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