[Ed Dooley]

With Compressor 2’s H264 option you get the usual audio options that were available in
Cleaner, IMA, Mace, QDesign Music, Quallcom PureVoice. Try any of them for the web,
depending on the audio content.
You *can* compress the video as H264 and the audio as MPEG4 in Compressor and try to mux the files.
I haven’t done that, but I’m assuming (out of ignorance) that you could mux the H264
video with the MPEG4 audio. Maybe, perhaps, possibly. 🙂
Ed

[sanjchal] “What audio setting should I apply in Compressor for the web?

In Cleaner, I used MPEG-4. However, this isn’t an option in Compressor as I now want to start encoding using H264.

By applying AAC audio settings (Stereo, 48.000Khz) my video doesn’t play when uploaded onto the website, whereas previously when I was encoding to Sorenson Video 3 I had no problems.”

[Ed Dooley]

Can’t argue with that Ron. Every budget dictates how far you can/should go with a project.
Ed

[Ron Lindeboom] “[Ed] “I would never *not* color-correct, even for “just the web”.”

You might not, Ed, and that is likely due to your audience and the focus of your company, etc., but for many, handling every job as if it were destined for broadcast is going to be a major drain on resources and an inefficient use of time.

I tend to be a pragmatist but hey, that’s just me. ;o)”

[Ed Dooley]

We edit everything as if it’s going to broadcast. If it’s initially going to the web, I export it and let the
compressor du jour de-interlace. There have been more than a few times when the web-only program
became a DVD or was shown on TV. I would never *not* color-correct, even for “just the web”.
Ed

[Ed Dooley]

Kevin,
I misread his post, thinking he was going to buy a new MacIntel desktop when they come out, not the IMac, but you *are* wrong about AJA
running on MacIntels. While I’m disagreeing with you I might as well disagree about the FW latency too. 🙂
I thought it might be an issue for me, but it hasn’t been. And AJA has brought down the latency, which was 7 frames when I bought mine, to 5 frames,
and I hear the new driver will reduce it more. I can understand how it might be an issue for some, but not here.
Ed

Their new driver *is* Universal Binary (this from AJA):
Io Driver V3 for Io/IoLA/IoLD (13MB ZIP archive)
(Release Date 4/4/2006)
This release updates Io software to a “Universal Binary”

[Ed Dooley]

You’ve got to give us way more information to get any help. How long is the
video? What have you done so far that gives you a big file? More info.
Ed

[Ed Dooley]

This may help: (from KenStone)
Ed

https://www.kenstone.net/fcp_homepage/cc_legal_fcp4.html

Broadcast Safe Filter

This is an interesting filter that is also included in the Color Correction Bin. The purpose of this filter is to limit the top end of an image, the white values. Using this filter can help to clamp values above a certain point, to ensure that you are still “legal”. I find it very important to have the waveform monitor open while making adjustments with this filter. I think that people tend to think of this very literally as a “Legalize” filter, and do not contemplate just exactly how it is “legalizing” the image.

This filter approaches the task by taking values above a certain point and clamping them, or “cutting them off”. It also will give you the flexibility of determining just where that cut off point is, as well as where it starts to pull higher end values down the scale, so basically shifting the high end a little darker.

You should use this filter with caution. If you color correct so that a majority of the highlights fall fairly high on the scale, above 100, and then apply this filter to cut off the top end, you may end up with undesirable results. This will cause a flattening of the image in the highlights, which appears as dull, flat sections of white, instead of gradations of highlights. This is similar to what you will find when over-exposing while shooting video. There will be blanket areas of white, with no detail in them.

Highlights with Gradation
Flat Highlights
When using this filter, I suggest that instead the whites should roll off a bit, before being clamped. This can be done while using the Color Corrector 3 Way or Color Corrector filter. Adjust the highlights so that the majority of spikes fall below 100. If the top end of a few spikes still fall above 100, but you are happy with the image as a whole, then this would be the time to apply the Broadcast Safe filter.

Whites not clipped (without filter)

Whites clipped (with filter)

On the Filters tab, there are several options, but the default is often sufficient.

If you feel brave, then you can set the drop down menu to Custom. Once this is set, use the controls under Luminance and Saturation Limiting to control the clamping point, adjust the range of the falloff, and where the top end sits on the scale.

As mentioned above, this filter should be used with caution when trying to create natural scenes. It is generally more pleasing to see gradation in the highlights, even if it is subtle. If one of the reasons for raising the white levels was to bring more contrast into the scene, then this can better be accomplished by a well balanced scene, then by overdoing the whites. Having a true black in the frame along with a true white will give the image more punch, and more of a feeling of intense white in the highlights.

On the other hand, the Broadcast Safe filter is a great aid when trying to create high contrast looks. With a color corrector filter, then a Broadcast Safe filter, you can keep pushing up the Mids and Whites sliders without the whites going above 100.

[Ed Dooley]

You could also see the total size of the file, and since you know the length
of the video, do the math: total file size divided by seconds (60). A 300kbs
data rate should give you something like 2.25MB for file size (add a little
for overhead though). An 800kbs rate would give you a 6+MB file.
Ed

[Ed Dooley]

It’s considered lazy and ultimately not quite accurate. 🙂
Ed (who also uses the same workflow occasionally)

[Pseudojag] “Can anyone comment on whether the application of the Broadcast Safe filter to the entire program is a lazy and ultimately incorrect way of respecting legal chroma values

[Ed Dooley]

We use the AJA IOLA for Beta. It works great for us, and it’s portable. Blackmagic Design has inexpensive
component analog cards too. If you’re not thinking of the possible future need for a card, the Decklink from
Blackmagic might be the cheapest high-quality way.
Ed

[Ed Dooley]

Whoa, easy boy! I clearly misspoke. I meant to compare HD to DVCProHD, not DVCProHD to DVCPro50, my mistake
(and admittedly a big one). Mea culpa, mea culpa, mea culpa.
I do, however, stand by my other statement about FW vs SATA. I repeat, “there are very few reasons to use FW anymore…”
How is it a disservice to cow-readers to say that SATA is most of the things you tout for FW (and will soon be all the things you mention)?
Sure you need a SATA card, but it’s faster than FW, more reliable, cross-platform and portable. Everyone’s bought FW cards, how
difficult is it to buy a SATA card? One of the few reasons to use FW is if you have to send a drive to someone that doesn’t have SATA,
a good reason, but not enough of a reason to use a slower, less reliable standard. I will always suggest to people who ask,
that they should buy SATA as their primary storage. If you need FW too, go for it.
Macs didn’t always have the SCSI cards we all needed to do video editing back in the 90s either, but somehow we all managed to buy
cards and use them. FW is convenient right out of the box, but hardly the reason to use it instead of SATA.
Ed

[gary adcock] “[Ed] “There are very few reasons to use FW anymore for anything related to video capture”

I also disagree, While I firmly believe that the faster the storage the better – you do a disservice to all cow readers by making such an unfounded statement.

FW is a established standard that works without any additional hardware on all macs and most pc’s. it is cross platform and portable. While SATA is available as an internal option, I do not know of a single mfg. that has a computer shipping with a built in external connection for SATA in the manner that FW has been implemented.

[Ed] “A 2 drive FW RAID won’t be fast enough for DVCProHD,”

with w/ a statement like that you obviously do not work with DVCPROHD HD at all.
DVCPROHD content @ 720p24 is less than 6mgs per second,and I am capable of doing 5 streams of that kind of content on my G-Raid.
My G-Raid Pro can handle 2 streams of Standard Def 10bit uncompressed video without issue.”