creating the legal video deliverable...

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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– Bitrate


– Frame Rate







– 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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• 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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• 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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– Bitrate


– Frame Rate







– 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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– Bitrate


– Frame Rate







– 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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– Bitrate


– Frame Rate







– 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

– P-frame (predictive coded picture)• Motion-compensated reference frame noting difference from

preceding P- or I-frame

• Impact random access times

– B-frame (bi-directional predictive coded picture)• Motion-compensated reference frame that uses trailing and

preceding P- or I-frames to note differences

• Most efficient to encode and easiest to drop during compression

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• A CLOSED GOP contains all information to form the picture within the group structure– Closed GOPs are easier for CPUs to process. Because

they don’t pass over information to the next group, however, you may sometimes see strobing during playback of the video.

– Closed GOPs are easier to edit

• An OPEN GOP represents a multiple group of pictures, rather than a single group.– The GOPs share information from adjoining GOPs

– Smaller file size, at the expense of longer encoding time

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• GOP typically start with I-frames (but not always)– TMPGEnc Video Mastering Works allows for

starting a GOP with BB

– The next frame can be another I-frame (ProRes422, AVC-Intra).

– The next frame can be a B- frame or a P- frame

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• GOP Frame Structure– The structure is typically referred by two numbers

• M = # refers to the distance between anchor frames, whether they are an I-frame or a P-frame

• N = # refers to the distance between two Intra-coded pictures (I frames) and is always a multiple of the M field

• M=3, N=15 refers to a GOP structure that looks like this:

– IBBPBBPBBPBBP

– BBIBBPBBPBBPBBP

FOR REFERENCE ONLY!

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• MPEG 1 / 2 is limited to 18 frames per GOP– DVDs typically have 15-18 frames

• MPEG-4 can have 60 frame GOP or more

• The more I-frames, the bigger the file

• Adding P/B frames reduces file size but increases decoding complexity during random playback

• Open seems to be the default GOP

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– Bitrate


– Frame Rate







– Channels

– Data Rate

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Slide 35 Profiles and Levels

• Most fundamental encoding parameters of H.264 related encoding

• Profiles– Control which encoding algorithm and

technique is used when producing the encoded file.

– Allow the user to target specific playback platforms with varying amounts of CPU and memory

• Time for a Tuneup, Jan Ozer, Streaming Media, January/February 2014, p. 21

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Slide 36 Profiles and Levels

• Levels– Set maximums for playback parameters,

including• Video data rate

• Video resolution

• Frame rate

• Audio codec

• Audio data rate and frequency

• Time for a Tuneup, Jan Ozer, Streaming Media, January/February 2014, p. 22

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– Bitrate


– Frame Rate







– Channels

– Data Rate

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Slide 38 Audio Specifications

• Codecs– MPEG-1 Layer II

– Dolby Digital AC3

– AAC-LC

• Sample Rate– 44.1 kHz

– 48.0 kHz

• Bit Depth– 12, 16, 24 bits

• Channels– Mono

– Stereo

– Dual mono

• Data Rate– 96 Kbps Mono

– 128 Kbps min Stereo

– 192 Kbps preferred

– 224 Kbps max

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Slide 39

• Record 48kHz 16-bit audio when possible– Matches deliverable

– Avoid 12-bit capture

– PCM consumes bandwidth and may add issues during editing

Best PracticesLegal Video Capture

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Slide 40 Typical Legal Video Deliverables

• Add “videosynced” to all deliverables, but not by all engines

• All can be delivered in standard or wide screen display aspect ratio

• Standard definition 4:3 remains the dominant deliverable for depositions

• HD and MPEG-4 are the newcomers and will become more relevant in 2014/2015

• MPEG-1

• MPEG-2

• Authored DVD

• MPEG-4

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Slide 41 MPEG-1 Video

• Plays in virtually every computer –– Supported on all Windows and Macs since 1998

• Plays in virtually any computer currently used

– No licensing issues

• Works with all trial preparation software

• 7 hours of 352x240 1150 Kbps video can easily fit on 4.7 GB DVD-5 disc

• MPEG-1 looks blocky when enlarged on big screen at standard size– Macroblocks used for calculating compression results

in look

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• Basic specs– 352x240 non-square pixel

• Bitrate: 800 to 1200 Kbps– YesLaw: 600 to 1500 Kbps

– Livenote recommends 1200 Kbps

• Normal bitrate target is 1150 Kbps

• Lower bitrates can work with lower motion subjects like depositions

• 600 Kbps does not look good blown up on a screen

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• Better product– NTSC 720x480, non-square pixel

• Bitrate: – 1725 to 3500 Kbps– 3500 Kbps recommended by inData

» inData White Paper “Advanced Video Deposition Support for Videographers”

– 2800 to 3200 recommended by speaker

– Results in nice looking source that can run on any computer– Although discussed by inData, is not supported by their clip

creation tool– Not really discussed by YesLaw, is supported by their clip

creation tool– Do not offer with WestLaw software users – not supported

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• Frame Rate – 29.976 fps (NTSC)

• PAR: Normally anamorphic (non-square) pixel– If you deliver square pixel, use 640x480 aspect ratio

• Use Constant Rate Control

• Progressive only (interlaced not available)

• Open GOP, with 15 frames per GOP– Rule of thumb for MPEG-1/2 – 0.5 sec per keyframe

• Use System Stream file format

• .mpg file extension

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Slide 45 MPEG-1 Audio

• Codec: MPEG-1 Layer II– Use 44.1 KHz, 16 bits to improve compatibility with

older players

– Use 48.0 KHz, 16 bits if clips may end up being re-encoded to a DVD for trial or deliverable

– If audio out of sync with video, change sample rate.

– 224 Kbps Stereo (2 channels) maximum• 96 Kbps Mono

• 192 Kbps minimum – inData recommendation

• 128 Kbps minimum – YesLaw recommendation

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• 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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• Basic specs for delivery– MPEG-2 SD almost always anamorphic pixel

– NTSC 720x480 DAR• Bitrate: 3000 - 4400 Kbps constant rate control

– Standard play on DVDs typically 4200-4400 Kbps

– Degradation begins to be seen below 3400 Kbps

– Lean towards progressive but interlaced will work

– YesLaw spec: 2500 Kbps for depositions

• If you’re doing interlaced and see strobing, try changing the field order from top first to bottom first, or vice versa.

– Frame Rate • 29.976, 30 fps interlaced or progressive

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• Use Constant Rate Control

• NTSC DVD has maximum of 18 frames per GOP– Typical setting is 15 frames, or 0.5 seconds at 30 fps

• Use Program Stream file format– One file contains both audio and video streams

• CLVS suggests limit of 2 hours per file (SP setting) at this point in time

• Better source for production house

• .mpg/mp2/m2p/mpeg file extension

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Slide 49 MPEG-2 Audio

• Codec: MPEG-1 Layer II– 48.0 KHz, 16 bits

– 192 Kbps Stereo (2 channels) minimum• 96 Kbps Mono

– 224 Kbps Stereo is max needed for depositions• 112 Kbps Mono

– May not play in older players

• Codec: AC-3 Audio (a.k.a. Dolby Digital)– US DVD recorders must support AC-3

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Slide 50 Video OBject Files

• Also known as a(n) (authored) DVD• Higher quality video

– Can be shown on large screen without looking blocky– Source can be MPEG-1, MPEG-2

• If you want it to look really bad, use MPEG-1 352x240 source

• Works with desktop players/computers• Needs player to be used on computer

– VLC is a reasonable choice– Codecs sometimes have to be downloaded from web, which can be

a problem behind a lawyer’s firewall

• Limited to 1 GB per file– Encoder multiplexes (muxes) video, audio, and subtitle streams

together during playback

• Current default deliverable for most courts

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• Use MPEG-2 specs

• If your source is interlaced, make it interlaced

• If your source is progressive, make it progressive

• Do not shortchange bitrate for production house– No more than 2 hours on a disk

• Production house will have difficulty creating a decent looking MPEG-1 from an extended play EP (4 hours +) DVD

– Use Standard Play SP for DVD recorder

• Synching applications will use lower bitrate for their “synched DVD” and may re-encode source

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• My preferences for post production DVD:– 4 to 5 minute chapters

– No menu

– Autostart

– No looping

– 4200 Kbps Constant Progressive

– 2 hours of video max

– MPEG-1 Layer II 48.0 kHz 224 Kbps

– DVD-5

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• DV D Creation Software– TMPGEnc Authoring Works 5

• Will pass through encoded video and perform smart render

• Processes in batch mode

• Also has DVD and ISO DVD burner

– Grass Valley ProCoder 3 (no longer available)• Created VOB folders with chapters in batch mode

• Don’t like:– DVD Flick, NCH Burn, Nero, Roxio

• Want to re-encode

– Vegas, Final Cut Pro, Premiere Pro, DVD Studio, etc.• Too tedious

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Slide 54 MPEG-4 Part 10 Video

• Higher quality video at low bit rates– Better compression than MPEG-2

– Can be shown on large screen without looking blocky

– Gets softer, and not blockier, under heavy compression

• Plays on multiple platforms– PC/Mac

– iPad

• Supports High Definition / Standard Definition

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Slide 55

• Basic specs– Assumes H.264 codec – ALWAYS Progressive

• H.264 Main Profile to Level 3.0 for 640x480 SD delivery

• H.264 Main Profile to Level 3.1 for 720p iPad 1&2 delivery

• H.264 High Profile to Level 4.1 for 1080p iPad delivery

– Compatible to MPEG-1• Video: 352x240, 30 fps @ 610 Kbps, 4 reference frames

– CABAC Entropy Mode

• Audio: AAC-LC, 128 Kbps (160 Kbps max), 48 Khz, 2 channels

– Advanced Audio Coding Low Complexity (AAC-LC)

“MPEG-4 White Paper , Utilizing New Video Formats”, Thomas Lorenzen, p. 1, inData Corporation , January 2012

MPEG-4 Part 10 Video

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Slide 56

• Basic specs– MPEG-2 Compatible (4:3)

• Video: 720x480, 30 fps @ 1200 Kbps 4 reference frames– CABAC Entropy Mode– Ozer recommends 1400-1500 Kbps

• Audio: AAC-LC, 160 Kbps, 48 Khz, 2 channels

– MPEG-2 Widescreen Compatible (16:9)• Video: 720x408, 30 fps @ 1200 Kbps 4 reference frames

– CABAC Entropy Mode– Ozer recommends 1400-1500 Kbps



“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 57

• Basic specs– HD Deliverable 1– PROGRESSIVE ONLY

• Video: 1280x720p, 30 fps @ 2600 Kbps– CABAC Entropy Mode– Ozer recommends 2750 Kbps

• Audio: AAC-LC, 160 Kbps, 48 Khz, 2 channels• Best choice for Legal Video• Only HD format that inData DepoView supports!

– HD Deliverable 2– PROGRESSIVE ONLY• Video: 1920x1080p, 30 fps @ 3500 Kbps

– CABAC Entropy Mode– Ozer recommends 4900 Kbps



“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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• 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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• 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 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 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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• 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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• Use the Power of 0.75 Formula for a rule of thumb within a given compression codec:

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• Examples:– inData MPEG-4 White Paper Utilizing New Formats,

ibid, p, 1

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• 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 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 103 Creating the Legal Video Deliverable

QUESTIONS?

Bruce Balmer, MBA, CIRM, CLVS, CCVS, CME

[email protected]

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creating the legal video deliverable...

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