Streaming production


Manual vs Automatic Camera Operation

Whenever I shoot a live performance, I have an internal debate about which functions to perform manually and which to let the camera perform. Obviously, the panning and zooming is my job; the question is whether I also take on focus and/or exposure. I shot my fifth Nutcracker season just before Christmas, which adds up to about 20 shows total, and I actually reached some clarity on this debate.

Click over to the main article to read on.

SLC Completes Successful Year of Streaming Consulting

US Government Contracts and Streaming Media Conferences Dominate the Lineup During 2010, the Streaming Learning Center produced ten separate training experiences in the US and abroad, showcasing the organization's ability to produce custom trai...

Interview on WebM and HTML5 at StreamingMedia West

ScribeMedia.org produced a number of video interviews at StreamingMedia West, including an interview with StreamingLearning Center's founding visionary, Jan Ozer (sorry, couldn't resist, writing in the third party is so freeing). As the title suggests, host Peter Cervieri and I discuss WebM, HTML5 and several other issues. Click over to the main article to see the video.

Don't Preview Encoded files in QuickTime Pro on Windows

I recently was producing some files for a client in Sorenson Squeeze, and saw some funky differences in exposure and contrast when previewing my work in QuickTime Player and other players. Click over to the main article to see a video that details what I saw.

Removing Echo from Audio with Adobe Audition

So, there I was, shooting a video for a Peer Review for StreamingMedia.com. If you're not familiar with these videos, it's where I critique videos presented by different web sites. While I simply don't have the production facilities to match the quality of some of the sites that I comment on, I do try to maximize the quality of my audio and video.

I was trying out a new microphone with the video segment, saw that levels were good, but didn't otherway pay attention to the quality. Then I got to editing the video (after putting away the lights, and storing all the audio gear, of course) and noticed a pretty severe echo in the audio. To learn how I fixed the problem, click over to the main article.

 

Fear and Loathing at StreamingMedia West

Here at StreamingMedia West in Los Angeles this year (November, 2010) - same crowd, different location. I taught one seminar on H.264 Production for Streaming and Progressive Download, you can download the PDF here. You can find a few items of intere...

Encoding H.264 Video for Streaming and Progressive Download - Presentation

Here's the description of the presentation that I just gave at StreamingMedia West. You can download the PDF below. Enjoy!

This seminar focuses on producing H.264 video  for streaming or progressive download. It starts with a deep look at key H.264 encoding parameters like B-frames, profiles, and levels and how to customize encoding parameters for distributing via QuickTime and Flash. After detailing how to operate the H.264-related encoding  parameters in tools from Adobe, Apple, Microsoft, Sorenson, and  Telestream, it then provides a brief overview of the respective quality output of these tools. Learn how your encoding tool compares in terms of quality and configurability, as well as how to configure  your encoding tool for maximum H.264 quality.

H.264 Presentations from Streaming Media Europe

I gave two presentations at Streaming Media Europe last week, one a three hour presentation on producing H.264 for Flash, Silverlight, QuickTime and HTML5, the other a 30 minute short course on producing H.264. Both presentations are attached hereto. Click over to the main article to download them.

The Moving Picture: Encoding Tips for 24p Footage

If you’re shooting in 24p, you should deliver your projects in 24p. This sounds obvious and simple, but it can get surprisingly complex depending upon your choice of encoding and authoring tool. I just spent 2 weeks comparing MPEG-2 encoders, and I saw a surprising difference in quality and ability to deliver 24p footage that Apple’s DVD Studio Pro could import and the quality Adobe Encore was able to achieve without re-encoding. In this column, I’ll discuss those findings and detail the best workflows for producing 24p DVDs.

Click to the main article to read the rest of the story. 

Adobe Ships FMS 4 (HTML5 Falls Even Further Behind)

Today, Adobe announced the immediate availability of Flash Media Server 4. My buddy Tim Siglin did a wonderful job reviewing the new features in this article at StreamingMedia.com, or you can read the press release here.  Here's a partial list of ne...