Setting loop points for DVD Root Menus

Devising The Root Menu

Devising The Root Menu PT. II

Filming Her Majesty The Queen

Today I had the pleasure of attending the Royal opening of Thornham Village Hall.  I attended and captured the arrival and departure of The Queen assisted by my lecturer James Fox , SpringboardTV.com colleagues ; Luke Leeks , Ilze Vermane Kieran Hudson. The shoot was a great success & a great experience. I also had the opportunity to work in conjunction with ITV sharing footage (I had shot ) with ITV to use in there afternoon and evening broadcasts. SpringboardTV were also featured in the Piece.

http://www.itv.com/news/anglia/story/2014-01-28/the-queen-opens-village-hall/

We now plan to create a special feature on the day in which we shall include in the second version of the DVD which will be produced by David Rawlinson for the client and for sale to the general public via http://www.springboardtv.com/

Variables to consider when :Delivering The Thornham DVD To The Client

What class of deliverable does the client need?

When working with a client, you need to make sure that they are prepared to receive the files you’re delivering. Just as with still photography, it’s important to choose the right way to format the deliverable. A layered Photoshop file may be difficult or impossible for some clients to open. And a savvy client who needs to make edits may be just as dissatisfied with the compressed JPEG you send via email. You might also hesitate in handing over all of your images from the shoot if you didn’t pre-negotiate the terms.

The same situation exists with video files. You need to clarify what class of file the client is prepared to receive. Ideally this discussion would have happened up front (as it will often affect the cost of the project). Here are several classes of deliverable to discuss with your client.

• Digital Master – As the name implies, a master file generally refers to a single, self-contained digital file that matches or exceeds the codec quality of the original camera acquisition. In most scenarios, the final video gets compressed or converted for multiple uses. Because of all this reformatting, it’s really important that you start out with the best quality image that you can. This file should be created with a very high quality codec, rendered at very high quality settings. Common choices include ProRes, Avid, and Cineform.
• Mezzanine Files – A Mezzanine file is a lightly compressed master file that will stand up to making additional compressed versions.The use of mezzanine files is popular as they simplify the process for most users. In this case, a high-quality file is created using minimal compression. A popular choice is to use the H.264 codec, but with a data rate that is much higher than a DSLR camera. The file is smaller and easier to backup or transport, as ome compression is applied, meaning that the file can be more easily shared or transferred using the Internet. However, the data rate is high enough that the file can be easily re-compressed for smaller sizes.
• Compressed Deliverables – This category of files typically refers to a wide range of files designed for playback on the web as well as consumer electronic devices and portable media players. It is quite possible that this list can grow into dozens of files quickly if you optimize for individual devices. If you are creating these files for your client, be sure to budget output and testing of each deliverable on a version of the intended playback device.
• Project/source files – This is a large area of conflict between client and vendor. The client may expect that video projects are works made for hire and expect that all footage you shot, as well as the project files for video editing and graphics, are bundled up and turned over to them. This opens up a myriad of potential issues and clearly shows where the video and photography industries differ on standard business practices. If you do deliver project and source files, most nonlinear editing tools have a media or project manager that can simplify the process.

Testing compatibility

Before you send your video out the door to a client (or even your audience) be sure to thoroughly test it. Always test each web video preset you intend to use by taking it and running it on a clip. Then take the resulting file and transfer it to an intended player. If the preset says its for an iPod, put the file on an iPod and an iPhone. If you are required to deliver on DVD, burn a disc and play it on a television. You need to test your settings because something can go wrong with the file.

Before you compress a lot of video, create a small test file. Try compressing 30 seconds of video with different settings. This test file should ideally include a mixture of footage and graphics that will be in your final shows. The goal is to find compression settings that work well with your material and are also compatible with the technology your audience wants to use.

Best practices

Here are some suggestions on best practices for creating optical discs:

• Use variable bit-rate encoding (VBR) – Variable bit-rate (VBR) encoding adjusts bit rate depending on the subject mater that is being encoded. If a shot is simpler with less movement, the total bit rate will be reduced. VBR encoding is more efficient and leads to smaller, better-looking files when compared to constant bit-rate (CBR) encoding.
• Watch bit rates– Setting a bit rate (or quality level) too high will create excessively large files that may not play smoothly with older players or software. The files might also skip and stutter. Conversely a bit rate that is too low will reduce quality but give you smaller files. When encoding for DVD VBR bit rates that are between 4–8 Mbps work well and for Blu-ray we’ve found bit VBR rates between 12-25 Mbps are appropriate for most situations
• Use progressive sources where possible – For both DVD and Blu-ray you’ll get better results from MPEG2 and H.264 encoding when your sources are progressive.

Duplication vs. replication

When creating DVDs or BDs, you have two choices in manufacturing the optical discs. If you’re dealing with small quantities, you can use the optical burner or disc drive with your computer. These discs are easy to make, but may not be as compatible in all players.

If you need to produce discs in larger quantities, the use of replication is preferred. In this case, a master disc image is created (often called the glass master). Discs can then be created using specialized hardware that creates the discs much faster and with greater accuracy to prevent errors. This process is typically used for orders above 500 discs.audience) be sure to thoroughly test it. Always test each web video preset you intend to use by taking it and running it on a clip. Then take the resulting file and transfer it to an intended player. If the preset says its for an iPod, put the file on an iPod and an iPhone. If you are required to deliver on DVD, burn a disc and play it on a television. You need to test your settings because something can go wrong with the file.

Before you compress a lot of video, create a small test file. Try compressing 30 seconds of video with different settings. This test file should ideally include a mixture of footage and graphics that will be in your final shows. The goal is to find compression settings that work well with your material and are also compatible with the technology your audience wants to use.

DVD Copyright Warnings

SO..... ??  You have waited while the player fires up and then starts reading the disk.

Then, just when you think you are going to get some entertainment, instead you have to sit through the copyright notices.

You try in vain to fast forward or skip them but you cannot.

So does it need to be there?

Having the copyright notice there increases the damages that can be awarded if you subsequently infringe copyright In the UK you can get what are called 'flagrancy damages' if you knowingly copy something you shouldn't.

Copyright: International validity With regard to the “international” aspect, here are some important points: -the original creation has an automatic right, the copyright, by the mere fact of its existence (if the work is original, the author’s copyright is born on the creation, with no formality).

-The copyright is recognised by the Berne Convention in 164 countries. If the filing party has this right in one of the signatory countries, he will systematically have it in any of the other countries, so he can assert that right. Especially in the case his work is copied. -Consequently, beyond the theoretical aspect of the copyright, there is practice: filing is used to PROVE the right by means of an unchallengeable registration that enables the author to create a probative link between his creation and the date of creation. This is called proof of anteriority, which is essential for asserting the author’s rights, in particular. Copyright: International validity With regard to the “international” aspect, here are some important points: -the original creation has an automatic right, the copyright, by the mere fact of its existence (if the work is original, the author’s copyright is born on the creation, with no formality). -The copyright is recognised by the Berne Convention in 164 countries. If the filing party has this right in one of the signatory countries, he will systematically have it in any of the other countries, so he can assert that right. Especially in the case his work is copied. -Consequently, beyond the theoretical aspect of the copyright, there is practice: filing is used to PROVE the right by means of an unchallengeable registration that enables the author to create a probative link between his creation and the date of creation. This is called proof of anteriority, which is essential for asserting the author’s rights, in particular.

Read more: http://copyright.co.uk/legal-copyright-law.html#ixzz2rFWBOHxz

When in America......

http://www.fbi.gov/about-us/investigate/white_collar/ipr/anti-piracy

In Feb. 2004 the FBI released its new official “anti-piracy” logo for use on videos, DVD’s, CD’s, etc.

I would show the logo here but since August 2006, the FBI has only authorized its use by members of the Motion Picture Association of America (MPAA), the Recording Industry Association of America (RIAA), the Software & Information Industry Association (SIIA), the Business Software Alliance (BSA) and the Entertainment Software Association (ESA), subject to each member entering into a formal Uniform Authorization Agreement.

Unauthorised use of the FBI seal, name, and initials are subject to prosecution under Federal Criminal law, including Sections 701, 709, and 712 of Title 18 of the United States Code.

Warning: The unauthorized reproduction or distribution of this copyrighted work is illegal. Criminal copyright infringement, including infringement without monetary gain, is investigated by the FBI and is punishable by up to five years in federal prison and a fine of $250,000.”

The purpose of the APW Seal is to remind media users of the serious consequences of pirating copyrighted works. Use of this seal does not indicate that the FBI has reviewed or validated copyright interests in the particular work and does not provide greater legal protection to the work. It simply serves as a widely recognizable reminder of the FBI’s authority and mission with respect to the protection of intellectual property rights.

Even some releases of American issue releases have the Federal piracy emblem on the DVD Disk itself..

Instructions on how to copyright your DVD in America.

1. • 1
     Direct your browser to the official U.S. Copyright Office website (See resources). Not only can you register your work, but the site also provides vital information regarding your rights of ownership.
   • 2
     Fill out form "CO." This is the form needed to copyright your DVD. A separate form is needed for each DVD. Complete the form online or print the PDF version.
   • 3
     Submit your form. If you submit the form via the Internet, you'll have to mail in a physical copy along with your DVD. Submitting via the Internet will get the process started and will permit you to track your application. Your work is registered from the time you submit your registration. However, it will take up to six months to receive your official copyright certificate via mail.
   • 4
     Pay the fee. The fee is $35 or $50, depending on your registration method. You can copyright as much as you can fit on a DVD for one fee.

Essential Training for DVD pro

I Highly recommend this site for extensive tutorials , and advanced trouble shooting should you run into issues when Authoring...




http://www.lynda.com/DVD-Studio-Pro-4-tutorials/essential-training/464-2.html