Chris Blair
Forum Replies Created
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May wrote:
Understanding settings:
Audio compression settings: bit rates (or data rates as it seems to be interchangeably called?),
sample sizes, sample rates, stereo and monoVideo compression settings: data rates, frame size, key frame rate, multi pass vs single pass.
Compression settings are usually based on the output medium and viewing device. Web settings are different than settings you might use for an interactive kiosk, just as settings for DVD or Blu-ray output are different than what you’d use for playing back a full-rez digital file for a presentation, etc.
A search online can give you a general basis of knowing the difference between these. But it’s really not possible to give you a single answer on this unless we knew the output medium.
Codecs and Containers:
I know what some codecs are for example H.264, FLV (Flash) etc.. and I know what containers are in THEORY, but I really need this to be explained a little better i.e. a list of codecs and their best, ideal uses i.e. web streaming, dvd burning and the appropriate containers etc..
In basic terms, a codec is the compression/decompression algorythym used to reduce or compress the file size, and then the decompression algorythym used to play it back. The holy grail of codecs is one that makes the file as small as possible without visually impacting quality, and will play back quickly and efficiently on a large number of computers and platforms.
A container or wrapper is a little harder to explain, but it’s basically a file format whose specifications regard only the way data is stored (but not coded) within the file. It stores the data itself and the information about how the data is stored, so when you go to load a Quicktime file in Final Cut, if the container has stored the info about the file correctly (according to quicktime specs), Final Cut will be able to load it and play it (provided you have the right coded).
Confused yet? Yeah…me too.
Lastly, if I received video files in various formats that weren’t ideal for web streaming or editing in FCP, how would I know how to convert them into formats that are suitable? i.e. I get a video file in .avi format but I need to edit it in FCP, would I convert to a .mov file?
We use transcoding software for this, but most NLE applications, Final Cut included, can load, play and convert a variety of formats and codecs. I’m not sure if Final Cut can load an .avi, but a program like Procoder or Sorenesen Squeeze would be able to convert it for you. For that matter, there are low cost and even free software converters availabe to do something this specific. As with any software, the less you pay, the worse the user interface (generally), and the more flaky the performance. Plus, apps like Procoder and Sqeeuze are only a few hundred dollars.
On a side note, what’s the difference is between a codec and a standard (not sure if it’s that important)..
Not sure I understand this question. But video standards are typically things like the various version of HDTV. There are no less than 5 distinct versions of HDTV, each with it’s own pixel size, frame rate, interlace settings etc. So if that’s what they’re talking about, then a standard would be the broad definiion of a video format. So with standard definition, there is NTSC D1, which is 720×486 @ 4×3 aspect, 60i (60 interlaced fields), there is NTSC D1 widescreen, which is 720×486 @ 16×9 aspect (60 interlaced fields), NTSC D1 24p which is 720×486 @ 4×3, 24 fps with pulldown. Heck I could go on for another page and a half there are so many. But you get the idea. There are scores of video standards, including ones used in other countries, such as PAL and SECAM.
But…as the previous poster noted, even with a base knowledge and understanding of codecs, it takes years to become good at it. That said, (and we do a TON of encoding and transcoding), a lot of what we do to achieve high-quality results IS trial and error. But without the base understanding, that same trial and error would take much longer to get good results.
Chris Blair
Magnetic Image, Inc.
Evansville, IN
http://www.videomi.com -
Interesting thread. We’ve discussed this internally in our company just recently after I stumbled across the websites of a freelance producer and a freelance videographer, who both have dozens of samples of work they’ve done while working with us posted.
They describe the work and the client as if they are their own, with no mention of our company.
I was quite surprised, as these are people I’ve trusted for years. I couldn’t believe they would take work that we gave them and pawn it off as their own…especially when we were the primary creative and technical force behind the finished work. What bothered me even more was to describe the client as if it was their own!
BUT…it made me examine some of our own practices. We use a freelance graphic designer for most of our print layout and design, including logos, brochures, billboards, annual reports etc. If you view samples on our webpage or look at our hard-bound portfolio, we promote that work as if it was our own.
So…the question becomes, should we give the freelancer credit on our website and in our portfolio when presenting this work as a sample to potential clients?
How is what we’re doing any different than what the freelance producers are doing on their websites?
For me the difference is that the clients are OUR clients. But beyond the suggestion on the websites that the clients were their own, for me there’s little difference. But it’s made us consider asking freelancers to sign a very specific non-compete agreement that at the very least bars them from promoting OUR clients as if they are clients of the freelancer.
What are thoughts on this??
Chris Blair
Magnetic Image, Inc.
Evansville, IN
http://www.videomi.com -
We did a test burn and everything works. I also tested a bunch of our kids Hollywood style DVDs and realized that none of them will go from a submenu to the main menu by hitting the remote’s “menu” button.
They all have a “main menu” button. I had never realized that even after the thousands of DVDs I’ve probably watched over the years. The big concern we had was that the Vegas preview would never take us back to the main menu from the videos. But once burned, it works.
Thanks for the help and reassurance.
Chris Blair
Magnetic Image, Inc.
Evansville, IN
http://www.videomi.com -
Thanks Rob,
Appreciate the feedback. I think we’ve used every mid-range authoring program out there. DVDLab, DVD Workshop, Encore, DVD-it, Reel DVD, DVD Architect and a couple I can’t remember the names of!
On every one of them their preview functions are flaky. I guess since it’s consistent across the software, it makes sense that the issue is beyond their programming control.
That still makes it very frustrating when you only occasionally build menu based DVD’s for your clients. I assumed this was the issue with DVD Architect since we’d experienced it on other software.
So an you also confirm that the “top menu” button does indeed work (at least while playing a video) when do you an actual DVD burn?
Thanks
Chris Blair
Magnetic Image, Inc.
Evansville, IN
http://www.videomi.com -
Mike,
Thanks. Amazing that 2 separate DVD authoring programs have the exact same issue. We had Adobe Encore version 1 and it did the exact same thing. Audio wouldn’t play right or would play out of sync, the menu buttons were unpredictable etc. But when you burned it, most stuff worked the way it was supposed to.
Chris Blair
Magnetic Image, Inc.
Evansville, IN
http://www.videomi.com -
David Roth Weiss:
So, if you wish to own the copyright and control the tapes, rather than arguing about copyright law afterwards as so many here seem to want to do, simply specify it in writing in advance.Thank you David. That’s all any of us are saying that subscribe to the “we own the tapes” side of the issue. 99% of the time it’s a non-issue if ownership is specified up front. But believe me…you’ll be glad you have that right if you ever have a client try to skip out on a large bill. I just get frustrated on this and other forums when people post opinions as fact.
The information on this issue is readily available in books, online, and if you have a corporate attorney, through referrals to attorneys that specialize in copyright law. Copyright ownership is certainly not cut and dried on many projects, but you can be assured of at least joint-owership on just about any work you create for a client that uses original footage you shot and edited. Unless of course owership is requested by the client up front.
I’ve heard of companies that specify they own all materials created for a project until the project is paid for. That’s another option for people out there wanting financial protection, but subscribing to the “clients own the tapes” side of the issue. It gives you the leverage you might need to get paid, while still keeping you on the side of giving clients what they want.
Chris Blair
Magnetic Image, Inc.
Evansville, IN
http://www.videomi.com -
Sounds like a codec issue. I’ve seen “broken” or incompatible codecs bring some systems to a grinding halt…namely our VelocityQ machines and Digital Fusion. Those apps absolutely hate Blackmagic codecs. They conflict with The VelocityQ’s proprietary virtual AVI codec (which creates an AVI pointer to an existing .dps file). With Digital Fusion, it simply won’t open with certain Blackmagic codecs installed.
Google “Sherlock Codec Detective.” Download it (it’s free and a tiny file). Run it and see if it finds some “broken” codecs. If it does, unistall them through control panel. If they don’t show up in control panel, google “how to uninstall codecs through the registry.”
We had some old Avid codecs on our Premiere CS3/Blackmagic HD Decklink Extreme that caused Premiere to crash anytime you placed one of the Avid based clips on a timeline. Solution was to transcode the clips to the Blackmagic native codec and get rid of the Avid codecs. Crashes stopped.
Hope that helps.
Chris Blair
Magnetic Image, Inc.
Evansville, IN
http://www.videomi.com -
Tim Kolb:
I do understand that even though most of us do everything we do because we’re hired to do it, treating an end product as a ‘work for hire’ remains some special contractual circumstance. Does no one else see that as odd once they can set aside their own self-interest for a moment and look at it objectively?Ok…I’ll bite on this one too. Here’s an example of it NOT being as a special circumstance as you think. We occasionally work for crewing companies. Just recently one called with a job for Wal-Mart. Their contract specifically states that we’d be doing “work for hire” and specifically states that Wal-Mart owns the tapes, the footage on them and all rights to their use. It states further that we’re not to make a duplicate of the footage unless requested to do so by Wal-Mart.
Issue resolved with about two sentences of copy. Wal-Mart owns the tapes, footage and all rights. Done.
In fact, every job we’ve done for crewing companies is structured that way. Assignment Desk, Crew Connection, Crews Control and a few others all have this in their contracts with you. Why? Because they want you to hand the tapes over once you’re done shooting for them.
We also used to work with an Ad Agency that had virtually the exact same wording in their production contracts. When the shoot was done, we handed over tapes to them. If you wanted to do work for them, you had to agree to that provision. Again…issue resolved before production begins. And to answer a few other digs people have taken out there…the ad agency still used us to edit. But occasionally if we were booked and they needed an edit quickly, they’d go across town and edit.
We certainly don’t turn work down where people request ownership, and as I’ve stated we still occasionally give clients digital copies of footage (typically when they have a history of paying on-time), or if they have a bunch of projects they need done quickly or if we’re booked and can’t accomodate them. But we certainly wouldn’t hand those tapes over if they owed us $25,000 and were 4 months past due. If we did, what incentive would they have to pay their bill?
Chris Blair
Magnetic Image, Inc.
Evansville, IN
http://www.videomi.com -
Tim Kolb:
If there isn’t licensed music or actors involved and it’s completely content of a client’s property…I have a difficult time understanding what other purpose there could be in retaining rights to an image that can’t be used on anything without the client’s consent anyway, other than just restricting the client’s ability to take their footage and their revenue elsewhere.In reality, if you own the copyright, you CAN use the footage elsewhere. I’ll give you two examples from personal experience. I have a friend that worked on a corporate video for a large multi-national company that later became mired in the accounting scandals from a few years back. The video prominently featured candid comments from this company’s CEO as he patrolled the floors of their office building. When the scandals hit, virtually all the news networks and major news magazines came a callin’ wanting to buy this footage. There was no work for hire or non-disclosure agreement attached to the project’s contract. So guess what, he sold it to a news magazine program for a very healthy sum.
So here’s a case where…when the video was shot, who could have guessed it had ANY other potential value. But because he kept client tapes and worked under the premise that he owned copyright, he was able to legally sell them and make money. The company that hired him couldn’t do a thing to stop him.
Early in my career I worked for Hammond Productions, which at the time was owned by Tom Hammond, who’s now an NBC sportscaster. That company specialized in thoroughbred videos because Hammond is a renowned expert on equine genetics (he has a masters degree in it from LSU). That company produced promotional videos for stud-farms, who would send them to horse owners looking to breed their mares with prominent stallions.
We’d shoot video of all their stallions (sometimes dozens), posing, running in the fields etc. Most were unknown. Occasionally, a previously unknown (but well bred) stud who’d had a crappy race career, and hadn’t produced many winning offspring would sire a top racehorse, like a Kentucky Derby or Breeders Cup winner. When this happened, the footage of that stud, previously sitting on a shelf unused, would become hot property. ESPN, NBC, the BBC and others would come calling wanting footage of this stallion and the stud farm because no decent race footage existed (unless you wanted to show him finishing 10th).
Hammond owned the footage…not the owner of the stallion….not the owner of the stud farm. They made a nice chunk of money every year I worked there doing this.
So you never know when the stuff you shoot will suddenly have “value” to someone out there.
Chris Blair
Magnetic Image, Inc.
Evansville, IN
http://www.videomi.com -
Bob Zelin: We just got 5 FCP systems working for Electronic Arts in Maitland Florida using this exact configuration. No one can believe how cheap it is to do this !
I came to the conclusion while I researched systems last year that the SAN/NAS industry operates like car repair or internet companies. They’re whole gig (pardon the pun) is based on making their products and setup sound as complex and technical as possible.
What we found is that it’s neither. Certainly you have to know and understand networking AND the requirements of video to build a working SAN or NAS setup. But if you have the time, intellect, and patience, it can be done. I was convinced I could’ve built a working system, but as a facility owner and a working director and editor, I just didn’t have the time to do the research on the components nor the configuration.
Our friend Bob has done a lot of that for us! All hail Bob!
Chris Blair
Magnetic Image, Inc.
Evansville, IN
http://www.videomi.com