|
|||||
This article describes a three stroke approach to improve sound from camcorders. The first step is to reduce the noise. In the following steps the dialog loudness is set to a standard level and the dynamic range is reduced. The last two steps are an integral part of AC-3 (A/52, Dolby Digital) but can also be applied to other streams such as Advanced Audio Codec (AAC) as shown in the last section. «read more» 
Starting with CS4, Adobe Premiere Pro supports AVCHD video. For owners of AVCHD camcorders, this is an huge step forward. If you were one of the early adapters, you might have followed my guide Editing AVCHD 24p using Adobe Premiere Pro CS3. If you made the jump to CS4 or CS5, you can not tweak your old projects so that they use the .mts files directly. «read more» 
Encore is one of those acquisition products, that were shaky from the start and never fully stabilized. Having said that, let’s try to make the best of it. «read more» 
Describes AviSynth scripts to upscale standard definition PAL video to High Definition 1920x1080p24. «read more» 
The introduction of high definition video (AVCHD) brought my Core 2 Duo based desktop to its knees. The main limitations were the virtual address space and sheer processing power. What appeared impossible 2 1/2 years ago, became an every day reality. Below you find my notes of this endaver. «read more» 
This document describes a solution to transcode video from Adobe Premiere Pro to Apple TV, DVD or Blu-ray Disk. It assumes that video was rendered to a Lagarith Lossless encoded AVI file (see the last section of Canon Vixia HF10/HF11/HF100 > Adobe Premiere Pro CS3 > Lagarith Lossless).While Premiere Pro’s Media Encoder can be used to export to both AppleTV and DVD format, its quality is marginal. By exporting to Lagarith Lossless, Premiere is used for what it is good at: render video and the transcodng is left to free tools. «read more» 
This guide describes an nearly free frame accurate solution to edit video from the Canon Vixia HF10/HF11/HF100 camcorder in Adobe Premiere Pro 3.2 (CS3). It builds on the assumptions listed below. It is rather trivial to adapt to other frame rates, resolutions or even other NLEs. It assumes that the camera is set to PF24 1920×1080 mode, and used with Adobe Premiere 3.2 (CS3). The solution described in this guide involves a substantial number of steps. «read more» |
|||||
|
Copyright © 2013 Coert Vonk - All Rights Reserved Powered by WordPress & Atahualpa |
|||||
