My apologies for what is a long, and likely hard-to-follow, post about creating smoother looking 1080p MP4 files from a 1080i source in Avid Media Composer. I'm hoping that I'm not just now discovering something that is a well-known work around. There's a short version at the very end for those with little patience or for those that can't follow my writing style.Preface: I work for a small community college and have only upgraded our production equipment and to HD within the last year. Since then, we've shot everything in 1080i-59.94 to prepare for our cable station head-end upgrade, which will happen in August.Problem: As many of you have experienced, creating 1080p MP4 files for use on YouTube (and other web sources) from a 1080i source has produced disappointing results. We typically would create a Quicktime Reference file from the Avid and then render MP4 content using Sorenson Squeeze 9. (We'd render MP2 files for DVD at the same time, which was a whole different set of problems.) What we were getting was either the interlace lines showing up in the footage (naturally) and also footage that seemed shuttered. Even when using the deinterlace tools inside of SS9, we never were able to lose the shuttered look. The movement wasn't as smooth as it appeared when watching the confidence monitors while editing. See an example of this below. As we get closer to the install of our head-end, we decided to do some tests with 720p footage to see if we were happier with the results. Again as many of you have experienced, the 720p footage produced much more satisfying results. The result had the smoothness we expected when compared to what we saw in the confidence monitors and without the interlace lines.That left us with the problem of what to do with the entire catalog of b-roll footage we've shot over the last year. As part of the testing, we brought the AMA linked 1080i footage into a 720p-60 project and went through the export and render process, and the result was the same smoothness as the confidence monitor and surprisingly, no interlace lines.Since using the 1080i footage in the 720p-60 project worked so well, we decided to see what would happen inside of a 1080p-60 project. We took the same 1080i footage and threw a few clips together on a timeline and went to export it. Though the process of the export needed to change (more on that below), the resulting MP4 didn't show the interlace lines, nor did it have the same shuttered look. We had the same experience opening 1080i sequences that have been mixed-down.Our solution and process for existing 1080i-59.94 projects:1) Project shot and edited in 1080i-59.94.2) Mixdown the sequence in the 1080i-59.94 project. I typically have a separate bin for mixed files/sequences.3) Open a new project at 1080p-60, and open the bin containing the mixed-down files & sequence.Avid will need to modify the sequence to reflect the new framerate and scanning.This is where we found our first \"hitch.\" MC 8.3 (or Quicktime) can't create a Quicktime Reference file of a \"larger than HD\" sequence. We had to create a new export setting.4) Export the new 1080p-60 sequence using the DNxHD 1080p-30 setting. (MC doesn't offer an export using 60p, and for whatever reason 30p works and looks \"right.\")5) Take the resulting sequence.mov file into Sorenson Squeeze and import it into Sorenson Squeeze 9. We just used the YouTube_1080p preset, but you can use an increased bitrate or whatever MP4 settings you require.The crazy thing is that trying to use the same export setting in the 1080i project leaves the interlace lines. So, there's something that happens when MC resamples / upconverts the 1080i footage into a progressive scan project that doesn't happen in Sorenson Squeeze, or in any other program that would import the Quicktime Reference file. Sony Vegas was the closest to creating what we wanted to see, but even that left a bit to be desired.The downside is that the process takes more hard drive space, and adds quite a bit of render time. We only came across this process this week, so we haven't really run many tests, but the render to the 1080p-30 file seems to run about 3x real time. It's not a great solution for long-form projects. We're hoping that in future versions of Media Composer (or Quicktime) will have Quicktime Reference support for 1080p-60 files which would (hopefully) speed up the process.See examples of the different steps/results:1080i-59.94 footage and project, exported as a Quicktime Reference: _Comparison/Project_1080i_Render_QTR.mp41080i-59.94 footage and project, exported as DNxHD 1080p-30: _Comparison/Project_1080i_Render_DNxHD_30p.mp4Best looking - 1080i59.94 footage in a 1080p-60 project, exported as DNxHD 1080p-30: _Comparison/Project_1080p60_Render_DNxHD_30p.mp4TL/DR Short Version: Was able to export smooth, non-interlaced 1080p footage from 1080i source in Avid Media Composer by working in an 1080p-60 project and exporting DNxHD 1080p-30 file to Sorenson Squeeze 9.Our hardware for this whole experiment:Sony PMW-320k camcorders shooting XDCam EX at 1080i-59.94Avid Media Composer v8.3. All source files AMA Linked from the system raid.I/O with AJA Kona and viewed via HD/SDI on the confidence monitorsSorenson Squeeze 9 as the conversion between the DNxHD to MP4.
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One other tip, the real quality will be based on the data rate. Both formats use the same codec, so look at the data rate (should be the number in parenthesis) to see how much actual data is getting into the recording, regardless of stretching.
If you think it's a conspiracy theory, have fun. I can understand the technical realities that lead to a decision like this, even if I don't know the specific block sizes or what impact is from the buffer size versus the SD card write hardware. Hopefully this was enlightening. If you have a better technical implementation, I suggest getting a job with Sony so you can help them enable 1080p MP4.
Because of my weekly virtual talks with Pat, I recently landed (as of 8/1) and am on the way to bigger and better things. Pat was a tremendous influence getting me through the lock down. I found her coaching so insightful and far better than anyone else in the market.
God Never Blinks Pdf !!INSTALL!!LINK ::: aperture master curve (figure 2a) shows how the aperture changed over time. It rapidly decreased until it reached approximately 0 for the first 110 ms, then increased rapidly but at a slower rate until 400 ms followed by a much slower increase until it reached its original value. Unlike in the normalized aperture scatter plot (figure 1a), the value never reached zero because of the variation in the timing and the duration of the closed phase between individuals. The speed master curve (figure 2b) exhibits two parabolic curves; one for the closing phase and the other one for the opening phase. The curve demonstrates that the upper eyelid accelerates until reaching its maximum speed then decelerates during the closing or opening action of the eye. The duration of one voluntary blink was determined for each phase (figure 2c). 7ad9723583
While playing with your babysitting Scarlett Venom you make the biggest and messiest boom boom in your diaper. Scarlett stops immediately. She can't believe how horrible it smells! She can't believe something so cute could make something that smells so horrible! She changes your diaper immediately, making sure to clean up your bottom. After getting you nice and clean, it's time to dress you! She pulls out a few options and selects one. After dressing you, it's time to play again.
Kristi is getting ready for a night out. The first thing she has to do is put her big silver hoop earrings on. Once she gets them in her ears, she begins to pick out clothes. She has a few different options of dresses for the night but she just can't decide on which one.
I think opening week it's always excitement, can't wait to get going. The week seems longer because you had the extra days and you are anxious about getting going on Sunday and that's all good stuff. We will just keep working, keep putting things in tomorrow, tomorrow we will cover third down and the weekend will be here soon enough.
As a position coach, you think about it when you have the ball. Like when we have the ball and we are in the two-minute drill, calling timeouts or not calling timeouts. You work on that all the time out here in practice when we do our two-minute drills which we have done plenty. I'm calling those timeouts and getting a feel for do I want to call timeout, do I want to waste a down, what would I do in that situation. When I watch college games on TV now, I look at it differently now. Now I'm thinking well I would have done this, or I would have done that. Even when the other team has the ball in preseason, I'm thinking well I would have probably called a timeout there or maybe I would let the clock run. I think you are playing that game with yourself now, when you know you are the one making those decisions. I think that's probably the biggest thing is just managing the game and thinking a play ahead on offense and defense. I'm always thinking now, if there was a penalty, would I take it. If there is a penalty on their offense, would I take the penalty, or would I let the play play-out and assume its and incomplete pass. So I start playing those games more than I ever have, because before I never had to think about those things. Now I think ahead and click over to Alan Lowery and say, can he make this field goal, if it's another kicker So, maybe I need to back him up 10 if we get a penalty right here rather than them punt. I think there are a lot of those during preseason that I spent more time on. 59ce067264