You can always re-export the FLA if you need the large file again.Format MP4 (file extension. At the moment the cost is the file size, but you don't have to keep that large file, once you have compressed the video to H.264, or whatever your target is, you can delete the large Animation MOV. Plus, sometimes tricky mathematical calculations are involved.The video export from Flash Pro CC and later can be quality and frame rate perfect. Compliance Streams Verification, H264 HEVC VP9 AVS2 AVS3 AV1 S3 Bucket.Making videos is pretty awesome. Video encoding, however, is not always so awesome.
![]() Compress Video Files On Without Losing Quality H.264 For Archiving How To Encode TheIt tells your computer how to encode the video, and then similarly, it tells the player (computer, DVD player, etc.) how to decode the video into a usable signal.H.264 is the industry standard when it comes to web codec, and though there are a bunch more options for archival standards, Apple ProRes has become something of the norm. Codec: Short for coder decoder, a codec is the recipe for how the data in your video is compressed.This is the real guts of your video export (and as such, you should dig in to this post on common myths surrounding Vimeo’s compression guidelines). As a general rule though, you’ll want to keep your export frame rate the same as what you are editing in.Since we are going to export a progressive video and are located in the U.S., we edited in 23.976 and will be exporting at that frame rate as well for both the Vimeo and archive versions. In the U.S., the standard frame rate for progressive video is 23.976 (p) — commonly referred to as 24p — and 29.97 (i) for interlaced video. All became faster, it was no longer necessary, and the world has since gone mostly progressive.Now, back to the individual frame-rate numbers. Interlaced video was the standard for a long time due to its ability to run at lower bit rates (which we’ll talk about shortly), but after broadcast technology, monitors, processors, etc.Mov.One thing to note is that codecs and wrappers were generally developed for either editing or delivery. Mpeg, however some containers let you use just about whatever codec you’d like, such as QuickTime’s. Some wrappers automatically dictate the codec, such as. Flv, etc.Wrappers, like codecs, are developed either proprietarily by private companies (like Apple’s QuickTime) or for the general good by consortiums of video engineers (like MPEG, which stands for “Moving Picture Experts Group”), each with roughly the same goal of global domination (meaning, they all want to be the video solution to end all video solutions). Wrapper: A container that tells your computer (or player) what kind of video it is dealing with.A wrapper is easier to discern than a codec, as it’s reflected in the file extension —. H.264 will be the export codec for our Vimeo version, and for our archival version, we’re going to stick with regular old ProRes codec.![]() Also, you can set the number of passes your encoder takes. But if there are a lot of camera movements or tiny details in your film, it may be best to try and keep the bit rate a little on the higher side.With bit rate, you also get to decide if you want to set a constant number throughout the entire video, or let your encoder vary, which is referred to as variable bit rate (VBR). Bit rate: The amount of data we want to limit per second, measured in megabits (Mbps).In the end, your bit rate is all about balancing quality and file size — if you lower it too much, you’ll lose quality (see: blocky web videos from 2001), but if you set it too large, your file size will match.A good place to start with bit rate is 40-50 Mbps for 3840 x 2160, 10-20 Mbps for 1920 x 1080, and 5-10 Mbps for 1280 x 720. For our ProRes archive version, we’re going to be using the Quicktime. Mp4 wrapper, since we’re using the h.264 codec. Mp4 file, so they play back more easily when editing. ProRes is a proprietary Apple codec and it was designed to go only in the QuickTime container, whereas h.264 is an open codec that can be put into either QuickTime or MP4 containers.For our Vimeo export, we’re going to be using a. Pdf maker for mac os xKnowing these settings will help keep files optimized for both space and quality, and they’ll keep your films looking realllllll good. In both cases, we’re going to do a VBR with 2-pass export.These are the five major considerations in the world of exporting, and each comes with a plethora of options to choose from. For our 4K archive export, we’ll go with 50 Mbps.
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