Page 1 from discreet November 2000...
Page 2 OF ACTION, SHALL NOT EXCEED THE PURCHASE PRICE OF THE MATERIALS DESCRIBED HEREIN. Autodesk Canada Co./Autodesk, Inc. reserves the right to revise and improve its products as it sees fit. This publication describes the state of this product at the time of its publication, and may not reflect the product at all times in the future.
Page 3: Table Of Contents
Contents Introduction ..... . 1 Connecting Files ..... 21 What’s New in Cleaner 6.5 .
Page 4 Contents Manual Cropping..... 40 Black Restore and White Restore ..73 Numeric Cropping ....41 Hue.
Page 5 Flash Video Formats (FLV, SWF) ..93 Creating Windows Media Files ..137 Kinoma ....... . 93 Downloadable Windows Media Files.
Page 6 Contents Noise Removal ..... . 200 Frame Rate ......181 Dynamic Range .
Page 7 Minimize Processing ....235 Helpers ....... 235 Using Helpers .
Page 8 viii Contents...
Page 9: Introduction
Introduction Welcome to Autodesk® Cleaner® 6.5 for Apple® Macintosh®, the industry standard for professional video encoding. This user’s guide provides all the information you need to process, author, and encode video and audio for Web, CD, and DVD delivery. Cleaner 6.5 is designed to integrate seamlessly into your video editing and multimedia production workflow, speeding up your encoding process while outputting the highest quality content in all popular delivery formats.
Page 10: Installation
Chapter 1: Introduction Installation System Requirements • Apple Macintosh computer with a PowerPC G4 or faster processor (single or dual processor supported). G5 processor recommended. • Mac OS X version 10.3 (Panther) or 10.4 (Tiger). • QuickTime 6.5 or higher. •...
Page 11: Activating Cleaner 6.5
Enter your Cleaner 4, 5, or 6 activation key and click OK. Registration You can register your product online at http://www.autodesk.com/registration Alternatively, you may register your product by contacting Autodesk Media and Entertainment worldwide: United States, Canada and Latin America: email: authcodes@autodesk.com phone: 1.800.551.1490 or 1.415.507.4690...
Page 12: Streaming Basics
Chapter 1: Introduction Streaming Basics There are two common approaches to streaming today: Progressive streaming and Real-Time streaming. Media files that are served from a Web (HTTP) server are progressively streamed. Real-Time streaming files are delivered using a streaming media server. Cleaner also creates files that must be downloaded entirely to the hard drive before they can be played.
Page 13: Real-Time Streaming
Streaming Basics Real-Time Streaming Real-Time streaming refers to technologies that keep the bandwidth of the media signal matched to that of the viewer’s connection so that the media is always seen in real time. Dedicated streaming media servers and streaming protocols are required to use Real-Time streaming.
Page 14: Buffering
Chapter 1: Introduction data rate that is appropriate for their connection. If the Internet connection slows down, the server can also deliver a slower data rate stream until the transfer speed returns to normal. The streaming server and the player communicate constantly to determine which data stream to use and switch streams as needed.
Page 15: Typical Workflow
Typical Workflow Typical Workflow • Capture: Capturing involves transferring video from your camera onto your computer’s hard drive. If the source video is in DV format you can use iMovie or Final Cut Pro. Since Cleaner also reads a wide variety of video and audio formats, you can also use it to process previously captured material in the AVI, MPEG and QuickTime formats.
Page 16 Chapter 1: Introduction...
Page 17: Capture
Capture Capturing Video To work with video on a computer, you must first get it onto the hard disk drive. This is called “capturing” the video and is the first step in the Cleaner workflow. If the source material was shot with a DV camera, simply transfer the video to the computer via the camera’s FireWire (IEEE 1394 port or i.Link) using an application that supports captures, such as iMovie or Final Cut Pro.
Page 18: Digital Video Capture
Chapter 2: Capture Digital Video Capture The MiniDV and DVCAM (DV25 format) are popular high-quality digital formats that integrate well with computers. The DV format offers higher image quality and resolution than Hi8, S-VHS and VHS. It is a digital format, so DV does not suffer from generation loss — a copy of a DV tape is identical to the original.
Page 19 Capturing Video Finally, if you capture and edit the material at full-screen resolution and archive the source, you can later repurpose the content for future codecs, architectures, and larger delivery sizes without having to recapture and re-edit the project. Capture with a High-Quality Setting Many capture systems have an adjustable quality setting.
Page 20: Choosing A Camera
Chapter 2: Capture Dropped Frames The biggest problem while capturing video is missing or “dropped” frames. The most common cause of dropped frames is trying to capture the video at a higher data rate than the hard drive can support. As it falls behind, the capture starts to lose frames. Dropped frames often appear sporadically in the captured video, causing the video to randomly stutter or jerk.
Page 21: Shooting Video For Streaming
Shooting Video for Streaming Shooting Video for Streaming Carefully shooting and editing video for streaming can substantially improve the final quality of the video. The general tips that follow are aimed at creating video that encodes and streams well. For details on choosing encoding parameters and using video and audio processing to improve encoding, see “Encoding”...
Page 22 Chapter 2: Capture Keep Detail to a Minimum Keeping the detail within the scene to a minimum helps the individual frames of video compress more easily, giving you better results than video with lots of detail. It also makes the video easier to see when the movie is reduced in size for desktop delivery.
Page 23 Shooting Video for Streaming However, blue screen and green screen work is technically challenging and should not be attempted unless you have the experience and equipment to do it correctly. Simply shooting an actor in front of a blue backdrop generally does not work. There are very specific ways you must design the set and lighting to ensure good results.
Page 24 Chapter 2: Capture...
Page 25: Batches
Batches Cleaner makes processing many projects easy by processing in batches. You can group two or more projects together to be encoded sequentially. This is especially useful if you are processing many files since it is not necessary to manually encode each file separately.
Page 26: The Batch Window
Chapter 3: Batches The Batch Window You can add files to the batch by choosing Batch > Add Files... or drag and drop source files directly to the Batch window and then quickly assign settings and destinations. The list in the Batch window is called a batch and can be saved for future use.
Page 27 The Batch Window Priority — Displays the project’s priority. Double-clicking the project priority displays a • pop-up menu that enables you to choose a priority number between 1 and 10. Use this feature to sort projects so that lower-numbered files are processed before those with higher numbers.
Page 28: Project Modification Icons
Chapter 3: Batches Project Modification Icons Project modification icons appear under the project name in the Batch window. There are four icons: crop — Indicates a crop was applied to the project. i/o — Indicates custom in/out points were set for the project. evs —...
Page 29: Adding Files
The Batch Window Adding Files To add files to a batch, do one of the following: • Drag files to the Batch window. • Double click an empty area in the Batch window. • Choose Batch > Add Files. • Control-click the Batch window, choose Add Files to Batch... from the context menu, and select the files you want to add.
Page 30: Adding Numbered Stills
Chapter 3: Batches For example, the movie file tennis.mpg and sound file tennis.wav reside in the same folder. If you drag tennis.mpg to the Batch window, Cleaner automatically adds tennis.wav and combines them into one project listing in the Batch window. You can now apply any settings to the file and process it as a single movie file.
Page 31: Assigning Settings
The Batch Window Assigning Settings Settings are groups of processing and encoding parameters that are used to encode the source file. It is very easy to customize settings and use them again and again. You can assign these settings to project files in the Project window, or as a shortcut, you can directly assign them in the Batch window via the context menus.
Page 32: File Naming
Chapter 3: Batches File Naming When you process a single project at a time, you are prompted for the name and destination of the final output file before it begins encoding. This gives you flexibility when working with a small number of files. However, naming each file individually is inefficient for large batches, so Cleaner automatically names multiple files depending on your settings and preferences.
Page 33: Processing Order
The Batch Window Processing Order It is often helpful to control the order in which files in the batch are processed. For example, if you have a very long file and a few shorter files, you might want to see the results of the shorter files before waiting for the results of the long files to finish.
Page 34: Selecting Destinations
Chapter 3: Batches Selecting Destinations Before you begin processing a batch, you can specify a local default destination where your encoded files will be saved. You can also specify unique local or remote destinations for specific files in the batch using the Destination dialog. Default Destination The Default Destination is the location where all files are saved after encoding unless you specify a custom destination for a particular file.
Page 35: Customizing Output File Names
Selecting Destinations The Destination dialog enables you to specify custom destinations and names for output files. This is useful if you do not want to name a file using the Cleaner standard naming convention. For more details on naming, see “Customizing Output File Names” on page 27. To save one or more files to a custom destination: In the Batch window, double-click the Destination column next to the project source(s) or the files in the batch and choose Batch >...
Page 36: Processing A Batch
Chapter 3: Batches Processing a Batch Pause Start Stop To start processing a batch: Click Start in the Batch window, choose Batch > Encode or press Pausing You can temporarily pause the processing of a batch. Before pausing, Cleaner must complete some actions during processing, such as flattening a movie.
Page 37: Stopping
Processing a Batch Stopping To stop encoding, do either of the following: • Click Stop. • Choose Batch > Stop or press . (period). Unlike Pause, Stop cancels the encoding of the current file and ceases the processing of the other files in the batch.
Page 38: Clearing Project Status
Chapter 3: Batches Clearing Project Status If you restart processing on a batch after it was stopped, completed files remain in the batch list but will not be reprocessed. Cleaner skips any file that has a status of Done or Flattened. To process a previously encoded file: Select the file.
Page 39: Projects
Projects Double-click a Project in the Batch window or press R to open the Project window for the selected Project. You can view and modify parameters specific to the project, and play the source file using the controller underneath the movie. If the source is larger than the space available, the window scales the preview to the largest size that will fit on screen.
Page 40: The Project Window
Chapter 4: Projects The Project Window Movie Controller Tabs Video Info Audio Info Data Rate graph Edit Destination button Cleaner automatically resizes the window to a smaller size if the source video is too large to fit on your screen. You can also manually change the size at which the video or image is displayed in the Project window.
Page 41: The Movie Controller
The Project Window To manually change the size of the video image, do one of the following: • Drag the lower right corner of the Project window. • In the Windows menu, choose Half Size or press 0 (zero) to display movies and images at half their normal size.
Page 42: The Source File Tab
Chapter 4: Projects See “Trimming Files” on page 42 for more information on setting the In/Out points. Below the In and Out indicators, the duration of the source movie and the current frame time are shown. The time format is: hours:minutes:seconds:milliseconds. This differs from normal SMPTE time code, which specifies the frame, not milliseconds of the current time.
Page 43 The Project Window • 2.21:1 — Wide aspect ratio used for some theatrical movies. • Custom — To access the Aspect window and input any aspect ratio. When you make a selection, the Project window displays the source movie at the new ratio. The raw pixels option enables you to view the video in its “unmodified”...
Page 44: The Data Rate Graph
Chapter 4: Projects The Data Rate Graph The data rate graph displays the data rate of the source file, the file keyframes, and manual keyframe markers. • Gray vertical bars represent delta or “difference” frames in the source movie. Blue bars show keyframes in the source movie. •...
Page 45: The Settings, Modifiers, And Eventstream
The Project Window The Settings, Modifiers, and EventStream Tabs These tabs enable you to quickly view and edit parameters assigned to the Project. The Settings tab shows the settings for the selected Project. Click the Edit button to access the Settings window. See “Settings” on page 47. The Modifiers tab shows the Settings Modifiers applied to the selected Project.
Page 46 Chapter 4: Projects The EventStream tab shows the number of events assigned to the selected Project. Click the Edit button to access the EventStream window. See “EventStream” on page 213.
Page 47: Cropping
Cropping Cropping Cropping enables you to specify which part of the image you want to keep in the final file. Cropping is useful for eliminating the black edges and garbled edge pixels of some captured video, and for excluding areas that are not interesting.
Page 48: Manual Cropping
Chapter 4: Projects Manual Cropping You can set a unique cropping rectangle for each project in the batch using the file’s aspect ratio as a guide or by choosing from several popular ratios, such as 4:3, 16:9, or 2.21:1 in the Crop aspect ratio drop-down menu.
Page 49: Numeric Cropping
Cropping Numeric Cropping Numeric cropping and scaling can be done via the Settings > Image Tab. See “Crop” on page 62. Preventing Distortion When producing movies with aspect ratios that are different from the source movie, you must crop the source to prevent distortion. If you look at the source movies of the project at their full 720x480 pixel resolution, displayed with Raw (square) pixels, they will look distorted.
Page 50: Trimming Files
Chapter 4: Projects Trimming Files You can specify what portion of the file to process by setting the In/Out points.The starting point is called the In point and the end point is called the Out point. Being able to easily set the In/Out points is helpful when you need to trim off extra material from files.
Page 51: Numerically Setting In/Out Points
Trimming Files To move the controller to the In and Out points: Press T to move the time controller to the In point. Press Y to move the time controller to the Out point. Numerically Setting In/Out Points You can numerically set the In and Out points via the Begin/End tab in the Settings window. See “Begin/End Tab”...
Page 52 Chapter 4: Projects Enter the In Point frame number in the field and click OK. The Project window displays the frame specified. For example, 300, which is 10 seconds into a 30-fps source. Choose Edit > Set In Point, press [, or Control-click anywhere in the Project menu and choose Set In Point from the context menu.
Page 53: Enhanced Movie Playback
Trimming Files Enhanced Movie Playback QuickTime and other types of source movies can be loaded into RAM for better playback within Cleaner. This enables you to preview uncompressed source movies.Without this feature, uncompressed renders frequently have data rates that are too high to play smoothly. Developers must often run a temporary compression in order to watch these sequences in full motion.
Page 54 Chapter 4: Projects...
Page 55: Settings
Settings All of the processing parameters and encoding options available via the Settings window are collectively called a setting. By enabling you to easily modify, save, and assign settings, Cleaner makes it simple to quickly use all these parameters on multiple projects. This saves time and ensures consistency.
Page 56: Using Settings
Chapter 5: Settings Using Settings It is not necessary to have any source files open or present in the Batch window to modify or create new settings via the Settings window. To open the Settings window, do one of the following: Choose Windows >...
Page 57: Choosing A Setting
Using Settings Choosing a Setting If you are a new user, the settings that are installed with Cleaner are an excellent way to get started with encoding. By using these settings, you don’t need to know technical details such as keyframe frequency or codec choice to get great results. All of the settings in Cleaner are designed by industry professionals to provide maximum output quality and encoding efficiency.
Page 58 Chapter 5: Settings The Settings Browser In the Settings window, open the chosen delivery format folder by clicking the triangle next to the folder. In this example, QuickTime is chosen as the delivery format. Closed format folders Triangle points to right Open format folder Triangle points down Open QuickTime-NTSC...
Page 59 Using Settings From the list of settings, select a setting with your target data rate and delivery method: Settings are grouped in folders by target data rate, delivery method and download size. Note: • For Web delivery, choose a data rate (streaming) or size (download) according to the connection speed typical for your audience.
Page 60 Chapter 5: Settings • MP3 — MP3 files. • MPEG MPEG-1 CD&DVD-ROM MPEG-2 Video DVD MPEG-4 • QuickTime Archive setting Lossless archive files Audio MP3, PureVoice and QDesign Music for streaming, download or CD&DVD Film Telecined film source to streaming, download or CD&DVD Flatten only setting Flattens the source for cross-platform delivery NTSC...
Page 61: Organizing Settings
Using Settings Organizing Settings Each setting is a separate XML file stored in the Settings folder. The left panel shows all the settings in the Settings folder. You can drag and drop folders and settings within the Settings window and between the Settings window and the Finder. Within each folder, settings are sorted alphabetically.
Page 62: Creating A Setting
Chapter 5: Settings Creating a Setting Basing a new setting on an existing setting saves time, because you do not have to reset every parameter from scratch. To create a setting based on another setting: In the Settings window, highlight a setting that is similar to the setting you want to create. Be sure to select a setting that is close to the desired final result.
Page 63: Assigning A Setting To A Project
Using Settings Use the tabs in the description panel to access and change parameters. When you change the setting, •mod is appended to the end of the setting name in the Settings window title bar. Click Save to make the changes in the setting permanent. This removes the •mod from the setting name.
Page 64: Assigning Multiple Settings To Multiple
Chapter 5: Settings Assigning Multiple Settings to Multiple Projects You can easily assign multiple settings to the same project in a batch to create multiple versions. For example, you can create a Real 10, QuickTime and Windows Media version from the same source file.
Page 65 Using Settings Settings Modifiers are also used to set project-specific metadata. This enables you to specify common metadata in the base setting, such as the copyright date, and then specify movie- specific metadata, such as the name of the movie, on a project by project basis. To use Settings Modifiers: Assign a setting to the project as normal.
Page 66: Previewing Settings
Chapter 5: Settings To verify your changes: In the Project window, click the Modifiers tab. Changes specified by the Settings Modifiers take precedence over parameters specified in the base setting. In the Batch window, a mod indicator appears below the project name in the Project column to indicate that a Settings Modifier was applied.
Page 67: Protecting Settings
Using Settings Protecting Settings You may want to lock settings to prevent them from being modified. This is particularly useful in a large lab environment with several computers that access the same Settings folder on a server. To lock a setting: Find the setting in your Settings folder.
Page 68 Chapter 5: Settings...
Page 69: Pre-Processing
Pre-processing The best way to get high-quality results is to carefully analyze the source media and apply the appropriate pre-processing and encoding filters based on the specifics of the material. This chapter addresses the pre-processing steps you can use to improve your material. See “Encoding”...
Page 70: The Image Tab
Chapter 6: Pre-processing The Image Tab Crop Cropping removes edges from the source material. It is used to eliminate the black edges and garbled edge pixels of some captured video. You can crop manually via the Project window. See “Cropping” on page 39. Numeric Crop You can choose Numeric from the Crop pulldown menu and crop each side an exact number of pixels.
Page 71: Image Size
The Image Tab Image Size Control the final size of output with this feature. Use the Image Size numeric fields to set the pixel dimensions of the final image. You can constrain the fields to a specific aspect ratio with one of the choices in the constrain pop-up menu below the Image Size fields.
Page 72: De-Interlace
Chapter 6: Pre-processing Display Size Control the scale at which the image displays. Although scaling results in a degradation of image quality, this may be an acceptable compromise in cases where you need to minimize file size. For example, you could create output at half the size at which you want it to display, and then set the display size to scale it to twice its size on the output device.
Page 73 The Image Tab Eliminate Top, Bottom Field— removes every other line of the original source and interpolates extra lines if needed. Selecting either option generally produces sharp images because it eliminates the motion blur effect of interlacing and produces similar final results. Intelecine —...
Page 74 Chapter 6: Pre-processing Using Intelecine To use the Intelecine process with material that was originally shot on film and then transferred to NTSC video: From the Settings window > Image tab menu, choose Intelecine. In the Encode tab, select the desired frame rate. For the smoothest playback, specify the original 24 fps.
Page 75: Shift Fields
The Image Tab Shift Fields You can change the dominant field for interlaced output formats using the Shift Fields pulldown menu. Up — shifts both interlaced fields up one line. Down — shifts both interlaced fields down one line. Both choices change the field dominance of the interlaced output. Telecine If you have material that is 24 fps, such as that shot on film, and want to change the frame rate up to 29.97 fps for NTSC video output, the telecine filter can perform this conversion by adding...
Page 76: Adaptive Noise Reduction
Chapter 6: Pre-processing Sharpen is an edge-sharpening filter that uses an Unsharp Mask algorithm. The algorithm name comes from the physical way this effect used to be accomplished in the darkroom with film masks. Because it affects mostly edges, this filter does not enhance noise as much as a standard sharpen algorithm and is therefore less detrimental to encoding than a conventional sharpening filter.
Page 77: Static Mask
The Image Tab Static Mask The Static Mask filter uses a mask to define static zones in the video and then composites the first frame of the movie into every frame of the movie in these areas. This eliminates video noise in areas that should not change and improves encoding.
Page 78: Watermark
Chapter 6: Pre-processing keyframes. When using these codecs, some pixel movement in the static areas during keyframes is normal. Watermark It is sometimes important to watermark your video or still images to ensure that viewers know who owns or created the files. The watermarking filter applies a watermark to movies or still images by compositing the watermarking graphic directly onto the image or video track.
Page 79: The Adjust Tab
The Adjust Tab The Adjust Tab Gamma Changing the value of the gamma affects middle tones while leaving the white and black of the image unaltered. Gamma adjustment is commonly used to compensate for differences between Macintosh and Windows displays. Specifying a number on the Gamma slider changes the middle tones of the image: Positive numbers lighten the image.
Page 80: Brightness
Chapter 6: Pre-processing If you are authoring cross-platform movies for the Web or CD-ROM and do not want different versions for Mac OS and Windows, select a gamma setting that looks acceptable on both platforms. Usually, your movies end up looking a little light on a Mac monitor and a little dark on a Windows monitor.
Page 81: Black Restore And White Restore
The Adjust Tab Black Restore and White Restore The Black Restore and White Restore filters in the Adjust tab let you set the level at which all pixels become completely black or white, as well as control the smoothness of transition between the restored and unmodified areas.
Page 82: Saturation
Chapter 6: Pre-processing Saturation This filter changes the intensity of the color in your image. The color intensity is increased by moving the slider to the right and decreased by moving it to the left. Moving it all the way to the left reduces the image to grayscale.
Page 83 The Adjust Tab QuickTime FX Tracks If you are producing a QuickTime movie, Cleaner can add a QuickTime FX Track that is rendered upon playback, instead of actually changing the pixels of the stored movie. See “Adding a QT FX Track” on page 131 for details. Advanced QuickTime Effects Some QuickTime Effects enable you to change the effect over time.
Page 84: The Audio Tab
Chapter 6: Pre-processing The Audio Tab Cleaner offers professional-quality resampling, as well as a wide range of clean-up filters, such as Noise Removal, Noise Gate and High/Low Pass, to optimize your audio. There are also filters such as Dynamic Range Compression and Reverb, that enable you to optimize your material for delivery and improve subjective quality.
Page 85: Using Audio Filters
The Audio Tab Using Audio Filters After you create and capture your audio, there are several things you can do to optimize your audio for streaming delivery. Noise in the audio track often degrades the final compression of the audio, which results in more artifacts/larger files. The primary goal of most of Cleaner audio filters is to remove unwanted noise to improve the audio compression.
Page 86: Channels
Chapter 6: Pre-processing Channels Enable to set the channels the encoded audio contains. Mono is one channel audio. It requires less space than stereo, and is frequently used for multimedia projects. Stereo has two audio channels and requires more space than mono. It generally sounds better than mono on systems that can reproduce it.
Page 87: High Pass
The Audio Tab High Pass The High Pass filter removes all frequencies at or below the given value in kHz. Like the Low Pass filter, this filter gets its name from the fact that high frequencies (above the given value) pass through the filter unaltered.
Page 88: Dynamic Range
Chapter 6: Pre-processing Dynamic Range The Dynamic Range of an audio track is the difference in volume between the quiet and loud parts of the signal. For example, classical music often has a wide dynamic range. Quiet passages may be a single unaccompanied violin, but loud passages may be the entire orchestra playing at once.
Page 89: Noise Gate
The Audio Tab Use the Dynamic Range filter in conjunction with the Volume adjustment. The Dynamic Range is applied first, then the volume is modified, which enables you to encode both ends of the range of the audio, then increase or decrease its total volume. For example, you can limit the Minimum to 20% and the Maximum to 90% for a very narrow dynamic range to make sure the limited audio is as loud as possible without distortion.
Page 90: Notch
Chapter 6: Pre-processing Unlike the Noise Removal, Notch, High Pass and Low Pass filters, which remove specific frequencies throughout the whole length of the source, the Noise Gate totally silences the entire signal when it goes below a certain volume (amplitude) for a specific amount of time, such as between words or sentences in speech.
Page 91: Reverb
The Audio Tab Custom Notch Settings The Custom option enables you to specify the center of the frequency notch you are removing and the total width of the frequencies removed. Ideally, use as narrow a width as possible, so that the Notch filter does not remove other parts of the audio. The Custom setting also enables you to specify how many overtones are removed.
Page 92: Experimenting With Audio Filters
Chapter 6: Pre-processing Experimenting with Audio Filters When applying audio filters to your material, it is often necessary to experiment to find the right mix of filters and settings. In order to really hear subtle noise and compression artifacts in the audio, you should invest in a pair of high-quality headphones or audio monitors.
Page 93: Begin/End Tab
Begin/End Tab Begin/End Tab The Begin/End tab has the following pre-processing options: Video Fades To create a video fade, check the box next to the fade option you want, then enter a time in the seconds field. You can specify decimal times as well as whole numbers. Fade colors are set using the pop-up menu.
Page 94: High Quality First/Last Frames
Chapter 6: Pre-processing High Quality First/Last Frames Viewers often see the first/last frames of a movie for a much longer time than the other frames. For example, the first frame of the movie is displayed on a Website while the movie is buffering, and the last frame is usually left on the screen when the movie is finished playing.
Page 95: Formats
Formats Video Formats Read Write MPEG-1 DivX MPEG-2 MPEG-4 Flash Video (FLV, SWF) QuickTime Kinoma (PDB) Video for Windows (AVI) MPEG-1 MPEG-2 MPEG-4 QuickTime Real 10 Audio Formats Read Write AIFF AIFF Audio-CD MPEG-4 Audio MPEG-4 Audio QuickTime QuickTime Real 10 Sound Designer II System 7 Sound Windows Media (WMA)
Page 96: Still Image Formats
Chapter 7: Formats Still Image Formats Read Write JPEG/JFIF JPEG/JFIF PICT MacPaint Photoshop QuickTime Image File (QTIF) PICT QuickDraw GX Picture QuickTime Image File (QTIF) Silicon Graphics Image File Targa Image File (TGA) TIFF Animation and 3-D Formats Read Write Animated GIF Flash (FLV, SWF) FLC/FLI...
Page 97: Avi (Video For Windows
AVI (Video for Windows ) AVI (Video for Windows) Video for Windows was Microsoft’s first multimedia architecture designed for CD-ROM use. Although it can be used for professional video and progressive streaming, it has been discontinued by Microsoft and has been replaced by DirectShow and Windows Media. The AVI format is, however, still used by the DivX codec as a container format.
Page 98: Divx
Chapter 7: Formats DivX DivX is a video codec that produces very compressed high quality content. With Cleaner, you can encode .divx files that are playable on DivX players in both Windows and OSX platforms. DivX 6 introduces a new file format called DivX Media Format (hence the .divx extension) that includes support for the following DVD-like features: •...
Page 99: Working With Dv Sources
DV (Digital Video) is a standard digital format commonly used in digital video cameras. DV is a high-quality format that integrates well with desktop systems. There are currently three formats of DV tape: MiniDV, DVCPro, and DVCam. MiniDV is the most common and generally is the format used by consumer cameras.
Page 100 Chapter 7: Formats Making QuickTime-wrapped DV Movies Occasionally, you might want to create a QuickTime movie that has a DV video track contained within it. You can think of this as “wrapping” a DV stream with a QuickTime envelope. Doing this may be helpful for certain editing purposes, such as combining DV video/audio with media types that can’t be stored in DV streams, such as Flash or MIDI.
Page 101: Flash Video Formats (Flv, Swf)
Flash Video Formats (FLV, SWF) Flash Video Formats (FLV, SWF) Flash video is an increasingly popular delivery method for video content both on the Web and elsewhere. There are two Flash file formats that can be created with Cleaner: • FLV: The Flash Video (FLV) format cannot (in general) be read directly by media players. Instead, FLV video is used in the Flash MX authoring application, along with other components, before being exported to the SWF format.
Page 102: Audio Encoding
Chapter 7: Formats Audio Encoding Kinoma offers five audio encoding formats. AAC — (Advanced Audio Compression) Provides the highest quality output and the smallest file sizes. AAC audio playback requires Kinoma Player 3 EX. ADPCM — Creates audio that is compatible with most Palm handheld devices, including all Palm OS 5 handhelds.
Page 103: Mp3
MP3 is a highly compressed audio format that is very popular on the Internet for the distribution of music. MP3 is part of the MPEG family of compression standards. Technically, MP3 stands for MPEG Audio Layer 3, not MPEG-3 (there’s no such thing as MPEG-3). MP3 enables you to store digital audio in much smaller files while still preserving the quality of the original file.
Page 104 Chapter 7: Formats Sample Rate The Sample Rate is the number of audio samples per second that are contained in the final file. Higher sample rates produce better quality audio with correspondingly larger files. The MP3 default sample rate is 44.1 kHz, which is also the sample rate of audio CDs. Other common sample rates for MP3 are 22.050 kHz and 11.025 kHz for lower bitrate files (below 64 kbits/sec) and 44.1 kHz for higher bitrates (64 kbits/sec and above).
Page 105: Mp3 And Quicktime
MP3 and QuickTime If you are creating a QuickTime movie, you can encode the audio track as an MP3. For details, see “MP3” on page 107. Copyright Settings The MP3 format does not currently include rigorous content controls. There are, however, a few parameters that can be set to indicate the desired treatment of the material.
Page 106: Mpeg
Chapter 7: Formats MPEG MPEG is a standard file format and associated compression algorithms developed by the Moving Picture Experts Group (MPEG) to handle video and audio. Patents for the MPEG technologies are held by several different companies and research departments. MPEG video is similar to JPEG, but is extended to handle motion efficiently.
Page 107: Mpeg Aspect Ratios
MPEG MPEG Aspect Ratios MPEG pixels, especially those encoded for video device playback, are often not square. Because of this, the aspect ratio must be defined in order to display MPEG video. There are two different ways to define aspect ratio: Pixel aspect ratio and image aspect ratio. Pixel Aspect Ratio (MPEG-1) The pixel aspect ratio defines the proportions of the pixels in the image.
Page 108 Chapter 7: Formats Image Aspect Ratio (MPEG-2) The other method of handling aspect ratio is to define the number of pixels in the image and the aspect ratio of the final image, then stretch or compress the pixels to the needed proportions to match the output size.
Page 109: Group Of Pictures
MPEG Group of Pictures The GOP (group of pictures) is a self-contained unit of MPEG frames, starting with an I-frame and typically ending on a B-frame. Altering the GOP size determines how frequently I-frames are added and is essentially the same as controlling the keyframe rate in a QuickTime movie. The standard MPEG GOP is 15 frames for NTSC (12 frames for PAL) with a P-frame distance of 3 and ending on a B-frame.
Page 110: Quicktime
Chapter 7: Formats QuickTime QuickTime is Apple's multimedia and streaming media architecture. It is widely used for both authoring and delivery. For example, many video editing systems use QuickTime as the base format, and the majority of title developers deliver CD-ROM content with QuickTime. QuickTime is also popular for streaming video.
Page 111: Quicktime Scalability
QuickTime Placing files on a standard Web (HTTP) server for progressive streaming instead of realtime streaming is easily accomplished. See “Putting QuickTime Online” on page 124. When creating QuickTime files, you have many special options, such as creating Web posters, URL links, high-quality frames, QuickTime Effects, and more.
Page 112: Required Software
Chapter 7: Formats Backwards Compatibility The QuickTime Alternate Movies feature also enables backwards compatibility. For example, you can create a series of progressive-download alternate movies, encoded with Cinepak for QuickTime 3 viewers and Sorenson Video for QuickTime 4 viewers, along with a set of realtime streaming movies for delivery from a Streaming Server for QuickTime 5, 6, and 7 viewers.
Page 113 QuickTime QuickTime 4 If you are producing QuickTime 4 files, you can add URL links, use compressed movie headers to reduce download times and use high-quality codecs, such as Sorenson Video and QDesign Music. Viewers can view alternate versions of your movie if you create them. You can add interactivity to your projects and a QuickTime Effects track to your movie that is rendered upon playback.
Page 114: Quicktime Codecs
Chapter 7: Formats Using the Flatten Only Setting To create a flattened copy of a movie, process the movie with the preconfigured Flatten Only setting in the QuickTime folder just as you would process any movie with any other setting. If you choose this option, Cleaner flattens the movie without re-encoding it and puts a flattened copy in the destination for that item.
Page 115: Audio-Only Movies
QuickTime CD-ROM Codecs For delivery on CD-ROM, use Sorenson Video or H.264 unless you’re targeting slow computers. For very slow CPUs, Cinepak is a safe choice. For audio on CD-ROM, MP3 or IMA works well. DVD-ROM Codecs For DVD-ROM delivery, good choices are Sorenson Video, MPEG, or H.264. For DVD-Video, you must use MPEG-2.
Page 116: Quicktime Movie Suffix
Chapter 7: Formats QuickTime Movie Suffix The standard QuickTime suffix is .mov — using this suffix is very important for online movies. To add this suffix to movies, use the Suffix option in the Output tab of the Settings dialog. Do not use .qt as the suffix.
Page 117: Alternates
QuickTime Only H.263 and the Developer Edition of the Sorenson Video codec support this Note: streaming option. H.263 calls this option Cycle Intra Macroblocks, and it is available through its Options dialog in the Encode tab. Lower refresh values result in shorter delays between when the viewer starts to see the image and when the image is fully drawn.
Page 118 Chapter 7: Formats With progressive-streaming files, Cleaner instructs the QuickTime Plug-in to look for the alternates in the same folder as the master movie. As long as you keep the alternates in the same folder as the master movie, you do not need to do anything special with the alternates. See “Manually Specifying Paths to Alternate Movies”...
Page 119 QuickTime Platform You can choose whether the movies are played on Any Platform or on Mac OS Only. If you are creating streaming video for the Internet, you should choose the Any Platform option, since you will likely have users of both Mac and Windows platforms viewing your Website. There’s a suggested technique for creating movies that look good on both Mac and Windows.
Page 120: Creating Alternates
Chapter 7: Formats Creating Alternates Creating movie alternates with Cleaner is easy. As Cleaner creates the different versions of the original file, it organizes them in a new folder, creates the HTML for embedding the movies, and makes a ReadMe file to explain what to do with the files. You can create alternates of one source or manually group more than one source movie in the Batch window to make alternates.
Page 121 QuickTime Specify alternate criteria in the Alternate tab for each setting you want to assign. In this example, the connection speed of each alternate is set to equal the connection speed of the setting. This will cause the viewer’s player to download and play the correct alternate. The alternate connection speed will normally default to the setting speed.
Page 122 Chapter 7: Formats Select the settings that you assigned alternate criteria to. Click the Alternates button at the bottom of the Settings dialog. Cleaner produces one alternate for each setting selected.
Page 123 QuickTime Each of these settings is applied to the original source movie. Cleaner then groups the versions together in the Batch window with a blue bar that signifies that the connected movies are all part of the same alternate movie group. When Cleaner processes the batch, it encodes each version of the movie with the selected setting and creates a master movie to embed in your site.
Page 124: Organizing Alternates
Chapter 7: Formats If you need to ungroup a source movie from an alternate group, choose Batch > Ungroup QuickTime Alternates or press You can remove a project entirely from the batch even if it is grouped. To remove a project from the Batch window, select it and press the Delete key or choose Batch >...
Page 125 QuickTime ReadMe File A text file is created with each alternate group. This file contains: The name of each alternate • The criteria set for its display • The correct path to the alternate • Other useful information • The text file is placed in the main alternate folder and is labeled with the name of your movie and _README.txt appended to the end of the file.
Page 126 Chapter 7: Formats Real-Time Streaming Alternates If you are making a set of QuickTime Streaming files for Presentation.mov with the same settings, Cleaner creates the following items in the Presentation folder: • ReadMe.txt • Presentation.html • Folder titled Upload to HTTP Server Folder titled Upload to Streaming Server •...
Page 127 QuickTime The Set Server Path option in the Output tab enables you to specify the absolute path to the alternate version. You can use this with progressive-streaming alternates, but generally this field is used with realtime streaming versions. This path is stored in the master movie and is used to locate the alternate movies.
Page 128 Chapter 7: Formats Organizing Streaming Alternates in Subfolders If you are managing a site with many movies, you may want to keep the various alternate groups organized within subfolders instead of keeping all the alternates of the different movies within one folder. This is easy with progressive-streaming alternates because the paths specified in the master movie are relative —...
Page 129 QuickTime Embedding Alternates Embedding a movie means including it in the HTML so it is part of your Web page. You can use one of many HTML-editing programs that let you embed QuickTime movies to put the master movie on your Website. Just use an HTML editor to embed the master movie as you would any other QuickTime movie.
Page 130: Alternate Movie Fallbacks
Chapter 7: Formats When QuickTime displays this movie, it checks the viewer platform. If the viewer is on a Windows computer, the Plug-in does not select the Mac OS Only version and defaults to the lighter version which compensates for the darker monitor of the PC. If the movie is played on a Mac, the Plug-in chooses the unadjusted version because even though it could play either, the quality of that version is higher, and the Plug-in always plays the highest-quality version possible.
Page 131 QuickTime Custom Still Fallbacks An even better still-image fallback can be produced by generating a custom still image from the movie itself and using the watermark feature to superimpose a text message on this fallback image. Create your own QTIF setting. Choose Photo-JPEG for the codec and use the watermark feature in the Image tab to composite a text message.
Page 132: Single Version Fallback
Chapter 7: Formats If you choose Use image as needed or Use text as needed, Cleaner checks each alternate movie to see if a QuickTime 3-compatible version is present. If so, it uses the least-restrictive version as the fallback instead of the text or image defined in the preferences. Thus, both options work well as a “safety net”...
Page 133 QuickTime If you are making realtime-streaming movies or have streaming alternates, you’ll need to upload these to a special QuickTime Streaming Server. See “Embedding RealTime Streaming QuickTime” on page 126. It’s also important that your HTTP server is properly configured to handle QuickTime. See “QuickTime MIME Types”...
Page 134 Chapter 7: Formats Add Movie Controller — puts the standard QuickTime controller under the movie when • it appears in your page. We generally recommend that you enable this feature. • Automatically Start Playing — makes the movie start playing once a significant portion has downloaded.
Page 135: Quicktime Mime Types
QuickTime Once you have uploaded the Web page and fallback to your HTTP server, you should upload the streaming version to the location on your QuickTime Server that was specified in the Streaming Server Paths section of the Preferences dialog or the Set Server Path panel of the Output tab.
Page 136 Chapter 7: Formats To make a QuickTime movie for automatic playback within QuickTime Player, check the Autoplay when opened in QuickTime Player option in the Output tab of the Settings window and choose the desired option from the pop-up menu. Controlling QuickTime Tracks The Tracks tab enables you to specify which QuickTime tracks from the source movie are contained in the output movie.
Page 137 QuickTime The full-length movie is not loaded until the viewer actually clicks on the Web poster. This enables the pages to load very quickly, and only viewers that want to watch the movie will download the whole file. To embed a movie with a Web poster, you should embed the single-frame movie, which ends with _PSTR, using the HTML Cleaner creates and then upload the full-length movie, the Web poster and the modified Web page to the same folder on your HTTP server.
Page 138 Chapter 7: Formats Compress Movie Headers You can compress the information stored at the beginning of a movie, called the “header.” Check the Compress Movie Header option in the Output tab. Compressing this information may slightly reduce the total size of the file and improve performance when viewed online. Very long files often benefit the most from header compression.
Page 139 QuickTime You can also link to an FTP address, which initiates a file transfer when the movie is clicked. This is a good way to get viewers to download files, such as demo versions and updates, without going to a Website. Adding an Open URL EventStream event to the end of the movie performs the same Note: function, but the End Frame URL Link is easier to add if it is the only event you want to include...
Page 140 Chapter 7: Formats To use this feature, check the Preload option in the Tracks tab next to the QuickTime track(s) you want to be preloaded into RAM. See “Tracks Tab” on page 178. Do not mark streaming Web movies for RAM playback because it negates QuickTime's Note: fast start feature and requires the movie to be completely downloaded prior to playing.
Page 141: Real 10
Real 10 Real 10 Real 10 is a streaming-media architecture developed by RealNetworks. Real 10 offers realtime streaming delivery from a RealServer. Users can view Real 10 files with a player application available from RealNetworks at http://www.real.com Real 10 is most appropriate for network delivery of audio, video and other media types, such as text and Flash animations.
Page 142: Downloadable Real 10 Files
Chapter 7: Formats Set the audio and video options in this dialog. Click OK to exit the Real 10 Export Settings dialog. As with other network audio formats, Real 10 often benefits from Dynamic Range compression or normalization to limit the peaks to 90% of total volume. See “Dynamic Range” on page 80. Downloadable Real 10 Files If you don’t have a RealServer, you can create Real 10 files that viewers can download to their computers and then view with RealPlayer from their hard drive.
Page 143: Viewing Real 10 Files
Real 10 Viewing Real 10 Files Cleaner cannot currently play Real 10 files. Likewise, Cleaner cannot use Real 10 encoded files as source movies — Real 10 is strictly a distribution format and cannot be recompressed. When you are finished encoding a Real 10 file, Cleaner will not display it in the Output window.
Page 144: Windows Media
Chapter 7: Formats Windows Media Windows Media Technologies is the Microsoft streaming-media architecture. Windows Media only supports realtime streaming using a Windows Media Server, which is included as part of Windows 2000 Server and Windows XP Pro Server. Macintosh users can view Windows Media files with the Macintosh Windows Media Player, which is available for download at http://www.microsoft.com/windows/windowsmedia/ Intelligent Streaming cannot be encoded on the Macintosh platform.
Page 145: Windows Media Codecs
Windows Media Windows Media codecs Windows Media Video V7 Windows Media Video is a proprietary Microsoft codec that is similar to MPEG-4 and is generally recommended for Windows Media Video files. However, it is also a fairly CPU-intensive codec, so larger frame sizes and frame rates may require very fast computers. Windows Media MPEG-4 Video V3 MPEG-4 produces good image quality at low bandwidths.
Page 146: Uploading To A Windows Media Server
Chapter 7: Formats Uploading to a Windows Media Server Windows Media supports only realtime streaming using a Windows Media Server. However, you must also configure your HTTP server to properly deliver the Windows Media metafile. You must first install the Windows Media Server software on your video server hardware and properly configure it, or you can use an Internet Service Provider that hosts Windows Media files.
Page 147: Adding Downloadable Files To A Web Page
Windows Media Creating Windows Media HTML Cleaner can create the HTML HREF that you can use to link to your Windows Media files from your Web page. To link to Windows Media files: Check the Create HTML option in the Output tab of the Settings window. In the Label field, enter the text you want displayed in your Web page as the link to the movie.
Page 148 Chapter 7: Formats...
Page 149: Encoding
Encoding The settings included with Cleaner provide a good starting point for encoding parameters in any format. However, the best way to get optimum results is to look carefully at your source media and apply the right pre-processing and encoding settings based on the specifics of the material and your delivery needs.
Page 150: Output Tab
Chapter 8: Encoding Output Tab The Output tab specifies the format of the final file. It also specifies format-specific details, such as fast start for QuickTime. Naming suffixes are controlled with the Output tab, as well as HTML and metafile generation. The Format Menu Cleaner Technologies built in to...
Page 151: Quicktime
Output Tab QuickTime File Suffix Enable File Suffix to automatically add the default Windows file type suffix to the output file for cross-platform compatibility. You can select and change the suffix if needed. Flatten, Cross-Platform, Fast Start To flatten a movie and prepare it for cross-platform playback, check the Flatten, Cross-platform, Fast start option.
Page 152 Chapter 8: Encoding Prepare (‘Hint’) for Streaming Server If you are preparing a streaming QuickTime file, you must check the Prepare (‘Hint’) for Streaming Server box. The Options button enables the Hint Exporter Settings dialog. Make Movie Self-Contained — Makes streaming movies self-contained. Optimize Hints for Server —...
Page 153 Output Tab Create HTML With the Create HTML feature enabled, Cleaner creates a file containing the HTML needed to embed QuickTime movies into a Web page. The file has the same name as the movie, except that it ends with the .html suffix. You have three different options when creating the embed tag: Add movie controller —...
Page 154: Mpeg-1
Chapter 8: Encoding MPEG-1 File Suffix Enable File Suffix to automatically add the default Windows file type suffix to the output file for cross-platform compatibility. You can select and change the suffix if needed. Stream Type This option determines whether streamed audio and video are contained in one or two files. System —...
Page 155: Mpeg-2
Output Tab MPEG-2 File Suffix Enable File Suffix to automatically add the default Windows file type suffix to the output file for cross-platform compatibility. You can select and change the suffix if needed. Stream Type This option determines whether streamed audio and video are contained in one or two files. Program —...
Page 156: Windows Media 7
Chapter 8: Encoding Windows Media 7 Create HTML Creates a text file containing the HTML needed to link the Windows Media files in your Web page. This HTML launches Windows Media Player to display the linked Windows Media file. Create Metafile Windows Media uses a reference file to direct the Windows Media Player to the actual Windows Media movie file.
Page 157 Output Tab DivX Certified Profile — Choose from between Handheld Profile, Portable Profile, Home Theatre Profile, and High Def Profile. Settings — Choose from between Make a high quality file, Make file, and Advanced Settings. Refer to the DivX web site at for the latest documentation.
Page 158 Chapter 8: Encoding Estimate the Maximum File Size You can get a quick estimate of the maximum file size that you can create for your video with the highest bitrate as follows: × maximumfilesize 0.494 videolength where, maximumfilesize is the maximum file size in MB videolength is the duration of the video in seconds This will give you a good approximate value to work with.
Page 159 Output Tab Desired File Size Use this formula to calculate the desired maximum file size: × totalbitrate videolength desiredfilesize -------------------------------------------------------------------- 8389 where, desiredfilesize is the desired file size in MB totalbitrate is the combined bitrate in kbps for both audio and video videolength is the duration of the video in seconds Advanced Settings...
Page 160 Chapter 8: Encoding...
Page 161: Jpeg
Output Tab JPEG JPEG is a graphic format developed by the Joint Photographic Experts Group. It is a lossy bit- mapped image format that is widely used for online graphics and is best suited for photographic images. File Suffix Enable File Suffix to automatically add the default .jpg file type suffix to the output file for cross-platform compatibility.
Page 162: Pict
Chapter 8: Encoding File Suffix Enable File Suffix to automatically add the default .png file type suffix to the output file for cross-platform compatibility. You can select and change the suffix if needed. PICT PICT is a still image file format developed by Apple Computer. PICT files can contain both vector images and bitmap images, as well as text, and an alpha channel.
Page 163 Output Tab Options Enable Options and click Set to display the “3G Export Settings” window. Settings area Context-sensitive help icon Feedback panel File Format — Use this pulldown menu to select the type of 3G standard that the output 3GP file will use.
Page 164: Aiff
Chapter 8: Encoding AIFF AIFF, or Audio Interchange File Format, is a file format for storing digital audio (waveform) data developed by Apple Computer. It supports a variety of bit resolutions, sample rates, and channels of audio. This the standard format for audio CD production. File Suffix Enable File Suffix to automatically add the default .aif file type suffix to the output file for cross-platform compatibility.
Page 165: Flc
Output Tab File Suffix Enable File Suffix to automatically add the default .flc Windows file type suffix to the output file for cross-platform compatibility. You can select and change the suffix if needed. Options Enable the Options checkbox and click Set to open the FLC Export Settings dialog. Color table —...
Page 166: Kinoma Media
PSP media browser, or appears as incompatible data. Options Enable Options and click Set to display the “Kinoma Producer for Autodesk Cleaner” window. The Kinoma Producer Window The Kinoma Producer window is divided into two areas: the Presets area, and the Customization area.
Page 167 Output Tab Presets area Customization area Presets Area The Presets area contains three pop-up menus that you use to select a preset. Brand — Use this to choose a category of mobile device. This menu also includes Generic and Streaming options. Choose Generic for a preset that works with multiple Palm handhelds. Choose Streaming if you want a preset that is optimized for streaming to Palm handhelds.
Page 168 Chapter 8: Encoding • High Quality — Provides the best audio and video (AV) quality. File sizes are larger than the Normal preset. The encoded file combines MPEG-4 video and AAC audio into an MP4 file. MP4 files must be placed on a Memory Stick Duo for playback on the PlayStation Portable. This preset uses approximately 200 KB for each second of video, allowing about 1 hour and 30 minutes of high quality video to be stored on a 1 GB Memory Stick Duo.
Page 169 Output Tab Customization Area The Customization area displays the settings for the preset currently selected in the Presets area. Use this area to fine-tune the settings in that preset. File Format — The following are the available file formats. • Kinoma Movie - .pdb — Is the only output file format that can be played back from internal device memory or streamed by Kinoma Player 3.
Page 170 Chapter 8: Encoding Bit rate — This option selects the target bit rate for the video portion of the encoded file. It is only available for the Cinepak Mobile video encoding format. Typically, this option should be set to 240, 320, or 400kbps. Larger values may not play back reliably from external storage devices, and smaller values may not provide adequate quality.
Page 171 Output Tab Compression ratio — Selects how much compression should be applied when using the Yamaha ADPCM audio encoding format. Typically, this should be set to 4:1 to give the smallest file size, but it can also be set to 2:1 to provide greater quality. Audio boost —...
Page 172 Chapter 8: Encoding Layout (screen size) — Determines the size of the screen on the device. Some devices have only one screen size – typically either 160x160 or 320x320. Some devices may have a widescreen and allow the user to show and hide the Graffiti input area. On these devices, there may be multiple screen sizes depending on the orientation of the device (landscape or portrait) and whether or not the Graffiti input area is visible.
Page 173: Hinted Movie
Output Tab Hinted Movie A Hinted movie is a QuickTime movie that contains a “hint track” for each media track in the movie. This hint track contains information that frees the server from having to deal with network protocols or media-specific codecs, thereby reducing run-time processing. File Suffix Enable File Suffix to automatically add the default QuickTime file type suffix to the output file for cross-platform compatibility.
Page 174: Mpeg Audio Layer-3 (Mp3)
Chapter 8: Encoding MPEG Audio Layer-3 (MP3) MP3 is a very popular audio format on the Internet. It is a lower-bandwidth format than MP2 audio but is still not ideal for modem streaming. MP3 can also be used in combination with video in some output formats, such as QuickTime.
Page 175 Output Tab Options Enable the Options checkbox and click Set to open the Real 10 Export Settings window. Audio Track — Specifies how the audio track should be encoded. Select Voice for tracks that contain only spoken word. Select Music for audio tracks that contain music. Select None for no audio track.
Page 176: Quicktime Texml
Chapter 8: Encoding Video Quality — Specifies the quality of the video encoding operation. The higher the video quality, the more time the encoding takes. Choose Medium, 1-Pass (fastest) to encode the video as quickly as possible; the resulting clip may be somewhat grainy or blocky. Choose High, 1- Pass to perform a more detailed analysis of the source clip during compression;...
Page 177 Output Tab AU is a sound file format used on a Sun Microsystems or Unix-based machine. File Suffix Enable File Suffix to automatically add the default Windows file type suffix .au to the output file for cross-platform compatibility. You can select and change the suffix if needed. Options Enable the Options checkbox and click Set to open the Sound Settings dialog.
Page 178: Wave
Chapter 8: Encoding With the Floating Point compressors, clicking the Options button opens the Float 64 dialog. Endian order is the byte order used for storage. Choose from: Big Endian — means that the high-order byte of the number is stored in memory at the lowest address, and the low-order byte at the highest address.
Page 179: Wildform Flash Video (Flv, Swf)
Output Tab Wildform Flash Video (FLV, SWF) FLV, or Flash Video, is a binary file format that delivers “bitmapped” video over the Internet to the Macromedia Flash Player. An FLV file is limited to one video and one video stream per file. SWF, or Shockwave Flash, is a binary file format that delivers vector graphics, animations, and other data types, including “bitmapped”...
Page 180 Chapter 8: Encoding Context- sensitive help icon Wildform Flix Exporter Settings window for SWF files For help with any of the settings in this window, click the context-sensitive help icon. Recommended Settings When encoding with the Flix Exporter in Cleaner, the following settings are recommended: Use host framerate —...
Page 181: Dv Stream
Output Tab DV Stream When exporting to the DV Stream format, you have very limited options because the DV format defines image size, frame rate, compression and other parameters. File Suffix Enable File Suffix to automatically add the default .dv Windows file type suffix to the output file for cross-platform compatibility.
Page 182: Quicktime Media Link
Chapter 8: Encoding QuickTime Media Link QuickTime Media Link creates a small XML file that contains the URL of a movie and additional user settings. When the file is opened by a QuickTime player, QuickTime opens the movie specified in the URL field and then plays it using the specified settings. File Suffix Enable File Suffix to automatically add the default .qtl Windows file type suffix to the output file for cross-platform compatibility.
Page 183: Image Sequence
Output Tab Type field — Should be left blank unless you are writing your own XML importer. It enables you to override the XML type. Name and ID fields — Enable you to specify a movie name and movie ID. The movie name is not the filename of the movie.
Page 184: Mpeg-4
Chapter 8: Encoding MPEG-4 MPEG-4 is a global multimedia standard, delivering professional-quality audio and video streams over a wide range of bandwidths, from cell phone to broadband. The MPEG-4 video compression codec is ISMA compliant and can provide an extremely low data rate of 64 kbits/ second.
Page 185 Output Tab For help understanding a setting, click the context-sensitive help icon (the question mark). Context-sensitive help icon Feedback Panel Video tab — Set the options for the video track. If MPEG-4 Basic is selected, the video will make use of the basic settings for MPEG-4 and ensure the widest possible range of playback on MPEG-4 compatible devices.
Page 186: Tracks Tab
Chapter 8: Encoding Tracks Tab The Tracks tab enables you to specify which tracks from the source file will be contained in the output file. You can also remove selected tracks entirely from the movie. When working with QuickTime source movies containing tracks in addition to video and audio, such as sprite or text, this tab is used to specify whether these tracks are included in the final movie or discarded.
Page 187: Other Tracks
Tracks Tab Copy The Copy option enables you to designate tracks that should be copied into the final output movie without processing and encoding. This option is also useful for movies where you need to encode (or re-encode) only one track and simply copy the other into the final file. For example, if you have a movie that already has a finished audio track but still need to encode the video track, you can select Copy for the audio and Process for the video.
Page 188: Encode Tab
Chapter 8: Encoding Encode Tab The Encode tab enables you to specify video or image encoding parameters. Codec The video codec you select determines how the video will be encoded. Choosing the right codec depends heavily on what format and data rate you are producing. Generally, codecs are optimized for Web, CD-ROM, or DVD.
Page 189: Spatial Quality And Temporal Quality Sliders
Encode Tab Spatial Quality and Temporal Quality Sliders Depending on which codec you select, there may be one or two sliders available, which vary in function. For example, if you select the QuickTime Photo-JPEG codec, a Spatial slider appears. If you select the Apple Animation codec, both a Spatial and a Temporal slider will appear. Only sliders appropriate to the selected codec are displayed.
Page 190: Keyframes Or Insert Keyframes
Chapter 8: Encoding Always use a frame rate that is an even divisor of the source frame rate; doing so produces much smoother motion. For example, if you have a 24 fps source file, only use frame rates of 6, 8 and 12 fps.
Page 191 Encode Tab Some codecs let you specify different options for keyframes. The possible keyframe options are: None (Natural Only) — This turns off all keyframes other than the first frame and • naturally occurring keyframes. • Every — The number you enter in the Every field with this option is like a “timer” that counts the number of frames between keyframes.
Page 192: Compare Uncompressed Frames
Chapter 8: Encoding You can manually specify points at which you want a keyframe using the EventStream editor. This is useful if you know a movie is to be accessed at a particular point. For information on setting manual keyframes, see “Keyframe” on page 223. Compare Uncompressed Frames The Compare Uncompressed Frames option determines whether or not the codec looks at the previous compressed or previous uncompressed frame to generate each new delta frame.
Page 193 Encode Tab Media or Connection Speed There are many different vehicles for desktop video delivery. The most common are networks, such as the Web or a company intranet, CD, and DVD. Some rough guidelines for data rates follow. We strongly recommend that you test your movies on the minimum target computer to determine its actual throughput.
Page 194 Chapter 8: Encoding DVDs DVD-ROMs are essentially very big, very fast CD-ROMs. Transfer speeds are in the 1 MByte/sec range for 1x, and DVD-ROMs can hold from between 4.7 to 17 GB (gigabytes) of data. However, the higher-capacity DVD-ROM discs are substantially more expensive to press, so many developers keep their production costs lower by using the lower-capacity discs.
Page 195 Encode Tab Video Length Use this formula to calculate the length of your video in seconds: × × videolength hh 3600 mm 60 where, videolength is the duration of the video in seconds hh, mm, and ss represent the hours, minutes, and seconds of the video length When performing these calculations, do not forget to reserve enough space for the other components of your project.
Page 196 Chapter 8: Encoding Video Data Rate Options Video Data Rate options let you specify how Cleaner constrains the movie to the data rate you choose. The selected architecture and codec determine the options available to control the data rate. Cleaner disables data rate control options that do not work with the selected codec. •...
Page 197: Compression Buffer Window
Encode Tab Data Rate Units Two similar units are used for measuring data rates. Most multimedia developers are familiar with kilobytes per second (KBps or KBytes/sec) whereas many people working with Internet/ network video specify files in kilobits per second (kbps or kbits/sec). A byte is eight times as large as a bit, so it is important to understand in which unit a data rate is being specified.
Page 198: Encoding Speed (Mpeg-1, Mpeg-2 Only)
Chapter 8: Encoding Encoding Speed (MPEG-1, MPEG-2 only) This pop-up controls the trade-off between faster encoding operations and the best video quality. • Standard — With most material, you should get excellent results with this setting. • Slower (higher quality) — Produces the best possible results, but takes longer to encode. •...
Page 199: Chroma Format (Mpeg-2 Only)
Encode Tab Chroma Format (MPEG-2 only) Sets the ratio of the luminance to chrominance (color) in Y’CbCr color space when encoding to MPEG-2. Y stands for luminance, Cb for blue minus luminance, and Cr for red minus luminance. With these three values it is possible to extract the value for the green channel. You can reduce the chroma in the encoding in Y’CbCr color space since the luminance and chrominance channels are separated.
Page 200: Frame Rate Versus Frame Size
Chapter 8: Encoding Frame Rate versus Frame Size A few different factors can limit the frame rate and frame size that you can effectively use on a project. The most common limitation is the image quality. Larger frame sizes and higher frame rates require more data to maintain acceptable image quality.
Page 201: Testing
Frame Rate versus Frame Size When preparing QuickTime files, the Image Size option in the Image tab contains a Display size pop-up menu. This controls the final size of the movie as it appears in the viewer’s browser or QuickTime Player. There are four Display size options: Normal —...
Page 202: Variations For Testing
Chapter 8: Encoding Variations for Testing When testing movies, it is helpful to make several different versions with slightly different parameters, then compare these versions to determine what you like best. The easiest way to do this is to apply the same setting to all of your files and then use the Settings Modifiers feature to make adjustments to the individual files.
Page 203: Making Still Images From Movies
Processing Still Images To pre-process a still image source: Choose a still image setting for the project. Create or modify still image settings in the Settings window by choosing the desired format, such as JPEG, in the Output tab of the Settings window. Use the Image and Adjust tabs to choose the image processing options, such as image size and filters.
Page 204: Making Movies Out Of Still Images
Chapter 8: Encoding Making Movies Out of Still Images You can open a series of images as if it were a single movie. To create a movie from a series of images: Choose Batch > Add Image Sequence. At the prompt, locate a file in the image sequence. Select the file.
Page 205: Audio Tab
Audio Tab Audio Tab The Audio tab enables you to select the audio compression settings for the final movie. The audio codecs and options available will depend on the video codec selected in the Output tab. AVI Audio Codecs Interactive Multimedia Association standard compressor. Good for music and voice playback on low performance target computers.
Page 206: Mpeg-1 And Mpeg-2 Audio Codecs
Chapter 8: Encoding MPEG-1 and MPEG-2 Audio Codecs MPEG Layer 1 The oldest and most widely supported MPEG CD-ROM audio standard. This audio codec is obsolete, and generally inferior to MPEG Layer 2. Available only for MPEG video. MPEG Layer 2 The MPEG audio codec for CD-ROM and DVD audio.
Page 207: Sample Rate
Audio Tab Apple Lossless A lossless codec used for editing or transcoding digital music. ALaw 2:1 A legacy codec used for speech. IMA 4:1 Interactive Multimedia Association standard compressor. Good for playback on low performance target computers. MPEG-4 Audio AAC — A high-quality general-purpose wideband audio encoding that compresses more efficiently than older formats.
Page 208: Depth
Chapter 8: Encoding Depth Enable to set the depth, or sample size for the encoded audio track. Sample size determines the accuracy of each sound sample of the audio track. Greater depth equals better quality at the expense of larger file size. Channels Enable to set the channels the encoded audio contains.
Page 209: Dynamic Range
Audio Tab Dynamic Range Enable to modify the apparent volume of the audio, by defining the range between the loudest and quietest sound in the audio. Limit to 90% is often good for web audio. Choose Hotter to increase the apparent loudness of the audio. Choose Narrow Range to increase quiet sections and limit loud sections.
Page 210: Begin/End Tab
Chapter 8: Encoding Begin/End Tab The Begin/End tab lets you set the start and stop positions for both video and audio. Video/Audio Fades Enable Video Fades to fade the video in or out to a solid colour. You can choose the colour and duration for the fade.
Page 211: End Frame Url Link
Metadata Tab End Frame URL Link This QuickTime feature enables you to define a URL that directs viewers to a Web page when they click the last frame of a QuickTime movie. To use this feature, check the End Frame URL Link option and type in the complete path to the desired URL.
Page 212 Chapter 8: Encoding Depending on the output format you choose, you may have access to all, some, or none of the metadata categories available. QuickTime supports more metadata options than Real 10 and Windows Media. MPEG does not support metadata. Cleaner enables you to input metadata for these categories: Title •...
Page 213: Summary Tab
Summary Tab Summary Tab The Summary tab shows a text summary of all the setting parameters for the current setting. Click the text of any panel to jump directly to the tab that controls the summarized settings. Preview Windows Being able to easily preview work is important. There are two primary times when you need to see what is going on: While creating and adjusting settings and during the actual encoding.
Page 214 Chapter 8: Encoding To access the Dynamic Preview window: Choose Windows > Dynamic Preview or press The Dynamic Preview window appears. This floating window is always the topmost element, even when the Settings dialog is open. The image displayed in the Dynamic Preview is the current frame shown in the Project window.
Page 215 Preview Windows Display Options On both the A and B sides are two sets of options. These options control how the image is processed prior to displaying in the Dynamic Preview window. Process — controls whether the image displayed on a given side has the pre-processing specified in the setting applied to it.
Page 216 Chapter 8: Encoding With streaming codecs, especially Sorenson Video, Dynamic Preview usually displays Note: lower-quality results than the actual encoding because it does not take advantage of temporal encoding. However, this technique does display any color shifts accurately. Using the proper filters and adjustments can vastly improve the final image quality of the project.
Page 217: The Output Window
Preview Windows The Output Window Watching progress during Encoding enables you to see how long processing will take and verify that no errors occur. You can monitor the encoding process by watching the Output window. The progress bars show overall progress and progress of the current operation. Three tabbed panels display: Status —...
Page 218 Chapter 8: Encoding There are a series of progress bars under the movie in the Output window to show the status of processing. Depending on whether or not you are using variable bitrate encoding, flattening or other options, the Output window normally displays one to three progress bars (certain complex operations may show more).
Page 219 Preview Windows The Before/After slider appears underneath the movie in the Output window and displays the final image quality. The image on the left side of the slider is the pre-processed original source with filters and image adjustments applied to it. The image on the right of the slider is the actual encoded final movie.
Page 220 Chapter 8: Encoding...
Page 221: Eventstream
EventStream Traditionally, streaming media was created by simply repurposing media designed for broadcast television or radio. EventStream authoring changes that by enabling you to create interactive streaming media that goes beyond traditional video. All of the streaming formats (QuickTime, Real 10, Windows Media) offer some level of interactivity.
Page 222: Eventstream Authoring
Chapter 9: EventStream EventStream Authoring Some video editing applications enable you to add EventStreams while editing your video and audio, then intelligently import the EventStream information along with the video for encoding within Cleaner. With editing tools that do not author EventStreams, you can use Cleaner to add EventStreams after you finish creating your project.
Page 223: Adding Markers In Real Time
EventStream Authoring (Optional) Add a descriptive label to the event in the Label field. Labels are visible only in the EventStream Editor and offer an easy way to identify each event. They do not appear in the final encoded file. All events are created at the time currently displayed in the Project window, but you can edit the time.
Page 224: Saving
Chapter 9: EventStream All of the events you assign appear in the EventStream Editor. Click an event to adjust the times and assign actual events and actions. Saving The events defined in the EventStream Editor are automatically saved when you close the EventStream Editor window.
Page 225: Supported Events
Supported Events Supported Events You can add two types of events to your project, play-back events and processing events. This section describes these event types and supported commands. Playback Events Playback events provide interactivity. Users viewing the final encoded file can view closed captions, skip chapters, and use hotspots to control the movie.
Page 226 Chapter 9: EventStream Enter the chapter name in the Text field. The current time of the movie appears in the Start field. Use this time or type a different one in the Start field. Or, step through the movie to find a different frame and choose In Point, Out Point, or Current Time from the Start pop-up menu.
Page 227 Supported Events Go to Time Make your movie jump to another time (QuickTime) in the same movie by assigning a time with the Go to Time event. Use Go to Time with multiple hotspots in a movie that pauses on a frame to give viewers options on what to view next.
Page 228 Chapter 9: EventStream For QuickTime files, you can use standard target attributes in the Target field to specify where the content appears in the Web page when the Open URL event occurs. Using the Target pulldown menu, you can produce four standard target values: New Window —...
Page 229 Supported Events Replace Movie In all formats, you can replace the movie currently playing with another movie using the Replace Movie event. For example, if you have a long movie file that is broken into smaller segments, use Replace Movie at the end of each segment to load the next segment of the movie in the same window.
Page 230 Chapter 9: EventStream To create a Hotspot event: Select an existing marker or click Add to create as many markers as needed. This enables you to add multiple hotspots to a specific time. Choose Hotspot from the Events menu. Use the Duration menu to select when the hotspot event ends. This can be either To Out Point or To Current Time.
Page 231: Processing Events
Supported Events Processing Events Processing events enable you to specify certain settings without using the Settings dialog. These events do not directly affect how the user views the final encoded file but help streamline the production process. QuickTime Real 10 Windows Media ✔...
Page 232 Chapter 9: EventStream Web Poster You can select any frame from a QuickTime movie to be a Web poster. A Web Poster is a still image on a Web page that is replaced by the full-length movie when the viewer clicks it. For example, if you have a 5-MB movie to embed on your Web page, you could use a Web poster as a placeholder for the whole movie.
Page 233: Publishing
Publishing Real-Time-streaming files require a streaming server. When streaming files are processed, Cleaner embeds the player mount point either directly into the master movie file (QuickTime) or in a metafile, such as a RAM, WVX, or WAX file. When a viewer downloads your Web page, these files direct the embedded player to the appropriate streaming server.
Page 234: Setting Streaming Server Paths
Chapter 10: Publishing Setting Streaming Server Paths The first time you process a streaming file, you are prompted for the address of the streaming server if you have not already specified the information in the Preferences dialog. The addresses you supply in the Preferences dialog apply to all the streaming files you create, unless you override them in the Settings window.
Page 235: Realserver Preferences
Setting Streaming Server Paths To override default preference settings: In the Output tab, click the check box to activate the Set Server Path option. The streaming server address you supplied in the Preferences dialog appears in the dialog. To use a different path than the one displayed, click the Override Prefs option check box and type a new server address in the field.
Page 236: Windows Media Server Preferences
Chapter 10: Publishing Windows Media Server Preferences Windows Media files must be uploaded to a Windows Media Server. You can override the Preferences dialog and customize the streaming server path for the Windows Media Server in the Settings window. The path you enter in the Streaming Server Paths field is used in the metafile, which for Windows Media is called a WVX file for video and a WAX file for audio.
Page 237: Streampublisher
StreamPublisher StreamPublisher The StreamPublisher enables you to automatically upload your files to a streaming server after they have been encoded. You do not have to manually upload the files with an FTP application after the encoding is completed. This is a time saver, especially if you are encoding a large batch of files.
Page 238 Chapter 10: Publishing If you choose an existing destination, click OK to return to the Batch window. If you add a new FTP server destination, you are prompted to enter the server information, including the log-in information and the upload path. This is the upload address for the server, not the player mount point.
Page 239: Workflow
Workflow When you are dealing with large numbers of files, streamlining your workflow to save time becomes important. cleaner offers several options to help you encode streaming media as easily and as quickly as possible. Watch folders enable drag and drop processing. You can set up folders that cleaner “watches”. When you drop media into a watch folder, it is immediately processed using the setting assigned to the folder.
Page 240: Preproduction
Chapter 11: Workflow Preproduction Preproduction is a critical step in preparing content. Knowing what delivery platform will be used will set guidelines for creating the content. Knowing the basic design of the associated Web page will determine what kind of information must be gathered and what metadata and interactivity options can be included.
Page 241 Watch Folders Click Start. The Watch folder is now active. Media dropped to the folder will be processed with the setting assigned to the project. Drag and drop media to the Watch Quicktime folder on the desktop. Processing begins. While processing, the media is moved to the “In use by *Computer Owner’s Computer*”...
Page 242: Context Menus
Chapter 11: Workflow Context Menus Control-clicking (or right-clicking with a three button mouse) while the cursor is over a window brings up a context menu that gives you access to certain functions. The Project window context menu enables you to modify In/Out points and display sizes, or go directly to a time or frame number in the file.
Page 243: Turning Off Video Display
Helpers Turning Off Video Display It takes time to redraw the final image in the Output window. You can slightly increase the processing speed by turning off the display of the movie in the Output window. Click the disclosure triangle next to the movie file name above the video. This closes the video window so that the image is no longer displayed.
Page 244: Opening Source Movies With Helpers
Chapter 11: Workflow Opening Source Movies with Helpers Opening the source file is helpful for making changes to the original source file prior to encoding. For example, you can make simple edits using QuickTime Player. To open the original source file from the Batch window: Select the project in the Batch window.
Page 245: Preferences
Preferences Preferences The Preferences dialog enables you modify several Cleaner-specific options to help streamline your workflow or help encode files faster. Interface Data Rate Units You can choose in which units you want the data rates to be displayed — Bytes per second (Bytes/sec) or bits per second (bits/sec).
Page 246: Processing
Chapter 11: Workflow Chime on Completion & Error By default, Cleaner chimes when it is done processing movies and beeps three short times upon errors. These sounds give you audible feedback on the batch processing, but can get annoying if you are working with single movies or using headphones. Disable these sounds by unchecking the Chime on Completion &...
Page 247: Qt Alternates
Preferences Progressive — choose to make progressive scan source the default. Auto Detect — choose to automatically detect whether the source is progressive or interlaced. Works with most common source material, but exceptions exist. These are default settings. The controls in the Project window will override these defaults Note: on a per project basis.
Page 248 Chapter 11: Workflow...
Page 249: Troubleshooting
Troubleshooting Common Problems and Solutions Hardware Codecs Make sure that you do not have multiple movies open at one time. Certain hardware • codecs may use the capture card to display video. If more than one movie is open at a time, the card must support all movies simultaneously and could possibly crash.
Page 250: Older Computers
Chapter 12: Troubleshooting Older Computers Most new codecs and architectures do not support computers prior to Power Macintosh and Pentium computers. Usually, movies do not play at all on unsupported computers, but sometimes they are displayed with very strange or erratic results. Progressive-streaming Movies If progressive-streaming movies are not showing up properly in your page even though you included the embed tags in the new HTML and uploaded the HTML and movies to the server:...
Page 251: Servers
Common Problems and Solutions Servers • A common cause for movies not playing properly when they are on the server is problems with their names. For best results, use only numbers and letters, no spaces, followed by the appropriate suffix (the suffix should be in lowercase). Make sure that the suffix matches the file type of the movie.
Page 252: Technical Support
Your local authorized reseller is an excellent source for support and information about Autodesk Media and Entertainment products, as well as training and assistance on related hardware and software. To locate a reseller near you, please visit the reseller look-up on our web site at www.autodesk.com/reseller...
Page 253 Technical Support Online Support on the World-wide Web Our web site provides access to a wide range of product www.autodesk.com/cleaner-support information and support resources world-wide: • Searchable Knowledge Base • Frequently Asked Questions • Technical bulletins • Downloadable files • Recommended system configurations and tested hardware Information and assistance are also available on our peer-to peer online Discussion Forums.
Page 254 Chapter 12: Troubleshooting...
Page 255: Glossary
Glossary Glossary 2.21:1 Aspect Ratio — see Cinemascope. 3:2 Pulldown — a conversion of film frame rate material (24 fps) to NTSC video (29.97 fps), that results in the addition of approximately 6 frames per second. Pulldown frames are created by blending frames from the original source in a specific pattern and are very undesirable in compressed movies.
Page 256 Absolute Path — directions to a given folder, page, graphic, etc. as expressed in complete coordinates. For example, is an absolute http://www.autodesk.com/media/Presentation.mov path. Absolute paths are used to reference items that are on different servers from the page referring to them, such as movies located on a streaming server.
Page 257 Adaptive Deinterlace — de-interlacing option that analyzes the video and selectively de- interlaces only the parts of the image that are moving while leaving static portions unaltered. Adaptive Noise Reduction Filter — an “Intelligent” noise filtering system that analyzes each pixel and reduces the fine detail and noise of an image.
Page 258 Glossary Aspect ratio — width-to-height ratio of an image. See 4:3 aspect ratio, 16:9 aspect ratio and Cinemascope for common examples of aspect ratios. ASX — Windows Media metafile that is placed on the HTTP server and gives Windows Media Player the location of the Windows Media file on the Windows Media Server.
Page 259 Binhex — Mac OS encoding scheme that converts normal computer files into ASCII (text) characters for transmission over the Internet. Binhexed files normally end with .hqx and must be returned to their binary format prior to use. Web video files should never be binhexed. Bit (Binary Digit) —...
Page 260 Glossary Chapter — EventStream event that enables you to add chapters to your QuickTime file for easier navigability through the movie. See Chapter List. Chapter List — QuickTime enables viewers to click a pop-up to jump to selected points in the movie.
Page 261 Color Space — mathematical model that describes colors. Common models include RGB, CMYK, HSV and Y’CbCr. Color Subsampling — method of reducing the size of an image by storing color data with lower resolution than luminance data. Typically used in video with the Y’CbCr color space. Common subsampling options include 4:2:2, 4:1:1, and YUV9.
Page 262 Glossary Data Rate Spikes — short sections of a movie that have significantly higher data rates than the rest of the movie. If not properly managed, spikes may cause dropped frames or other problems. Decode — in multimedia, refers to decompressing an encoded file so that it may be displayed. Codecs do this decoding while the video/audio is played.
Page 263 DVD-Video — The usual name for the DVD format designed for full-length movies. Uses the MPEG-2 file and compression standard. Audio quality on DVD is comparable to that of audio compact discs. DVD-ROM — A version of the DVD disc format for computers that is replacing CD-ROMs. Similar to a fast, large (4.7–17 Gigabytes) CD-ROM, DVD-ROM can hold any type of computer data, and does not require MPEG.
Page 264 Glossary Fallback — alternate movie, image or text message displayed to viewers who don’t have QuickTime 4 or later installed. Fast Start — progressive-streaming feature of QuickTime that enables movies to be viewed in your browser before the whole movie has been fully downloaded. Field —...
Page 265 Frame Rate — number of frames per second of a movie. FTP (File Transfer Protocol) — common Internet protocol used for transferring files between computers. Gamma — curve that describes how the middle tones of images appear. Often confused with brightness/contrast, gamma is a non-linear function.
Page 266 Glossary HSV (Hue Saturation Value) — color space that defines colors in terms of their hue (the color of an object, such as green), saturation (how much grey is in the color), and value (the lightness or darkness of the color). Variations on this color space include HSB (Hue Saturation Brightness) and HSL (Hue Saturation Lightness).
Page 267 Intelecine — An inverse telecine process that removes the 3:2 pulldown frames added to movies when 24 fps film source is converted to 29.97 fps video. Intelligent Streaming — Windows Media scalability feature that enables a movie to be encoded with multiple data rates in a single file and delivered to viewers over the Internet at an appropriate data rate based on their connection speed.
Page 268 Glossary IP (Internet Protocol) — commonly used protocol for transferring data over the Internet. Most networks combine IP with a higher-level protocol called Transport Control Protocol (TCP). Streaming servers use either Microsoft Media Server (MMS), Real-Time Protocol (RTP) or Real- Time Streaming Protocol (RTSP).
Page 269 KiloByte (KB) — unit of measure for computer data. This unit is frequently used to designate file sizes. A KiloByte (with a capital “K” and “B”) is 1024 Bytes. KBytes/sec is short for KiloBytes per second, a unit of data rate measurement frequently used in multimedia. Kinoma —...
Page 270 Glossary Lossy — compression in which information is lost. Saving a file repeatedly with lossy compression will additionally degrade the image quality. This degradation is known as “generation loss.” For example, Cinepak is a lossy codec. Luminance — brightness component of an image. Mac OS —...
Page 271 MIME (Multipurpose Internet Mail Extensions) — specification originally used for non-ASCII email messages so that they can be sent over the Internet. Web browsers also support various MIME types that enable the browsers and the installed plug-ins to handle non-HTML files, such as movies and audio.
Page 272 Glossary MPEG-4 — QuickTime 6 provides a new video codec for MPEG-4 video compression. It can provide an extremely low data rate of 64 kbits/second. Interoperability is the primary goal of the new codec. Multicast — transmitting the same media stream simultaneously to many recipients. Multicast delivery is similar to traditional television broadcast, in the sense that a stream is made available at a given time, and viewers may watch the part of that stream that is currently playing.
Page 273 On-Demand — video that is not broadcast live as it is filmed, but is compressed and made available on a server for people to watch when they wish. A television broadcast is Live; renting a video and watching it at home is On-Demand. Open URL —...
Page 274 Glossary PICT — still image file format developed by Apple Computer. PICT files can contain both vector images and bitmap images, as well as text, and an alpha channel. PICT is a ubiquitous image format on Mac OS and can be read and displayed by QuickTime. Pixel —...
Page 275 Pulldown — introducing a pulldown is the process that compensates for the differences in frame rates between film and video by creating new frames. For 24-fps film to be converted to 29.97-fps NTSC video, a 3:2 pulldown is used, which creates approximately six extra frames per second.
Page 276 Glossary Real-Time Streaming — technologies that match the bandwidth of the media signal to the viewer’s connection so the media is always seen in realtime. The word realtime is added to differentiate this type of streaming from Progressive Streaming (HTTP Streaming). Specialized media servers and streaming protocols, such as RTSP, are required to enable realtime streaming.
Page 277 RTP (Real-Time Protocol) — transport protocol used to deliver live media to one or more viewers simultaneously. RTP is the transfer protocol for RTSP streaming. RTSP (Real-Time Streaming Protocol) — standard now commonly used to transmit realtime- streaming media to one or more viewers simultaneously. RTSP handles the communication between the player and server and uses RTP as its transport protocol to deliver the actual data.
Page 278 Glossary Settings Modifiers — feature accessible through the Project window that enables you to modify the base setting of a single file in a batch without affecting the settings of other files that are using the same base setting. Sharpen — edge-sharpening filter that mostly affects edges and is less detrimental to encoding than a conventional sharpening filter.
Page 279 Streaming — network delivery of media. May refer to technologies that match the bandwidth of the media signal to the viewer’s connection, so that the media is always seen in realtime (Real-Time Streaming). Also refers to media that can be viewed over a network prior to being fully downloaded (HTTP Streaming or Progressive Streaming).
Page 280 Glossary Telecine — film-to-video conversion system that introduces the 3:2 pulldown necessary to compensate for the differences in frame rates between film and video. The 3:2 pulldown is undesirable in compressed movies and should be removed with the Intelecine feature. Temporal Compression —...
Page 281 UDP (User Datagram Protocol) — data transmission standard used by realtime transfer protocol for broadcasting data over IP networks. UDP is designed for realtime broadcast, and thus lacks many of the error correction features of TCP, because there isn’t time to resend lost data. This means that UDP may lose data in transmission if there are problems with the network.
Page 282 Glossary Volume — within the context of this manual: Hard disk drive, floppy diskette, CD-ROM or other storage device or storage media. Level (amplitude) of an audio track. WAN (Wide Area Network) — network connecting a large area, usually more than one building. WAV —...
Page 283 Windows Media Video — Windows Media Technologies’ latest video codec. Windows Media Technologies — Microsoft’s streaming media architecture. World Wide Web — hyperlinked, graphical application of the Internet. WVX — Windows Media metafile that is placed on an HTTP server and gives Windows Media the location of the Windows Media Video file on the Windows Media Server.
Page 284 Glossary...
Page 285: Index
index Index Numerics Aspect Ratio 34, 40 correction 34 2-pass VBR 188 preventing distortion 41 3G 154 Audio 50 Hz 82 Audio-only movies 107 60 Hz 82, 83 capture settings 11 CD-ROM 107 connecting MPG and WAV files 21 A/B Options Dynamic Range 80 correcting for codec 207 formats supported 87...
Page 286 Index Video for Windows 89 Flash 93 MP3 95 MPEG 98 QuickTime 106 Basic data rate 188 Real 10 133 Batch files 20 Windows Media 136, 137 Batch Log 30 Color Batch Processing Bit Depth 180 Assigning Settings 23 Depth 252 Custom Destinations 26 Gamut 257 Default Destination 26...
Page 287 Codec 180 Narrow Range 80 Disc Space 186 Factors that Limit 184 high 45, 131 Edge blanking 10, 255 keyframes 223 Edge-sharpening 68, 270 low 130 Embed tag 124, 145, 242 minimum target CPU 187 Embedding Alternates 121 MP3 96 Encode tab 180 MPEG 98 Encoding,monitoring 209...
Page 288 Index Film frame rate 247 Gamma 71, 257 movies shot on 10, 64 Gamma, using alternates 121 Filters Go to Frame 43 Adaptive Noise Reduction 68 Go to Time 43 Black Restore 73 Greenscreen 14 Blur 67 Group alternates 112, 115 Dynamic Range 80 High Pass 79, 200 Low Pass 78, 200...
Page 289 In/Out Points 42, 43 Minimum target machine 129, 184, 185, Intelecine 65, 66, 259 Intelligent Streaming 6, 136, 259 M-JPEG 106 Interactive streaming media 213 Modifiers tab 37 Interlace 10, 64, 65, 67, 91, 238, 239, 249, Movie Controller 33 254, 259 Movie headers 105 Inverse 65, 259...
Page 290 Index Output tab 142 QDesign 198 Output window 209 QT FX 131 Quality Balance slider 241 QuickTime 102 Alternates and Streaming 109 PAL 34 Alternates from Encoded Movies 116 PAL frame rate 64 Alternates from Multiple Sources 115 PAL MPEG 99 Alternates of One Source 112 Pause 19 Auto-Play in QuickTime Player 127...
Page 291 Quality 111 Creating a New Setting 54 Readme File 117 Modifying Settings 54 Real-time streaming alternates 118 Organizing Settings 49 Server Path 111 Protecting Settings 59 Still Images as Fallbacks 122 Settings Modifiers 56 Text as a Fallback 123 Sharing Settings 58 web posters 128 Tabs 53 QuickTime 4 105...
Page 292 Index Audio 76, 197 Setting 188 Begin/End 85, 202 Video Fades 85 Encode 180 Video for Windows 89 EventStream 38 Video formats supported 87 Image 62 Video iPod 98 Metadata 203 Volume 78 Modifiers 37 Output 142 Settings 37 Watermark 70 Source File 34 WAV 87, 95 Summary 205...

Autodesk 64006-051108-9001 - Discreet Cleaner - Mac User Manual

1 Introduction

2 Capture

3 Batches

4 Projects

5 Settings

6 Pre-Processing

7 Formats

8 Encoding

9 Eventstream

10 Publishing

11 Workflow

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