Ryan Holmes
3
COW Coins
Forum Replies Created
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[Zackary Moran] “In compressor, what bitrate should I aim for 1280 x 720? Does setting a bitrate restriction help? “
Yes, if you have target file size you’re trying to meet you’ll have to restrict the data rate in order to meet that target size. Changing the physical resolution of the frame does not impact the file size – data rate (both audio and video) as well as CBR/VBR impact the file size. On a 6 minute file changing the audio from 320kbps to 256kbps will save you hardly any space….probably a few MB overall. Nothing substantial. You’ll have to throttle your video data rate. Running a VBR (variable bit rate) will allow the software to attempt to allocate the data more appropriately. So if a scene only needs 2Mbps to clearly define it then the software uses that, but if the scene needs more data. say 6Mbps, it’ll use that (within the parameters that you’ve set for data rate, you can specify your target data rate as well as a minimum/maximum data rate). CBR (constant bit rate) is when you’re going to indiscriminately apply the data rate to the entire encode. So regardless of whether or not the scene needs 7Mbps the whole encode is done at that data rate.
Vimeo has a good compression guide that should be able to walk you thorough the needed settings:
https://vimeo.com/help/compressionA bandwidth calculator is very helpful in situations like these:
https://web.forret.com/tools/filesize.asp?speed=10&unit=Mbps&dur=390For your target you’ll need to stay under 10Mbps total data rate (audio + video) if you want to have a file under 500MB, provided your source material is 6.5 minutes long.
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
Nope. You have two options in Resolve – Stop or Go!
You may be able to submit a feature request for that to be added in the future. While Resolve 12 is much improved from version 11, I still think their “Delivery” section needs an overhaul. Better use/display of presets, watch folders, settings, etc. That section of Resolve still feels like it needs a lot of TLC.
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
Courtney – You’ve stepped into the Compression Vortex! 🙂
Simplest answer is that a given level (3.0, 3.1, 4.0, 4.1, etc) and profile relate to how high of a data rate and frame size you can encode. I won’t enumerate all of them here, but Wikipedia has it all written down for you: https://en.wikipedia.org/wiki/H.264/MPEG-4_AVC#Levels
Ultimately, it depends on your audience that you’re trying to reach and at what resolution/data rate as to how you encode. So if you plan on delivering 4K files at the max data possible to your end user(s) you’ll have to use Level 5.1 or 5.2 in High Profile (300MB/s). But if you’re going for the widest possible audience you’ll have to take into account people who have older devices that may not be able to read that high of a level. For example, people with old Samsung Galaxy phone or an iPhone 4 or 4s. In those cases you need to back your level off to something in the 4’s. For my encoding when delivering to 720p for the web I go back to level 3.1 or 3.2 to ensure the widest possible compatibility range for devices.
FYI, the current iPhone 6 only reads up to level 4.2 ( https://www.apple.com/iphone-6/specs/ ):
Video formats supported: H.264 video up to 1080p, 60 frames per second, High Profile level 4.2 with AAC-LC audio up to 160 Kbps, 48kHz, stereo audio in .m4v, .mp4, and .mov file formats.Hope that makes some sense for you….!
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
[Hans Hoffman] “Is there any software or inexpensive hardware that will format cards without having to keep a camera body on hand?”
I’m not aware of any. Canon cameras typically need to format the card in camera to be read by the camera. No way around it that I’m aware of and I shoot with C100/300, 5D3, etc. Nothing I’ve done ever works. So I always make sure beforehand that all cards are formatted and ready to go.
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
You can’t export (i.e. write) ProRes on a PC, you can only read the ProRes format. You can export out as DNxHD on a PC (similar codec, available from Avid). There are some non-supported software companies that have attempted to reverse-engineer ProRes and get it to work on a PC, but for Adobe ProRes exporting is a Mac-only option.
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
Clear out your media cache in Premiere and AME. See if that does it.
Preferences –> Media –> Media Cache Database –> Clean
Other option is to uninstall and reinstall Premiere/AME. If you’re still having problems, I’d contact Twixtor as they may have run into this before.
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
Clear out your media cache in Premiere and AME. See if that does it.
Preferences –> Media –> Media Cache Database –> Clean
Other option is to uninstall and reinstall Premiere/AME. If you’re still having problems, I’d contact Twixtor as they may have run into this before.
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
[clyde villegas] “In Adobe Media Encoder, particularly in the Export Settings, if I choose “progressive” in the Field Order drop-down list, will AME automatically convert my upper-field-first video to progressive?”
Yes, it should. As an added step I typically will deinterlace even on the timeline in Premiere (right click on the media clip and choose “Field Options…” and then under the processing options section check the “Always De-interlace” option.
[clyde villegas] “Will it yield the same result/quality as that of Magic Bullet Frame’s deinterlacing?”
I’ve never done a side-by-side comparison. It should yield the same result, which is deinterlaced video. However, I can’t speak to the quality and which one is better. You can do so A/B test (just use a 5-10 second section as a test clip for comparison).
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
[clyde villegas] “. I tried deinterlacing with Magic Bullet Frames and the resulting estimated encoding time was about 14 hours for just two hours of video.”
If you’re using a plugin like MB then you’re encoding times will always be longer. You may just try using the standard de-interlacing steps in Compressor or Media Encoder or whatever encoder you’re using. Magic Bullet, while great, may not fit due to the added time constraints. All encoding engines today have some deinterlacing steps (Compressor, Telestream, Sorenson, Media Encoder, etc).
And depending on the effect you’re appling within MB some fx take more advantage of the GPU than the CPU, so the more horsepower you have the better in the graphics card area. Though I never discourage people from running more powerful chipsets! 🙂
Best of luck to ya!
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
[clyde villegas] “But I’ve read somewhere that progressive screens will not care if you’re footage is interlaced or progressive.”
Some (not all) progressive displays have deinterlacing capability built in, but why would you want to rely on that when you can ensure a quality display before you upload it. In my experience, a progressive display often doesn’t do that great of a job at converting the signal on-the-fly, either.
[clyde villegas] “What if I upload the video to sites other than Youtube, is interlaced ok? What do you think?”
If you’re putting your content online, it should be de-interlaced. It’s not difficult to do in your NLE or encoding software. And if your intended delivery is web-based from the start, then just shoot progressive from the get go. So take the extra time and do well so the end user has the best experience with your content.
Just my $.02
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost