WWDC2004 Session 703

Transcript

Kind: captions
Language: en
today we're going to talk about encoding
everything from A to Z you know what you
need to know from the pre-production
side all the way to the finished target
let me see if this is worth in here
let's get that re self introduced myself
and encoding means a lot of different
things a lot of different people I
imagine we have a gamut of people here a
lot of beginners and also maybe some
expert encoders but you know the
workflow is always going to be the same
sometimes some people come in halfway
into the workflow they already have it
captured other times you know you want
to start you start from the camera
perspective all the way to capturing
encoding delivering and then archiving
for later repurposing most of the things
you need to know about encoding is to
really figure out what your target is
going to be you want to focus your
attention on who you're going to be
delivering it to so you can pick the
appropriate format and also so you don't
waste any resources you know if you're
just going to be doing web content only
and never repurpose it and you know
you're never going to repurpose it
there's no point in shooting on an HD
cam obviously if you're going to
repurpose it you want to shoot in HD cam
so one day you can put it on HD DVD you
want to put it you know on HD broadcast
stuff like that so you've got to know
what to do for your target with your
budget etc so here are some of the
common encoding targets we have you know
people wanted nowadays i want to make
dvds they want to make cd-rom they want
to put stuff on the web or with the new
whole mobile device trays that might be
hitting the wave you know in your in the
US this year you might see a lot of 3gpp
or PP to stuff like you see in Europe
and Japan so you want to take advantage
of all these target now the target is
going to define your format so you know
if you go on a DVD or you know dvd-rom
you're going to encode and a proper
format for that target you know mpeg-2
mpeg-4 what you're looking to do what
how much material you want to fit on a
DVD etc if you're off lining video for
you know later on youth you want to
always offline in the highest possible
format for what your purposes are so you
know be that HD uncompressed or DV cam
or dvcpro etc always one offline the
highest possible video and then you have
a variety of codecs you can use I mean
the format's you could use for cd-rom or
the internet and you guys know it all
those are on the internet you'll see
anything from windows media to quicktime
to real to MPEG layer 3 for audio and a
variety of others /video if you want to
call that video and see do you know and
all kinds of stuff so we'll talk about
you know most of the stuff here I don't
know if most of you guys are looking
here as far as encoding to manufacture
dvds or also DVDs or if everybody's
really focusable on the web who's really
here interested more like web and mobile
device delivery that's that kind of
gives me included like I don't want to
focus on DVDs when people are like don't
care but uh you know basically if you're
doing DVD I think I think the Holy Grail
is really the editor you know the beauty
about quicktime and Apple is that you
have one of the best any platforms in
the world you have final cut HD you want
to edit your piece you want to just
finish it and then just create you know
different versions to multiple targets
so in order to do that you define your
targets and you want to do that in one
quick easy step well the question is can
you do that and and what tools to use to
get to your target so if you're doing a
DVD it's pretty easy nowadays I mean you
have compressor comes with final cut HD
you just create your settings stuff like
that you create a droplet and I'll show
you later and you know through the
process how to create a droplet how to
create a droplet you can detach to watch
boulder with an apple scripts you can
just dry
into folders on a server the only code
itself you come in later after you're
doing other stuff you get a coffee and
it's all done for you compressors hands
down the most effective tool right now
and the cheapest tool if you want to you
know do stuff unless you're running a
DVD encoding house where you need to
encode three times faster in real time
then you know there are other tools but
you can talk to me about that later then
if you're trying to do and pick for type
of format encoding because you want to
maybe do stuff for cd-rom or dvd-rom or
the web you know it kind of covers that
gamut and hopefully one stage 264 codec
comes out you'll be able to just cover
variety of targets with that container
as far as mpeg-4 is concerned then you
want you have other tools and you know
it's kind of and the tool is going to
kind of be decided upon based on the
code if you decide on using so you'll
see that for em pick for you know
compressed or squeezed cleaner I also
didn't mention here but there's a
product by a totally hip called the hip
flick and there's a couple other
products out there I'm sure you know
that I don't know about but the main
ones are like quicktime pro for one up
if you want to do batch jobs cleaner
squeeze and compressor will do them if
you're using sorensen you really want to
use cleaner because it's the only one
that lets you do to pass DVR and and
i'll be talking about reverse spell
spinning a little bit so i'll tell you
other reasons to use cleaner however
compressing to a quicktime movie like i
said compressor and you're doing it from
Final Cut here a lot of functions here
that we're using final cut why because
it's the best betting state you know
platform out there if you're using
iMovie you can just do the same thing
also you just create your quicktime rep
movie and and I'll go through hopefully
with final cut and my demo on how to
create your ref movie drag it in and use
it how many in the crowd use Final Cut
one way okay that's good my son shins
are decent
so QuickTime movies you know like I said
also what you're going to use in code
depends on a couple variety of things
one your codec like if you're going to
use Sorenson pro as your codex you
really kind of have to stick to either
squeeze or cleaner I'm actually I don't
remember freeze actually does to pass
DVR so there you go so it does so that
gives you now however then you have the
problem of like well as your if your
footage is coming you know in 2997 or in
pal and you need to go into a 917 to
reverse tell us any stuff then you kind
of you kind of probably want to use
cleaner because they have probably the
best and tell us any pulldown method
unless you actually happen to know how
to recognize what an a frame is and you
know the sequence then you could
probably use after effects or cinema
tools to do your pull down now obviously
if you're editing footage that's coming
into you as 2997 which is ntsc standard
for all you guys that don't know it and
you're going to edit that and it's
actually sorts wittich that was shot on
film or on a 24 p camera then you want
to usually pull it down in cinema tools
or some other method before you edit you
always want to do your editing in the
actual original production method I mean
production source separate so in the you
know in that respect like I said before
compressors great but it's not going to
give you any to pass PVR it's not going
to give you any tell sandy capabilities
reverse it and some people say well so
cleaner has an adaptive noise reduction
but you know my thing is if you have a
lot of noise in your footage you got
other problems so flash video if you're
looking at some people is big craze for
flash video lately I personally don't
think the flash video quality is that
great right now it's great for talking
heads and compatibility wife flash it's
just all over the place if you doing
corporate stuff at Talking Heads I say
use it it's fantastic you don't have to
worry about plugins etc
but if you're doing a lot high motion
stuff it's really not at par versus
other videos as far as color saturation
and motion compensation types of stuff
so that's just my opinion on that
windows media want it or not you're
going to have to encode it windows me
you're going to have clients that want
to encode the windows media and how do
you do that on the Mac when Microsoft
doesn't really have windows media SDK to
let Mac users author windows media
content and there's not much you can
really do about it you really have to
use a pc if you want to achieve that so
you know that I have techniques so you
can you know you can export to an avi
file obviously it's a one-off from any
you know quicktime player pro or from
Final Cut or if you don't you know
depending on what your source would it
you know what you're in you and use
footage is you can also just use
compressor and do it into mpeg-1 and
Windows Media encoder well to take then
you can have a script maybe share a
windows drive and have it just jump in
there and automatically encode now
obviously you know that if you encode to
mpeg-1 as your source for your windows
media files you're going to start losing
some of those chrome of hours and stuff
because it's not you know four to two
and you might introduce other artifacts
but like i said if you put it just
coming off of a DV camera doing
something like that it's not really
going to take away too much of this of
the source for it so it all depends you
know if I was making a DVD I wouldn't do
you know you know I want to do that but
this is all for windows media so it
doesn't matter real now you can from
what I understand and I don't know if
any of you guys have seen it but I heard
there was a going to be an export plugin
for final cut coming out that's in beta
right now that let you from Final Cut
project just export to real I don't know
it's a rumor rumor is going on but you
could have a real encoder real producer
for linux running or something on a
separate box a she running so there's
not a separate boxing just copy my you
know files over and you could do the
same things that I do for the AVI files
and stuff like that unfortunately you
know a pce or links box is your best bet
for real
right now and hopefully once the export
component comes out it'll make it so you
don't have to export you know a large
file you can just do it from a rest
movie from Final Cut and if you guys
know of any of that just come and talk
to me somebody's out there ask me so
compression master I really don't have
much to say about them because I was
trying to get ahold of guys and they
never sent me any info but I have you
know it's from what I've heard it's you
know let you do a lot of stuff that you
can do with cleaner but it's like two
three times harder to use so i don't
know personal experience but it's
another app that you could use to encode
anything in QuickTime an mp4 files stuff
I get called compression master by pop
liar unfortunate unable to get my hands
on a on a true release one before this
so since most of us here coming from
Final Cut and we really are interested
in delivering for the web or you know
some sort of broadband you know modem
whatever phones etc non DVD I'm going to
say there's always the greatest
streaming versus download so a lot of
people say quicktime and they always
don't know well as the streamer is
download they don't know what the
difference is right so the difference
between streaming and download movie is
two things one you know it's the
difference in protocols usually
streaming is actually and I should have
switched this streaming is true
streaming is over rtsp transport and the
download or progressive download
quicktime movies which is like i like to
come to differentiate them are usually
over a web server HTTP so a download
movie is all the you know quicktime
movie trailers you see out there you
know extremely high quality what's the
difference well a download movie
guarantees you every single frame gets
to your end user so for somebody
delivering a trailer for somebody
delivering a daily or something like
that it could be you know it's the
proper way of doing it because you
this is a frame however you know in a
progressive download situation the way
it works with the quicktime player is it
starts playing as soon as it knows that
it will finish playing you know but i'll
finish downloading before it finishes
playing so you know the longer the movie
is and depending on the data rate the
bigger the file is going to be free to
download and the longer the latency to
start playing it so there you really got
to kind of do some testing as to well if
I want to have a 300k movie you know for
download and my movies are going to be
on the average 30 minutes and my users
have a connection speed of you know 400
k well that means that my lane see on
the you know by the time you start
watching it it's going to be I don't
know two minutes or something and I'm
just putting numbers out there I'm not
showing you a numbers but I can if you
have questions about that later I can
tell you how to calculate that now so
really HTTP download movies are not
recommended for in my opinion anything
over ten minutes is really pushing it I
usually say about seven minutes that's
why trailers are the best thing in the
world another thing is because when you
have a 30-minute program and somebody
wants to watch the last five minutes
they can't start watching that until
that portions been download we're
streaming on the other hand is made just
for that you know for to our show for
three hours show you can get to any
point in time and you'll get that you
know just the part of the video you want
to see however you know the the con of
that is that you don't guarantee the
delivery of those packets if you're
doing rtsp if you can force your player
and if you're in a situation where you
want to force your player to http pack
you know HTTP protocol to do a quick
time streaming over HTTP then you would
be guaranteeing a higher rate of packets
to the player and therefore you know if
you're in a situation where you have a
corporate environment you want to make
sure they get every single frame you
might want to force that but usually
streaming us for something over 10
minutes and download it for something
under 10 minutes if you want to
guarantee the quality
oh yeah that's what everyone so now
let's look at some production techniques
and you guys are familiar with final cut
so you know I don't really have to tell
you that if you've been editing for a
while that you know garbage in garbage
out everybody who edits knows that
hopefully by now so you know you're not
going to take crappy video and suddenly
make it like HD quality just by putting
it in a computer you know there's only
so much massaging you can do in the post
and stuff like that so the key is to
have a good camera you know the higher
quality camera you can get three CC DS
if you're doing TV HD cameras Beta cams
did you betta camp you know better
lenses all that stuff is going to just
give you that much more and you have to
balance that with your budget obviously
and then so how do you when you edit I'm
really talking about compression here
but when you edit obviously you want to
keep everything in the original source
format if possible so we're possible if
you can edit in HD and you capture it
and you shot in HD that's the best way
to go if for some reason you can't do
that and you have to go to a lesser
format well you know I don't recommend
that but you know you gotta do what you
got to do for your budget and really if
you're shooting on HD and you're going
to cut it for uh for a cd-rom or
something well maybe it's not that big
of a deal if you just going down to DV
stuff like that so you know when we
think of compression what compression
does is obviously it reduces the amount
of data of your original source you know
back in the day when if you have some
type of storage constraint or something
like that obviously you might want to
capture it in a more compressed format
so you can do all your editing you know
and once you have that in final cut of
your familia feature but you can trim
your project so that then you can go
ahead and recap it higher data rate and
then just take advantage of the space
out on your drive stuff like that
compression and a okay compression well
I'm not going to know if you guys SAT
through the Codex session and stuff but
in case you didn't you know just to
differentiate a little bit of what a
codex versus a format is format is
really the container of the movie codex
or compressor d compressors and they
usually you know define just how much
you're going to compress video or audio
and they have a lot of many different
properties so you know if you went to
that specially probably would have
learned something on what codec to pick
for what type of and target and now I'm
going to proceed to hopefully my demo
stuff is working i'm going to show and
this has been really going to be a big
dam 0 like i said before if you're
thinking of doing one of the big things
that people do is reba business and
we're all a little more free ok so one
of the big things is that people don't
understand that a lot of a lot of
footage is shot on film and obviously
all the movie trailers that's all shot
on film so that's what it is all 24
frames per second and when you compress
it and you're taking footage of 2997
you're automatically taking almost six
extra frames and putting those through
your compressor and increasing the
amount of data and therefore you're in
target and so you you're still encoding
all these phantom frames so what you
want to do is you want to reverse tell
us any it bring it back to 24 frame
source so that when you encode it you
get the purest and code because it's
just using the necessary data now cinema
tools lets you do this it comes with
final cut however there's a big if and
the big if is that you actually have to
know and understand what the process of
inserting phantom frames is and all that
good stuff so it's kind of you know I've
been working the video field for a long
time and and it's still kind of a tricky
to me so if you did have your footage
and you you know maybe your post-ops
like that and you have and you know the
sequence and i'll show you what i mean
by sequence let's open up a clip and
then i get britney spears or our Kelly
alterna so let's open up a clip and we
want to do it what's called a reverse
tells me we want to remove all the
phantom frames this is originally a film
clip and we want to take out those six
frames per second out so we can go ahead
and click on reverse tell us any and
it's going to ask us what the options of
the pulldown it so you have four options
here the problem here is usually that
people don't know which option to use
also when you do a reverse telephony you
have to start well as far as cinema
tools concern because it just assumes
that the first frame is always an a
frame and I'm not going to explain to
you what that is but you know basically
like I said you have sourced twenty four
fifths per second when you change it
over the 2997 you're basically just
introducing a duplicate frame every so
often so you know you say okay at third
frame introduce you know the same one so
that I doesn't see it because they're
two of the same in a row you don't
notice it you want to strip those out so
if you don't know what an a frame is or
you already captured this and you didn't
capture anything you won't be able to
use this at all but if you are in a
pinch what you can do is you can take
like 10 seconds of footage pick one of
these and then go ahead and say okay
well I'm going to pick you know this one
and if you see here this is the sequence
that we're going for so if you don't
know you would have to go through create
the iterations pick them and then go
ahead and reverse tell us any it so it
is going to go off a little bit so you
can see how painful this process is well
this you know as we cinema tools is
really made for the Posthouse that gives
you the 2997 with
burnt in sequence so you can just oh
well the sequences aabb you know
underscore be then I pick that film it
does it and usually you would do this
before importing your source and final
test therefore for encoding this isn't
always really helpful in less one you
know what you're doing to you do some
testing so that now i'll show you what a
just so you know what what would end up
being here what I didn't see is where it
puts my file thank you okay so just so
you can see what something got was
telephony and possibly wrong when you
see it playback actually I pick the
right one you got you want to look for
frames that are like stuttering any part
where it's stutters so unfortunate i
picked the right setting and actually
did that on purpose because i used that
one before but you would have to go
three frame and when you see a duplicate
frame where it's utter that means you
pick the wrong pulldown method so if you
want to use this you can but I you know
you have to test it a lot now if you
look at the size of the file that I just
tell us any adverse 'as the original
brittany plus you can see that this is
the one we tell Sonny it's 143 Meg's the
original clip is 180 almost so you know
you're saving almost 40 Meg's and that's
pretty megs lots of data your encoding
and and it can drastically increase the
quality of video this is only an
11-second file that's why using any type
of tool that's going to do a reverse
till telephony is going to be very very
valuable like i said i don't recommend
using cinema tools unless you know what
you're doing and even then it's tricky
you have to do some tests but if use
cleaner and you're using source that you
know it comes from film but it's now
2997 used in and tell us any feature and
what it does is it actually goes through
reads a bunch of frames and then it
calculates the
the table has to figure out what
sequence is the right one now some
people make the mistake of just intelius
inning everything because they figure
you know but if your content is not all
coming from film you should never do
that otherwise you will end up with
stuttering or frames where you have bad
interlacing stuff like that so this is
just to show you about the reverse
telephony and cinema tools that I you
know could I want to talk about I don't
have cleaner here so I can't really show
you that feature and cleaner so if we
can go back to slice oh so we're talking
you know a lot of people say well on the
internet what am I going to do what's
you know what's our targets nowadays I
mean it's always changing what's 200kb
us 300 kb or why is it that the apple
trailers look so good those large ones
you know but how do they do it you know
well they do it you know they're usually
like 25 Meg's and that's what it looks
so good and on a broadband connection
well you'll start seeing it and because
like I said it's only five minutes you
know people think oh it's great but you
know when you try to do that to a 30
minute clip it's not as great so if
you're doing encoding for streaming you
really got to pick your targets
accordingly people still dealing with
modem I mean the u.s. is really the only
country that that has their modems that
you know everybody gets like a 56k
connection gets like 38 k or higher but
even then but outside the US a lot of
people are still getting 20 k
connections or 30 k connections so when
you think of a 28 k modem you really
want in code for 20 kilobits now why is
this because people don't understand
modems you have header packets that are
in the modem packets so you're losing
already information so you can't get any
closer than 20k and that's for your
combined video and audio so if you're a
mia 56 came on
well nobody ever gets 56k it's
physically impossible you know unless
you're like in a lab at rockwell 53k
over a pot line is probably as good as
it ever get and rarely do people get
that so I think the average right now in
the u.s. right around 40 that's pretty
high it's gone up but outside of the US
rarely do people get 40 kb so you want
to you know you have to kind of pick
that target accordingly if I was only
encoding content for modem users in the
US I could probably do 38 40 if I was
doing it global out of pride you 32 with
quicktime you know now you can also use
multiple bitrate targets with quicktime
so you're getting code you know you
encode your 20 k you're 38 k and then
you you know you create a rest movie
stuff like that but though so we'll go
on i c'n I don't even know people have I
see anymore but people still want kind
of that middle of the road 100k ATK it's
a good target for corporate small
business a lot of people if you do a lot
of corporate work anywhere from 100 150
k it might not be bad unless they have a
lot of bandwidth for their users then
you can go up to 300 k but i see if
people are watching you know if there's
50 users watching the 300 k and a
company and only got a t1 well it's
going to look pretty bad so broadband
users you know I've seen people right
now go anywhere from 300 to 500 k it all
depends what your target is again but
with broadband because it's a single
pipe you can get away with going 500
even 700 on a lot of cable stuff so it
all depends and then we're going to talk
about how the data rate really lets you
choose what your window size is going to
be so based on the data rate and your
content you're going to have to choose a
codec right if you're going to be in
coding in a standard space formats such
as mp4 something like that you're going
to want to use probably
then pick for codex or hopefully the 264
codec when it comes out if you're going
to be doing a QuickTime movie you might
want to either choose the mpeg-4 codec
for a lot of compatibility you know for
a lot more standard space stuff so you
have that choice or the Sorenson pro
video codec if you use the Sorenson
codecs always use the pro version never
use the regular one unless you really
really really have to because the
quality is not going to be there and it
takes even longer to encode now this
drawback with Sorenson pro is that it
takes two to three times longer 10 codes
and then mp4 codec video however
Sorenson Pro has better color saturation
and I think it feels better with emotion
than mp4 but if you know what you're
doing is mp4 and you do a couple tests
you can take an mp4 encoded clip and
adjust a little bit color correction in
cleaner using some of those things and
you could actually match sorensen
saturation you just have so you're going
to have to tweak that people that you
know automatically off the bad fate well
mp4 doesn't match the quality of storms
pro have never done that tweaking and
you know uh you know our first glance
you say right away storing some wins but
for the compression is out there you're
doing a little color correction tweaking
little gamma low brightness contrast
adjustment you know 99 percent of people
will never be able to tell which one's
better so then audio so then you have
audio codecs like you know a sea q
design pro Qualcomm pure voice which I
don't even know people use it that much
anymore but it all depends if you're
doing stuff for modems corporate stuff
head shots you want to use pure voice
because it's super low low bandwidth if
bandwidth is not an object then you want
to use AAC you know because it's just
hands-down the best codec there is for
you know for music and voice or a
combination of both when bandwidth is
not an object some people want to use
mp3s because
it's more of a standard so if I got it's
not a bad deal but mp3 MP layer 3 tends
to not have high quality and I think
also use a little bit sometimes you see
more sync issues when you're using video
with an mp3 type of so I talked about
storing some pro video just to go over
this little bit it's lets you deliver
you know probably the highest quality
video without any tweaking but also you
have to use most of your encoding time
compared to other videos if you're using
vb are encoding to pass PBR you will
only be able to use cleaner to do this
and it has excellent excellent scaling
capabilities however it's also pretty
cpu intensive if you're aiming at like
g3's or stuff like that I any you know
standard codex if you were here for the
Codex session there's just a gazillion
codecs that quicktime handles some
people i never heard of some of them and
they have all variety of uses so i'm not
going to rehash on that but mostly for
internet delivery you're going to use
the ones that i was mentioning sorensen
you could possibly use them pick one if
you do an IPTV stuff any other h.263
h.264 codec and I've see mp4 or any of
the 3gpp or gpp to codex if you're off
lining stuff you might use like a JPEG
for offline stuff to get lossless or you
know TV or mpeg-2 like I said before and
always use the pro versions of the Codex
if you're using q design or sorensen pro
and you know a faster I don't agree with
it so so let's talk about some web video
production techniques I don't know how
many you folks out there do any of the
actual production for shooting but if
you are doing any production you want to
remember a lot of basic things are going
to
long long way when it comes to encoding
especially when you're in coding for
cd-rom or lower target these are
techniques that people just don't think
of but they actually you know they just
make a really big difference I said
before use the highest quality camera
you can get your hands on okay when it
comes to audio use the best quality mic
you can get your hands on use a lot of
Mike if you can use a boom or if you're
using a camera mic just make sure you
have the camera well in there make sure
monitoring the audio stuff like that
make sure you are if you're shooting
something for a talking head for example
you know and there's a piece of the
backdrop that's moving because of the
wind don't shoot it there make sure you
can shoot it with a static background
you know the more movement there is the
the more the compression you know the
codec is going to have to work on the
whole scene instead of just working on
the little pieces that are changing so
the less movement you have in a frame
that means the higher quality video
you'll be able to get in a lower data
rate you know with any codec so you
always want to look for solid color
stuff like that poor shading is going to
bring in artifacts if you have you know
a background that's not well lit stuff
like that also if this is going to be
only for encoding at cd-rom or lower
rates and stuff like that and you're
looking you know something corporate
something not too fancy do all touch
don't do you know crazy long face
because when you're going through a
phase every frame and that fade is a
pixel that's changing in a dissolve for
example well that's going to encode a
lot worse than if it was just a straight
cut now you know you got to take
production value versus the value of
your app you know of your hearing code
you know and way to balance you know
wait out and see what you really want
but if you're going for broadband
chances are nowadays you won't need to
do that another thing is anytime you
have a handheld camera versus a lockdown
stationary camera you're going to be 10
million times better because what we
don't notice
is where the frame is moving even if it
just moves one pixel that is going to be
that much harder in code so always make
sure you have lockdown and well-lit
cameras so now we're going to talk about
one of the interesting stuff not the
cinema tools demo which I wish I had
cleaner also so I could show you what I
was talking about in pilsen II but well
it is right here well we might talk
about it later if we have to this is
more important compressor there's some
cool stuff in compressor I mean I really
think compressed is kind of a at its
baby stage right now because it's still
you know it's only 10 11 2 or 10 2
version but with a little bit of help it
can really blow up into something that
will you know do everything you needed
to so let's let me open up my deal in
here okay usually the way I you know in
case you've never seen compressor it's
uh it's got a couple things here you get
you want to set up a destination right
so what you do is what I have in my
workflow is I have a server that does
all the encoding and I set up compressor
there and I set up a shared drive and on
that shared drive i have in an area just
different folders and in those folders
I'll have a little droplet that I
created with compressor something like
that okay and the way to do this is you
know you you what you really want to
make sure is you want to make sure you
go to compress right and you want to
make sure you got 1.2 if you don't have
one point to you might not see
everything you see here so make sure you
update your copy to 1.2 you can create a
destination and we'll go ahead and
create some custom destination air your
local
spin it around do you do ok I'm just
going to do it in my role will folder
ok
so you create this nation you can name
it here okay you make it a default you
on tour went up so in compressor here
you have presets destinations I should
be able to make a destination the other
do you want to do that and you have
preview but let's let's open up so you
usually want to have if let's take one
of our sample movies here are killing a
little bit too big so we can go ahead
and now when you hit preview so you can
like adjust any settings you might have
this especially good for adjusting
filters you want to keep this window
open pick a good frame they have like a
lot of changes or a lot of like maybe
this one because there's a lot more
there's not a lot of color in this whole
video clip so but here you got the skin
tones want to make sure the skin tones
of both people come out by then what you
do is you go to your presets you can
create here this little thing here lets
you save any preset you want as a
droplet so let's say we were going to
create an mpeg-4 clip let's say actually
because we were going to use our we're
going to use our 24 frames per second
footage that we reverse telephony in
here let me use this one
next I'm going to remove go ahead and
create a preset for that I'm just
actually going to use one of these
presets already here it seems like it's
above so a bunch here we're going to use
it we're going to make it for a
broadband so I want large progressive
because it's a small clip I can look at
all aspects here down here shows you
what aspects of that steadiness I can
see you know if I want to adjust one of
the things I was talking about earlier
is that you know unfortunately what you
don't have here is an avi export if you
did you could get to your you know have
it export to avi and put it on some type
of windows box or Linux box with real
cruiser or Windows Media encoder and
then you could get to those clients that
need that type if you don't have to
worry about Windows Media reels and you
know your job is done here yeah no not
MPEG layer 3 audio epic one layer 3 out
of Utah I do well yeah here this is just
this is the container format so for
example if you you know wanted the
actual gosh look for a so no it's not if
you want to do yeah you're right it only
lets you do uh their standard audio
right right but here you should be able
to set MPEG audio see ya know you can
only and only supports mpeg-4 audio no
mp3 audio exporter either so I really if
I was making an epic buzzing at da MOV
file I would never use mp3 audio I mean
there's really no point but you when you
have AC and stuff like that for mp4
files I don't see the advantage of you
know em pick em pick one layer 3 audio
is really only good for in my opinion
for audio because of such the you know
acceptance over the amount of players
out there it has that advantage but
when it comes to video and audio I don't
see the advantage of playing both
together at all so let's go back to just
making a standard you know mp4 file
which is what we're looking to do here a
lot of things you know like i said
before you have to pick you know what
your data rate is now what is constant
versus vbr well when you're doing a
constant bit rate of movie you're
looking for consistency constant
constant bit rate movies are great for
if you're for some reason if you were
encoding mp4 files for hardware hardware
specs usually are a lot less lenient
then then specs for software so people
don't realize that good example is when
you make dvds some people you know
they're making a DVD for a client 20
minute video they figure they got 4.7
gigs on the DVD you know what I'm going
to pick this one thing that says give me
60 minutes highest quality well they
don't notice they're making like this
DVD mpeg-2 file that's running at like
nine megabit well most of your players
out there when the person puts the DVD
in there it's just going to bar and
they're going to call you up and say
what's what's well I made it to highest
quality look at in my computer well yeah
but you know hardware if you ever looked
at a real DVD you know high quality
production DVDs pick up a spider-man DVD
or sometimes one of the latest really
hot ones and you change your display on
your on your VCR at home until you hear
like most pioneer Sunnydale have they'll
have a data rate tracking and just watch
that the sweet spot for encoding DVDs is
really anywhere between five point five
and six megabits per second sometimes
you'll see stuff go up there but you
don't realize that you really anytime
you go above six megabits per second
your chant your left you're shortening
that you're the compatibility window and
and so that's that's what you going to
run into issues so you got to be aware
of what your targets are and when it
comes to DVDs you do a lot with hardware
now that we have them picked for there's
a lot of people are dealing with mpeg-4
hardware so you got to be aware of that
if you are dealing with any of those if
you're just feeling for the internet
chances are you
got to know what you're in users
broadband is so we're going to say well
300k you know and actually I want it I
want to be medium vbr just do a left you
know and i can't select their self media
vbr and actually 2398 salon full frames
and it we're going to now we're going to
keep stereo 64kbps pretty good for audio
with for music and i'm not going to
stream at this progressive download so i
don't need any streaming hints at all
hinting is strictly for streaming and
you know support so it has all the
packet Iser information so that the
streaming server can you know chop it up
into little bits and pieces you don't
need that don't select it and then the
beauty about compressor it's got all the
filters for quicktime stuff so if you
wanted to for example deinterlace
something do gamma correction which
comes in really handy because well what
am I going to gamma Christ well I gotta
see what I'm doing here now some things
people don't realize is that you know we
encode a lot on a max and stuff but a
lot of your users are going to be on a
PC and the pc graphic cards have a
totally different gamma and a lot of
times you will encode this and you'll
say like well issues you know this looks
pretty good looks well lit here and then
you see on a pc mother it's all dark so
you have to adjust for that and
depending on the tool you're using you
know usually usually what you want to do
is you want to if your encoding on a on
a Mac you want to you know go under one
point oh and make it a little bit liar
sometimes it's penny on the content but
in this case I'm going to go point eight
unless you're going to go point not only
just a tad lighter in the gamma
correction is going to make the content
on the pc be that much better if i was
in coding on a pc i do it the opposite
direction major contents just a little
bit darker so that I would get best
quality overall there's a lot of filters
you can use hear this noise removal is
all kinds of stuff you know the reason
of shooting the footage in the best
possible way so you can avoid using any
of these but the ones you might use
would be DNR lacing if you wanted to D
in her lace your files so you can have a
progressive frame so it compresses
better also you know if you wanted to
let her box stuff just to make it look
cool or you know just to give it that
feel for what your website is all about
you can also be cropping here all that
stuff we're just going to leave a
default stuff like I just for the
purpose of showing how to use this so in
summary you can look at this once again
see what your presets all about and then
you can save it as a droplet by clicking
on here under the state selection of
problem it's going to say okay where do
you want to save this droplet what do
you want to name it mom and it call it
WWDC and put it in my I don't want the
source folder
I'll just here
ok
and here right before you do this
because you want to be able to change it
later this is a big tip make sure you
pick the right destination this is why I
made the destination first because later
on the droplet and I don't know this
hopefully they'll change this later but
at least on my experience you can't
change the destination once you set the
droplet so be very aware of that we set
that folder and what we should have now
is a droplet here which I don't really
see it I'll here we go I put it in the
net but in the jump on you guys are all
right you guys are paying attention this
is it sells a trick so now well where
does this become automation well if you
only have one machine and you're not
really like i said doing this in a
server environment it is you're done
there now if for some reason let's say
you had a you know something in here and
we'll just call this folder here will
call this my server let's say that was a
folder on my server then what i would do
is and that if you guys want to write my
stuff down here so this is the wrong
so what we do is you see this this
little script here is really for a watch
folder script and if you guys want the
script just leave me a card or something
i'll send you guys an email with the
script and all that good stuff put down
that website or something and basically
the way to use it is what you're going
to want to do okay this is not what
you're wanting to do can't find my cheat
sheet ok so what you're going to want to
do is you're going to want to take the
script put it into your script under
library Apple I don't have it in here on
this machine so I'm not actually going
to go over it then but what you want to
do is all send you the exact stuff you
need to do you basically take the script
that i'm going to give you you can
change a couple things at least i like
to change the name of indus script in
the script you see the droplet needs to
be named compressor goblet so my droplet
was named my droplet was named WWDC drop
you would change this name here to WTC
drop
and then you would go ahead and put it
in your scripts folder once it's in the
scripts folder yeah you know you
whatever you decide to use as your
standard you can just create this
whatever you want and then what you do
is you create a folder for every
different preset and I would create a
folder in my server that says okay this
is going to be just for mpeg-4 24p
content you know that's going to cable
target and then what you do is when
you're done you can just go ahead and
create you know take your your stuff
your files drag you know drag them into
the folder and boom and then the watch
script will just go ahead force that
droplet on to that folder when new
content comes in move it into a done
folder when it's done and leave the
encoded content there already because
I'm not here in the server environment I
can't really show you guys how to do
that yeah the droplet so so the script
would really only be so that the CP so
that your machine indicates like if you
wanted to offload the CPU usage so that
another machine is just cranking all the
you know doing all encoding while you're
doing stuff here you can go ahead copy
that to a folder that's going to do that
if you only have one machine then you
just use the droplet like it is right
there and then we would just take you
know this file here drag it on to the
droplet and we're done you see
you can have a droplet for each one and
drag your rest movie there you can have
or the same destination so that all your
files get done in one yeah the script is
only good for that this if I had another
server right I would have the scripts
what you need to do in order to make the
droplet work it's telling not to show
that and then save it so so let's click
the drop
okay let me just get to running l answer
your question so when you're in an
automated are you're going to be doing
maybe 10 20 clips at a time and stuff
like that you don't want this you know
you don't want poison not so many myself
this is strange you don't want
everything hogging this machine so you
created on a server so that that server
can do all that compression now the
droplet would go in the folder on the
server right and then the script would
go on the folder on the server also the
only thing that's on your machine is the
rest move you create and you drag it on
to that folder that's if like I said
before if you're using a server
automated workflow environment if you
don't want to upload any CPU encoding to
your server you basically just you know
you would be done here and you would
just drag it on there's no script
involved no not the way this droplet is
not working it I'll try to forget one
thing I find using this sometimes is
that let me try one of my other droplets
all remained that sometimes it likes the
batch encoder to be open but out final
cut it also comes with DVD Studio so it
comes with both and you can't get it
separate right now yeah go ahead
that also works but the thing is if you
had this is really set up like basically
what you would do is you'd set up your
server to do that and then when people
are editing all they got to do is drag
it so let's say you had like three
capture stations you'd want to set it up
this way so you don't have somebody have
to set up all the queue and stuff like
that
correct and and that's what you would
you would use here and that in that
environment because then I mean you can
still show them if you wanted I mean if
you have a class of arm you can show
them how to use the batch or you know
and maybe just but the problem is that
then you know they're going to know how
to set up a preset and all that stuff
they could import the preset you could
just say okay here all the presets
they're going to come from you and you
just give it to them they drop it in
their folder and then they could just
use the bachelor like he's saying oh
they're not they're not video editors
anything like that their journalists
yeah in that case you might want to just
set it up in the server environment
stuff like that so there's just a couple
things to do one is you have to create
the droplets and obviously with a little
bit more apple scripting you could
probably create a little bit better
interface something where somebody can
pick a droplet out of maybe you could
have the applescript like look through a
main folder that has all your droplets
and then the journalist just needs to
say oh this is for modem or this is for
this no you wouldn't see the droplet
there would just be folders so what
happens is the droplets in the folder
you know that's besides the point and
then the the journalist your student
would just drag it to the folder and
what you would do is you would put the
Apple script on the server and just
attach it to that folder so they just
got to know over cable here for kit so
they drag it once drag it for this and
Dragon for that and then they leave and
then it's just doing its thing so then
the server is doing all the encoding the
script would be reading the data from
the rest movie revolute leary pointing
it to all the sources and stuff like
that and then encoding and you know
depending well what kind of network do
you have
and if you have 300 students then you
run into other problem you could also
have a script that would basically when
something appears in the done file check
for status and once you see that it
hasn't been written to and certain
amount a second it could send them or if
that was already your web server your
QuickTime stupid already sent him to the
URL the rest movie he'd do something
like that I've seen that done I mean
which ones I used or for media 100 x
yeah the watch holder is tricky yeah
well you know if you guys have questions
please come up to the mic we're pretty
much you know this is this was my last
dammit and with if we can switch it to
the slide you guys can contact me
there's my email and please send me an
email saying give me that script and
i'll put detailed instructions i'll walk
you through it I promise a little flow
chart or something because yeah it's
it's easier when you're doing it than me
explaining it really kind of have to
have the stuff on your end and do it all
that and once you see it work you're
like oh ok I understand that work