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MillimeterShooting for Streaming, Part 2
Aug 25, 2008 12:00 PM, By Jan Ozer
Figure 4. Encoding to the same parameters as HDV but using the PNG codec.
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When exporting the intermediate file, you have to be careful to match the original specs of the acquisition format except for the codec, and Figure 4 shows most relevant details of encoding the editing HDV file into an intermediate file for input to Squeeze. Note the frame size of 1440x1080 and anamorphic pixel aspect ratio of 1.333:1, which matches HDV’s attributes. Here, the original file was progressive, but if it were interlaced, I would have chosen that in the Keyframe and Rendering tab.
Note that if you were producing an intermediate file to match your target, you would use parameters that closely match Figure 1. That is, you’d input your target resolution and specify square pixels, not the aspect ratio of your source video.
As a rule, I also produce all intermediate files using Premiere Pro’s File > Export > Movie sequence, rather than the Adobe Media Encoder. Although Adobe tells me that the results should be identical, the Export Movie sequence is easier to follow and feels more reliable. I have gotten some funky results when producing intermediate files with the Adobe Media Encoder—particularly with screencam source videos, where any distortion is immediately obvious.
Figure 5. Sorenson Squeeze’s DV and HDV results are very, very close.
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OK, so I created the intermediate files as specified and encoded in Squeeze, and Figure 5 shows the results, which were the closest yet in terms of both detail and motion quality. I like the HDV color a bit better, but the faded-blue background in the DV clip is more accurate. Both are easily configurable via Premiere Pro’s (or Final Cut Pro’s) color filters.
So, what’s my conclusion? All things being equal, no viewer could detect the difference between video shot in SD or HDV if shot with the same camcorder. With side-by-side comparative displays, HDV video processed in Premiere Pro looks just a hair better than DV—although video produced by Squeeze and by Final Cut Pro look nearly identical.
Note that this result might change if you were comparing DV with DVCPRO HD or AVC-Intra, which offer higher-quality HD than HDV. But for HDV vs. DV in the same camcorder, DV should produce nearly identical quality as HDV.
Getting back to the original debate that started this process, we get the best possible result. Tim could be right, and perhaps will be proven so if I ever get my hands two really high-quality HD camcorders. As for now, at least as it relates to DV and HDV, I am right, although obviously only if you use the optimal presets and procedures all the way through.
