Changes between Version 3 and Version 4 of Encode/VFX


Ignore:
Timestamp:
Nov 6, 2012, 7:34:33 AM (7 years ago)
Author:
jakubk
Comment:

--

Legend:

Unmodified
Added
Removed
Modified
  • Encode/VFX

    v3 v4  
    3030}}}
    3131
    32 This tells ffmpeg to take input stream #0 and input stream #1 and map both of them into output stream #0. Once a movie like this is opened in Quicktime, it will show as having 2 video tracks. It is then entirely up to the player that is used for playback to determine how to display this movie in 3D. RV for instance does it by default - all that needs to be done is to turn on stereo mode, but other players may require more tweaking. The metadata tag is potentially optional, I have not tested what happens if it is omitted
     32This tells ffmpeg to take input stream #0 and input stream #1 and map both of them into output stream #0. It is possible which eye gets assigned to which track by changing the order of the -map arguments. Once a movie like this is opened in Quicktime, it will show as having 2 video tracks. It is then entirely up to the player that is used for playback to determine how to display this movie in 3D. RV for instance does it by default - all that needs to be done is to turn on stereo mode, but other players may require more tweaking. The metadata tag is potentially optional, I have not tested what happens if it is omitted.
    3333
    3434=== Prores
     
    4545}}}
    4646
    47 The options used here are standard and are explained in other documents, but let's elaborate a little bit more on the qscale paramater. This parameter determines the quality of the resulting prores movie - both the resulting size and bitrate. 0 means best and it goes up to 32 which is worst. From empirical testing we've found that a qscale of 9 - 13 gives a good result without exploding the space needed too much. 11 would be a good bet, 9 if a slightly better quality is required. When space is not a problem, go with qscale 5 or less, but approaching zero the resulting clip will be extremely large and the bitrate will be so high that it will stop being playable on normal equipment.
     47The options used here are standard and are explained in other documents, but let's elaborate a little bit more on the qscale paramater. This parameter determines the quality of the resulting prores movie - both the resulting size and bitrate. 0 means best and it goes up to 32 which is worst. From empirical testing we've found that a qscale of 9 - 13 gives a good result without exploding the space needed too much. 11 would be a good bet, 9 if a slightly better quality is required. When space is not a problem, go with qscale 5 or less, but approaching zero the resulting clip will be extremely large and the bitrate will be so high that it will stop being playable on normal equipment. The "vendor" argument when set to "ap10" tricks quicktime and Final Cut Pro into thinking that the movie was generated on using a quicktime prores encoder.
    4848
     49An example for generating a 3D (Stereo) 2K movie is:
     50{{{
    4951# 2k stereo @ 48 fps (422)
     52ffmpeg -y -probesize 5000000 -f image2 -r 48 -force_fps -i ${DPX_HERO} -probesize 5000000 -f image2 -r 48 -force_fps -i ${DPX_2ND} -c:v prores_kostya -profile:v 3 -qscale:v ${QSCALE} -vendor ap10 -pix_fmt yuv422p10le -s 2048x1152 -r 48 -map 0:0 -map 1:0 -metadata stereo_mode=left_right output.mov
     53}}}
    5054
    51 ffmpeg -y -probesize ${PROBESIZE} -f image2 -r 48 -force_fps -i ${DPX_HERO} -probesize ${PROBESIZE} -f image2 -r 48 -force_fps -i ${DPX_2ND} -c:v prores_kostya -profile:v 3 -qscale:v ${QSCALE} -vendor ap10 -pix_fmt yuv422p10le -s 2048x1152 -r 48 -map 0:0 -map 1:0 -metadata stereo_mode=left_right output.mov
    52 }}}
     55=== Photo JPEG
     56Photo JPEG is a reliable codec that produces movie clips readable on any architecture. There may be problems with playback in high (2K and over) resolutions and there are obviously file space considerations with this codec. Using lossless JPEG does not create very well compressed movies.