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home Forums General Questions & Bugs I think I need different encoding presets

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    • #29916
      vintagefilm
      Participant

      I have been poking around in the Transcoder presets and wondering if they can be changed or added to. My source files are kinda unusual, since they are all originally sourced from film. They have been telecined to standard def video, which is 720×486 at 29.97 interlaced on the videotape. However the pulldown can/and should be removed when mastering, and that is what we do. What we are left with is a non-standard file. 720×486 at 23.97 fps full progressive. So it is 4×3 in a 16×9 world. Which does not exist in the presets. So I am left with a choice. Standard-def video in a pillarbox is 864×486, and sometime 854×480. So some of my masters are made like this as well. Another strange thing is Amazon’s (and S3B) presets encode the audio to 44.1K sample rate.The sample rate on professional video is 48K. I see no reason to re-sample the audio, but maybe there is, I just don’t know.

      So the big question is how can we access custom presets with S3Bubble so I can stream the best quality at the lower bitrate/cost? Does this exist in a way I can use it now, or does this fall into the feature request category?

      Thanks Sam as always. It is great fun to be involved with such a talented developer!

      Grace
      VFC

    • #29922
      brazilianaire
      Participant

      Hi Grace,
      I am following your thread and have worked extensively on motion picture telecined to Standard Def in the past and still have my own elements on SD.

      You may consider aiming for a 1280x720p with pillarbox…ideally when you digitize from tape or workprint you digitize directly to 1280×720 and not 720×486…or at minimum resample the non square D1 pixels to square pixel creating a 720x540p…getting you much closer to an HD resolution of 1280x720p.

      The footage is already vintage so it should survive upresing to 720p especially if your concept is consistent across your library.

      As for your audio, I am curious as well as I prefer 48K even if it is an MP3.

      Best,
      James P. O’Malley

    • #29923
      vintagefilm
      Participant

      we did some testing at 720p and discovered no real difference in output quality. the test was sd uprezzed on our Teranex 2D box. Also tried on our classic teranex. we looked at 4×3 sd 720×486 vs 864×486 pillar vs 720p pillar. we can create 864×486 pillar directly out of Adobe Media Encoder from a 720P23.98 timeline, easy. then upload into Bubble for HLS compression/encryption. Basically we were looking for best quality without sacrificing filesize and bit rate, so to keep costs at a minimum. Ultimately we have thousands of titles and even a 5% difference will be expensive. And the content is not high-value. We need to be aware of the pennies. Any content directly from film is mastered at 1080P, so that is a different case.

      As for the audio, I will confess I don’t actually know much. My assumption is the source is 48K, why change it? it is a process, and may hurt quality, especially on further compression. Our basic concept is keep the quality as high as possible until the last possible step in the workflow. So, can you give me some background understanding about why I might want to re-sample to 44.1 during compression? Thanks!

      Grace
      VFC

    • #29925
      s3bubble
      Keymaster

      Hi Both,

      We are going to add the ability to utilise any of the AWS set presets here into the S3bubble service hopefully by next week.

      http://docs.aws.amazon.com/elastictranscoder/latest/developerguide/system-presets.html

      But we also like the idea of allowing our users to have full control over the preset settings.

      Below is a example of our 720p setup but we are always open to suggestions.

      
      'Audio' => [
      	'AudioPackingMode' => 'SingleTrack',
      	'BitRate' => '128',
      	'Channels' => '2',
      	'Codec' => 'AAC',
      	'CodecOptions' => [
      	'Profile' => 'AAC-LC'
      	],
      	'SampleRate' => '44100',
      
      ],
      
      'Video' => [
          'BitRate' => '2400',
          'Codec' => 'H.264',
          'CodecOptions' => [
              'InterlacedMode' => 'Progressive',
              'MaxReferenceFrames' => '3',
              'Level' => '3.1',
              'ColorSpaceConversionMode' => 'None',
              'Profile' => 'baseline'
          ],
          'DisplayAspectRatio' => 'auto',
          'FixedGOP' => 'true',
          'FrameRate' => '30',
          'KeyframesMaxDist' => '90',
          'MaxHeight' => '720',
          'MaxWidth' => '1280',
      ],

      I am curious what your suggestions would be based on the above?

      Best Regards

      Sam

    • #29928
      brazilianaire
      Participant

      Hi Grace,

      I don’t want to reply for Sam or S3 Bubble.
      That said, 44.1K should save some storage space over 48K but does impact sound quality for very high quality audio with great dynamic range.

      Both 44.1 and 48 can be set when compressing to mp3/mp4 file format, and your kbps becomes the primary quality driver thereafter. The best “standard” compressed audio is 48K 320kbps Stereo (160kbps per mono audio channel)

      I would do some tests, since if much of the audio comes from video originally mastered for traditional TV broadcast (48K 16Bit Stereo), the dynamic range should be only around audio 6 decibels (or not a very high quality audio for a modern audio sound system), whereas audio from a motion picture soundtrack could have a range of 15+ decibels and much of the details could be lost with a 44.1K conversion.

      Returning to video formats, the potential issue with encoding at your proposed resolution is that the HD flat screen tvs of today and moreover the UHD screens coming on the market will need to upres your sub-HD pixels and those pixels were already compromised at time of compression so the resulting tv upres will probably be really tragic and could affect your library value over time.

      If you do some math on how many transcoded pixels will have to be divided and reassembled from your 846×486 to get to 1080p or UHD 2160p and consider how the pixel-division-math is cleaner with HD resolution displayed on an HDTV set (which is not always variable resolution like a computer screen) you may find a higher quality image from native HD masters before transcoding.

      Lastly, have you tested mp4 conversion using the native file frame rate family of 30p instead of 23.976?

      Best,
      Jamie

    • #29930
      brazilianaire
      Participant

      Hi Sam,

      Love what you are preparing here!

      For me I would test with 48K over 44.1 even at your per channel bit rate of 128 (256kbps stereo), but I would love to see if going to 160kbps (320kbps stereo) makes that much difference.

      Soundcloud really steps on the original audio with the compressions they use and my musicians are not happy with their results on Soundcloud. My goal is to offer higher quality that still streams cleanly.

      VIDEO: When I encode in the studio I leave my max keyframe distance to 1 and there appears to be no increase in file size and my h264s are gorgeous.
      That is also because I push my video bit rates up more for a much cleaner file, so when served from Cloudfront I can let the resolution switcher handle the stream bottlenecks over simply having more compressed frames at all resolutions.

      I believe once you launch a standalone pipeline that does not flow through S3Bubble throughput should be amazing for everyone!

      Thank you for everything!

      Best, Jamie

    • #29939
      brazilianaire
      Participant

      Hello Sam and Vintage,

      I just had a very enlightening conversation with a key audio partner.

      He says despite 48K being a better quality signal than 44.1 (44.1 kills high-end and subtle frequencies), today most cellular phones, earbuds, consumer speakers, mobile devices and many consumer sets like laptops and TVs are “pathing” all audio signals at 44.1K without professional buffers, so that a 48K signal will not be transcoded, but simply “sent”, and can result in a lousy final sound if the original audio is 48K.

      His advice is that a “properly mastered” 44.1K sample at 320kbps stereo, then encoded for streaming is an excellent compromise across all devices.

      This quality audio at a live show would not be acceptable, but for cross-platform use almost no one would notice.

      In addition, he would avoid AACs and MP3s at less than 320kbps stereo whenever possible, because the damage to signal quality is intense at lower kbps, and a much more significant quality factor than 48k versus 44.1.

      Sam, do you know if the transcoder can enable audio dithering?
      Dithering solves the signal gaps created by audio compression algorithms.

      I hope this helps!

      Best,
      Jamie

    • #29957
      vintagefilm
      Participant

      I can fairly easily make 1280x720p23.98 master files from the 720x486p23.98 files already mastered, and from those 720x486i29.97 files captured from tape but not yet mastered files in Adobe Premiere or Media Encoder, if everyone thinks this is better. I know the files need to be uprezzed somewhere, whether in my edit suites, during bubble encoding, or during playback in the TV, computer, or mobile device. My master audio is 48k uncompressed. However, we are not uploading these master files to bubble. It seems wasteful of bandwidth and storage to do so. We create an intermediate/mezzanine file for upload. This file can be anything we choose, and for the SD files it is an h264 between 2-4mbps with audio at 48K- must check the specs, not sure at this moment. For 720p this would surely be a higher bit rate.

      My audio is from film prints, and is severely compromised, just like the picture. So preserving as much as possible is a highly desired outcome.

      Jamie, from what you are saying about the audio, 44.1 is a better choice, and bit rates above 320kbps are preferred. Should this choice be made at the mezzanine level or left to the elastic transcoder. I think the ET is the better choice, as I expect it changes anything thrown at it and wouldn’t pass-through a file, video or audio, even if the specs were identical.

      Sam, I love that you will be exposing the full list of presets, including our own custom ones, this will make tweeking the outputs very easy, and it will solve this workflow issue completely.

      I didn’t see a setting in your preset above about fragment size. i have read that it should be a ratio of the framerate, so for our 24p/23.98p files we would choose and 8 second fragment. Where is this choice available?

      I am also assuming that the presets preserve every frame and don’t drop any during the encode. Can you confirm? I ask because I am noticing choppy playback and drifting audio sync on some files.

      Thanks Guys, this is a very valuable discussion!

      Grace
      VFC

    • #29960
      brazilianaire
      Participant

      Hi Grace and Sam,

      Drifting audio sync is strange…Does it happen with your mezzanine-level transcodes?
      This is a reason to stick with the original movie’s frame rate at all times and not separate your audio during export to mp4.

      When you say you are uploading your audio masters to bubble what do you mean? Aren’t they muxed to the video already? If not, they should export as part of the mp4 (H264) from Media Encoder to avoid video sync issues with mp3s from WAVs.

      I understand storage space is a cost concern, but believe it is also wise to to prepare all elements with final resolution, frame rate and audio sampling as early as possible in your pipeline and not leave anything for Elastic Transcoder to do except compress. No conversion or correction…
      Delete the mp4 master later if cost is an issue.

      I export my mp4s at much higher bit rates and have much better looking stream compressions as a result.
      Typically 12mbps with a 18mbps peak video data rate, and sometimes 24mbps with 36mbps peak.
      (I was told peak should be 50% more than average for best results) and AAC audio should emphasize Bit rate.

      Try max keyframe distance of 1 for better frames.

      If 44.1K 320kbps stereo is your goal, then make that happen out of Media Encoder.
      Do everything to your master once, using media encoder, which is an excellent tool with perfect pixels, so ET only compresses at cleanly divisible resolutions. I don’t use 240p at all.

      If your master is SD-29.97i, test making your export timeline the final desired res and rate of 720-30p (29.97p) so you can use your preview renders on export and accelerate exports.
      Always max render quality checked in Media Encoder.

      Would love to see your results!

      Best, Jamie

    • #29961
      vintagefilm
      Participant

      Hi Jamie, I am planning to make a few more test files this afternoon. I will post the links here. Just spoke with a friend, dougw, who is working with bubble as well, and he is reading Jan Ozer’s book on compression. He will have some recommendations later, when he finishes.

      BTW, it is not my master that is interlaced but the captured file from the telecined tape. My master is 23.98p with the pulldown removed.

      grace
      VFC

    • #29963
      vintagefilm
      Participant

      So I am encoding several test files now. I will have links later today to post here. These are all from the same source file. the audio is muxed with the video (yes, that’s what i meant in the earlier post) audio specs for all three mezz files are the same–AAC 44.1 320kbps. One the Premiere timeline (the timeline itself was set up as 1080p23.98) I started with a 864x486p23.98/pillar file and made three separate outputs from Media Encoder. 1080p23.98 720p23.98 and 864x486x23.98. i stretched the file to eliminate the pillar on the timeline.

      One thing I have already discovered is that Premier and my Blackmagic Multibridge hardware don’t work well with my 864x486p23.98 files. And they also don’t like 720p23.98 timelines using the BMD hardware setups. This knowledge has me re-thinking the choices I had thought were settled. 23.98 is native to 1080p but not to 720p, so I may need to master these standard def files to 1080p just to keep them usable in the future. Bummer-they files are roughly 6 times bigger making the hard drives costs soar.

      G
      VFC

    • #29964
      brazilianaire
      Participant

      Yes, Blackmagic and other tools are designed to use standard resolutions, so maybe open the SD file into a 1080p timeline and fill to fit, but then only export via media encoder at 720p…see how that works.

      If you are investing then buy an LTO6 drive and you can store and access at really great costs and have the safety of institutional archival security

    • #29965
      vintagefilm
      Participant

      I do have an lto6 but haven’t gotten around to the archiving yet. It’s on my to-do list. I just posted three videos on vintagefilmchannel.com. Look for the red V icon let me know what you think. Jack Carson Show 486 720 and 1080 versions…

      Grace

      VFC

    • #29966
      brazilianaire
      Participant

      Will check them out.

      The LTO6 should be able to serve as a working drive, since version 6 is quite fast and the tapes have great capacity.

      Best, Jamie

    • #29967
      brazilianaire
      Participant

      Hi Grace,

      They all look similar, and you know what’s crazy is I was born in Milwaukee Wisconsin which he starts the show with! Hahahaaa

      The 480 is more than adequate and I didn’t see much difference among the three watching both on a laptop screen and an HDMI feed to a 1080 LCD TV. If cost were an issue then 480p and 720p would be enough resolutions to serve all but UHD tv sets.

    • #29969
      vintagefilm
      Participant

      Playback of the 720p stream stops and buffers here, and 1080p hardly plays at all. we get good playback from almost everywhere but my own site. I think I am back to 864x486p as my streaming resolution. I agree quality on all three samples is pretty much the same, but playback is much better at 486p. I’m not even sure it’s worth it to do the 360p version, especially if we can get thumbnails at 486 with the coming preset access.

      Shoutout to Milwaukee! I was in Janesville once about 50 years ago.

      Sam, if you get a chance, I would like your opinion here about the file choices, as well as playback quality in sunny Cardiff.

      Thanks Guys

      Grace
      VFC

    • #29971
      s3bubble
      Keymaster

      Hi Both 😉

      Grace can you send me a link to the encoded video you are having issues with regarding this question.

      Playback of the 720p stream stops and buffers here, and 1080p hardly plays at all.

      Are you talking about this video here. https://vintagefilmchannel.com/comedy/jack-carson-720p/

      I can then run some checks our end and apply some fixes where needed. Can you let me know which browser you are testing on please.

      Cardiff is actually sunny today after days of rain 😉

      Best Regards

      Sam

    • #29972
      brazilianaire
      Participant

      Hi Sam and Grace,

      It’s interesting the choking and buffering, because this happens constantly with my videos on my system and browser, but not with Grace’s.

      All of my videos choke when I view them on my site, once in a while they stream well, but not usually and I assumed it is because of going through your pipe, and so was quietly waiting for your standalone solution.

      I have a liquidweb VPN which delivers everything else quickly. I primarily use Firefox but also test with Chrome and Edge.

      Best, Jamie

    • #29974
      vintagefilm
      Participant

      Sam, yes that is one file- also look at this one https://vintagefilmchannel.com/comedy/jack-carson-1080p/

      Sam’s question about which browser got me to thinking. So I have done some more testing this morning.

      *Connection speed: 166mbps download and 8mbps upload. So not a problem.
      *Browser– my standard browser is Firefox alternate Chrome– I tested both with similar results
      *My main PC- is it the problem? Older dual Xeon w/32gig ram- so tested on a newer i5 machine and had much better results
      *Cleaned out main PC– removed old software and anything running in the BG: results, much better, but still can’t run 1080p. 720p was much better.
      *Looking at the network traffic: got some aborted messages when trying to load 1080p and 720p fragments
      *Conclusions: This PC is too old to run 1080p streams and 720p results are not good enough either. The material doesn’t look any different to me regardless of the bit rate, so 1080p is out, 720p is marginal. I do see frame blending in the output file that is not present in the master, probably added during the 24 to 30fps conversion in transcoder.

      TTFN
      Grace
      VFC

    • #29975
      brazilianaire
      Participant

      Hi Grace and Sam,

      If 30fps is the only frame rate available for our streams, then exports from media encoder should probably be 30p regardless of original frame rate. Worth a test to see if the blending goes away or is cleaner.

      I have an almost brand new windows laptop that plays 4K camera source files without choking, yet all of my site movies choke at all stream resolutions…and some never recuperate.

      I don’t have the option of sticking with low res versions, since most if not all of my content will be 4K UHD and 1080, so I’m not sure what to do…

      Best,
      Jamie

    • #29976
      vintagefilm
      Participant

      Sam is working on exposing the custom setups in Elastic Transcoder, based on a comment he made somewhere in the forums. So I think I will be patient and wait for this so I can set up for my own exact requirements. That Jack Carson file looks pretty decent at 1080p in the edit bay and plays fine. Online the requirements are very different, that’s what compression is all about. Which is a jungle, as we have discovered. I notice here that our Roku box, again, not a current generation box, outputs 720P which looks and plays well from Netflix Amazon Youtube and various other sources. You may find that 720P looks and plays well in a 1080p world. And it is not yet a 4K world in the streaming universe. It is really too soon for 4K streaming unless your are the NFL, or MLB, or someone at that same level.

      Grace

      • #29978
        s3bubble
        Keymaster

        Hi vintagefilm,

        Yes thats correct we are going to fully expose the presets so our users are not reliant on our set presets.

        The plan going forward what we are working on.

        When you click start encryption currently you are presented with our presets for hls after going through this great discusssion in this post we are aware that these settings may not be the correct solution for every setup so we are going to put full control in the hands of our users.

        1. You will be able to create custom presets specifically tailored for you setup.

        The options you will have control over are as follows.

        Audio Options

        AudioPackingMode
        Description: The method of organizing audio channels and tracks.
        Options: SingleTrack, OneChannelPerTrack, and OneChannelPerTrackWithMosTo8Tracks

        BitRate
        Description: The bit rate of the audio stream in the output file, in kilobits/second.
        Options: Enter an integer between 64 and 320, inclusive.

        Channels
        Description: auto channel specified, with any input: Pass through up to eight input channels. 0 channels specified, with any input: Audio omitted from the output. 1 channel specified, with at least one input channel: Mono sound. 2 channels specified, with any input: Two identical mono channels or stereo. For more information about tracks, see Audio:AudioPackingMode.
        Options: auto, 0, 1, 2

        Codec
        Description: The audio codec for the output file.
        Options: aac, flac, mp2, mp3, pcm, and vorbis.

        CodecOptions
        Description: If you specified AAC for Audio:Codec, this is the AAC compression profile to use.
        Options: auto, AAC-LC, HE-AAC, HE-AACv2

        SampleRate
        Description: The sample rate of the audio stream in the output file, in Hertz.
        Options: auto, 22050, 32000, 44100, 48000, 96000

        Video Options

        AspectRatio
        Description: The display aspect ratio of the video in the output file.
        Options: auto, 1:1, 4:3, 3:2, 16:9

        BitRate
        Description: The bit rate of the video stream in the output file, in kilobits/second.
        Options:

        • 1 – 64 : 80
        • 1b – 128 : 160
        • 1.1 – 192 : 240
        • 1.2 – 384 : 480
        • 1.3 – 768 : 960
        • 2 – 2000 : 2500
        • 3 – 10000 : 12500
        • 3.1 – 14000 : 17500
        • 3.2 – 20000 : 25000
        • 4 – 20000 : 25000
        • 4.1 – 50000 : 62500

        Codec
        Description: The video codec for the output file.
        Options: gif, H.264, mpeg2, vp8, and vp9

        CodecOptions
        Description: The H.264 profile that you want to use for the output file.
        Options:
        Profile (H.264/VP8/VP9 Only)

        The H.264 profile that you want to use for the output file. Elastic Transcoder supports the following profiles:

        baseline: The profile most commonly used for videoconferencing and for mobile applications.

        main: The profile used for standard-definition digital TV broadcasts.

        high: The profile used for high-definition digital TV broadcasts and for Blu-ray discs.

        Level (H.264 Only)

        The H.264 level that you want to use for the output file. Elastic Transcoder supports the following levels:

        1, 1b, 1.1, 1.2, 1.3, 2, 2.1, 2.2, 3, 3.1, 3.2, 4, 4.1

        MaxReferenceFrames (H.264 Only)

        Applicable only when the value of Video:Codec is H.264. The maximum number of previously decoded frames to use as a reference for decoding future frames. Valid values are integers 0 through 16, but we recommend that you not use a value greater than the following:

        Min(Floor(Maximum decoded picture buffer in macroblocks * 256 / (Width in pixels * Height in pixels)), 16)

        where Width in pixels and Height in pixels represent either MaxWidth and MaxHeight, or Resolution. Maximum decoded picture buffer in macroblocks depends on the value of the Level object. See the list below. (A macroblock is a block of pixels measuring 16×16.)

        1 – 396

        1b – 396

        1.1 – 900

        1.2 – 2376

        1.3 – 2376

        2 – 2376

        2.1 – 4752

        2.2 – 8100

        3 – 8100

        3.1 – 18000

        3.2 – 20480

        4 – 32768

        4.1 – 32768

        MaxBitRate (Optional, H.264/MPEG2/VP8/VP9 only)

        The maximum number of bits per second in a video buffer; the size of the buffer is specified by BufferSize. Specify a value between 16 and 62,500. You can reduce the bandwidth required to stream a video by reducing the maximum bit rate, but this also reduces the quality of the video.

        BufferSize (Optional, H.264/MPEG2/VP8/VP9 only)

        The maximum number of bits in any x seconds of the output video. This window is commonly 10 seconds, the standard segment duration when you’re using FMP4 or MPEG-TS for the container type of the output video. Specify an integer greater than 0. If you specify MaxBitRate and omit BufferSize, Elastic Transcoder sets BufferSize to 10 times the value of MaxBitRate.

        InterlacedMode (Optional, H.264/MPEG2 Only)

        The interlace mode for the output video.

        Interlaced video is used to double the perceived frame rate for a video by interlacing two fields (one field on every other line, the other field on the other lines) so that the human eye registers multiple pictures per frame. Interlacing reduces the bandwidth required for transmitting a video, but can result in blurred images and flickering.

        Valid values include Progressive (no interlacing, top to bottom), TopFirst (top field first), BottomFirst (bottom field first), and Auto.

        If InterlaceMode is not specified, Elastic Transcoder uses Progressive for the output. If Auto is specified, Elastic Transcoder interlaces the output.

        ColorSpaceConversionMode (Optional, H.264/MPEG2 Only)

        The color space conversion Elastic Transcoder applies to the output video. Color spaces are the algorithms used by the computer to store information about how to render color. Bt.601 is the standard for standard definition video, while Bt.709 is the standard for high definition video.

        Valid values include None, Bt709toBt601, Bt601toBt709, and Auto.

        If you chose Auto for ColorSpaceConversionMode and your output is interlaced, your frame rate is one of 23.97, 24, 25, 29.97, 50, or 60, your SegmentDuration is null, and you are using one of the resolution changes from the list below, Elastic Transcoder applies the following color space conversions:

        Standard to HD, 720×480 to 1920×1080 – Elastic Transcoder applies Bt601ToBt709

        Standard to HD, 720×576 to 1920×1080 – Elastic Transcoder applies Bt601ToBt709

        HD to Standard, 1920×1080 to 720×480 – Elastic Transcoder applies Bt709ToBt601

        HD to Standard, 1920×1080 to 720×576 – Elastic Transcoder applies Bt709ToBt601

        Elastic Transcoder may change the behavior of the ColorspaceConversionMode Auto mode in the future. All outputs in a playlist must use the same ColorSpaceConversionMode.

        If you do not specify a ColorSpaceConversionMode, Elastic Transcoder does not change the color space of a file. If you are unsure what ColorSpaceConversionMode was applied to your output file, you can check the AppliedColorSpaceConversion parameter included in your job response. If your job does not have an AppliedColorSpaceConversion in its response, no ColorSpaceConversionMode was applied.

        ChromaSubsampling

        The sampling pattern for the chroma (color) channels of the output video. Valid values include yuv420p and yuv422p.

        yuv420p samples the chroma information of every other horizontal and every other vertical line, yuv422p samples the color information of every horizontal line and every other vertical line.

        LoopCount (Gif Only)

        The number of times you want the output gif to loop. Valid values include Infinite and integers between 0 and 100, inclusive.

        FrameRate
        Description: The frames per second for the video stream in the output file.
        Options: auto, 10, 15, 23.97, 24, 25, 29.97, 30, 60

        If you specify auto, Elastic Transcoder uses the detected frame rate of the input source. If you specify a frame rate, we recommend that you perform the following calculation:

        Frame rate = maximum recommended decoding speed in luma samples/second / (width in pixels * height in pixels)

        where:

        width in pixels and height in pixels represent the Resolution of the output video.

        maximum recommended decoding speed in Luma samples/second is less than or equal to the maximum value listed in the following table, based on the value that you specified for Level.

        The maximum recommended decoding speed in Luma samples/second for each level is described in the following list (Level – Decoding speed):

        1 – 380160

        1b – 380160

        1.1 – 76800

        1.2 – 1536000

        1.3 – 3041280

        2 – 3041280

        2.1 – 5068800

        2.2 – 5184000

        3 – 10368000

        3.1 – 27648000

        3.2 – 55296000

        4 – 62914560

        4.1 – 62914560

        KeyframesMaxDist
        Applicable only when the value of Video:Codec is one of H.264, MPEG2, or VP8.

        The maximum number of frames between key frames. Key frames are fully encoded frames; the frames between key frames are encoded based, in part, on the content of the key frames. The value is an integer formatted as a string; valid values are between 1 (every frame is a key frame) and 100000, inclusive. A higher value results in higher compression but may also discernibly decrease video quality.

        For Smooth outputs, the FrameRate must have a constant ratio to the KeyframesMaxDist. This allows Smooth playlists to switch between different quality levels while the file is being played.

        For example, an input file can have a FrameRate of 30 with a KeyframesMaxDist of 90. The output file then needs to have a ratio of 1:3. Valid outputs would have FrameRate of 30, 25, and 10, and KeyframesMaxDist of 90, 75, and 30, respectively.

        Alternately, this can be achieved by setting FrameRate to auto and having the same values for MaxFrameRate and KeyframesMaxDist.

        MaxFrameRate
        If you specify auto for FrameRate, Elastic Transcoder uses the frame rate of the input video for the frame rate of the output video. Specify the maximum frame rate that you want Elastic Transcoder to use when the frame rate of the input video is greater than the desired maximum frame rate of the output video. Valid values include: 10, 15, 23.97, 24, 25, 29.97, 30, 60.

        MaxHeight
        The maximum height of the output video in pixels. If you specify auto, Elastic Transcoder uses 1080 (Full HD) as the default value. If you specify a numeric value, enter an even integer between 96 and 3072.

        MaxWidth
        The maximum width of the output video in pixels. If you specify auto, Elastic Transcoder uses 1920 (Full HD) as the default value. If you specify a numeric value, enter an even integer between 128 and 4096.

        PaddingPolicy
        When you set PaddingPolicy to Pad, Elastic Transcoder may add black bars to the top and bottom and/or left and right sides of the output video to make the total size of the output video match the values that you specified for MaxWidth and MaxHeight.

        Resolution
        To better control resolution and aspect ratio of output videos, we recommend that you use the values MaxWidth, MaxHeight, SizingPolicy, PaddingPolicy, and DisplayAspectRatio instead of Resolution and AspectRatio. The two groups of settings are mutually exclusive. Do not use them together.

        The width and height of the video in the output file, in pixels. Valid values are auto and width x height:

        auto: Elastic Transcoder attempts to preserve the width and height of the input file, subject to the following rules.

        width x height : The width and height of the output video in pixels.

        Note the following about specifying the width and height:

        The width must be an even integer between 128 and 4096, inclusive.

        The height must be an even integer between 96 and 3072, inclusive.

        If you specify a resolution that is less than the resolution of the input file, Elastic Transcoder rescales the output file to the lower resolution.

        If you specify a resolution that is greater than the resolution of the input file, Elastic Transcoder rescales the output to the higher resolution.

        We recommend that you specify a resolution for which the product of width and height is less than or equal to the applicable value in the following list (List – Max width x height value):

        1 – 25344

        1b – 25344

        1.1 – 101376

        1.2 – 101376

        1.3 – 101376

        2 – 101376

        2.1 – 202752

        2.2 – 404720

        3 – 404720

        3.1 – 921600

        3.2 – 1310720

        4 – 2097152

        4.1 – 2097152

        SizingPolicy
        Fit: Elastic Transcoder scales the output video so it matches the value that you specified in either MaxWidth or MaxHeight without exceeding the other value.

        Fill: Elastic Transcoder scales the output video so it matches the value that you specified in either MaxWidth or MaxHeight and matches or exceeds the other value. Elastic Transcoder centers the output video and then crops it in the dimension (if any) that exceeds the maximum value.

        Stretch: Elastic Transcoder stretches the output video to match the values that you specified for MaxWidth and MaxHeight. If the relative proportions of the input video and the output video are different, the output video will be distorted.

        Keep: Elastic Transcoder does not scale the output video. If either dimension of the input video exceeds the values that you specified for MaxWidth and MaxHeight, Elastic Transcoder crops the output video.

        ShrinkToFit: Elastic Transcoder scales the output video down so that its dimensions match the values that you specified for at least one of MaxWidth and MaxHeight without exceeding either value. If you specify this option, Elastic Transcoder does not scale the video up.

        ShrinkToFill: Elastic Transcoder scales the output video down so that its dimensions match the values that you specified for at least one of MaxWidth and MaxHeight without dropping below either value. If you specify this option, Elastic Transcoder does not scale the video up.

        Taken from the AWS docs.

        Our job will be to allow our users to create personal presets but we would also like our users to share their presets with other S3Bubble users we are true believers in everybody helping everyone else out here at S3Bubble. So instead of our set presets you will have the option to select your own personal presets or recommended presets from our user base

        Best Regards

        Sam

    • #29977
      brazilianaire
      Participant

      Hi Grace,

      Yes I am zen and I know this cool tool will evolve like crazy and I want to be a part of it, which is also how I feel about our forum brainstorming here.

      Awesome and thank you!

      I have fully embraced 4K for years and have been shooting and pushing people to shoot always regardless of delivery format. 6k and 8K are already emerging, and a 4K master is more valuable now and can survive the next decade with library values well above 1080 or lower resolution content. I’m in it for the long haul.

      Before digital I shot on 35mm film, cut on workprint and nle edit suites (which I build), then telecined masters to tape, later digitizing back from SD to varied formats, so I know what you are deep into right now with your archival media and am really happy with your results. But, there may be a value for HD streaming.

      I am doing compressions from 360p to 4K of this film I created; here’s a YouTube link as my site is not yet ready to share.

      Enjoy, Jamie

    • #29979
      vintagefilm
      Participant

      Wow, so that’s very cool! I love your house! and the video is good too! <smile> Actually, very very cool video and the house is nice. I tried all the playback speeds. 480 worked well and looked a little soft. 720 looked very good and stuttered a little. And so on. It seems to be a trade-off between playback smoothness and resolution. More resolution = less frames delivered. 4K didn’t play at all, the 2K files did, with lost frames. Keep in mind tthis is still the old Dual Xeon system. One question though. The only thing I saw in the video that was off was the banding on some shots. Is your raw camera file 8bits? You may be able to mitigate that with a little bit of blur, selectively applied. Great Work!

      Grace

    • #29980
      vintagefilm
      Participant

      Sam, just saw your post above on the presets! that is brilliant. A lot of detail on the options. Most everything in your original presets will be perfect with a few tweeks for specialized content. This is the book Doug has recommended http://streaminglearningcenter.com/video-encoding-by-the-numbers.html
      It will help in diving deep into the specs. I will be sure to post my choices, as I am sure every one else will, who needs something a little different.

      Grace
      VFC

    • #29981
      brazilianaire
      Participant

      Hi Sam and Grace,

      Sam; quite brilliant indeed!
      And, the high res audio files can be served as downloadable products…love it!

      Grace; I’m glad you liked it!
      Yes, this shoot had quite a mix of cameras (GH4 in 4K for drone and MovI, 2 x GoPro Hero3 Blacks for daytime timelapses in 4K, a GH3 for extra raw timelapses, and a Canon 5D Mark2 for the key motion control day and night timelapses in almost 6K raw). However, 8 bit was our ceiling even with the RAW stills.
      Looking forward to the GH5 combined with the Atomos Ninja Inferno for 422 10bit recording.

      The 4K uncompressed master has almost no banding…the H264 added much more banding and the streaming encodes only worsened the effect. However, the 4K plus capture resolutions made the night time stars viewable, the best of which being the wide shot. I might play around with some blur to see if it solves the banding…Thanks for the tip!

      Sam; Something I saw in bucket best practices on AWS has me thinking…
      They say there should be 1 bucket with all media in (pre encode source master) and another single bucket with all media out (post encode stream versions), however within those two buckets you would have folders for each vendor/client, within each folder would reside their media uploads in and streams out, both buckets and media all in the same region.

      This helps reduce bidirectional bottlenecks and accelerate streams, and also helps organize client media.

      Can S3 Bubble work with folders within buckets? I thought I read it could not.
      Can S3 Bubble also make the stream folder encode into a second bucket as they suggest?

      This would be excellent, because Amazon S3 has a 100 bucket max, and I will hopefully exceed 50 to 100 clients quickly, so would prefer to have 2 buckets with many many sub directories.
      Currently I have been making single buckets for each initial client, but I don’t want to throw everyone into one bucket without a way to organize them…would be a big mess!

      Please advise and both have a great weekend!!!

      Best, Jamie

    • #30045
      s3bubble
      Keymaster

      Hi Both,

      You now have full control over the presets and can add custom presets we will have a video tutorial up soon.

      Best Regards

      Sam

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