Following on from my previous two tutorials, please find the next two covering Best Export Settings and Instagram.





Any questions feel free to ask and I'll try to get back to you as soon as I can.

Cheers!

Great tutorials man! Very professional!

DJI-Tim Posted at 2016-4-13 11:55
Great tutorials man! Very professional!

Thanks Tim, appreciate the Kudos!

ManAndDrone Posted at 2016-4-14 19:07
Thanks Tim, appreciate the Kudos!

Do you mind if we share your video on our official DJI Support page?

Great job. Thanks for taking the time.

Very nice tutorials!

Very helpful, thank you very much!

Great stuff. Will try using your advice for my next video, since i've been experiencing a lot of issues with compression on my Osmo footage.

Just to clarify one point - I usually film at 1080p 60fps, and on my last video i tried to export the final file (a combination of Osmo and Sony Rx100m3 videos) at multiple different bitrates to see which ones gave me the best results. No doubt the higher bitrates gave me better results (both on the exported file, and on the file uploaded on Youtube). Yet, you say in the video that for 1080p 60fps footage you should never export at a higher bitrate than 40mbps. Does that mean that exporting at 60mbps may actually produce an overall inferior quality to 40mbps?

Also, do you always suggest a VBR, 2 Pass? And do you mind explaining what "Profile: High" does exactly? And what about frame blending?

Sorry for all the questions, but you seem very knowledgeable and i'm trying to understand how everything works.

Thanks in advance,

JD

Nice tutorial!

Great video.  There are a couple things that I would do a little differently than you but good stuff and beautifully laid out.

One note, the part at 2:27 where it says UHD 4K 4096 is a misnomer.

UHD and 4K are two differemt competing resolutions and the market place has completely confused the consumer on this one.

Although UHD (sometimes called UHD 4K which undoubtedly adds to the confusion) is a different format than actual 4K.

4K is a different aspect ratio (1.85 amamorphic) per film specs (it's a film, not a tv resolutions but modern TVs are using cinematic formats now).

There are UHD and 4K televisions and they are not the same.  Some will play both but if it plays UHD, it will have a letterbox when watching cinematic 4K formats.  They are different formats with different commities and this really should be understood by everyone and it appears nobody seems to know this.  I've been saying it quite a bit.

To be clear:

UHD (a TV derivitive) is 2x that of 1080p.  If you mulitlply 1920x1080 (1080p) by 2 you will get 3840x2160 which is exactly 2 times the 2k resolution of 1080P high def.  It is usually broadcast at 24fps on broadcast television.

4K format is 4096x2160 (and usually played at 24fps). Not even sure how or why there is a 25 frame rate option in the 4K menu TBH but I am sure there is a reason that I just don't know.

So, my point is 4K is not UHD as you have it listed.  I, as usual, said a lot of words for a little point but it's an important distinction and since you took the time to make this very good video, I wanted you, and anyone watching to understand what 4k vs UHD is.  

Thanks for taking the time for making a well thought out, educational video with high production value making it easy to watch. Good stuff.



*** A better description of what I just wrote:

http://www.extremetech.com/extre ... -not-the-same-thing

"The  simplest way of defining the difference between 4K and UHD is this: 4K  is a professional production and cinema standard, while UHD is a  consumer display and broadcast standard. To discover how they became so  confused, let’s look at the history of the two terms."

Great tutorials.  I think you should prepare one for working with D-Log color grading.  I would be very interested in watching your work flow.  So far, no one approaches your level of effectively expressing the how & why of editing in Premiere.  Excellent!

Thanks for the great tutotials, I have learned a lot here.

I need to watch this over again but you shouldn't bring h.264 into your editor.  Because we start with a lossy compression algorithm with h264, if you don't want to lose a generation, you have to blow up the h264 to something like ProRes 422 (not HQ) and not 444.  That will increase the color space and it will also make it so that whatever you are doing in the editor, once you export for YouTube, Vimeo, or whatever your final deliverable is, you won't lose a generation.

From the bird we get  

h.264 ---> ProRes 422 ----> Edt ---> Your settings for exporting out are good from what I saw.

I am sorry if you said this in the video, but if you didn't and you want to have the best quality, if you bring an h.264 video into the editor and then compress it again, you WILL lose a second generation which is exponential and add on top of that the vimeo and youtube compression and you are now at a minimum of three generation losses.  

Also, editors do not like h.264 (which by the way is the exact same algorithm as WMV, literally identical).  MP4 and MOV are just containers to hold the h.264 file.  Other than interoperability, there is no difference.

I was going to make a workflow video for exporting similar to what you did, although I don't think I would take the time to make mine look as good as yours, which is fantastic.  

To parallel what we would do if we were using raw footage, it's the same thing. You would take the raw footage which has no compression and possibly use a proxy, depending on your computer power, and what it is your doing.  I always ask for my working deliverables to be in Avid Uncompressed 10 bit, and if I can't get that, I ask for Avid DNxHD 175, but these are fantastic codecs (as far as no loss) compared to the very lossy and highly uncompressable h.264 codec so I can't stress enough that in order to get the best image out of this prosumer camera that uses an AVC hardware encoder to spit out h264, you MUST MUST blow it up to ProRes 422 BEFORE going into the editor.

I know I'm sort of repeating myself, but it's a little complicated to the uninitiated and I want people to understand.

Also, why do you want to use a VBR (variable bit rate)?  The only reason for using a VBR is to save file size.  For people that don't know, the opposite of VBR is CBR (Constant Bit Rate).

What happens with a variable rate is that the video tries to adjust the bit rate by what it sees in the video as a necessary rate for what's going on.  So when there is a lot of movement, it will jack up the rate and if it's still, it will lower it.  Therefore you have a smaller file size.   But if your end game is YouTube or Vimeo, what are you trying to save space for?

Let's say you have a video where it determines on the VBR that X bitrate is the highest at whatever point, if you were to force a CBR at that X rate, you will have a larger file size but you won't have any possibility of the software guessing the proper bitrate on a VBR.  So cranking up a high CBR is going to yield you the best results.

If you have REALLY good hardware, you can get a better VBR output but if you have that hardware, you are not going to be dealing with h.264 as a master deliverable.  At BEST, it would be a final deliverable.  H.264 is really a preview deliverable to be honest.

I hope I didn't confuse as the OP video was very very good and well put together and I agree with almost all of it and again, I shouldn't be commenting as I haven't watched it all the way through yet but I will.

Thanks again!

ArtistFirst Posted at 2016-5-9 11:47
I need to watch this over again but you shouldn't bring h.264 into your editor.  Because we start wi ...

You seem very knowledgable but can you tell us beginners how we change our raw h.264 footage into ProRes 422 in Adobe premiere? Sorry if this has been explained in your posts but as a novice I need it in laymans terms.  Thanks

My Flying Eye Posted at 2016-5-10 04:11
You seem very knowledgable but can you tell us beginners how we change our raw h.264 footage into  ...

I did not say how you would do that.

There are literally so many ways and it would be dependent on what type of system and software you are using.

I just use Adobe Media encoder and I have a preset (I can send you the preset if you PM me, is there a way to PM here) that I use and I just dump all of my files after a flight that I plan to use anyway, into Adobe Encoder (or whatever it's called) and just export it as ProRes 422.

You can bring it into After Effects, but it's not as functional because you have to set up each file which isn't really that hard because you can highlight them all and just choose what you want and then export.

You can bring it into Premiere but the same pitfalls as AE. (Actually with AE you can do more easier batch rendering, in Premiere, it's you can "Export Movie" directly from the software, otherwise if you hit "Quee" it will set it up in Adobe Media Encoder using Adobe's "Dynamic Link" which is finally beoming useful.  

Adobe Media Encoder is made for doing just this task and you can automate it so that it will do all of them one after another and set it and forget it, come back and all your crappy h.264 will now be a much more palatable ProRes.

Mind you, it won't make the image as good as if it were originally a ProRes file, it's like putting a full glass of juice into a large glass.  Now that it's not stuffed to the brim, you'll have more room to work without spilling any juice.

Terrible analogies aside, i think you get the idea. E-mail or PM me if you would like to call me so i can explain it better.

ArtistFirst Posted at 2016-5-11 23:07
I did not say how you would do that.

There are literally so many ways and it would be dependent o ...

Hi ArtistFirst,

Thanks for the offer of presets for Adobe Media Encoder.   I have version CS6 but have never used media encoder.  I have sent a friend request so that we can PM and if you think your presets are compatible with my version then it would be great to give it a go and if you have some guidelines that would be great too?

Thanks

Terry

ArtistFirst Posted at 2016-5-9 11:47
I need to watch this over again but you shouldn't bring h.264 into your editor.  Because we start wi ...

Apologies for the late replies been busy with other things..

Thanks to all that watched and found them useful.

Lot's to pick out.. so will just keep it brief.

Yes transcoding our workflow from h.264 to ProRes is the high-end professional option..  That I would only personally do if it's for TV broadcast or Cinema. My end products are for web so h.2.64 is fine.. Instagram and YouTube and websites. As mentioned in the tutorial 'what's our production for?' Converting to ProRes is completely unnecessary unless you consider yourself intermediate / advanced. Got lot's of hard drive space? Good.. that's a must. I just made an Austria Road-trip edit featuring over 80 different clips on the workspace.. Do you really think converting all of those clips to ProRes for YouTube is wise? I don't have time for that. If I'm getting paid $1000's maybe then. Let's not turn it into a 'The ultimate Solution' tutorial.. as that will just confuse beginners.. who are my main targets. ;) This is for Inspire X3 and below audience. Anyone with an X5 or X5 Pro should know what they're doing IMHO. (ProRes)

VBR because it's already VBR from the bat.. I tried CBR for Vimeo and it was a joke real bad.. That was for my "Droning at Lake HorseShoe' clip.. but don't get me started on Vimeo.

Profile is High because YouTube like that more.. apparently.. Main seems to produce same results.

More tutorials on the way soon!

Thanks All.

ManAndDrone Posted at 2016-5-16 07:27
**** The posts are shielded ****

I can't see this post.

ManAndDrone Posted at 2016-5-16 21:27
**** The posts are shielded ****

Why is this post moderated

pi-inthesky@hot Posted at 2016-5-17 20:48
Why is this post moderated

There were two women and a cup in this video.