1
Producing Video
for the Web
Jan Ozer
Doceo Publishing
276-238-9135
Copyright © 2007 Jan Ozer, All Rights Reserved
Agenda
The streaming environment
Production
Setting the scene (background and clothing)
Lighting
Camera positioning, framing and motion
Optimizing camera controls
Editing/Preprocessing
Choosing your targets
Producing to your targets
Encoding
2
Copyright © 2007 Jan Ozer, All Rights Reserved
The Streaming Environment
Concepts
Bandwidth
Delivery modes
Resolution
Data rate
How streaming is different from analog
Copyright © 2007 Jan Ozer, All Rights Reserved
Why Do I Care About Bandwidth?
What is bandwidth?
Viewer’s connection speed
Why is it important?
Controls your viewer’s ability to retrieve and playvideo smoothly
Higher delivery bandwidths mean higher datarates, which means better quality
3
Copyright © 2007 Jan Ozer, All Rights Reserved
What are My Delivery Options?
StreamingViewer clicks, video quickly starts to play
Plays without interruption until finished
Progressive downloadViewer clicks, video quickly starts to play
Video may stop during playback, but stored locally
Once completely downloaded, plays smoothly
Download and playFile downloaded completely before playing
Copyright © 2007 Jan Ozer, All Rights Reserved
Why is Delivery Mode Relevant?
To stream effectively:
Must compress to bandwidth available to viewer
Since compression degrades quality, streaming is the mostchallenging delivery mechanism
Must distribute efficiently from the host (which often meansa streaming server)
Progressive download
Don’t have to compress to effective bandwidth, which maymean higher quality
But, user may have to wait (e.g. QuickTime movie trailers)
4
Copyright © 2007 Jan Ozer, All Rights Reserved
Why is Resolution Important?
Most video starts life at 720x480 or higher
Most video is scaled down for streaming
320x240 is the general minimum
Ranges up to 640x480 and higher
Resolution is key quality factor
At a set bit rate, increasing resolution degradesquality because you must compress more pixels
Can’t say that 300 kbps is “adequate” withoutknowing resolution
Copyright © 2007 Jan Ozer, All Rights Reserved
Why is Data Rate Important?
Largely determines video quality
At static resolution and frame rate, increasing bitrate increases quality
Because we have to pay for it
5
Copyright © 2007 Jan Ozer, All Rights Reserved
How is Streaming Different?
When truly streaming (not progressivedownload or download and play)
Typically have to compress video significantlyto:
Meet end user bandwidth requirements
Meet bandwidth costs
Streaming is “lossy” - the more you compress, themore you lose quality-wise
Copyright © 2007 Jan Ozer, All Rights Reserved
When to Customize Production for
Streaming
No difference
Must produceExclusively for
streaming
1 mbps 500 kbps 300 kbps 100 kbps
Similarity to Analog and DVD
DeliveryBandwidth
1.5 mbps
640x480
320x240
6
Copyright © 2007 Jan Ozer, All Rights Reserved
What’s this Mean?
At 1-1.5 mbps (640x480), most video looks finewithout special care
As data rates decrease, have to:
Limit motion in video (camera and subject)
Choose compressible backgrounds and clothing
Generally use compression friendly techniques
The lower the bit rate, the more you care
Copyright © 2007 Jan Ozer, All Rights Reserved
Streaming Environment -
Conclusion
Questions?
7
Copyright © 2007 Jan Ozer, All Rights Reserved
Producing for Max Streaming
Quality
Production
Setting the scene
Choosing a background
Clothing
Lighting
Camera positioning, framing and motion
Optimizing camera controls
Copyright © 2007 Jan Ozer, All Rights Reserved
Which Backgrounds Work Best?
Backgrounds
What’s different between streaming and analogproduction?
High level goals for choosing a background
Best practices
Choosing a background:
For my in-house studio
While on location
Conclusion and checklist
8
Copyright © 2007 Jan Ozer, All Rights Reserved
Background - What's Different?
Contrast issues:
Very similar between analog and streaming -need to separate subject from background
Other issues:
Backgrounds with motion can severely degradecompressed video quality
Poorly chosen backgrounds (well lit, reflectiveblank walls) can "create" noise
Copyright © 2007 Jan Ozer, All Rights Reserved
What do I Care About When
Choosing a Background?
Provide contrast with talentObviously relates to clothing worn by talent
Avoid color and contrast extremes
Choose one that compresses wellNo motion
Low detail
No wide open spaces (embrace clutter)
No highly saturated colors
9
Copyright © 2007 Jan Ozer, All Rights Reserved
Contrast
Good contrast
Deloitte - dark grey suit,light blue back
Cranky Geeks - brownsuit, black background
HP - grey shirt, darkbackground
HP - blue shirt, brownbackground
Amex - light blue shirt,grey background
Bad contrast
P&G - blue/blue
Price - black/black
NIST - black/black
Real - blue/blue
Copyright © 2007 Jan Ozer, All Rights Reserved
Contrast
Good contrast
Deloitte - dark grey suit,light blue back
Cranky Geeks - brownsuit,black background
HP - grey shirt, darkbackground
HP - blue shirt, brownbackground
Amex - light blue shirt,grey background
Bad contrast
P&G - blue/blue
Price - black/black
NIST - black/black
Real - blue/blue
10
Copyright © 2007 Jan Ozer, All Rights Reserved
Avoid Color/Contrast Extremes
Brightness extremes hard forcamera/codecs to preserve
Color extremes make it tough tomaintain contrast
Copyright © 2007 Jan Ozer, All Rights Reserved
Avoid Color/Contrast Extremes
11
Copyright © 2007 Jan Ozer, All Rights Reserved
Avoid Motion
Akamai
NAB
Copyright © 2007 Jan Ozer, All Rights Reserved
Avoid Wide Open Spaces
DON'T - Use flat, well-lit, lightcolor backgrounds withoutsome "clutter.
DO
Add "clutter" to the backgroundto contain artifacts
Darken background to
Reduce detail
Reduce reflection
12
Copyright © 2007 Jan Ozer, All Rights Reserved
Avoid Highly Saturated Colors
DON'T use highlysaturated colors – Whichtend to create motion inthe background
DO - Use more mutedcolors
Copyright © 2007 Jan Ozer, All Rights Reserved
Avoid Fine Patterns
DON'T - use backgroundswith fine patterns and/ordecorative lighting.
DO - use a simplebackground with little visibledetail
13
Copyright © 2007 Jan Ozer, All Rights Reserved
Creating the Perfect In-HouseBackground
Simple is better
Flat black works well
MS got fancy andlost contrast
Be Flexible
Curtain system withmultiple simplebackgrounds
Copyright © 2007 Jan Ozer, All Rights Reserved
Building the PerfectBackground - Office
1 stand (~ $100 US)
2-3 backgrounds(~$130 US)
Flat black
Dark grey
Light blue
Under $250, you’re set
14
Copyright © 2007 Jan Ozer, All Rights Reserved
Building the Perfect
Background - On Location
Need “on location” feel
Curtains and portable backdrops out
How to create compressible set?
Copyright © 2007 Jan Ozer, All Rights Reserved
Building the Perfect
Background - On Location
Avoid contrastextremes
Avoid complextextures and shapes
Limit detail withlighting (darken thebackground)
Or by blurring thebackground withcamera settings
Avoid backlighting
15
Copyright © 2007 Jan Ozer, All Rights Reserved
Background Checklist
Does the background provide contrast with subject's face,clothing and hair?
Are there extremes in contrast and/or color
Is there extraneous detail in lighting or pattern?
Is it moving?
Are the colors highly saturated (rich reds and blues)?
Are there well lit, wide open spaces?
Are there any light sources like lights or windows?
Have you tried compressing the footage and viewing theresults?
Copyright © 2007 Jan Ozer, All Rights Reserved
What Should Talent Wear?
What’s different between streaming andanalog production?
Feng Shui in clothing and backgrounds
Avoid contrast extremes
Other issues
Clothing checklist
16
Copyright © 2007 Jan Ozer, All Rights Reserved
Clothing - What's Different?
Must be more sensitive to detail that canproduce compression artifacts (jewelry,glasses, hair)
Similar in other aspects, though compressionexacerbates issues
Contrast (no black and white)
Details (no stripes, herringbones)
Copyright © 2007 Jan Ozer, All Rights Reserved
Clothing Checklist
ClothingSolid colors - dark blues, grays or browns.
Avoid white and light blue (which looks like white on camera)
Advise in advance to match background, and perhaps bringalternatives (or lighter shirt/darker coat)
Hair
Pulled back (Loose ends disappear once compressed)
Jewelry
Some OK, large bling is additional detail and reflective
Glasses may require special lighting (generally fromthe side) to avoid glare
17
Copyright © 2007 Jan Ozer, All Rights Reserved
Clothing Checklist
Clothing
Solid colors - dark blues, grays or browns
Avoid white and light blue (which looks like white on camera)
Advise in advance to match background, and to bringalternatives (or lighter shirt/darker coat)
Hair
Pulled back (Loose ends get messy after compression)
Jewelry
Some OK, large bling is additional detail and reflective
Glasses may require special lighting (generally fromthe side) to avoid glare
Copyright © 2007 Jan Ozer, All Rights Reserved
How do I Light for Max Quality?
What’s different between streaming andanalog production
Overview
Decision time - flat lighting or shadows
Producing three-point lighting (bonus)
Producing flat lighting (bonus)
18
Copyright © 2007 Jan Ozer, All Rights Reserved
Lighting - What's Different?
Overall, analog and streaming are similar,except that:
Compression decreases overall contrast ratio, solighting extremes are not well tolerated
Shadows present additional "detail" that must bepreserved, which steals bandwidth from importantdetail -- like subject’s faces -- and can degradequality
Copyright © 2007 Jan Ozer, All Rights Reserved
Overview
Lighting is the single most importantdeterminant of video quality
Low lighting causes gain (noise) in the video,complicating compression
Hierarchy of considerationsEnsure lighting is adequate to produce clear,easily compressible image
Then worry about style and mood
19
Copyright © 2007 Jan Ozer, All Rights Reserved
Know Your Lighting Styles
Three-point
Useful for setting mood
Hard to set up
Heavy shadows tough tocompress
Flat
Visually neutral (e.g. boring)
Easy to set up
Easy to compress
Copyright © 2007 Jan Ozer, All Rights Reserved
54Corporate case study
54Corporate informational
59Internet-only broadcast
014Traditional broadcast
3-PointFlatCategory
Which Lighting Style Should I Use?
Clearly can go either way
Origins of lighting
Set (or not set) mood
Model the face
20
Copyright © 2007 Jan Ozer, All Rights Reserved
3-Point Lighting Continuum
From subtle modeling
To “classy” look
To “artistic”
To “dramatic”
To going to far
Copyright © 2007 Jan Ozer, All Rights Reserved
3-Point Rules
Match lighting tomood
Subtle modeling todramatic
Match lighting toenvironment
Otherwise, lightingmay look contrived
21
Copyright © 2007 Jan Ozer, All Rights Reserved
The Net/Net on Lighting
No one ever got fired for using flat lighting
Easier to setup and compress, but can be boring
3-Point Variations
Subtle - to create modeling
Dramatic - to create mood
Good for case studies and interviews
Questionable for fact oriented business video
Best when lighting matches environment
Watch contrast ratio issues
Copyright © 2007 Jan Ozer, All Rights Reserved
Camera Positioning, Framing and
Settings
What’s different between streaming andanalog production
Framing for streamingSafe zone
Framing on the ‘Net
Rule of thirds
Managing camera motion
Producing a soft background (bonus topic)
Progressive vs. interlaced
22
Copyright © 2007 Jan Ozer, All Rights Reserved
Camera Skills - What's
Different?
No safe zone
Positioning for a smaller window
Minimize camera motion
Shooting in progressive mode
Copyright © 2007 Jan Ozer, All Rights Reserved
How do I Frame for Streaming?
Analog video has safezone
Outer 10-15% eliminatedas overscan
All pixels show instreaming
So:
Can zoom in a bit tighterb/c more room for othercontent
Title safe zone
OK for streaming, wouldn't be visibleon a TV set
23
Copyright © 2007 Jan Ozer, All Rights Reserved
Framing for the Internet
Most streaming video produced at 320x240 -480x360
Smaller viewing window, and no safe zone, soyou should frame more tightly
But, viewed from much closer to screen
But - don’t deviate from classic positioning*
Classic framing is what people expect
Don’t make what should be a medium shota close up just because it’s streaming
* How Low Can You Go, The Effect of low Resolutions on Shot Types in Mobile TV, Knoche, et al.
Copyright © 2007 Jan Ozer, All Rights Reserved
Framing on the Net
Extreme close-up, Edgy - “listen to me!”
Medium close-up, arm-pitsUp - Good all around shot
Medium Shot - Waist up -Good for high res videos
24
Copyright © 2007 Jan Ozer, All Rights Reserved
What’s the Rule of Thirds?
When facing the interviewerTalking to someone else
Position in back third of theframe, eyes at or near the top1/3
With "Look room" in directionthey are facing
When facing the camera
Talking to the viewer
Position in the middle
Eyes at or near top 1/3
Copyright © 2007 Jan Ozer, All Rights Reserved
Managing Camera Motion
Camera - shooting techniques
Use a tripod
Avoid panning and zooming whenever possible. Cutsare better
If possible, soften background (bonus topic)
Limit on-screen motion
Talent – consider sitting, and advise against excessivemotion
25
Copyright © 2007 Jan Ozer, All Rights Reserved
Should I Shoot Progressive?
What’s progressive (and why do I care?)
The short answer
Detailed findings (bonus)
Copyright © 2007 Jan Ozer, All Rights Reserved
Progressive vs. Interlaced
Most SD cameras capture interlaced video
60 fields per second, not 30 frames
Fields are captured 1/60th of a second apart
All streaming class codecs are frame based
Converting from fields to frames can cause a stair stepor Venetian blind artifacts which deinterlacing canresolve
Progressive cameras shoot 30 fps and divide into fields
Fields match up perfectly for streaming production
26
Copyright © 2007 Jan Ozer, All Rights Reserved
Can’t Editors Deinterlace?
Yes, but artifacts linger
Copyright © 2007 Jan Ozer, All Rights Reserved
Should I Shoot Progressive?
Does progressive source produce betterstreaming video than interlaced?
Ran serious of tests described in bonus materials
Short answer is yes - in all but the most controlledenvironments
27
Copyright © 2007 Jan Ozer, All Rights Reserved
Conclusion - Real World
Better retention of fine detail
Eliminate/minimize the jaggies
Copyright © 2007 Jan Ozer, All Rights Reserved
Conclusions
Progressive delivers noticeably better qualityin all but the most controlled shoots
So:
If you're buying a camera for streaming, buyprogressive
If you have progressive, use it
If your camcorder doesn't have progressive, andyou shoot lots for streaming, consider new unit
Article here: http://www.nxtbook.com/nxtbooks/streamingmedia/0607/index.php
28
Copyright © 2007 Jan Ozer, All Rights Reserved
Production - Conclusion
Any Questions?
Copyright © 2007 Jan Ozer, All Rights Reserved
Editing/Pre-processing
Choosing your targets
Producing the correct output resolution andaspect ratio
Deinterlacing
Noise reduction filtering
Workflow
29
Copyright © 2007 Jan Ozer, All Rights Reserved
What Output Parameters
Should I Use?
Codec
Resolution
Frame rate
Audio bit rate
Copyright © 2007 Jan Ozer, All Rights Reserved
About the Survey
Targets
Informal survey of 50+ web sites
Two categories, broadcast and corporate
Files chosen
Broadcast - most popular shows on the channel
Corporate - searched for “Flash Video,” “WindowsMedia” and QuickTime to find video files
Chose newest, highest resolution streaming file
30
Copyright © 2007 Jan Ozer, All Rights Reserved
About the Survey
Broadcast (partial)
ABC, CBS, Fox, CNN, ESPN, The Golf Channel,CNET, BusinessWeek, Forbes, Fortune, WSJ, NYTimes, SI, DL.TV
Corporate (partial)
Accenture, AMEX, Visa, IBM, E&Y, Chevron,Cisco, EDS, Microsoft, HP, GE
Copyright © 2007 Jan Ozer, All Rights Reserved
Codec Selection, 4/’07 & 11/’07
41034Corporate - aggressive
54065Corporate – conservative
Corporate
12004Broadcast – aggressive
550310Broadcast – midrange
21002Broadcast – conservative
Broadcast
4/07WMV
4/07Flash
11/07Other
11/07WMV
11/07Flash
What question does this slide answer?
31
Copyright © 2007 Jan Ozer, All Rights Reserved
Analysis
Broadcast channels almost all Flash
Notable WMV defectors (Weather Channel, Fox,MSNBC (????) and CNN)
Windows Media still popular in corporate
For streaming:
Saw Real once (EDS, newer videos were Flash)
Saw QuickTime for streaming once (Accenture,later videos all Windows Media)
iPod videos (of course) all QuickTime
Copyright © 2007 Jan Ozer, All Rights Reserved
What Resolution/Data Rate
Should I Use? (11/07 data)
2.9255424155,765477x319Corporate - aggressive (7)
6.78/3.99 *63502/313*76,800322x238Corporate – conservative (11)
Corporate
2.46104519211,641604x349Broadcast – aggressive (4)
3.0862432141,191446x322Broadcast – midrange (13)
6.059639464,536292x219Broadcast – conservative (2)
Broadcast
Bits/pixel/
sec
AudioDataRate
VideoData Rate
(Kbps)TotalPixels
AverageResolution
* Corrected for two sites with off the charts data rates
32
Copyright © 2007 Jan Ozer, All Rights Reserved
What Resolution/Data Rate
Should I Use? (4/07 data)
2.3632331141,120432x324Corporate - aggressive (5)
3.965230476,800320x240Corporate – conservative (9)
Corporate
1.8756455244,736597x408Broadcast – aggressive (3)
2.9452396136,552443x307Broadcast – midrange (10)
3.756628876,800320x240Broadcast – conservative (3)
Broadcast
Bits/pixel/
sec
AudioDataRate
VideoData Rate
(Kbps)TotalPixels
AverageResolution
Copyright © 2007 Jan Ozer, All Rights Reserved
Changes from April to
November
+4%*+15%*+8%Corporate
+12%+15%+3%Broadcast
Bits/ pixel/sec
Video DataRate (Kbps)
TotalPixels
* adjusted for AMEX and Visa
33
Copyright © 2007 Jan Ozer, All Rights Reserved
What Frame Rate?
23%465379Corporate - conservative (3/4)
21%457376Broadcast - midrange (4/9)
Difference30 fps15 fpsAverage Data Rate (Kbps)
Some (perceived) efficiency gained by encoding at 15 fps
Cost is smoothness, most evident in fast moving clips
Try 15 fps to save bandwidth, but assess quality and smoothness
Copyright © 2007 Jan Ozer, All Rights Reserved
How Much Audio?
Key points:39 kbps for midrange broadcast - is your WMA audio datarate too high?
Allocate roughly twice as much to audio with Flash b/c MP3is comparatively poor encoder
-45%37 Kbps68 KbpsCase study - aggressive (4/3)
-44%47 Kbps83 KbpsCase study - conservative (5/6)
-43%39 Kbps68 KbpsBroadcast - midrange (10/3)
DifferenceOtherFlashAudio Bit Rate
34
Copyright © 2007 Jan Ozer, All Rights Reserved
Switching to Flash
67%80 kbps48 kbpsGE
100%96 kbps32 kbpsCNN
100%96 kbps48 kbpsPrice Waterhouse
100%96 kbps48 KbpsChevron
100%96 kbps32 kbpsMSNBC
100%96 kbps48 kbpsWeather Channel
Additional
Bitrate
MP3
Bitrate
WMA
bitrateAudio Bit Rate
What question does this slide answer?
Copyright © 2007 Jan Ozer, All Rights Reserved
What Audio Configuration?
Research (based on 4/7 data)
Windows Media - only format that provides details
Used Windows Media Player and Sliq MediaTechnologies WMSnoop
Two groups
Broadcast
High volume, both cost and quality conscious
Corporate
Lower volume, more quality conscious than cost
35
Copyright © 2007 Jan Ozer, All Rights Reserved
What Audio Configuration? Bit Rate
(kbps)
Samples
kHz
Mono/
Stereo
CBR/VBR
Entertainment
BusinessWeek 20 44 kHz Mono CBR
CBS 48 44 kHz Stereo CBR
CNN 32 44 kHz Mono CBR
Sports Illustrated 32 44 kHz Mono CBR
Today Show 32 44 kHz Mono CBR
Weather Channel 48 44 kHz Stereo CBR
35 kbps 4M/2S All CBR
Corporate
Deloitte case study 64 44 kHz Stereo VBR
Accenture 96 48 kHz Stereo CBR
Microsoft 48 44 kHz Stereo VBR
HP 64 44 kHz Stereo CBR
68 kbps 4S 2/2
Copyright © 2007 Jan Ozer, All Rights Reserved
Audio Configuration - Analysis
Entertainment sites balance bandwidth costsand quality
Consistently use mono/relatively low bitrates
Lower stream count corporate sites worryprimarily about quality
Consistently use stereo and higher bitrates
Stereo adds no value to speech or mostmusic, so mono is preferred
Some audio codecs (WMA) default to stereo
36
Copyright © 2007 Jan Ozer, All Rights Reserved
Conclusions?
Use mono for content that’s primarily speech
Use 16-bit in all cases
Consider 22 kHz for speech
CBR is OK for audio
Copyright © 2007 Jan Ozer, All Rights Reserved
How Do I Produce the Right
Aspect Ratio?
What's wrong with this picture?
Producing aspect ratio correct video (theshort answer)
Explanation (bonus)
37
Copyright © 2007 Jan Ozer, All Rights Reserved
What's wrong with this picture?
Copyright © 2007 Jan Ozer, All Rights Reserved
What's wrong with this picture?
Anderson CooperDigital Photo
Frame grabfrom streaming file
(cnn.com)
38
Copyright © 2007 Jan Ozer, All Rights Reserved
Why Is This So Hard?
Different video formats have different “aspectratios” so are “stretched” for television display
4:3 DV - .9
16:9 DV - 1.2
HDV - 1.33
Computer display is all square pixel (1:1)
Copyright © 2007 Jan Ozer, All Rights Reserved
How Do I Get it Right?
Always output Square Pixel (1:1)
Irrespective of input PAR
When square not available, “distort”
You want to change aspect ratio from analog to square
Never choose “maintain aspect ratio” unless encodingfrom square pixel source
Easiest (but not essential) when outputresolution matches display aspect ratio
4:3 - 640x480, 480x360, 400x300, 320x240
16:9 - 640x360, 480x270, 320x180
39
Copyright © 2007 Jan Ozer, All Rights Reserved
Getting it Right (4:3 DV Input)
Compressor
Adobe Media Encoder Episode
Flix Pro
Squeeze
Copyright © 2007 Jan Ozer, All Rights Reserved
Why “Distort?”
To change aspect ratio from this To this
40
Copyright © 2007 Jan Ozer, All Rights Reserved
How Do I Optimize
Deinterlacing Quality?
About deinterlacing
Why it's important
Rules of the game
Copyright © 2007 Jan Ozer, All Rights Reserved
What is Deinterlacing (Take 2)?
Most SD cameras capture interlaced video
60 fields per second, not 30 frames
Fields are captured 1/60th of a second apart
All streaming codecs are frame based
Converting from fields to frames can cause astair step or Venetian blind artifacts whichdeinterlacing can resolve
41
Copyright © 2007 Jan Ozer, All Rights Reserved
Deinterlacing – Why it's Important
Copyright © 2007 Jan Ozer, All Rights Reserved
Deinterlacing - Rules of the Game
Always deinterlacewhen producing withinterlaced input
Editors have differentcontrols, but you mayneed to :
Select deinterlacing(and technique), AND
Output a progressivefile
Apple Compressor
42
Copyright © 2007 Jan Ozer, All Rights Reserved
Deinterlacing - Rules of the Game
Deinterlacing artifacts are easy tospot; once seen and recognized,you can resolve
Not all programs deinterlace equallywell
Copyright © 2007 Jan Ozer, All Rights Reserved
Maximizing Deinterlacing Quality
Windows Media Encoder, QuickTime Pro,Flash 8 Encoder
Scale beforeencoding
Squeeze, Flix ProOn the bubble
Premiere Pro/After Effects/Flash VideoEncoder 9
Compressor (Better setting)
Very good
Episode
Compressor (Best setting)
Very, verygood
AlgoSuite (www.algolith.com), plug-in forAfter Effects, Digital Fusion and Shake
The best
43
Copyright © 2007 Jan Ozer, All Rights Reserved
Rating the Players
Copyright © 2007 Jan Ozer, All Rights Reserved
Conclusion
Plan workflow to maximize deinterlacingquality
If encoding in tool that de-interlaces poorly, scaleand deinterlace in your editor
With trophy footage, pre-process after editing andbefore compression
44
Copyright © 2007 Jan Ozer, All Rights Reserved
Does Noise Reduction Work?
Many encoders offernoise reductionfeatures
Generally low qualitytools that blur entireframe, potentiallylosing detail
Good for witnessprotection videos
Copyright © 2007 Jan Ozer, All Rights Reserved
Does Noise Reduction Work?
Best tools are usually third party (andexpensive)
Use adaptive techniques that distinguish betweennoise and true motion
This reduces noise without blurring or otherartifacts
Generally worth a try when image is noisyfrom chroma gain or poor quality source
45
Copyright © 2007 Jan Ozer, All Rights Reserved
AlgoSuite from Algolith
Concert shot with poor lightingSome noise obvious from back camera
Trophy video, so worth the effort
Again - may have to modify workflow to apply best noisereduction filter
Flash1:45
Copyright © 2007 Jan Ozer, All Rights Reserved
Editing/Preprocessing -
Conclusion
Any questions?
46
Copyright © 2007 Jan Ozer, All Rights Reserved
Encoding
Terms and techniques
Working with MPEG-4/H.264/AVC
Landscape
iPod delivery
Working with Flash
Landscape
Encoding tools
Working with Windows Media Video
Landscape
Encoding tools
Copyright © 2007 Jan Ozer, All Rights Reserved
Terms and Techniques
Constant and variable bit rate encoding
Streaming vs. progressive download
Working with key frames
47
Copyright © 2007 Jan Ozer, All Rights Reserved
Constant vs Variable Bit Rate
Low Motion Moderate Motion LowMotion
ModerateMotion
HighMotion
300 kbps
800 kbps
500 kbps CBR
VBR
Copyright © 2007 Jan Ozer, All Rights Reserved
Constant vs Variable Bit Rate
Constant Bit Rate (CBR)
One bit rate applied to entire video,irrespective of content
Pros: Easy and fast
Cons: Doesn’t optimize quality
Variable Bit Rate (VBR)
Dynamic bit rate matches motion in video
Pros: Best quality
Cons: Slow, can produce erratic stream
48
Copyright © 2007 Jan Ozer, All Rights Reserved
When Should I Use VBR/CBR?
Consider VBR when:
Clips are longer than 60 seconds
Varied motion in clip (some action, some talking head)
Producing for progressive download
Not time constrained
Consider CBR when:
In a hurry (or live encoding)
Producing for streaming
Consistent motion (especially talking head)
Copyright © 2007 Jan Ozer, All Rights Reserved
How do I Produce the Best
Quality CBR?
Use 2-pass CBR
Scans file (like VBR), but packs data into aconsistent stream
Best of both worlds when available
1-pass of live or draft work
49
Copyright © 2007 Jan Ozer, All Rights Reserved
How Do I Produce the OptimalVBR File?
2 passes or more
Use “Constrained”Constrains to data rate
Set Target and Max/MinOverall target
Max/Peak bit rate-
Rule of thumb is 1.5 - 2X
Minimum bit rate (not shown)
Useful when low motion videosuffers in quality
Rule of thumb is .5X unless lotsof very low motion
Copyright © 2007 Jan Ozer, All Rights Reserved
VBR, CBR and Delivery Mode - Streaming vs.
Progressive Download (Review)
StreamingDistributed by "streaming server"
Stream monitored and dished out as needed
Progressive downloadStarts playing before fully downloaded
Stream pushed out as quickly as possible
50
Copyright © 2007 Jan Ozer, All Rights Reserved
VBR, CBR and Delivery Mode - Streaming vs.
Progressive Download (Review)
When producing for streaming
Determine if any unique requirements for server
Determine if any unique streaming relatedfeatures (multi-bit rate files)
Typically, use CBR for steady stream
When producing for progressive download
Determine if any unique features (fast-start)
Encode using VBR for best quality
Copyright © 2007 Jan Ozer, All Rights Reserved
Key Frames
Defined
Relevant controls
A note of caution
Key frame controls vary by codec and encoder
Controls in your program probably won't look likethose shown here
General principles should work similarly
51
Copyright © 2007 Jan Ozer, All Rights Reserved
What are I, B and P Frames?
P - looks backward to I and P frames (predicted)
B - looks forward and backward to previous I and Pframes (Bi-directional interpolated)
No frames refer to B-Frame
I-Frame - encodedwithout reference toother frames (alsocalled Key Frames)
Copyright © 2007 Jan Ozer, All Rights Reserved
What do I Need to Know About
Key Frames?
Key frames are needed forinteractivity
All playback starts on a key frame
When seeking to a random frame,must start playback at key frame
Key frames help "reset" quality:Useful at scene changes ("Natural"key frames)
Recommended:Make sure "natural" or equivalent isenabled
Go with default duration (5-10seconds)
52
Copyright © 2007 Jan Ozer, All Rights Reserved
What do I Need to Know About
B Frames?
Typically the most “efficient” frame
Hardest to decode with greatestbuffer requirements
Usually the key difference between“simple” and “advanced” profiles inMPEG and Windows Media codecs
In general:Use B-Frames when producing forcomputer playback
Don’t use when producing for deviceplayback (iPod, iPhone, etc.)
Interval is number of B framesbetween I and P-Frames.
1-2 is recommended setting
Copyright © 2007 Jan Ozer, All Rights Reserved
Codec Specific Controls
H.264
Flash
Windows Media
53
Copyright © 2007 Jan Ozer, All Rights Reserved
What Do I Need to Know About
MPEG-4/H.264?
How is MPEG-4 different from H.264?
When should I use each?
Anything special about producing MPEG-4/H.264?
How do I encode MPEG-4?
How do I encode H.264?
Which is the best H.264 Encoder?
Copyright © 2007 Jan Ozer, All Rights Reserved
How is MPEG-4 different from
AVC/H.264?
Streamcrest Associates
http://www.streamcrest.com/SDF%20Final1.pdf
AVC is the MPEG-4standard’s mostadvanced codec(MPEG-4 part 10)
AVC/H.264 are thesame
Highest currentevolution of MPEG-4encoding
First standard adaptedby ISO and ITU
Supposedly about 50%more efficient thanMPEG-4
54
Copyright © 2007 Jan Ozer, All Rights Reserved
Should I use MPEG or H.264?
H.264 produces betterquality
Virtually all computers candecode H.264 at this point
Use H.264 for computersand devices that supportH.264 (note Apple presets)
Use MPEG-4 for otherdevices or very oldcomputers
Copyright © 2007 Jan Ozer, All Rights Reserved
Anything Special About
Producing MPEG-4/H.264?
Quality varies by implementation
Apple is the best I’ve seen
Quality variance is less with other codecs
All Windows Media encoding performed via MScode modules (DLLs)
All Flash VP6 encoding performed via On2 DLLs
So: Choose encoding tool wisely
55
Copyright © 2007 Jan Ozer, All Rights Reserved
What Else Do I Need to Know
about Producing H.264?
Customize for deliverymode
Hinted streaming forstreaming server
Fast Start - CompressedHeader
Otherwise, must fullydownload before playing
Not all encoding toolssupport Fast Start
Adobe Media Encodermost notable
Copyright © 2007 Jan Ozer, All Rights Reserved
What is an MP4 file (and how is
it different from MOV)?
H.264 file extensionsMPEG “wrapper” is QuickTimebased, so formats generallyinterchangeable
QuickTime Player will play.MP4 files as well as .MOV
Common extensions are .m4vand .m4a, and .3GP
Extension DefaultsMost streaming files use MOV
Most files produced for devicesuse .MP4 or derivative
Follow the preset and don’tchange unless you’re havingproblems
56
Copyright © 2007 Jan Ozer, All Rights Reserved
How Do I Produce MPEG-4?
Know Your Profile
Simple Profile for low bit rate and low resolution applications
Advanced Simple Profile for best quality
Conclusion - use Advanced Simple for streaming (calledMPEG-4 Improved in QT Pro)
Unfortunately, presentation varies by application
Copyright © 2007 Jan Ozer, All Rights Reserved
How Do I Produce H.264/AVC?
Know Your ProfileBaseline Profile - For videoconferencing and mobile app(No B-Frames);
Main Profile/Extended: Extended is preferred, use Mainwhen not available (both have B-frames)
High Profile: For broadcast, HD DVD and Blu-ray
All have multiple levels
57
Copyright © 2007 Jan Ozer, All Rights Reserved
H264 Comparisons
Copyright © 2007 Jan Ozer, All Rights Reserved
Which H.264 Encoder is Best?
•Image got soft and blocky with motionGoodProCoder
• Soft appearance in low motion, somefading, very crisp in high motion
GoodSqueeze
• Good in low motion
• Falls apart in high motion
• Some fading
Fair toPoor
Episode Pro
• No Fast Start option; No data rate controlfor audio on streaming file; No CBRstreaming file or 2-pass CBR
• Very good low motion quality, blocky withhigh motion
Lacksfeatures,
quality fair
Adobe MediaEncoder
• The standard by which all others are judgedVery GoodCompressor
CommentsRatingEncoder
58
Copyright © 2007 Jan Ozer, All Rights Reserved
What Do I Need to Know About
Flash?
Which codec should I use?
What do I need to know about producingVP6?
What’s the best Flash Encoder?
What’s happening with H.264?
Copyright © 2007 Jan Ozer, All Rights Reserved
Which Codec Should I Use?
Codecs - CurrentSorenson Spark - only used now for compatibility with olderplayers
VP6 - introduced with Flash 8; two quality levels
One pass - good, but not best quality, especially forchallenging (high motion/low data rate) clips
Two pass - best for challenging footage
Audio - MP3
Flash Player 9H.264/AAC playback support
MOV format support
59
Copyright © 2007 Jan Ozer, All Rights Reserved
Choosing a Flash Encoder
For maximum quality and flexibility you need:
Encoder with VP6
Encoder with 2-pass VBR
Encoder with quality scaling and deinterlacing
Other desirable features
Batch
Multiple format support
Copyright © 2007 Jan Ozer, All Rights Reserved
Survey of Flash Encoders
$4,995YesYesYesYesRhozet Carbon Coder
$199YesYesYesYesFlix Exporter (apps below)
$995YesYesYesYesEpisode Pro
$249YesYesYesYes (F only)On2 Flix Pro
$249YesYesYesYesSorenson Squeeze
freeNoYesYesNoPremiere Pro/After Effects
freeNoYesYesYes (F only)CS3 Video Encoder
freeNoYesNo/Yes
Yes (F only)Flash 8/9 Video Encoder
Price2 PassVP6De-intBatchTool
Discreet Media Cleaner, Canopus Pro Coder (VP6 for Flash video only), QuickTime Pro, Adobe After Effects,Apple Final Cut, and Apple Compressor
60
Copyright © 2007 Jan Ozer, All Rights Reserved
• Needs On2 Flix Exporter, Quality very goodVery GoodProCoder
• The standard by which all others are judgedThe BestFlix Pro
• Noisy backgroundsGoodSqueeze
• Almost identical to Flix ProVery GoodEpisode Pro
• 1-Pass CBR only, OK for draft and lowmotion files
FairAdobe MediaEncoder
• Need Flix Exporter,
• Quality identical to Flix Pro output
Very goodCompressor
CommentsRatingEncoder
Which Flash Encoder is Best?
Copyright © 2007 Jan Ozer, All Rights Reserved
Adobe Flash Announcement
Why H.264? Infrastructure/EcosystemNative graphics card support
Hardware based H.264 encode
Standard is widely adapted
AAC audio better quality than MP3
Will not support Alpha channel
When will it matter?Flash has traditionally fast adoption cycle
Start considering now
61
Copyright © 2007 Jan Ozer, All Rights Reserved
What Do I Need to Know About
Windows Media?
How do I get the latest codecs?
What’s VC-1 and how does it relate to WMV9?
What are the relevant Windows Media profiles (anddo I care)?
Which is the best WMV encoder?
How can I “tweak” Windows Media video files formaximum quality?
What are Multiple Bitrate Files (and do I care)?
What’s Silverlight (and do I care)?
Copyright © 2007 Jan Ozer, All Rights Reserved
How Do I Get the Latest Codecs
Microsoft (quietly) released updated codecsinstalled with either:
Media Player 11
The Windows Media Format SDK 11
(http://msdn2.microsoft.com/en-us/library/aa387410.aspx)
Does it matter?
Yes - codec quality has noticeably (if notsignificantly) improved
62
Copyright © 2007 Jan Ozer, All Rights Reserved
What’s VC1 and How Does it Relate to
WMV9?
From the mouth of Ben Waggoner, MSFT
“VC-1 is SMPTE’s version of WMV 9. Windows MediaVideo 9 is Microsoft's brand for our VC-1 implementation.”
“Basically, just think of “WMV 9” and “VC-1” in a WMV fileas synonymous.”
After installing WMF SDK 11
Windows Media Encoder still calls the codecs WMV 9
Silverlight Expression Encoder calls the same codecs VC-1
Both create WMV files
Copyright © 2007 Jan Ozer, All Rights Reserved
What are the Windows Media Profiles?
Now two profilesMain - backwards compatible, no codec update required
Advanced Profile
Supports interlaced video (for VC1)
Not backwards compatible, codec update (not playerupdate) required
Problem for locked down corporate environments
Problem for off-line viewing
When should I consider Advanced Profile? (hold thatthought)
63
Copyright © 2007 Jan Ozer, All Rights Reserved
Windows Media Comparisons
Copyright © 2007 Jan Ozer, All Rights Reserved
ProCoder
• Slightly better than Windows Media EncoderVery GoodSqueeze
• Fair quality low motion, drops lots of framesin high motion and poor quality
PoorEpisode Pro
• Very close to Windows Media EncoderVery GoodAdobe MediaEncoder
• Need Telestream Plug-in, quality very goodVery goodCompressor
CommentsRatingEncoder
Which WMV Encoder is Best?
64
Copyright © 2007 Jan Ozer, All Rights Reserved
How Can I Tweak WMV Files
for Maximum Quality?
Both profiles have advanced encodingparameters that you can access:
Via command line
Manual registry changes
Registry changes via the “PowerToy” tool
Does tweaking improve quality?Yes, in some well defined cases, but tough to finda “one-size fits all video” tweak
Most effective when repeatedly producing similarvideos
Copyright © 2007 Jan Ozer, All Rights Reserved
What’s the PowerToy?
65
Copyright © 2007 Jan Ozer, All Rights Reserved
More on Tweaking
If you don’t tweak, the Main and AdvancedProfiles produce equivalent quality
Some critical tweaks are only supported inthe Advanced Profile, so if you’re going totweak, use the Advanced Profile
Copyright © 2007 Jan Ozer, All Rights Reserved
Tweaking Resources
ArticlesMy review of PowerToy and SDK 11http://www.streamingmedia.com/r/printerfriendly.asp?id=9659
Ben Waggoner’s article on tweakinghttp://www.streamingmedia.com/r/printerfriendly.asp?id=9456
DownloadsPowerToy - http://www.citizeninsomniac.com/WMV/
Windows Media Format SDK 11 http://msdn2.microsoft.com/en-us/library/aa387410.aspx
Waggoner SME Presentation (page 24-42)www.streamingmedia.com/east/SMEast2007-Waggoner-Webcasting.pdf
66
Copyright © 2007 Jan Ozer, All Rights Reserved
Should I Produce Multiple Bitrate
Files?
What are they? Single video file with multiplestreams optimized for different connection speeds
Streaming server requiredServer sends optimal stream for connection speed
Server monitors connection and adjusts stream ifpackets are lost or frames dropped
Copyright © 2007 Jan Ozer, All Rights Reserved
Should I use MBR?
Mixed use in Broadcast sites (limited sample)
Yes
CBS
Weather Channel
No
BusinessWeek
CNN
Sports Illustrated
Today Show
67
Copyright © 2007 Jan Ozer, All Rights Reserved
Usage Details from CBS
16 kbps20 kbps32 kbpsBitrate
Audio
127 kbps281 kbps570 kbpsData rate
121530Frame rate
480x360480x360480x360Resolution
Video
Stream 3Stream 2Stream 1
Copyright © 2007 Jan Ozer, All Rights Reserved
Multiple Bitrate Analysis
Value of feature seems to have waned withprevalence of broadband
No one cares about 56 kbps anymore
The success of Flash, which doesn’t offer MBR,seems to indicate that it’s not a USP for WMV
Still, if you have the infrastructure, it’s a niceconvenience feature
68
Copyright © 2007 Jan Ozer, All Rights Reserved
What is Silverlight (and Do I
Care?)
What is Silverlight?
What are Silverlight’s limitations?
Should I consider using Silverlight?
Copyright © 2007 Jan Ozer, All Rights Reserved
What is Silverlight?
It’s a playerCool, customizable player
Plays on Windows and Mac with relatively smalldownload
Same WMV 9 codecs at similar quality
It’s a platformRicher design environment with vector-basedgraphics, media, text, animation, and overlays
Flexible programming model that supports AJAX,Microsoft Visual Basic .NET, C#, Python, and Rubyand integrates with existing Web applications
• http://www.microsoft.com/silverlight/faq.aspx
69
Copyright © 2007 Jan Ozer, All Rights Reserved
Silverlight Player
Chapter marks
Captions
CustomizableSkins
Player Controls(hidden)
Copyright © 2007 Jan Ozer, All Rights Reserved
What are Silverlight’s Key
Limitations?
No Digital Rights Management
No multi-cast
No server side playlists
Limited support for multiple bitrate files
70
Copyright © 2007 Jan Ozer, All Rights Reserved
Should I consider Silverlight?
As a player? - Yes
Especially for casual producers of WindowsMedia files, if you can live with the limitations
As a platform? Beyond the scope
As an encoding tool for Windows MediaVideo files?
Expression Encoder can’t produce MBR files, butvery nice visual tool with excellent live features
Copyright © 2007 Jan Ozer, All Rights Reserved
How do I Try Silverlight?
Download Expression Encoder
Download Expression Blend 2 to customizethe player
Both at :http://www.microsoft.com/expression/products/download.aspx?key=encoder
71
Copyright © 2007 Jan Ozer, All Rights Reserved
Questions?
Copyright © 2007 Jan Ozer, All Rights Reserved
Bonus Topics (time permitting)
Producing a soft background
Setting up 3-point and Flat lighting
Assessing exposure on the set
Interlaced vs. progressive details
72
Copyright © 2007 Jan Ozer, All Rights Reserved
Producing a Soft Background
Why?
Classy filmic look
Heightens attentionon subject
Makes video easierto compress
Copyright © 2007 Jan Ozer, All Rights Reserved
Producing a Soft Background
Preliminaries
The larger the CCD, the easierthis is to do
Not all camcorders can do thisin all situations
Need largest aperture settingpossible (lowest f-stop)
Control exposure manually
Control lighting with ND filters,higher shutter speed or bymoving light further from thesubject
73
Copyright © 2007 Jan Ozer, All Rights Reserved
Producing a Soft Background
Procedure
1. Subject max distance frombackground
2. Camera max distance fromsubject
3. Use zoom for framing
4. Open aperture to maxsetting (lowest f-stop)
Copyright © 2007 Jan Ozer, All Rights Reserved
Setting up 3-Point Lighting
Key-major light sourceStrongest light
45oangle from camera, pointingdown at 45o
Fill-moderates shadows50% power of key light
45o angle from camera, pointingdown at 45o
Back light (or rim) createscontrast with background
"hard" light
Shining down from back onhead and shoulders
74
Copyright © 2007 Jan Ozer, All Rights Reserved
Perfecting the Key Light
PositioningLateral - nose caret shouldn’t extendbeyond nose/mouth crease
Vertically - shouldn’t extend into lips
Watch shadows beneath chinLower lights to minimize or usereflector
Watch for hot spots on face
Watch for shadow behindsubject
If not facing camera, place keylight opposite camera
Copyright © 2007 Jan Ozer, All Rights Reserved
Perfecting the Fill Light
KarmaShouldn’t appear as separate light, but shouldminimize key light
Laterally - start 90 degrees opposite key, then adjust totaste
Toggle on/off to ensure no hotspots
75
Copyright © 2007 Jan Ozer, All Rights Reserved
Perfecting the Back Light
All about contrast
Make sure stand/cords not in frame
Turn off key/fill to make sure back light isn’t creatinghot spots on the face
Check whether it shines on the background (OK ifthat’s what you want)
Copyright © 2007 Jan Ozer, All Rights Reserved
Producing Flat Lighting
Two approaches
Dual Key
Single Key
Both use back light
76
Copyright © 2007 Jan Ozer, All Rights Reserved
Flat Lighting - Dual Key
Two keys and a back lightTypically, 2 soft lights
45o angle from camera,pointing down at 45o
Back light-create contrast
Shining down from back onhead and shoulders
Setup issues:No shadows on face
Minimize chin/nose shadows
Watch location of back shadows
Typical back light issues
Copyright © 2007 Jan Ozer, All Rights Reserved
Flat Lighting - Single Key
Single key above the camera
Typically, a soft light
As low as talent can stand it (tominimize chin/nose shadows)
Back light-create contrast
Shining down from back onhead and shoulders
Key setup issues:No hotspots on face
Watch chin and noseshadows
Watch back shadows
Typical back light issues
77
Copyright © 2007 Jan Ozer, All Rights Reserved
Assessing Exposure at the Shoot
Rule #1: Some sets (with too much contrast) arechallenging to light for DV - get the set right first
Rule #2: It's better to be under exposed than overexposed
Rule #3: Zebra stripes are your best friend
Rule #4: Scopes are your other best friend
Rule #5: When in doubt, check auto
Copyright © 2007 Jan Ozer, All Rights Reserved
Better to be Under than Over
If overexposed, detail is lost forever
If underexposed, can boost brightness in post andimprove the result
Key point: make sure "gain" is disabled in thecamera
Gain creates "noise" that becomes exaggerated whenvideo is brightened
If underexposed and gain is enabled, quality suffersnoticeably
78
Copyright © 2007 Jan Ozer, All Rights Reserved
Waveform and IRE Levels
Brightness measured onIRE scale
0 or 7.5 - black
100 - white
This is broadcast "legal"
Waveforms shows levels ofsections of frame
White shirt - 100
Her face - 75-80
100 IRE
7.5 IRE
Copyright © 2007 Jan Ozer, All Rights Reserved
Zebras are Your Friend
Zebra stripes show areas that exceed 100 IRE
Above that, detail is lost
Adjust iris (f-stop) until zebra stripes are almost all gone
What about the face?
F1.7 F2.4 F2.8
79
Copyright © 2007 Jan Ozer, All Rights Reserved
More on Zebras
Generally configurable
Either 70/100 (VX2000)
Totally configurable
Common settings
100 - pure white
95 - white with a safe zone
70-80 - Caucasian face
Copyright © 2007 Jan Ozer, All Rights Reserved
3 Ways for On-Site YC Waveform
External Waveform Monitor ($1,000 - $4,000)
Adobe On Location on a notebook or desktop (shown)
Your video editor on a notebook or desktop
Capture video and apply monitor
Image from previous page from Premiere Pro
80
Copyright © 2007 Jan Ozer, All Rights Reserved
When in Doubt, Check Auto
Shoot using manual controls over gain,shutter speed and iris for reasons discussed
Once you've reached optimal settings
Switch into automatic mode
Investigate significant differences
Caution
Auto lights the entire frame, you care primarilyabout the face
Copyright © 2007 Jan Ozer, All Rights Reserved
Interlaced vs. Progressive
Testing
81
Copyright © 2007 Jan Ozer, All Rights Reserved
Progressive vs. Interlaced
Overview
The big questions
Test description
Scenarios
Conclusion
Copyright © 2007 Jan Ozer, All Rights Reserved
Overview - Theory
Traditional camcorders areinterlaced (shoot in fields, 1/60of a second apart)
Streaming media is FRAMEbased
To produce streaming videofrom interlaced source requiresthat you combine two fields
82
Copyright © 2007 Jan Ozer, All Rights Reserved
Overview - Theory
Shooting in progressivemode eliminates thatproblem and is vastlysuperior to interlaced
But!
Most editors/compressionprograms havedeinterlacing filters thattake you frame here:
To here.
Copyright © 2007 Jan Ozer, All Rights Reserved
The Big Questions
Does a progressive camcorder deliver better quality thaninterlaced?
If so, how much?
If so, when does it matter most?
Implications:
If you're buying new, should you buy a progressive unit?
If your camcorder is interlaced, should you buy a new one forstreaming?
If your camcorder has progressive and interlaced, which modeshould you use?
83
Copyright © 2007 Jan Ozer, All Rights Reserved
Test Description
Shoot same scenes with two camerassimultaneously
One progressive - Canon XH A1
One interlaced - Sony HDR-FX1
ScenesHigh speed sports
Low contrast talking head
Real world (uncontrolled) shoot
Copyright © 2007 Jan Ozer, All Rights Reserved
Conclusions - Sports
Even atrelatively slowshutter speeds(like 60)
If you havesharp edges,you have aproblem
84
Copyright © 2007 Jan Ozer, All Rights Reserved
Conclusion - Talking Head
In those instances where:Minimum sharp detail
Relatively slow shutter (like 60)
Not much distinguishable difference
Copyright © 2007 Jan Ozer, All Rights Reserved
Conclusion - Talking Head
Even when there's moderation motion
85
Copyright © 2007 Jan Ozer, All Rights Reserved
Conclusion - Real World
If you can't control the detail in the scene, goprogressive
Copyright © 2007 Jan Ozer, All Rights Reserved
Conclusions
Progressive delivers noticeably better quality in allbut the most controlled shoots
Especially with
Sharp edges, high motion and fast shutter speed
So:
If you're buying for streaming, buy progressive
If you have progressive, use it
If your camcorder doesn't have progressive, and you shootlots of streaming, consider new unit