The number of frames that appear every second is known as the frame rate , and it is measured in frames per second fps. The higher the frame rate, the more frames per second are used to display the sequence of images, resulting in smoother motion. The trade-off for higher quality, however, is that higher frame rates require a larger amount of data, which uses more bandwidth. When working with digitally compressed video, the higher the frame rate, the larger the file size. To reduce the file size, lower either the frame rate or the bitrate.
If you lower the bitrate and leave the frame rate unchanged, the image quality is reduced. Because video looks much better at native frame rates the frame rate at which the video was originally recorded , Adobe recommends leaving the frame rate high if your delivery channels and playback platforms allow it.
For full-motion NTSC video, use If you lower the frame rate, Adobe Media Encoder drops frames at a linear rate. However, if you must reduce the frame rate, the best results come from dividing evenly. For example, if your source has a frame rate of 24 fps, then reduce the frame rate to 12 fps, 8 fps, 6 fps, 4 fps, 3 fps, or 2 fps.
If you are creating a SWF file with embedded video, the frame rate of the video clip and the SWF file must be the same. If you use different frame rates for the SWF file and the embedded video clip, playback is inconsistent.
Key frames are complete video frames or images that are inserted at consistent intervals in a video clip. The frames between the key frames contain information on changes that occurs between key frames.
Key frames are not the same as keyframes , the markers that define animation properties at specific times. By default, Adobe Media Encoder automatically determines the key frame interval key frame distance to use based on the frame rate of the video clip.
The key frame distance value tells the encoder how often to re-evaluate the video image and record a full frame, or key frame, into a file. If your footage has a lot of scene changes or rapidly moving motion or animation, then the overall image quality may benefit from a lower key frame distance.
A smaller key frame distance corresponds to a larger output file. When you reduce the key frame distance value, raise the bitrate for the video file to maintain comparable image quality. As with the frame rate, the frame size for your file is important for producing high-quality video.
At a specific bitrate, increasing the frame size results in decreased video quality. The image aspect ratio is the ratio of the width of an image to its height. The most common image aspect ratios are standard television , and widescreen and high-definition television.
Users with fast Internet connections can view the files with little or no delay, but users with poor connections must wait for files to download. Make short video clips to keep the download times within acceptable limits if you think a majority of users may not have good internet speeds. Video is a sequence of images that appear on the screen in rapid succession, giving the illusion of motion.
The number of frames that appear every second is known as the frame rate , and it is measured in frames per second fps. The higher the frame rate, the more frames per second are used to display the sequence of images, resulting in smoother motion. The trade-off for higher quality, however, is that higher frame rates require a larger amount of data, which uses more bandwidth.
When working with digitally compressed video, the higher the frame rate, the larger the file size. To reduce the file size, lower either the frame rate or the bitrate. If you lower the bitrate and leave the frame rate unchanged, the image quality is reduced. Because video looks much better at native frame rates the frame rate at which the video was originally recorded , Adobe recommends leaving the frame rate high if your delivery channels and playback platforms allow it.
For full-motion NTSC video, use If you lower the frame rate, Adobe Media Encoder drops frames at a linear rate. However, if you must reduce the frame rate, the best results come from dividing evenly. For example, if your source has a frame rate of 24 fps, then reduce the frame rate to 12 fps, 8 fps, 6 fps, 4 fps, 3 fps, or 2 fps.
If you are creating a SWF file with embedded video, the frame rate of the video clip and the SWF file must be the same.
If you use different frame rates for the SWF file and the embedded video clip, playback is inconsistent. Key frames are complete video frames or images that are inserted at consistent intervals in a video clip. The frames between the key frames contain information on changes that occurs between key frames. Key frames are not the same as keyframes , the markers that define animation properties at specific times. By default, Adobe Media Encoder automatically determines the key frame interval key frame distance to use based on the frame rate of the video clip.
The key frame distance value tells the encoder how often to re-evaluate the video image and record a full frame, or key frame, into a file. If your footage has a lot of scene changes or rapidly moving motion or animation, then the overall image quality may benefit from a lower key frame distance.
A smaller key frame distance corresponds to a larger output file. When you reduce the key frame distance value, raise the bitrate for the video file to maintain comparable image quality. Both Premiere and Adobe Media Encoder support deinterlacing. In fact, you can resize and deinterlace at the same time in AME. I had no problem with editing the video in FCP only the Would it be better to resize the or the video?
Perhaps you want the stylistic differences between and to emphasize some part of your story — for instance to make clear when a flashback is occurring. There is no requirement to resize. You want to resize so that all images are consistently p or p. This simplifies editing; at which point you can decide to add or remove pillar boxing. Since all HD is , my recommendation would be to resize the footage first, then see if FCP X can handle the rescaling automatically.
If you are having problems with the footage, then create a test where you both resize it and convert it to progressive. See if that looks better in FCP X. Keep in mind that resizing will never make SD footage look like HD. True, but the de-interlacing method used by Adobe does not lead to good results, especially on text or sharp edged graphics. The best de-interlacing available in software affordable by mere mortals is DaVinci Resolve Studio where fantastic and fast de-interlacing has been built in since version Larry, I have a windows question.
As I understand it, the SD widescreen setting involves using a pixel aspect ratio of 1. In other words it would seem logical to try to change the PAR to some number that would allow correct fitting of the footage into the SD wide screen frame instead of stretchng. Obviously, for some reason, the 1. Do you have any thoughts about how to use Media Encoder to change the PAR to whatever the correct number might be?
Thanks in advance. John Rich. Not quite true. PAL ratios are different. All images posted to the web — still or video — use square pixels PAR of 1. The reason the black bars exist is that pixels that are 0. Hence, the black bars fill the rest of the space.
Without the black bars, posting a video with non-square pixels makes it look stretched. The web has no ability to deal with non-square pixels. What Adobe Media Encoder does is widen each pixel slightly so that they are square and look proper when posted to the web. Your email address will not be published. Access over 1, on-demand video editing courses. Become a member of our Video Training Library today!
March 27, at pm. Larry says:. Steve: I suspect what you are seeing is interlacing, which was built into almost all cameras shooting SD, especially Sony. Steve Schwartz says:. Steve: There are multiple answers to that: 1.
Jamie LeJeune says:. March 30, at pm. Larry Jordan says:. John Rich says:. November 9, at am. November 10, at pm.
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