[Bob Cole]

[jim bachalo] “is the 30-50% saved worth it, or should I stick with KinoFlo?”

In a word, no. My rule of thumb for equipment of this sort: if you’re going to be at this game for a couple of decades, buy quality. If not, rent. I really like my Diva and am extremely glad I own it. I’d say this is especially true for something involving the electronics that a dimmable fluoro requires.

But I admit that I did read this entire thread in hopes of finding a solid recommendation for something less expensive and just as good as a Diva. And another admission: I still use my old Tota lights inside Chimeras and occasionally just to help boost the base lighting for a large room.

Good luck and let us know your experiences.

Bob C

[Bob Cole]

[Craig Alan] “back the lights up until the diffusion is broad enough and at the right intensity.”

Not sure whether you meant this as written. The further away the light is, the more like a spotlight it becomes. The sun is a softlight when you’re 1000 miles away from it, but from 90 million miles it’s a spotlight. And it’s much cooler.

[Bob Cole]

[David Roth Weiss] “call me and try pleading and/or outright begging.”

Gee whiz, can anybody else help me?

Just kidding — I’ll try to figure out how to use Media Manager.

Thanks David.

b

[Bob Cole]

Hi Craig,

There are several sliders; here they are, with my most recent settings:

Bitrate (kbps): 300
Minimum bitrate (% target): 40
Maximum bitrate (% target): 120
Bitrate variability (% target): 80

Bitrate Viewer tells me that the actual results, for five files, expressed as average bitrates/peak, are:

309/2187
277/2191
311/1099
316/1318
280/1401

Most of the peaks are in the 600kbps range; there are usually only one or two at those highest numbers, per 20-minute program.

If you can figure out what those sliders actually mean, and how they might interact, I’m all ears!

Bob C

[Bob Cole]

I used BitRate Viewer to identify precisely where the peaks occurred. I assumed it was my “fault” — because I had done some panning and zooming on graphics.

One of the peaks was on such a pan and zoom. But by far the majority were on simple cuts from a wide shot to a medium close-up. Not much I can do about that.

I was using Adobe Media Encoder to create .flv files. Nothing out of the encoder’s comfort zone, for sure.

I’m not even sure whether this is “a problem that is a problem,” or whether occasional peaks are okay. But I’d like to know. We spend so much effort trying to write good scripts, create great pictures, edit with pace, etc. — but we (okay, I) neglect the compression area. And the viewer experience, online, can be severely compromised by jittery playback and occasional freezes.

Bob C

[Bob Cole]

You are correct.

I still have the original concern about how to make Adobe Media Encoder obey its own rules. AME creates files that, according to Bitrate Viewer anyway, have peaks double the “maximum” permitted.

Bob C

[Bob Cole]

I have three dimmers. One is very cheap, looks like the Harbor Freight dimmers, and works just fine. I use it to control my Source Four. The others are “flicker/dimmers” from Magic Gadgets. Rather expensive, but solid (although I have had to repair the socket on one). I use their 2K Flicker/Dimmer and the “Shadowmaker,” which controls three outputs on separate lines, and can generate effects such as “chases,” candlelight, bonfires, or lightning. I’ve simulated a glowing tv set as well. Even when used just as dimmers, the Magic Gadgets devices are great — they can start with very little current, instead of needing a certain (medium) level to make the circuit work. When used for flicker, the MG Flicker/Dimmers control minimum and maximum values for each line.

I use the Flicker function rarely; I use the Shadowmaker mainly as a lightboard for my sit-down interviews. I put the Shadowmaker near my camera, and control the intensity of hairlights, lighting on chroma key backgrounds, and an eyelight.

Wikipedia has some interesting articles on the inner workings of dimmers; my main take-away is that some dimmers dissipate energy in the form of heat, and others actually draw less electricity.

Bob C

[Bob Cole]

Here is something odd: Bitrate Viewer shows the file to have peaks almost to 700kbps, but the client’s software shows the file to be peaking under 400kbps, and therefore perfectly acceptable. Mystifying, hunh?

Bob C

[Bob Cole]

It doesn’t “never fail,” but often enough… Having asked the question, I’ve stumbled across what I think may be the answer. Enabling two-pass encoding opens up a new set of sliders, including a maximum bitrate percentage over the average bitrate allowed.

If this works… I’ll post it just in case someone else is interested. If someone else knows this won’t work, I’d be curious about that.

Bob C

[Bob Cole]

Thanks very much! This is a great tool. I’m using it for an .flv – hope that works.

Having seen that the peaks of my 300kbps video go all the way up to 620kbps, I’m concerned, and wonder what to do about it.

Is there any way to tell Adobe Media Encoder to clamp down on the bitrate? If I lower the target bitrate to some absurdly low figure, I might be able to get the seven or so peaks under the mandated 400kbps. But I’d rather keep the average bitrate up higher.

Advice would be most welcome!

Bob C