = 240
• 160 * 4 = 640 * 9 /8 = 720 240 * 3 = 720
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Slide 16 Impact of PAR on DAR
Pixel Aspect Ratio ≈ Shape of the pixel
• PAR 1:1– 16:9 HD
• 1280 x 720
– 720 / 9 = 80
– 80 * 16 = 1280
• 1920 x 1080
• PAR 1.21 (1.788)– 16:9 SD
• NTSC 720 x 480 (!)– Letterbox to
maintain proper look
• Try 702x480
– 16:9 HD• 1440 x 1080
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Slide 17 What’s Important?
• Video Specifications– Display Aspect Ratio (DAR)
• a.k.a. Frame Size
– Pixel Aspect Ratio (PAR)
– Bitrate
– Rate Control• Variable v. Constant
– Frame Rate
– Interlaced v. Progressive
– GOP (Group of Pictures)
– Profiles and Levels
• Audio Specifications– Codec
– Sample Rate• 44.1 v. 48 kHz
– Bit Depth• 12, 16, 24 bits
– Channels
– Data Rate
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Slide 18 Video Bitrate
• How much information is available to maintain the visual integrity of the image.
• The appropriate bitrate is a function of the codec used, frame size, and amount of motion in the image
• Typically expressed as Kbps (Kilobits per second)
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Slide 19 Video Bitrate
• The higher the bitrate (to a certain point) the more information is available to encode the image, and the quality of the image will improve.
• There is a diminishing marginal rate of return on increasing bitrate: after a certain point, the processor can’t do anything more with the image, and the data adds complexity to the decoder without improving the picture
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Slide 20 Video Bitrate
• The lower the bitrate, to a certain point, the less work the processing unit has to do, and the video is more responsive to playback. The file is also smaller.
• There is a diminishing marginal rate of return on decreasing bitrate: after a certain point, the image will not be clear, or data will be missing in moderate motion video, and artifacts and / or a blocky image will result in a less satisfactory deliverable
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Slide 21 What’s Important?
• Video Specifications– Display Aspect Ratio (DAR)
• a.k.a. Frame Size
– Pixel Aspect Ratio (PAR)
– Bitrate
– Rate Control• Variable v. Constant
– Frame Rate
– Interlaced v. Progressive
– GOP (Group of Pictures)
– Profiles and Levels
• Audio Specifications– Codec
– Sample Rate• 44.1 v. 48 kHz
– Bit Depth• 12, 16, 24 bits
– Channels
– Data Rate
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Slide 22 Rate Control
• Constant bitrate (CBR)– Vary quality to maintain bitrate
• Variable bitrate (VBR)– Vary bitrate to maintain quality
• 2-pass encoding is always better than one pass, but takes twice as long– Really not worth it with MPEG-1– Takes too long with MPEG-4
• To create smallest filesize, use variable bitrate• Use constant bitrate for videosynced deliverable• Most DVD recorders utilize VBR and not CBR
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Slide 23 Frame Rate
• The frame rate is the number of frames displayed per second, designated fps, and basically allow the system to present a smooth image
• For legal video– MPEG-1 is always delivered at 29.97 fps– SD is typically captured as 29.97 or 30 fps– HD should be captured at 29.97, 30, 59.94, or 60
fps– 24 fps is not utilized in deposition video
• There’s no real reason to use it in DITL or Settlement
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Slide 24 What’s Important?
• Video Specifications– Display Aspect Ratio (DAR)
• a.k.a. Frame Size
– Pixel Aspect Ratio (PAR)
– Bitrate
– Rate Control• Variable v. Constant
– Frame Rate
– Interlaced v. Progressive
– GOP (Group of Pictures)
– Profiles and Levels
• Audio Specifications– Codec
– Sample Rate• 44.1 v. 48 kHz
– Bit Depth• 12, 16, 24 bits
– Channels
– Data Rate
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Slide 25 Interlaced vs. Progressive
• Interlaced video contains two fields of video captured at two unique times. – One field contains all odd lines – One field contains all even lines
• Only CRT displays and certain plasma displays actually display interlaced video, making it basically obsolete today
• Most DVD recorders record interlaced video
• Interlaced favors rapid motion (to a point)
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Slide 26 Interlaced vs. Progressive
• Progressive video displays one field of video captured at one unique time.
• All lines of a frame are drawn in sequence
• Progressive requires higher bandwidth than interlaced video (720p1080i)
• LCD computer monitors, HD TVs, and web-enabled devices (iPad) are all progressive display devices
• Progressive is better than interlaced for image quality, particularly with exhibits, P-in-P
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Slide 27 Analog SD
• Analog SD, other than component, is always an interlaced signal
• Component is almost always progressive• Composite capture is always poorest Q.
– Some newer digital cameras label yellow RCA as “Video”. It’s just 480i analog composite
– The analog 480i signal can look as good as the digital 480i signal captured via FireWire, or it can look very bad
– Very much a camera by camera issue
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Slide 28 What’s Important?
• Video Specifications– Display Aspect Ratio (DAR)
• a.k.a. Frame Size
– Pixel Aspect Ratio (PAR)
– Bitrate
– Rate Control• Variable v. Constant
– Frame Rate
– Interlaced v. Progressive
– GOP (Group of Pictures)
– Profiles and Levels
• Audio Specifications– Codec
– Sample Rate• 44.1 v. 48 kHz
– Bit Depth• 12, 16, 24 bits
– Channels
– Data Rate
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Slide 29 Group of Pictures
• A group of successive pictures, consisting of intra-and inter-frames, within a digital video stream.– I-frame (intra-coded picture)
• Self contained reference picture – has all digital information
• Higher quality video (than 352x240 MPEG-1) – Can be shown on large screen without looking blocky– Can support better quality audio– Wrapper used in broadcast with different codecs
• Does not work with all syncing software• Does not play on all computers
– Codecs sometimes have to be downloaded from web, which can be a problem behind a lawyer’s firewall
– Can be less responsive during playback, particularly with less powerful systems
• Higher bit rate means larger storage requirements– No longer a big problem with large capacity drives
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Slide 47 MPEG-2 Video
• Basic specs for delivery– MPEG-2 SD almost always anamorphic pixel
“MPEG-4 White Paper , Utilizing New Video Formats”, Thomas Lorenzen, p. 1, inDataCorporation , January 2012“Time for a Tuneup”, Jan Ozer, Streaming Media, p. 22, January/February 2014
“MPEG-4 White Paper , Utilizing New Video Formats”, Thomas Lorenzen, p. 1, inDataCorporation , January 2012“Time for a Tuneup”, Jan Ozer, Streaming Media, p. 22, January/February 2014
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Slide 58 MPEG-4 Part 10 Video
• May have licensing costs– See Ben Waggoner, “Compression for Great Video and Audio, 2nd
Edition”, Elsevier Inc, Focal Press, 2010, p. 225 for potential fees based on volume/classification
• Limited support in syncing engines– inData released DepoView for iPad -- late Feb. 2013– TrialDirector supports very specific H.264 formats– No support via YesLaw – you can create the MPEG-4 in post and
embed captions, but no clip creation tool exists currently for YesLaw with MPEG-4 video
– Cloud based delivery (Feb. 2014) of YesLaw video still in infancy
• Requires higher end computer and video card for editing• Slower encoding speed, depending on source and target
deliverable
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Slide 59 MPEG-4 Part 10 Video
• H.264 is a lossy format, just like MPEG-1 and -2.– The more you compress, the worse it will look.– H.264 compresses soft, not blocky
• Use the right codec– Apple’s H.264 codec is subpar (found in Compressor)– x264 Encoder is better choice– MainConcept H.264 codec is better choice– x264 open source codec is best choice– MainConcept and others’ CUDA H.264 will always generate
a quality compromised image. They’re useful for fast drafts, but may not preferred to software-based codecs.
• You may be able to get away with CUDA and talking head video. Don’t use it with video & exhibits, or video & ELMO/iPad
“Time for a Tuneup”, Jan Ozer, Streaming Media, p. 25-26, January/February 2014
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Slide 60 Class Objectives
• Learn how to create properly formatted standard (or high ) definition deliverables for our two clients
• Learn how to properly convert captured HD 16:9 to SD 4:3 for client delivery
• Learn how to determine bitrates for resized video
• Set up templates in a commonly used software application to create properly formatted deliverables (only if there’s time)
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Slide 61 Converting HD to SD
• Frame for SD during capture• Create pseudo mezzanine process by
cropping source and then allowing encoder to resize deliverable– For digital card sources, you may have to pre-
process and stitch to minimize source filters• TMPGEnc Smart Renderer (HD, mpeg or m2t)• Sony Content Management Utility
– If you can do this in one pass, apply the cropping filter ahead of the resizing filter
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Slide 62 Converting HD to SD
• If properly framed, you do not have to letterbox. Apply pillar or side crop instead.– Always crop by factor of 16 (macroblock)– Capture 1280x720p, crop to 960x720
• Remove 160 pixels from each side• Resize without maintaining aspect ratio
– Capture 1920x1080i/p, crop to 1440x1080• Remove 240 pixels from each side• See comments on cropping above…may need to experiment
– Capture 1440x1080i/p, crop to 1088x1080• Remove 176 pixels from each side
– Resize to 720x480 or 352x240• Make sure the audio codec is appropriate for the
deliverable
Compression for Great Video, Ben Waggoner, p. 119
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Slide 63
Note Black Side Pillars On Left PictureNote Black Side Pillars On Left PictureNote No Side Pillars On Right Picture
Side Pillars from Aspect Ratio Conversion Issues
HD 720p Cropped at 160 Pixels Per Side
HD 720p Cropped at 152 Pixels Per Side
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Slide 64 Class Objectives
• Learn how to create properly formatted standard (or high ) definition deliverables for our two clients
• Learn how to properly convert captured HD 16:9 to SD 4:3 for client delivery
• Learn how to determine bitrates for resized video
• Set up templates in a commonly used software application to create properly formatted deliverables (only if there’s time)
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Slide 65 Converting Frame Sizes
• We capture one format at one bitrate and one frame size, and need to deliver at another bitrate and another frame size
• If we don’t have any other information, what bitrate should we use with the new frame size?
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Slide 66 Converting Frame Sizes
• Examples:– Advanced Video Support For Videographers,
inData Corporation, p.2
– “ …encode the video at a DVD-like resolution of 720 x 480 with a higher bit rate of 3500 Kbps…”
– For MPEG-1 Codec• 1200 Kbps@352x240 3500 Kbps @720x480
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Slide 67 Converting Frame Sizes
• Use the Power of 0.75 Formula for a rule of thumb within a given compression codec:
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Slide 68 Converting Frame Sizes
• Examples:– inData MPEG-4 White Paper Utilizing New Formats,
ibid, p, 1
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Slide 69 Converting Frame Sizes
• Examples:– inData MPEG-4 White Paper Utilizing New Formats
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Slide 70 Codec / Bit RateFile Size Comparison
• Encoder: TMPGEnc Video Mastering Works
• Specifications– 1 Minute of Video, 1825 frames
– MPEG-1 Layer II, 48.0 KHz, 192 Kbps
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Slide 71 Class Objectives
• Learn how to create properly formatted standard (or high ) definition deliverables for our two clients
• Learn how to properly convert captured HD 16:9 to SD 4:3 for client delivery
• Learn how to determine bitrates for resized video
• Set up templates in a commonly used software application to create properly formatted deliverables (only if there’s time)
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Slide 72 Setting Up TMPGEnc - HD
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Slide 73 Select New Project
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Slide 74 Pick Source Wizard
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Slide 75 Choose Folder or Card
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Slide 76 Touch Next – File will be presented as one take or multiple takes
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Slide 77 Select Either Playlist or Clip by Clip
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Slide 78 Click Next, and Clips Will Be Added
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Slide 79 Clips Are Added. Highlight Clip
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Slide 80 Click Next – Change Clip Name
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Slide 81 Click FiltersSelect Image Crop
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Slide 82 Click Enable CropAdd 152/160 Left, 152/160 Right
Assumes 720p Source
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Slide 83 Click on Picture ResizeUnclick Keep Aspect Ratio and
Output Interlace
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Slide 84 Click Next/OkReturn to Edit Window
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Slide 85 Click FormatSelect DVD-Video Standard MPEG file
Assumes you are making video for a DVD
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Slide 86 Prepare to Change Video Format
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Slide 87 Change to Progressive if Desired
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Slide 88 Change bitrate here
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Slide 89 Change bitrate
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Slide 90 Export to “Add Batch”
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Slide 91 HD Import – Take 2Canon XA20
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Slide 92 Individual Files Instead of Clips
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Slide 93 Setting Up TMPGEnc - SD
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Slide 94 Select folder with card contentsAs seen on a hard drive
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Slide 95 Select folder with card contentsAs seen on a card
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Slide 96 TMPGEnc finds all media files in folder and presents them in captured order. Note
different file types (avi & bmp).
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Slide 97 Pick clips you want avi, not bmp
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Slide 98 Allow system to import clips without clip editor.
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Slide 99 Clips are added
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Slide 100 Clips will be imported in time order. Select all clips that should be stitched together.
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Slide 101 Follow procedure shown previously
Assumes you are making video for a DVD
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Slide 102 Class Objectives
• Learn how to create properly formatted standard (or high ) definition deliverables for our two clients
• Learn how to properly convert captured HD 16:9 to SD 4:3 for client delivery
• Learn how to determine bitrates for resized video
• Set up templates in a commonly used software application to create properly formatted deliverables (only if there’s time)