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