Input/Output
- 7-26-2009
- Categorized in: Choosing an encoder, Encoder reviews
Input/output format compatibility is a strength for
both product versions. For example, though you can’t output all of
these formats with the standard version, you can input GXF, MXF
(including XDCam HD and MPEG-4 Proxy), AVID DNxHD, Blackmagic 8- and
10-bit, and many others, including all relevant SD formats. The only
notable exception is AVCHD, which neither version can import.
On the output side, format support is equally vast, including all of the most relevant streaming formats—such as H.264, Windows Media, VP6 (S and E), and presets for relevant devices such as the iPod and iTunes—and most relevant broadcast formats, though you’ll need the pro version to output many of these formats. For more details, check out the Format Support document at www. telestream.net/episode-engine/literature.htm.
Speaking of presets, I’ve got a lot of minor issues with Episode’s settings in general. The language is overly complex and obscure to most users, and many settings are flat-out suboptimal. For example, most templates add letterboxes to convert SD source material to 4:3 output, which is seldom the desired technique, and key frame settings always opt for key frames at scene changes only, whereas most producers use periodic key frames and key frames at scene changes (Figure 2).
Figure 2. Templates can be set up in Episode, which uses somewhat obscure controls.
These flaws are much more serious in the Episode desktop product because the typical user may not be (and shouldn’t have to be) a compression expert and should be able to trust the company to choose the most usable settings. In the context of a product such as Episode Engine, which an experienced compressionist will set up and most users will interface with via watch folders, the problems aren’t nearly as significant.The other noteworthy usability issue is the bifurcation of server-related controls between the administrative application and the controls in the preference panel. Maybe it’s a Mac/Windows thing, but if you have an admin program, why not put all relevant controls there, such as the number of simultaneous jobs per encoder node, rather than in the preferences control?
On the output side, format support is equally vast, including all of the most relevant streaming formats—such as H.264, Windows Media, VP6 (S and E), and presets for relevant devices such as the iPod and iTunes—and most relevant broadcast formats, though you’ll need the pro version to output many of these formats. For more details, check out the Format Support document at www. telestream.net/episode-engine/literature.htm.
Speaking of presets, I’ve got a lot of minor issues with Episode’s settings in general. The language is overly complex and obscure to most users, and many settings are flat-out suboptimal. For example, most templates add letterboxes to convert SD source material to 4:3 output, which is seldom the desired technique, and key frame settings always opt for key frames at scene changes only, whereas most producers use periodic key frames and key frames at scene changes (Figure 2).
Figure 2. Templates can be set up in Episode, which uses somewhat obscure controls.
These flaws are much more serious in the Episode desktop product because the typical user may not be (and shouldn’t have to be) a compression expert and should be able to trust the company to choose the most usable settings. In the context of a product such as Episode Engine, which an experienced compressionist will set up and most users will interface with via watch folders, the problems aren’t nearly as significant.The other noteworthy usability issue is the bifurcation of server-related controls between the administrative application and the controls in the preference panel. Maybe it’s a Mac/Windows thing, but if you have an admin program, why not put all relevant controls there, such as the number of simultaneous jobs per encoder node, rather than in the preferences control?
