This article is intended for video producers interested in making the most of their streaming video production in terms of video and audio quality. It's mostly about the best work practices to make sure your streaming video fights well with the despicable beast, the "compressed monster", which wants to convert all the original video into digital software.
I am from the professional video and media production background in Perth, Western Australia, shooting TV commercials, independent movies, corporate videos and more. With the advent of the Internet, I am excited to use it as a way to provide high-quality streaming video ads to businesses in Perth and around the world. So I created my current business, ONLINE AURA, and developed a video tailored specifically for streaming media. The problem is that although I am familiar with video compression theory, the most powerful thing I have ever encountered is that at the level of VHS or DVD production, it occasionally has a quarrel but never caused serious harm to me. However, the reality of video streaming compression is a huge adjustment, because I saw the sharp image in front of my eyes chopped into digital mud, and heard the glorious soaring music turned into a terrible fart and a dying bumblebee sequence.
Over time, I learned the best practices and techniques for shooting and editing streaming videos by testing and creating many streaming video experiences for local customers. I won't say that I have tamed the compression monster because he still lurks on my shoulders every time I shoot, but I will say that I have learned how to get him under control and complete it through the video compression process and there is almost no Scratches. Therefore, this article contains tips and guides to help you fight this beast in the next streaming video production.
1. Let the light – I will start from the most obvious, and can be considered as one of the most important aspects of producing high quality video streams. I know there are a lot of things about this recommended intense illumination of flat lighting [ie no shadows]. In theory, reducing the image contrast means it will compress more efficiently, and eventually you will get a higher quality streaming image. This is not true, because human perception of "sharpness" depends on the difference in contrast, and even higher-contrast images may not be compressed well at the pixel-by-pixel level, resulting in a clearer illusion. To the audience. Basically, the best quality rule is to provide a smooth contrast ratio and favor large soft light sources without over-illuminating what you want to shoot. Light emitted directly from the camera position in the entire scene does not produce favorable results in terms of streaming video quality. The best results come from a soft directional source, but there is also room for backlighting and other creative methods.
You must consider the final compression, but this usually means keeping the image contrast within an acceptable ratio. Low light is obviously a problem, and shooting at night can be difficult. Any grain will destroy and wake up the old compressed monster, which will devour every little vibrating pixel in starvation. You can use the grain removal plugin, but they can have the effect of softening your image and sometimes even worse. It's sometimes helpful to completely break your black level, it's also useful to desaturate your image and adjust the midtones. If you have to shoot with low light on the street, try not to use the gain control on the camera, but choose a low shutter [if your camera has it]. Lower shutter speeds are usually better compressed. For interviewees in the studio, I usually use soft keys and a little kick or backlight, just a little bit of front fill. For video compression, I make sure the background is relatively static and defocused. Using a green screen and replacing the background with a blurred still image or slowly moving the blurred background works well, and keeping the background color muted helps compress.
2. Camera Movement – Obviously, many fast camera movements require higher streaming video compression rates. But different types of sports can also have different effects. A smooth car shot will actually compress quite well, but it's interesting to note that moving in or out using the same zoom will not compress well, and zooming should be avoided if possible. Hand-held images tend to be greatly affected unless they are later stabilized using software plug-ins such as Steadymove. If done well, Steadicam will be quite good. Unfortunately, most erector lenses contain some "floating" that, although the average viewer barely feels, does not compress like a real car or track lens. The locked lens will obviously compress best, but it depends on the front of the camera!
3. Forward movement – Some things compress very well, while others compress very poorly. Water and waves look beautiful and crystallized on DVD, but they crash in the streaming video world. The details of carrying it are free to move. The same leaves are blowing in the wind in the trees. If you are shooting a face or spot in front of a tree on a windy day, you should consider moving them to a less moving background. Obviously, you want to move things in your camera frame to provide interest [this is the focus of playing the video on a slide show], but consider the amount of frame movement. If you can isolate the moving subject with a longer lens and blur the background, it will compress better and be clearer to your viewers. Due to the small size of the screen, people move more tightly when shooting. Closing may be the most effective.
4. VBR and "compression billing" tips – You should know that for most videos, using a variable bit rate provides a significant quality boost for standard CBR [constant bit rate]. But to maximize the quality of streaming video, you may need to take advantage of this variable bitrate capacity by performing what I call compression accounting.
what is that? Imagine that my monthly budget is $250 and I can buy whatever I want. In the strict CBR world, I got $250 at the beginning of the first day, and, regardless of whether I spent a lot of money, it would eventually return to zero. The next day I got another $250 and so on. Therefore, in the CBR world, I may spend all $250 because there is no savings the next day. If I see a $800 guitar in the window, I can't buy it because I will never have that much money, and I have to choose a poor quality $200. However, in the VBR world, there is savings. If I don't spend $250 on the first day, but spend $150, that means I can spend $100, while other times save. In fact, I can limit my current expenses, so I can use my saved money to buy a $800 guitar. If you find meaning in my torture analogy, what it means – when shooting in VBR mode, I already know how many data bits I have to use, and I can expand them accordingly. I know that I want to shoot something that has a lot of camera movements, like a group of moving dynamic avatars. I know I should balance it with a few locked lenses, with almost no movement. This is equivalent to spending $800 to buy the guitar [for the steadicam shot], and on other days 吝啬 [ie shooting lock]. When encoding, the encoder will view the video the first time it passes, record the amount of movement in each shot, and calculate the average compression for each shot based on the total average of each shot. The avatar lens may take 800kbps, and the locking lens only needs 80-100kbps. Therefore, 诀窍 is to balance the number of complex and simple lenses to take full advantage of VBR compression. If you are lucky, you will get a good balance and eventually better use compression to provide you with higher quality streaming video.
5. Progressive shooting – Streaming video shooting means you are making a computer screen, usually an LCD. Computers handle moving images in a different way than typical TVs. I can write three thousand words about technical differences, but basically the conclusion is that the progressive scan or deinterlaced video is fully compliant with the way the computer monitor displays these images. Interlaced video [including fields] perfectly displays motion on the TV, but traditionally does not encode motion video well, creating motion artifacts and occasional stripe effects. The best option is to shoot with a camera that transmits images in progressive scan mode. Although there are high-end professional cameras, most consumer models will not. However, Canon's consumer models, the XL-1, XL-2 and XM2, all have a "framework" mode that allows these cameras to adapt well to streaming video. If you don't, the video should use software [such as Premiere Pro, Avid] during the editing phase or deinterlace during the encoding phase. High quality encoders [such as Canopus procoder] usually provide progressive interleaving.
Edit and complete
1. Classic Clips – The compression factor of streaming video means that the classic shooting style produces better results than MTV-style photography. The same thing applies to editing. Although the editor still needs to be very suitable for the time format, fancy flash frames and transitions are usually not used when shooting…Online Dating Program For Men (view mobile),Click here! Online Art Lessons (view mobile),Click here! Astonishing Conversions - Online Allure,Click here!