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j If video quality is a top consideration, create or request your content in pro-
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gressive format if at all possible shoot on film or use a progressive digital video camera If your video assets come from an interlaced source, consider converting to progressive format before encoding Depending on the nature of the video, progressive conversion may cause artifacts that unacceptably degrade the video For some types of interlaced content, however, a high-quality progressive conversion will result in a BD that looks significantly better when played on progressive BD players and monitors See 2 for more on progressive video
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Video produced on a computer or camera-source video that is composited with computer graphics have their own sets of issues Preview all of your video at the full resolution of 1920x1080 If you are working at lower resolutions than this, there will be artifacts that your enduser may see Conversely, preview your material at lower resolutions also You may need to decide which wreaks havoc on interlaced displays, even at 1080i 720p displays will lose some of the fine detail that you have at 1080p Avoid thin horizontal lines; use the anti-aliasing and motion blur features of your animation or editing software, whenever possible Use a low-pass or a blur filter, but don t overdo it because too much blurring reduces resolution on progressive scan players and on computer displays For SD content, consider upconverting to 1080p Although this will result in more disc space being used, this ensures that the enduser will have the best consistently-displayed video If you need to use SD video for 525-line (60hz) video, you can render animations at 720x540 and scale to 720x480 before encoding; For 625-line (50hz) video, you can render animations at 768x576 and scale to 720x576 before encoding, or if your software supports it, render with D1 or DV pixel geometry Render at 24 fps progressive as this will yield the best looking video on high definition 1080p displays
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With DVD, any animations had to be pre-rendered as video You would then use these pre-rendered clips as transitions between either still or motion menus This technique still has applications with BD, but most of the animations can be rendered by the player as the user interacts with the disc Some things to remember, though, unless the playback is on a very fast player (eg, Sony PS3), you need to pay attention to the number of pixels per second that you are moving on the display at any one time Keep the pixel rendering under about a fifth of the screen size per second and you will not have tearing or stuttering on any of the players Test your animations to ensure that they work on the players that you have targeted
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Contrary to most expectations, audio is usually just as complex as video and often more complex You must deal with multiple tracks, synchronization, audio levels across the disc,
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and so on As with video, the better quality the source, the better the results after encoding Audio assets usually come on modular digital multitrack (MDM) formats, or you may receive PCM (WAV) files on a CD-R, DVD-R, BD-R or HDD, or already-encoded Dolby Digital or DTS files With a multitrack tape source, make sure the track-to-channel assignments are correct Dolby has specified that the sequence is L (left channel), R (right channel), C (center channel), LFE (low frequency effects), Ls (left surround), Rs (right surround, Lt (left total), Rt(right total), but not all production houses follow this standard Capture your audio mixes at the highest sample rate and word size possible If someone else is doing the audio mixing, request that they do the same As recording and mastering studios acquire the new equipment needed to work with high-resolution audio, 96 kHz 24-bit audio will become commonplace Unlike with DVD-Audio or for audio-oriented DVDVideo, a 96 kHz 24-bit PCM audio track can have plenty of remaining headroom on BD When converting from NTSC or PAL video, or transferring from film, the audio may need to be conformed to match the transfer imagery, preferably via a pitch shift to restore proper pitch If the audio is from a CD, it must be upsampled from 441 kHz to 48 kHz for BD Many audio files produced on PCs are also at 441 kHz Do all of the necessary processing before encoding clean up and sweeten the audio, remix and equalize, adjust phase, adjust speed and pitch, upsample or downsample, and so on Audio levels can be adjusted before encoding or, for Dolby Digital, they can be adjusted during encoding by using the dialog normalization feature If the mix was done for the theater, re-equalize for the home environment Establish consistent audio levels and equalization throughout all of the audio on the disc, including menus and supplements This is especially important with multiple audio tracks from various sources, since the viewer will be able to jump at will between them and will be bothered by inconsistencies in level or harmonic content Resist the temptation of locking out the audio key on the remote control, which will only annoy your viewers Instead, get all of the sources to PCM format so they can be matched and harmonized before being encoded
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