[Craig Seeman]

[Yoni Zetz] “What factors should i consider when exporting”

The first is the target. Settings used for someone with a fiber channel web connection would not be the same for someone watching on a three year old Android phone.

[Yoni Zetz] ” the smallest size possible.”

Does this mean you don’t care about quality at all? There’s size vs quality vs compatibility tradeoffs which is why you must know your target. The closer you get to one size fits all the worse the quality may be. Maybe that’s OK but you do need to understand that.

As to target for example:
A 30 second heavy motion graphics selling an upscale product might be very different than a 30 second simple static graphics targeting a poor working class community with a service by a gov’t agency, would be entirely different settings given their likely viewing devices and internet connections available to them.

[Craig Seeman]

As a compression geek there’s very little useful technical information to make any judgement at all.

Profile, Entropy, keyframe rate, number of passes, VBR or CBR, GOP structure are all factors.

Generally (with some exceptions) Apple’s Compressor now does best with High Profile, CABAC, One Pass (two pass not an option with these settings). That seems to come reasonably close to x264 quality.

For the longest time MainConcept, used by Adobe, has been far superior to Apple’s H.264 at comparable settings but Apple has been working on things and Compressor 4.1.x H.264 is not bad.

[Craig Seeman]

Jan Ozer wrote generally about this as Ben Waggoner’s ‘power of 0.75″ rule.
https://www.streaminglearningcenter.com/articles/choosing-your-streaming-resolution-and-data-rate.html?page=3

The actual number may depend on content. Actions sports would require a higher number than talking heads. As you go up in frame size you don’t need to bring up the bit rate at a 1 per 1 level. He uses 0.75. I link to page 3 of the article but you might want to read the whole thing.

Understanding Bits per Pixel and Quality and the Power of 0.75 rule can help you get most of the way there.
Often it means doing some test encodes to arrive at the point where it’s hard to notice a change given the specific content you’re using.

[Craig Seeman]

You could try converting it in VLC although there might be a better way.

There’s always the “cheat.” If you can play the file you can capture it with a good screen grabbing program and convert it that way.

[Craig Seeman]

It does help if you read the sticky at the top of this forum. Without complete details we all end up taking a lot of time with blind back and forth guesses.

If you’re playing the file, there must be a Player and a Version Number for that Player. You should include that information. Of course the OS would help too. We can’t assume that from anything you’ve posted. Certainly files from Windows phones can play on Macs.

First, I’d suggest testing playback in the free VLC media player.
Second I’d suggest opening the file in the free MediaInfo and looking at the complete specs for video and audio and posting that here.
Both utilities are cross platform.

Some players have problems with variable frame rates or the frame rate flags (or lack of).
It’s possible that your repair impacted the frame rate flag (if there was one).

It’s also not clear how you determined the file was corrupted to begin with so you should explain.

[Craig Seeman]

Since Windows 7, WMP 12 (and up) will play H.264 .mov in addition to H.264 .mp4. WMP11 on XP would need Quicktime. Since H.264 .mp4 can play in both WMP12 and Quicktime, that’s what I’d use.

[Craig Seeman]

It’s how it looks at the metadata. That’s all for the most part.

[Craig Seeman]

AVC is the same as H.264

H.264 MPEG-4 AVC
https://en.wikipedia.org/wiki/H.264/MPEG-4_AVC

[Craig Seeman]

Looking forward to see all this in the Pocket. I don’t expect higher frame rates with the current cameras. They’d have redesign bodies as they’ve done with Ursa.

My fantasy is that Blackmagic comes out with an affordable high frame rate specific camera. A “Phantom for the rest of us” if you will.

[Craig Seeman]

You can use “blend” in Wirecast Source Settings for the device coming in.
Then just record using 1080p29.97. On Mac I’d use ProRes. On Windows I’d use x264 .mp4 at a high data rate.