WWDC2003 Session 710

Transcript

Kind: captions Language: en cool so uh because this is such a kind of a different year for us mixing of the court my of the wEDC stuff together I just kind of before I start the class just kind of give a sense from folks what angle are coming from so i can frantically rewrite my keynote presentation 30 seconds and do that so how many people are coming from the content world primarily and from the programming software engineering world okay about 5050 perfect little like a no audience over last make it all excited so folks are coming for the content world what do you want to earn today what do want to know about just shout it out but breasts say during video into the computer so these are the capture process how'd you go from tape into the computer good always a challenging issue but getting better yeah analog-digital okay great all these things not have not had it ran the flight up for you in who I ask these things yeah currently the tools good yeah so my plan is a good about a 45-minute president half an hour furtiveness of talking and then I'm just going to do demos and it will let audience vote happened what demos we're going to see so make sure your how your favorite tool in mind we'll just take a look at what people are sitting out with scenarios you want to have just the proof I won't keep making it's always good to know what I'm do it in advance so good for the software folks any what a software people want to know for me I was important you thought you are you on building software that involves pre-processing or have that have that in mind [Music] great okay sounds good yeah so actually was not in the syllabus pecially will be looking at compressor today by the way should mention so i got my for our copy of that last minute so I've actually used it much yet so it'll be a will be learning compressor to get together a little bit but it's a pretty easy to you so far actually it could and completed the entire file in it during a earlier presentation thanks for you two batteries cool so uh sounds good so this is the time that we got three more minutes so so I just got bored so I sighs I start talking here too nervous I read all my email what am I going to do up here so what r is really like a big pre-processing and headaches just like kicking someone's butt or problems you're having some like that they're just causing pain yeah there there there are so many rules of thumbs that you know you need a lot more arms oish ass on this head stuff hey you're doing lots of times see which works best I didn't you doing the right thing I mean I find I'm having to leave I I encoded my first file as a macro mine director accelerator 1989 so that's a virtual my 14th anniversary here doing this stuff and I will I still in code every file about three times that I do you know it's like you know just get a little bit closer every time so you know it's always it's always a good idea it's healthy because two experiments not sure what's basically do a try it both ways and see what happens when I thing about fast computers is you can just you know do a big batch and try out different alternatives and you you know the proofs ultimately the pudding know all that really counts in the end is the pixels you get on the user screen so whatever looks and sounds the best for that now is the right solution so hasn't kind of sport oriole purchase it was a great one I think yeah it's a but yeah there's so many weird little things you can do i'm not only talking about compression formats and like codec tips today permanent where has happened from your video you've got your capture file on your hard drives to like what you actually hand off the compressors out of the middle part we're talking about today and that's certainly enough for 90 minutes monday i mean so shall we it's time to formally start now so thanks for those in me there we go oh and definitely when you're asking questions from now on who you are taping make sure comes the microphones but please feel free to ask questions during the presentation alright thanks for coming everybody this is pre-processing principles and special hello to our friends listening in nihongo and on a DC TV or on the DVD Ben Wagner doesn't really need an introduction per se in the video world or in the digital video world so given his last five minutes of casual discussion we're really happy to have him here many of us wish that there was a do what I mean button in the compression tools and that everything would come out perfectly and that we'd get you know mikes per second when we really were getting bits per second so we hope that Ben offers some correct some good guidance on how to get really good video even before video hits the compression tool and I'll hand it over to you then and then we'll have a Q&A afterwards and I would ask that if when we do the QA you do that with the microphone either raise your hand and somebody will bring a mic to you or there's a mic in the center of the room that way the question can be understood clearly and translated well so thanks and I'll great thanks all right so have my Steve moment has a remote mouse here first time here that's a key no in a remote mouse I feel like I feel like a real boy for once this is good no more right arrow key and PowerPoint for me no three so uh we said that me and my name is Ben and I'm a codec nerd so yeah so what we're talking about today is pre-processing and we're going to look at a few tools talk about a theory of it try to wrap this all together so talk about some ideas and actually show you how to apply those things in some rural projects and the focus of today this is also to be useful stuff you're depressing video i hope everyone today i can answer a question you got you may add i will save you some time and work i'll be able to get better results and lower your aspirin budget it's always a goal no agenda what is this why it matters how do we do it how do we do it and primary okay we're going to talk about web delivery DVD code is actually quite a bit easier i'll mention it here and there but the folks today is you know delivery non-web you know you're on cell phones all that kind of stuff so but feel free to ask DVD questions are specific as they come up but fortunately knives to the time DVDs pretty easy with a couple caveats we'll get to soak reprocessing compras students pretty much everything that happens between your source video in your programming video so you know unicode it you got your capture your stuff here it's in black magic co-director it's in bv it's an animation you got a bunch of rectangles to start with and then in the end your hand up which are rectangles off to the to the codec which is to make it your bed spring so pre-processing is all about taking one rectangle and then making a better rectangle out of it for the codec so rectangle rectangle doesn't sound too hard if only for me i find it like you know the bitrate you want general in the project you know kind of key that in your the right frame rate a lot of those kind of stuff pre-processing is a part of them its most artistic it was crafted the precious one I wind up spending the vast majority of my time on you know I mean you me doin a big project you know the specs of it yeah different kinds of source coming in you have to cut you off line up tweaking each clip a bunch of times and the filters all that kind of stuff and we're getting tools like that's better a better more automated which is nice but you know it's it's always the part that I wanted it sweating you know there you just knock it over a couple pixels here and there and do it over and over again fortunately new compressor app I'm pretty excited about those are pretty good features for actually seen it in real time you're a fact which pays off a lot so why does it matter we're really trying to maximize what I call bang for the bent compression efficiency we're trying to turn every bit of bandwidth we have available in to information that serves our communication goals yeah we're not compressing video for fun or compressing video try to communicate and by pre-processing we're trying to give the codec the right input in can turn to deliver the best possible end result it can you know nothing go distracting artifacts information is possible ever been pickle count so little Trish in here this is just you know I grabbed a this is actually courtesy of DreamWorks here they seated me with the movie trailer for movie called biker boys which you've probably never seen I never seen it but the movie trailer is kind of cool and people I feel like cool movies like Terminator 2 for the demos and the problem with a good movie like that are finding nemo if you watch the trailer get excited about am i choosing kind of a movie no on washer cared about you actually look at the video frames and not be distracted by it being funny or anything yeah this is the container lice frames a little bit jumbled e here just because of the scaling and keynote but you get the idea typical frame your paws on you see with any kind of motion get those lines like that and then if we pre process the frame it'll look like that so not a huger difference like this you know a little bit but we compress these to get a pretty big difference here I just you know export at 800 kilobit mpeg-4 from QuickTime Player stick for that frame what it was this and I think an see okay audience here looks pretty bad you know what up all those sharp or the Lions are like smell the codec is to confuse it's messed up you know it's it like a mountain or a motorcycle or it's really are no posts going on same frame same data rate pre-processed you know wonderful much clearer image so even if they don't look even if before you compress it you don't see that big a difference we actually compress it really pays off I just getting rid of data that isn't there get trying to by eliminating the noise you're trying immaculately signal and the lodge different kinds of that all couple things is this we're gonna frame was uh what's gone okay here we go ok so anyway so let me start off because the first steps here I kind of walk through typically the filter chain that most tools use the order you're gonna apply the filters in the tools cuz that's remember my do first thing you'd be interlacing example gave you their crucial video should interlace mode like most video cameras going to do all your even lines of all your odd lines are to be captured half of a flame apart in duration so in NTSC how many people coming from a Powell country okay so to the second apart in T in a 50th of a second apart in pal I'll try to give pal examples Pal is actually a much much better source for effort for doing video with 25 from a second progressive we got 576 lines I mean I bastard but moving to England and doing only towel video compression many times but here I are an NTSC and a little mate will make do so just bear with us pal people we have we said we suffer more than you know ok computer video obviously use just drone caught the bottom for reference cam so not normally a big deal various codecs like our DVR DVD player apps can often like deal with the interlacing show up progress on the screen looks okay however I guess a lot people exporting to web video format and leaving the two fields in there so we see one up with a frame where you have every other line doesn't match for there's motion neck is just a total killer because the things that really hurt codex were teased a lot of bits to encode our motion in detail and these a lot of horizontal lines where each pixel is completed from the law before or after is almost the most difficult thing to imagine encoding so when you have interlace artifacts like that in a frame all the bits get spit tryna do all those little horizontal lines it don't really matter and those are bits to don't get spit on drying to the face you know the person in the frame there's a lot also you want to give me these double images of moving objects if for a baseball you'll see like to baseball's that are kind of like producing over the background because the beauty blended together doesn't look good at all so if you have progressive content that could I mean you're great but if you have interlace you actually have to be able on fashion a lot of tools personally do this whole build the basic method wherever it eliminates one the two fields okay even an odd Lange's don't match throw away all the odd ones you got even lying left the big problem at if you've thrown away half our image data to throw away half your lines he had 40 to 80 lines ntsc original line you got 240 left well okay well that's going to be an issue here you throwing a half of your image data before you started a preferable method to use is called adaptive the interlacing the most tool supported that could be interlacing these days they can call it different names but musica idea is find the parts of the images of move where you get the interlacing the interlace those parts of the image that aren't moving or you don't have the artifacts leave those alone so you get higher resolution in those areas you know pretty smart little thing why is it paint off easily I mean you know it's for like slow moving content almost double G resolution you got to watch out some tools will wind up you google will just get wrong it's what's moving what's not and you'll get a little bitches here and there 99 till the time it's not a big deal it's almost always worth doing just kind of keep your eye out our place is run and could have some problems but hugely pays off a special case of this is envers telephony how many folks deal will sell a lot of film content or 24 p content like movie trailers TV commercials parking dramas all that a few of you okay so when you're working with that kind of content i'll show you some samples samples of that a few minutes here take the 24-piece source 24p get slowed down Oh point one percent so sluicey point nine seven six and it gets transferred to the video running at 29.97 methods only matter basin that effect is you take your 24 frames per second of video and you better go out of the 60 fields of video and it doesn't really go very evenly so you wind up with this pattern where you have the first frame of film becomes three fields of video next frame of film becomes too two fields 3 then 2 3 & 2 3 & 2 it's the phrase 323 to pull down and the way you detect this and a look at this later on is when you're going through a file just go through through my frame here QuickTime Player the right arrow key go through and to see a pattern of three frames that are progressive and then two frames that are interlaced and it will repeat so just like find a long shot with some ocean he threw their like okay if you see if all the frames are interlaced it's in our lights video the interlace if all the frames aren't in our license progressive leave it alone and do a little happy jig if you see the pattern of three frames are the progressive and tubes that are interlaced your do an inverse tell city and do a happy GN because that's actually a nice thing as available so basically tell funny looks at the pattern figures out like okay well these fields can be digital frames and can resemble them and that's really good for a couple reasons one which we've lost no data as we do the DNR elation you'll wind up with your full frames support or 80 lines of you get back ntsc and also you can actually restore the original frame right you're actually at 24 frames a second so instead of having encode like 30 frames a second or using 60 if you're doing with the fields you can actually get the original 24 frames a video a creeper frame video out of it and that means for every frame that was shot the camera you're doing a frame of video you're not spending any bits of frames they didn't really just make sure the scan some frames it spent there I always bugs Matthew people encoding video they take film shot stuff and they coded it maybe get our license to do an inverse telecine and included get 15 frames a second and so you lined up this look at of jury emotion you have liked to the film frames then one move to colby missing and then one and then two and what should be always smooth experience lines of not be but doing inverse tell sunny in like Hillary at 24 frames a second you actually can deliver a smoother motion experience that television without of that same thing cuz even the 32 gives you a little bit of temporal anomaly there so like a horizontal pan and actually look smoother and better in high data rate web video then it will even would have on television so you pal guys are lucky because none of this garbage Avenue with you guys the way that you filmed is transferred to pal is the 24 / 24 frames a second gets spread out four percent today 25 frames a second transferred is progressive so pal film source becomes 25 frames second progressive you just have to turn off the inhalation you're good to go it's a wonderful thing so many problems go away that way so I hope you appreciate how fortunate you are but of course it's all because you have 50 Hertz power which means your electricity kill view more so I guess there's a body count associated with it yeah it's a minute they could work out that way you know I mean haven't we have moral de Guiche in death because you don't have to edit for Stephanie ok any questions so far if you have questions just goes a microwave when a good microphone and that's right there thanks see if I wasn't ready to be a hard-ass on microphone things he said so you neither enacted in early or do the inverse concrete if you were 24 verses there it was shot on okay so the three three scenarios one it was shot interlace on video I'm going to doing that adapt to be inner life scenario to a shot progressive nothing at all scenario three it was shot on film or 24p camera inverse telecine he was applied that's all right Ellison news applies no play an inverse tell us any so one of those three it's pretty easy just go through this frame by frame these find five frames of film a video with motion step through those is all you need to see to see how to do it well look at some samples later on showing handle what that looks like that's pretty straightforward and of course 24p cameras becoming more popular final cut for obviously I got support for that so as I should kind of nice you just pull it on 24 or P and working 24 p natively you're not even worried about this stuff and leave it alone okay another question over there are you just wondering in left but we're good so cropping so i tella we don't see all the edges of the TV signal hanukkah to on television there's stuff around the edges as part of the video signal we don't think that's fine computers of course get every lot like I realized pixel your kind of be kind of a donation but by your LCD monitor and there's like stuff you couldn't see on it you know the menu bar doesn't show up people get all peevish so the problem is stuff that's part of the video signal that is fine to go on television I'm finally going DVD because duty is the same safe area but you don't want to be seeing the computer typically a little like horizontal lives the top or edges biking that kind of stuff a little bit of light letterboxing you want that to pick that out couple reasons one is I mentioned sharp lines are hard to encode a litter boxing matt is a sharp line you know and you ever see a DVD or low data rate video you'll often see what you kind of letterboxing this is kind of is kind of dimmer below where the black bar starts in other parts of the videos because it didn't fall on a macroblock boundary details not important there but that lie even though just a big area black lines it messing up a lot of codecs especially in peg to an impact for so you want to crop out everything video I like to kill a couple pixels in from the edge of the video just make sure nothing's in there so every pixel is something you want to see in the screen we go in a computer video / DVD or you don't want to do this because you know then if you should bring it up too much that stuff the edges doesn't lie happen but at least I'm DVD you want to Matt out the edges so there's some kind of like noise up there at the top draw black areas like that out you don't want signal in there and here's a trick for you DVD guys if you Matt along eight by eight or especially 16 by 16 blocks that will align with a macroblock structure of mpeg-2 so and if you align that you won't get that we're distortion effect at the edge of the letter box if you do in letterboxing try to make sure it's lined with 16 by 16 blocks the video so like you know if your pixel of 0 you know block from 0 to 15 or from 0 to 31 or 0 2 47 in his increment and it'll be much cleaner effect will tell you that later on actually compressor makes it's really nice it's got a letter boxing and a crappie and filter so you can uh knock stuff out okay and wilkinson samples later on which are pretty bad okay to cut out some of the noise you know you'll have to grab going in even a mouse from top and bottom it's like VHS especially off has a lot of junk at the bottom that's okay at the top you know grab the rectangle it's the right rectangle don't worry about being centered or not you know grab that and another technique gives you were going to a really low resolution you know like below 32 x 240 like specially in the phones because video is composed no evil for the safe area no one's going to stick critical information into the edges of the screen you know so you know about the ten percent boundary around the video could be set to look out there but nothing important is going to be there so you go to a very low resolution device you can crop into that area a fair amount and make your foreground objects larger so like this interview piece you know the head will be bigger you want see the set behind them but you don't care you can see that you can read the looks better because you get more pixels all it matters this is kind of a backrub X screens right here showing where the action see if the panel safe areas are sort of imagine you're coding video by cutting a title say if you get a much this space will be a lot bigger then you go all the way out of the edges a little bit darker here but there's some black edges around the screen she probably can't see in that display their server here they're pretty cool I have a much more frightening example of bad VHF source later I will again that's a OBO ad2 drummer by the way in from Portland Utley is okay so scaling scaling is really changing the shape of the rectangle so by d interlacing basically one way the other made a progressive source rectangle ourselves by cropping you define what subset of that source rectangle you want to process then scaling is saying what output reckon you'll do you want to do and then you know your tools going to take your crop area and then scale that into your alpha rectangle so salty line is we can Photoshop with image size all the time pre straightforward operation there are a couple sub trees they're really matter a lot one thing that is is biting a lots of people that took us lately is the whole non square pixel thing pretty much all the production standards of standard definition are nas where pixel your 720 wide power ntsc for a 3 16 by 9 the pixels on your video signal are not square so you know and you see 720 x 480 pal something about how 76 and that's the resolution 4 by 3 16 by 9 it's the same one and so you wind up now and when you play on back in TV you can see therefore by 369 it looks good because it knows that but I see a lot of us on the web some takes 7-20 before we file go oh I'm gonna compress it down okay I'll cut it in half I'll make it 360 x 240 and pretty much there right now no video is ever with a 3 by 2 aspect ratio is what that is if you find yourself in coding to a web format and 360 x 240 and i'm done at least once you're doing it wrong so that's your clue you want to make sure you're matching the asakura shooter source if you have a four by three source after cropping you want to be delivering it in a four by three resolution with a web codec 69 same thing so i'll give you example 360 x 240 and 720 x 480 a lot of numbers here so we do the things doesn't work if you're a 4 by 3 a 320 x 240 is a four by three aspect ratio that'll be right your circles will be circle on ovals and the real part 1 360 x 240 is it makes everyone ten percent fatter and if you were going to actors just get in big trouble that way just no that's not doesn't go down at all 16 by 9 4 32 x 240 is a matching number 4 16 by 9 and so what am I always make sure your output aspect ratio your alpha frame size matches the aspect ratio of the crop source if you have like the letterbox movie you know like a 1.85 to one or two point three five to one if your croc or the letterboxing get quite wide like you know what currently CinemaScope kind of thing you might want to put 640 x 2 72 and crazy things like that and that's great because you know in terms of your bandwidth requirements your processor requirements all that kind of stuff it's basically how many total bits in the area you have to worry about per second so if you can do with 640 x 272 instead of doing like 400 x 300 you know that was great because 640 feels a full screen and infects it short you know that just looks like you're cool doing cool letterboxing we are able to give the user what feels like a real full screen experience while you're actually not even all that many pixels that's great you know you want to again it's all about paying for the bit if you can achieve a good communication experience but use a different aspect ratio wonderful you know for I always encouraging for doing web production you know think about shooting 69 I however I always joke that I want to do a rock climbing video shoot 16 by 9 sideways you know because it would love four of us you can deliver if you want to do that and long shot it well I need an India 3.2 by the way we'll crash if you were in portrait mode but every other codec works fine helicobacter what can I say that's the kids to date under these things another heritage okay another issue is scaling algorithms most tools today was used by cubic but some of the older tools will have some other scaling modes this matters a lot you know make sure you're not even something which uses an old like nearest-neighbor thing he was like it premiere 5 it had one word to light he didn't manually turn on this checkbox the scaling quality was terrible so just be warned about that most tools are getting pretty good at this these days okay so big goals from scaling you want to make sure you wind up in the right aspect ratio pre-op it okay also we want to sure we we're trying to not scale up and scaling and crappie have an interesting relationship typically the higher your output resolution the less you're going to crop give the example you need a really small resolution you want to do a very aggressive crop and try to get the foreground objects be bigger but you never want to scale up just a little bit of math here if your cropping out ten percent and you're doing a straight deinterlace orbits videos high emotional exports video or the adaptive the interlace doesn't do much good and you can wind up with in a or like you know 260 lines of source so even a 320 x 240 evilly you're scaling down horizontally or to lay up vertically you want to reduce or eliminate any skin scaling up because all 10 inches artifacts you always want to shrink down or not sharing it all possible so you're going to 30 to 40 or higher ntsc-u on a crop as little as possible Powell users you got 384 by 288 as your resolution or that lame a nurse you get a little more flexibility with your higher source resolution and again using need active deinterlacing are under tell city gives you effectively a lot more source pixel so it's less of an issue especially the embers tell us anything that's available okay bloom adjustment and look at this for a while times people will be doing video compression for more than two years okay so luma apples made luma work well now it's been very confusing because things used to work really weird and they're kind of traditional period we're not every tool we got the whole story with getting luma processing right so luma basically is brightness basically controls you know what the you know and typically now we think about in the computer world as black as being zero and a white is being tuned to 55 but the video world black is actually 16 you know white is actually children 35 and it used to be codex didn't do the right thing for you so you had to actually manually add contrast and going from a video format to a web format in order to make blacks black on white so white and so these rules of thumb probably how many people here automatically add plus 27 contrast when they're doing a little decompression their company there okay good thing is you have to do that anymore but they never lie told you that so as long as you're using codex that could properly deal the car mapping and now like you're going from like say Apple motion jpeg or DV to mpeg-4 for example they will automatically behind the scene to do all the color space conversion for you so you don't want to add that for contrast you want to add the contrast you need to make the image look good you're not going to add any extra so and it's kind of some codecs aren't quite doing that now so this is kind of messy weird error right now but most part things are getting better you don't have to do that a lot I may only mention this because if people who are going to automatically been adding contrast and also doing gamma correction you know for a long time that's what's important another issue is old gamma thing you know Mac a Mac will show the RGB value of 127 the middle of the range is a lot brighter than Windows machine oil but the good thing is new out a new codec Special Olympic for DV motion jpeg will actually compensate for that they will actually you know figure the local gamut will draw the image right on Macs and PCs actually seen a lot of people who had the long struggle to learn how to raise the yam and to make women's video video look right and they finally got that over that hump and then now if you do that with a modern codec quick and will do it for you again on playback you wind up with a totally way too bright on windows so work the only real solution is test your codex and code with it and look at it before and after and make sure you're actually using the right luma processing mode for that most modern tools you know compressor cleaner six gifts that's right cleaner but yeah so things you seek ascending from queen or five that were perfectly ticking cleaner six is going to fail completely in terms of luma processing does a change the internal model push you know it wasn't lay the manual is kind of important rule a little aside there that no oh by the way how we process video is completely different now it's better now it's faster higher quality and all that kind of stuff but she changes a lot there's also creative element to you know one of my creative goals I want to have any frame between be black with black titles or credits or whatever I don't have the black pixels all be actually mathematically black because on a TV you know you got a lil bit of noise in the black it kind of goes down pretty easy tvs are pretty lousy display devices but a computer screen we actually have things that are big flat rectangles of black to compare it to you have a little bit analog noise in there so will be your blacks a little too bright it just looks terrible also it's hard to compress we just got a lot of stuff going on there so actually you know Mickey having a big 16 by 16 block of the number 0 over over again it's easy to compress that block will not make me bits the bits you don't spend the neck it's bent on your actual we're trying to communicate the case of text that actually matters a lock some of that sharp little small point NC be hard to encode making the less the rest of the frame as simple as possible making everything really mathematically black will make your text look better with fewer artifacts so my typical there we go my typical rule is for brightness I am never going to raise brighten it up cause it's going to add noise because it's going to raise my black floor I'll often take brightness down because if there's a little bit of random noise in the black I'll take it down a little bit for digital sources you're using a cone a card you're using DV or whatever that's a shot digitally black is really good at mathematics black in here okay so its analog sources even high quality analog versus like beta SP and has a little bit random noise in there take brightness down minus 5 helped a lot something good to mix contrast and brightness together so if you're reducing your brightness add some contrast and keep your whites from getting too dark so I mean typical for like a pretty clean source I might view contrast up by five units brightness it down by five units just kind of move my black Range a little bit down to keep my whites pretty constant maybe toss a little bit agam in there between a little little to darken the mid-tones whatever you can spend hours doing us and we will soon well not too long but you'll get the idea so contrast this is a book that plus 27 used to be the rule of thumb I've been quoted a thousand articles are wrote saying the key to making great web videos add contract plus 27 and now I'm here to say that well that was true then but now it's not anymore so it'll be different tomorrow but I mean thankfully it's all getting fixed but it's often confusing right now contracts is also if you got back on analog sources as a video of filter contracts and also can often help is senior White's white in your blacks black but leave them go to the range relatively untouched okay gamma gamma has been a big source of pain for years I mentioned before so yeah basically it's kind of inverse of contrast contrast detects the extremes believes part of the middle affected has gammas the reverse camera controls the brains the middle of the range but it leaves black on white alone again with a useful filters own writing if you got anything is a little bit dark raising brightness is not your way to make video a brighter because it's going to raise your black floor and you're going to have walked out blacks raising again that's how you make video look brighter because it makes your midterms brighter is what you care about but leaves your blocking and Ryan alone which is assuming they were already right my typical workflow is all if a tool does is the right order which is brightness caught brightness contrast gamma I'll get my brightness and contrast right to get the mail nailed till I get my black when I light plane point right then i'll use the gamma filter and get the mid-tones looking right some tools do gamma first that makes it a lot more difficult because things are on order then so much the platform's before the good news is now as modern codex it's kind of going away automatically corrected for it but not in all codecs so ugly okay so legal process is complex any questions to form the image processing tent kind of stuff i will show you some samples this later on hopefully it takes like a little bit more but everyone has been so far or too shy to admit it otherwise okay this is a little confusing we will look at some sample of this noise reduction noise reduction is you know put was to try to remove noise we should before compressions all about try and communicate and we're trying you know we're trying to second elephants for a swivel stick here we don't have enough bandwidth to do a good job you know I let's say when the goal of the depression is you're trying to achieve balanced mediocrity you may never have enough this to actually do it perfect but you're trying to find the right balance of imperfect it gives you the best results we're trying to accomplish balance mediocrity noise reduction is whatever tools to achieve that appropriately mediocrity we're trying to like filter out stuff this noise especially like a video grain Lydia greens are real killer because it's different every frame so we say a random pattern of just you know distortions of the video there's a different from your frame so it looks like motion the codes can go crazy trying to make sure a Dodge is little pixel here that moved over here those in the same pixel they just noise and codecs and internally try to focus tell them out bits often helps to do something begin with all the restriction algorithms will cause some blurring the best ones do a good job with only blurring things you want blur leaving things that are actually signal alone some some things that are called noise filters are just blurt just a gallium work so there's this kind and really anything was a very seller Gaussian blur winds up hurting a lot more than it helps few tools in you it's called temple processing actually compares the frames and due to some stuff there and general I say be very wary of noise reduction if you have clean source no noise reduction will typically be required really sir we have analog circuit has problems or noise reduction can pay off and the ugly a more horrible your source the more can help the problem is the mugger more aware sources will never look good you're just doing shades of terrible unfortunately so I've got a sample later have to be infamous VHS ugly move first I will get a little bit what and I'm gonna and I'm gonna do you're gonna see a very happy jig about compressor because the compressor has introduced the feature I've wanted for so long which is chroma channel only noise reduction which is a good thing okay it's like a little bit a little bit of audio pre-processing typically audio comes in cleaner so you're going to wind up doing less focus audio and also computer audio versus analog audio is a lot less a different typically couple folders we're going to do and do audio normalization which is kind of loud is pointing in the whole audio you're going to raise the lower the volume of it overall so you hit your something a little bit below to what the peak peak is available typically minus 3 DB is a good one for most digital formats we don't go all the way to maximum possible 16-bit audio space because some codecs do some rounding thing isn't going to wind up being digital peaks that way seem to leave a little bit of head room before you go into the codec but it's don't you tell you to have you know that'd be pretty consistent most things like system beeps on the computer are going to be about minus 3 DB and it's really important to have no the loud things in your video match the other loud things computer does because you don't do that what happens is you have a quiet video and the user turns the volume up and turns volume up and greens over its kind of history and turns it up some more and then finally here's the video and kind of listens to it and then they get to get mail I mashes up and the Thunder is a pinging sound happens and like defens their cats and there's a lawsuit everyone sad so you don't want people to have def caps calling me open yelling at you just make it loud make it make it as don't you have to do a whole lot of like crazy crush the limiter kind of stuff but minus 3 DB fira peak and everyone will be happy yeah micra feel you like her phone yes I'm being a hard-ass microphone sorry thanks thanks for allowing me to be hurt a little like montes you know I am 20 big how can you normalized up that left boil once the if you EP right look on the way to school with that one set I have it could you do it right yeah well sucky audio is gonna is going to remain sort of the equivalent suckiness whatever loud it's going to be yeah I you got audio which is really quite as a high noise floor you got bigger problems than yeah they'll get pro tools and that it spend the time with oh I know fire tiger sound guy I don't know yes it's gonna be a problem and codecs don't deal well with noise you know they try it they try to filter it out speech codecs actually liking like a mr or pure voice can actually are so tuned voice you can actually filter out the noise it's actually kind of cool i have a couple times actually used the qualcomm pure voice codec as a norwich removal feature because it if there's speech i just didn't know how to cook encoding those in speech so you left at all on let's out the noise Lee ah he's got a high yeah it's just a problem may be a problem is what you're going to do you know it's not it doesn't make you like a picture makes a dramatically worse problem you already had other audio processing you know compressor limiter is good if you're going typically most computer environment you know you don't that's properly well mixed audio you're not going to need alee do that kind of stuff I mean I'm looking for speakers are pretty good you know you don't want to like mix it flight yet like some kind of crazy AM radio thing because then people good speaker that sounds bizarre 3gpp phones obviously those are pretty small which is a little some headphones you try ass is going to wash it off phone you probably do want to do some commercial limiter stuff you know typical things notch filters noise removals there's that kind of stuff you know it's what you would do to clean up audio that you're going to do anyways you would apply to compression it's some little more useful in compression just because a little bit better but still it's you know if something sounded two battles to do before you're going to compress it so I can get any better for the most part but typically won't get a lot worse all right yeah microphone okay before you go to the gym you're talking about brittle says you could you suggest something about specific human life situation what you mean because here you are using semen yeah pre-processing all in a live situation well not really I mean yes you're processing in that case you can't I do a pretty but yeah I'm just before noon cool yeah I mean a lot of it well definitely want like if you're shooting shooting something live you want a shootin progressive mode tsunami knaleski to deal with you want to and what is you can kind of see sometimes if you should with a DV camera and you know some black bar isn't the right it's part of the video signal hopefully your software tool lets you crop the video signal out if it lets you do that you can crop out to the you know to the active image area you have a tool it doesn't do that you cry will cry and move on but yeah I mean you know shoot when you alive you have the flexibility you can actually just get much right you're too little experience the harp I repeat frost is going to get stuff you didn't author that someone shot 20 years ago before they even knew about compression and yet to try to make it work to the extent you can control the entire process you can make a record well so yeah I make sure progressive use a tool that supports made of cropping you know do good live audio production like you normally would can be just fine for that it should be okay yeah it's not it's a hard parts for a deal and compression for live is actually a lot things like camera motion I mean you know either do want to shoot you know a handheld and you get all kinds of blockiness you know really just trying to control a production environments you really weren't paid off the most so question want to serve it on the web somewhere and you know there's 320 x 240 it doesn't feel like you're big for white brief and always well that's where your sources i mean if you're producing if you're shooting your own stuff you can do whatever you want to is 4 by 3 delivers for my three for sure sure so sounds like what you're saying if i understood you correctly is go ahead and crop to get rid of any on the edges there and then when you scale down you know I what proportion you know if you're serving on the weather it's your project what what proportion do you think looks good and do you like a lot um okay actually what kind of band what're you looking at like 200 ill a bit yeah I mean 320 way to for use kind of my good default I mean let's I start with on code it'll look at it my if it's we shot unprogressive you have a lot more to work with see my bump it up a little bit or bump it down a little bit to be on it on the floor mat let's returning a 24 usually a good starting point so you can grow ah no seven point is 720 x 480 anamorphic so specifically napper chur 720 x 480 going to 320 x 240 don't crop at all you shrink 722 320 and they're 240 yeah he will get in trouble that a crop 64 pixels left and right right you know we did because you're going from a non square pixel environmental square pixel environment you're actually correcting for that by just pure scale not a crop so you're going to do cropping get rid of the stuff but you're not going to crop clerk for the aspect ratio okay there we go I'll save you hours right there we go as whole WC just paid for itself right there hopefully so any more questions before I move on to demo land all right let's uh can we get the demo machine here okay no am i asleep tell apply to me he told me they told me didn't make sure i'ma how much my energy saver off so it's a lie owned our fault there we go does that look good every 1024 ok so in the interest of being a show off let's talk I'm going to let you guys tell me what you want to see done and want to do it so we've got compressor we've got squeezed we've got cleaner we've got premiere of it after effects kind of tools of law feenstra processing I've got film source stuff I got pal I got ntsc solar stuff I got a goofy BHS stuff so we've got time for a couple different ones so somebody's got a scenario that's kicking their butt what do you want to see you want to see let's get to make an apple movie trailer like is the app quicktime combi trailers that's not a good one all right okay you want to see in After Effects you want to see in clean air you want to see and squeeze what you want to you then that's a clear clear goal there okay so let me show you do you want to see the biker boyz trailer did before or do you want to see a twosome bad movie trailer I know it's horrible do the biker boyz once is already have the output huh fellas got me I don't have that I don't work for Apple I know I don't guess I got DreamWorks is my don't work for them either but they give me stuff so find Nemo isn't out yet so I'd like you d different slides like ages ago so let me show you the source file here is the idea we're talking about so this is a so who doesn't have quicktime player pro anyone quicktime player pro is the best 30 bucks in to spend a year just think of it as a managing subscription quick down player pro pays for itself in eight hours so for all i'm gonna show you can see lots of cool quicktime player pro tricks here seasons purposes class but it's like quarter my lifestyle okay so who's the source file here this is this is a typical motion jpeg first file it's part of 86 lines up for 80s lucky you get you know off a sin a waiver an of carson like that but its motion jpeg and not uncompressed because i have a 40 gig hard drive so so couple things here so it's a preview you see you've got some blanking here and left and right and we're letterboxed that's a 1.85 21 after Tyrell thank you let me just find a good to see Miss emotion in it your mention before the pattern let me just kind of starfish here blah blah blah blah blah cut there we go okay so I start off here a shorter saying i'm going to go what frame by frame here so go it's a progressive for interlaced interlaced progressive Progressive progressive interlaced interlaced progressive Progressive progressives and rely center life so we see we got a typical pattern of true progressive frames followed by two interlaced frames we know it's in it we know it's tell us i need so this is an inverse coliseum project so pretty easy good it's going to use that you only need five seconds I mean you'll need five frames of the video to find out the right be enticing voted for does and it pays off so much full of things looking at this thing it's a moderately noisy well know your geography variable is he does annoys in the heel here there's a pretty clean you know this is the noise in here is from film honestly here's a very general a very nice frame right there what happens when you have a frame that happens in the middle of a hard cut because when you get through to pull down you can might wind up with the two different fields we have two different frames entirely so here that isn't a detective something like that that isn't a crosses all that's just two different frames on either side of a hard cut that it's part of the telecine process well in deficit was part of the same frame either the one originally so that would be a very hard for him to compress so we definitely get rid of that kind of stuff okay that's the source cleaner is a pretty slick to work reprocessing for a lot of this kind of stuff the biggest problem right now is the inverse tell us any algorithm has been broken since version 50 to get a little better in version 6 but they're still you still find some cases we're like reverse the order of frames around the cut in that kind of stuff you got to be carefully keyway inverse telecine stuff them from cleaner it's definitely kind of the easiest to love visualizes stuff then I have to keep a copy of a cleaner for an old g4 line around just to do inverse tell us any stuff sometimes when I find things that exposed a bug so and cleaner has this great thing called the project window which will do here and I'm sorry go so basically this is kind of where you define everything about your source and only some things here we say okay this is four by three source some tools they see it with default shooting in raw pixel modes this is an excellent 720 x 480 right there but it's awesome but you know cleaner smart to go okay it's actually four by three so it's going to compress it on the horizontal so good to be this is a quick asset ratio first time I do is run a crop so for I'll engine before this is a 1.85 to one asset ratio just look at these things a lot you kind of learn whoops there's blood of numbers most films are going to be one point eight five to one or two point one to one or two point three five to one in question but microphone okay gotcha I don't know I wrote a bug report on it that'll be a good cleaner UI has not been substantially changed for three years someone just a basically way so I mean there's a really added you that kind of stuff for a long time so I don't know yes it would be obvious I guess I requested that feature middle of lot many times and I haven't got it so anyway so crop after issue two pictures up to one I can basically it'll draw me a box will constrain capacitor issue and you're going to do it here and going to Center it it's pretty it's really nice cropping dialogue i always like this feature clean are you able to go in there and kind of scan through and make sure you're not get out there you know and yeah all right mmm and cup give me a little bit of a image area on a big deal and also you can just do it up constrained rule of thumb you know and if I just grab it like this it might get a little bit distorted rule of thumb is that any aspect ratio distortion less than five percent not like it be noticeable by the end users so you know don't worry about getting exactly one point eight five to one if you crop 1 point 8 121 and you scale up to that you know a few pixels off in terms of scale and is not be noticeable in terms of looking distorted so one keep under five percent is going to look pretty good ok so this will do here interlace video okay so let's make up a setting here let's couple of scenario are we what we're doing we're doing an apple style of video stuff so okay we can do sitting here then takes a pole trimmer so quick quick time same press I'll give a lot of stuff so crops so who's the high resolution the today mrs. the Big Woods up to 640 by 480 you can specify the things the same as crop source here just exploded before Eddie so Kevin million bug here and it doesn't actually do the map right he's around to divisible by their values so it's pretty buying so actually what I wind up doing all the time is going over to calculator actually doing the map myself because I know because cleaner just to get it wrong so it's 640 / 28 5 something that run it's actually 30 45 when you're scaling most codecs work better when both resolutions are visible by 16 so geeky little things like oppression works if you choose it is not divisible by 16 what a wine's up doing is it lines up actually encoding there are 16 pixels and then not showing you some showing some of them you to you which means that be more work that you never get to see so I always round venir 16 so kind of the way I do that I do to mask the 64 / that numbers of that all divide that by 16 okay 20 the nearest whole number 22 x 16 are good to be 2.32 352 I'm use 352 there's a bit crook value and there we go for so let me just will be the world in preview here Auto they apply it okay so this is oh look at that i didn't quite crop it enough that's good you'll sound preview mode he won't hear not nervous cleaner when people hear beautiful okay well stop me if I do anything that's too weird but I'll have assume you the Civic video is going on here okay so it's all too much there we go blemishes no black this isn't filter manifold go cleaner doesn't really like to be honest I want to get a big monitor a little cramped here okay image so my default is going to do with the inner life so we have in a print icing on them like what we got here what's going on a little good distance it'll be honest it by default which does okay feel like this but really what we obviously want to do is undo inverse telecine it's called Intel ascending cleaner and so will the cleaner and press key from back there but it gives us more resolution and gives us a higher quality output sharpen filter I work on my never using sharpen filter I sharpen filter to make it look better before you compress it but sharpening adds noise it adds complexity to the image and even though Charlotte can make you look better before it hits the Kodak hit any kind of reasonable web data rate it's going to look worse after having applied to sharpen filter maybe he'll just left it alone so I always turn sharpen off it's a little bit noisy the my Allah daffron always reduce is a good is a good default filter it's not going to hurt it too much it's not going to help a lot but it helps a little bit it's talking to cute too distracting so by default we get a bunch of default settings here to totally the wrong ones I don't know what the fall time expressing one's we're kind of like design for cleaner files kind of poured it over without acknowledging the hold image change things so never use the default processing image filters and cleaner cuz they're all all along with intersects every last one of them so yeah and you're at the microphone thank you yeah you're good no how much difference would it make if your source material was not tellin sitting like I mean if you can actually get it before they kill any and how much of a different perspective okay so busy if I had like 24 p source frames it will I me a little bit will make that much difference in that way aspect obviously if it's like squish I'm getting like you know my my you know Sydney on file straight off the machine versus like a beta SP tape you know obviously exact level matter more but the embers telephony is my choice between like a 720 x 46 seriously PGA files and tells me about 46 you know kona file pretty much the same as a matter of fact i'm not going to matter that much either way the workflow is obviously better then I'm out oh yeah you want to do this filter do you get a smaller file if you like twenty percent reduction and data rate of the source that's a very nice thing that's not gonna have much all the impact okay so I got this guy here how I see this movie I've seen the movie trailer like 87 billion times I have no idea the movies about really just a very cool motor and I guess is fast and furious on two wheels or something like that and I ever thought I never thought to ask jerry siler I have two small children now so my whatever hit me say once had is long gone car thing ok so so this is generally pretty good so I mean for clean starts like this I don't need to add any filter at all I might just go for a moment so often typically look at is a frame was that some I know it's all black on it like and get some credits frames typically have some stuff and I don't only have all black on go or the key to a great trailer if you edit out this graphic here which almost always looks bad and you like actually get a VPS file of it from MPAA and then we're under that into it so you have no analog noise that start burning save a lot of bits right there and so town look he refuses all the way black and actually one thing that Apple did that makes me happy is legal color meters a great little utility goes my question pliant oh okay so you can go through here you actually look into color values is great like is this actually all the way black I'm here okay this is actually pretty much all the way black hair than a few things here and there but that's flat enough all I'm going to do here is I I can tune in an extra brightness of minus one acontece like and that should the one going to have a cleaner is the preview one who does not show up when you're not going to have the foreground app well may I am and there you have it seemed like the only con twiki kind of goofy stuff because it doesn't mean you could really spend all day yeah I don't know let's try one off and it's gonna make a big difference really not that much well Plus has some gradients here yeah good enough yeah if I could turn these office really not going to matter that difference anything else about five so we're not going to pay off that much and nothing if using inverse telephony yeah why rissa rissa wouldn't use this oh yeah the white and luckily restore filters basically so a two values I Mountain smoothness so Loomis encoded deranged is 0 for all x blocks of white at 255 what amount doesn't say basically if I say six take it or 19 19 for animal every pixel that is luminance value of 19 or below gets turned exactly be 0 so 0 19 become 0 a 2220 and then what's mouthless does it basically fills in the romanian rain Souter polite to I said this so instead of making 2002 make 20 50 and then 20 to 25 will get expanded into the range from 0 to 30 co2 boundary and listen what's going to look like is you see right here it's a very sharp edge now between these two because stuff that was kind of near black turn all the way blacks and kind of lost their gradient there I don't even see it all the way the audience on this projector do you see that the edge of there at all okay let me crank it out here okay if your or if you're truly bold criminal you get like that so I'm not stupid so you undo that black restart all those filters that on those video clips what you really need it because they're very noisy doesn't work very well so noisy you can't do enough it is messing up so it's it's frustrating is because it's there's an effort this narrow range assess it's bad enough to need it but not so bad that it actually works and I don't know if these for that problem message is the way it is clitoris version to focus better than a lot of the other ones because it specifies both the minimum the amount and also the smoothness value so lets you kind of have a technician gradient it makes it not quite lobbyists useful feature okay and another thing I do mean neighbors tell us any definitely want to make sure when you're doing that in cleaner the output framers can be 23.976 cleaner muscular tools don't support temporary sampling so even though sources 24 it got slowed down by point one percent it's part of the telephony process to match the 32 29.97 ratio so you have to do 23.976 and not 24 for you 24 you actually wind up with a repeated frame every few minutes not only a big deal but you know less little boy so and that's how you would preprocess this electric combi honey I'd normalized to uh in cleaner doesn't measure in BB cleaner measures it and this is this is fired about ninety percent about 2-3 DB so so that's how you do the pre-processing I completely rode the encoder settings for all that so to get into the Codex up that was just the filter settings so yeah cleaner is a very efficient workflow cleaner cleaner sixes for getting kind of pre-processing down this step I'm really hard product walking use after effects which is if you want to spend ten times as long to make it you know twenty ten percent better after texts your juice is your tool of choice but for most stuff that you do with and cleaner at the knife to get it done cleaner yeah actually in that same concept or same thought what's your opinion of Apple's new compressor and how does it carrots and cleaning apples and compressor let's look at it let's do it let's do compressor Walker okay that's a good one I'll show you should we do let's do the same clip and compressor and you kind of compare I was different I love this so I've only had compressor now for about 48 hours I had the flu for some of those hours so if I will be learning this together compressor so compressor is bundled falak up for but it is usable standalone add you can either export to compress the street from Final Cut which is a very nice integration we can also has losses its own app and do it up like that I'm just kind of cool so it's workflow is immediate assistance it's uh it's care what my said have a cleaner in the good way looks cool so thank you a little plus button here to curse our smile so it was a book of boys wrong too bad okay so and that will pick a preview we wouldn't do it ships with no quicktime preset they can do quit time at xsport with presets rider mpeg-2 mpeg-4 so this is ntsc a couple of any things about it so i send this here is its kind of cleaner like before and after slider which is kind of cool it does need integrated crop thing here so I can kind of grab these crop edges it's Ashley may live update telling me how my current settings are going to affect the output compression general I set up yet but I mean it just so cool this is this for Graham really takes advantage of power available on a modern g4 mac OS temper what was creating all that I really you know the live update features are just like really awesome I mean square by having like okay teacher settings hit the update key change heading to the update key so the rapid turnaround terms of Dalton thing is really kind of nice so okay and we Sicilians here it's pretty light in terms of filters that's some of that's ok one neat features you can actually can change the order the top was going so i can drag this and your argument up here in this order so don't do anything first physical thing is the modi ones actually sharp sharp means adapted interlace I don't know why it's called sharp that's what it is definitely want to use my great tragedy of final cut and is that it doesn't really have good inverse telecine functionalities there is this thing called cinema tools which is now bundled with it I'll show you that two seconds which is awesome it can be right kind of source which is source where you actually know what the cadences you know what the 32 pattern lies okay so and what you would normally do in Final Cut is you go through here and so tell us tools you can do is you can reverse the server so funny feature you can go okay I want to make a thing actually will perform an app's 24.0 if you want to and all this but of course you actually have to know either you get like a telephony log telling what the field order is or you have to let guess so basically your only option here is okay well I've got a total of ten combinations of a BBB CCU's style I'll just try all tests would happen if your movie is your first rings of video have content to them you can just single frame through and see okay well this is a a CD executive pattern unfortunately like most of you out there the sticker vide the first five seconds are identical so I can't see any emotion so I can actually detect it so it's kind of a pain so this is this particular project it's cumin oil compressor I can only encode it as video because I can't use inverse telephony with compressor this environment so I don't know I've set a time to the Final Cut perching a little bit about this and for their market it makes sense you know your they expect you honey for P you either clean from coming with telephony log or you have accidentally for peace or so I'm expecting you to take something for you produce contents then does ran along and captured but I get a lot of that stuff unfortunately so it isn't like a kind of pain for me other Queen the cool things Scott this totally awesome Norwegian blue filter which I would do hosting and a profitable jig for that one okay I'm sort of put it right here all great thing had all channels with a chroma channel so it's great for VHS source reassemble us in a second VHS source as much noise during chromatid as a luma so you can apply this no restriction and filter to just the chroma channels it'll make them all blurry but our eyes not very attuned to color so it makes the chrome channels look away better without actually because the video looks at doll that's just a bustling amber so well that maybe little exaggeration but I've been asking that feature forever and the first guys are like come up to plate so when I what's the future for five years or someone does it I gotta give him props few things it's got the actual like the whole like three point color wheel of final cut is all in here it's just kind of a weird UI for if you can actually do or hide to highlight some attention shadows and change your things and all this and these are all live in terms of preview so I can I'm doing this right she'll be able to like you know it's as i drag preview for it's actually showing it actually as it is compressed not even you know just the preview thing like cleaner does actually ship does a good job of guessing what the actual person alex don't look like cleaner that will be previews but doesn't do that the data rate right is kind of it compresses it adjust the current frame is going to be a key frame so you wind up getting about only a tenth of mini bits per frame it just winds up a very good proof nothing I do is you can a couple of rows here okay so Oh during a gamma correction you also do letterbox if she can crop up the bad stuff here you ain't doing it to DVD you can actually add your water boxing back in you use that area see Matt out any kind of noise in the blanking areas which is now we're doing a little tiny feature there but really handy Mike again six gallon out getting that out so there's a life on this cave thing to do of watermark aunt text over it and a black right restore filter it doesn't give you the smoothness boundary so you want always trying to sharp edges there but if it's on there Oh anyway in person like script it and you have an apple script to an output folder always kind of stuff gotta really need infrastructure unfortunately we're only does quicktime and intake to an impact for today so it's you know it's I don't feel like I'm doing a lot of encoding with it because you know they're important features like candy to pass encoding was in quick Tamara big for just put it critical for quality there on that kind of stuff so I mean I think it's a very funny one point know and I really look forward to seeing what Apple can do you know incorporate other technology then to quicktime like a better impact for codex i'm actually looking forward to it hopefully an AVC codec of a really awesome tool its design thanks productivity it's a preview thing works well you can do batches and go back in history well tell you what kind of bathroom you've done in the past and you can find your files and all those kind of stuff I mean they really let us some details on this so I it is not apple scriptable I know I talk to Sal he may be assumed he keep telling them for it i mean everything should be Apple scriptable all the way all the time I know this is not one of none if I like a forceout scriptable you can fake it with that whole UI scripting script the buttons through the accessibility thing but yeah you got more time than I do if you do but yeah so this isn't it a pressure demo so for reprocessing it's pre-processing is totally awesome except it doesn't have an audio Malaysian filter it doesn't have inverse telephony and if it had those I would be all the better yet but it got lots of really hard thinkin else is done so makes me happy to let me show you that a thing I mentioned before about the temple no Russian filter okay back and I mentioned we just okay take the grease is a NAPA game file so this is my you see all the colors there no okay yeah you know it's okay so is that look bad can you believe me there so this is typical of eh yes Caleb's got Terry in the bottom bottom the area there that's hard to encode you look stupid too so you want to get then you got stuff in the colors are bad the bricks are like green and whatever yeah I was working on my book I cullum Anderson hey give me really bad sir if I can capture it's like yes so this is like a third-generation LP mode dub with something she got it and I can't am I got a professional VHS deck for my editing facility and I it can't even play LP tapes like I don't like go like haul out my old like consumer deck from my upstairs you know media closet like that even play to BHS seven years and a delay because you are giving captures video so this is the worst video ever seen what i asked for so i can't complain really well yeah yeah he said we're literally didn't you so anyway let me find it good so do you see you see how's she's got some color in her black shirt there at all okay there we go what will make this happen ok so when i'm going to add a preset just so it'll be obvious will do it a mpeg-2 high quality in code ok that's why school ok okay so filters those rule well there we go that's think each of the call right there that's good so I can do a noise removal and I could do like a really like intense thing is going to worry like this and like that looks so they have to do is just purely chroma channels so you simply remove all that chrome cast makes the call a little more more accurate there you can see nothing can you okay that's right the color precision to work on like that and the trade show is always always a battle okay so yeah let's say I love the culture there so happy to see it as you're talking about that a letterboxing filter cuz I saw it before but you can good stuff of it scales at your sister I don't know man there we go if you could get it out of there and you could um you know mix this thing this is kind of a battle probably not I mean it's been weird to have our Clips coupled in both inverse telecine II and really aggressive criminals rules typically you know either really bad or really good something's not that bad so there's many times i'll use after effects to make a master file that will then these other tools to encode i do that pretty frequently but just a level filter you know they'll put us up level things you see a black and white mare gam and all that stuff such a wonderful filter i want to be doing all the time so these after pictures just to get the levels control using a visualizer luminance so much better but now pretty much about I'll typically use one group of pre-processing Lee's another tool for encode if I'm used to do two different tools a lot of cases and if I'm doing a big compliment is a job last week were to do a bunch of different formats I you know made a master file on after back to use three different compression tools the optin one based on the format i was doing he's like cleaner 64 quicktime file you starts for the mpeg-4 files so just depending on what you know he's what does media encoder sorry for for the one who's media tests but which one spine a virtual pc by the way fan bring it back into the knack room surprise surprise only Swift you turn off the preview mode okay um good so I'm doing on time here we go alright sounds good so what else people still want to see what do you wanna see still what's awesome you haven't seen you got a problem I haven't solved form yet micron Vikram smoker I'm not going to be the hard-ass I'm sorry i'ma for compensating lets you can squeeze let's see some squeeze squeeze have got a pre slick pre-processing you I its preview isn't that great what you know what you want to do it does the job quite simply but it's got the problem is it's hard to tell them doing the right thing or not and becomes okay sorry i'll just do the same seemed our video over and over again such as my life every other night my wife finally i have cannot hear that trailer coming to the basement ever again you must get into clubs Nessa when I get a new samples so he was working with this a smashmouth music video for why can't we be friends and I used like two years so I said you can't use the trailer goes her idea with that thought about it for a while and see the trailer went okay so squeeze has just one processing dialogue levels that goes on as a inverse tell Sonny light cleaner it requires you to specify what your field order is which is I always I was think it's a lame was a tool to expect people in there with a few lordy resources kind of thing it's in the file quicktime has a tag for don't ask you to that question you can figure it in your own and i also don't call it fueled honest because field honest is something else shield order should be clear but anyway this case it actually is a lower field balance or smile i just happen to know got a little large direction things is fine this is pretty much it's kind of hard to work with who's the higher student source file and its can do actually been using squeeze here for it's kinda hard to find a Crump dialogue to and you can't leave the asset ratio thing so i got frustrating is I me I know that so many more pixels you're like a look yes it's kind of hard to know if you actually got exactly right and the finger thing to grab was kind of hard to get but little things I got you know but I mean does it does the job but it's a little arrogant like that but because i'm only like a one-third resolution i can't really tell if I really got it all I think I like a little bits actually be a little more aggressive lemon squeeze it does have ever sell if any you'll fade anything to fade out normalize audio just you know control so mean squeeze right of cleaners squeeze county has the tips of the features using 82 none of the time so promote them lots of partners I have you just find what I need but if I needs no more esoteric called little cleaner and after effects or a procoder to do the other processing it's got a video reduction light mode works pretty well now you've got all your filters stuff and it does doesn't do live update on drag but it does me okay so yeah so pretty much it for preprocessing he'll review specify the proud process here and then when you actually you're setting is for you define what your output franchises it's got one kind of cool thing it does which is that it will you can keep having a weird asset ratio buddy selling I want sex for before 80 but accomplished image of a ratio it'll actually let had a letter boxing to make it right I normally turn that feature off because I actually you know all like i said if i get it off a couple percent i'm not worried about it i don't wanted to add like a three pixel black line the top and bottom my video because it's make hard to compress so i'm almost always going to turn this off and just do the math and make sure things matchup right so no he knows explodey buddy tears 104 yeah so there you go onion and unlike cleaner where do sequence you can customize the filter settings on a per output basis on squeezy do on a per input basis which is better in most cases we're doing the exact same thing everywhere but kind of because it's coming pain clear to have a constant to replicate the same free prostitute and settings / like five settings that if you get one of them wrong you have to go up picks up to five more times but we actually want to customize it for each one it's a little bit handy to have that kind of control so okay that's great for you