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Table Of Contents
- Compressor User Manual
- Contents
- An Introduction to Compressor
- Getting Started Quickly
- The Basic Transcoding Workflow
- The Compressor Interface
- Importing Source Media Files
- Creating, Previewing, and Modifying Settings
- Creating Jobs and Submitting Batches
- Assigning Settings to Source Media Files
- Assigning Destinations to Source Media Files
- Submitting a Batch
- About the History Drawer
- Resubmitting a Batch
- Saving and Opening a Batch File
- Submitting a Final Cut Pro Project for Transcoding
- Resubmitting a Final Cut Pro Project
- Transcoding Different Clips From One Source Media File
- Creating Dolby Digital Professional Output Files
- Creating H.264 DVD Output Files
- Creating MPEG-1 Output Files
- Creating MPEG-2 Output Files
- Creating MPEG-4 Output Files
- Creating QuickTime Movie Output Files
- Creating QuickTime Export Component, AIFF, and TIFF Files
- Adding Filters to a Setting
- Adding Frame Controls, Geometry, and Actions to a Setting
- Using the Preview Window
- Creating and Changing Destinations
- Using Droplets
- Customer Support
- Command-Line Usage
- Index
186 Chapter 14 Adding Filters to a Setting
Note: You can always preview a clip containing your current settings by double-
clicking the setting in the Batch window to open it in the Preview window. The Preview
screen is split into original and transcoded versions of your media file so that you can
see the effects of your filter settings before processing the batch (as long as the
checkbox for that particular filter is selected). Once you are reasonably happy with your
settings, it’s a good idea to scan through the whole movie to ensure that your changes
are not too extreme for some scenes. See “Using the Preview Window” on page 209 for
more information.
Deinterlacing
NTSC and PAL video is interlaced. This means that each frame of video consists of two
fields (1/60th of a second apart), one with the odd broadcast lines and one with the
even lines of the image. The differences between these two fields create the impression
of motion. Our eyes combine these two images into one whole frame of smooth,
realistic motion at 30 fps in standard definition television, and because of the high
field-refresh speeds (1/60th of a second), the interlacing is invisible.
Adjustments you make
in the Filters list can
be viewed in the
Preview window.