Responsive resolution test embed

<script type="text/javascript" src="http://vid.ly/8f0w1x/embed"></script>

HTTPS embed test for Dougal

>

<iframe frameborder="0" allowfullscreen webkitallowfullscreen mozallowfullscreen msallowfullscreen width="640" height="360"name="vidly-frame" src="https://d132d9vcg4o0oh.cloudfront.net/embeded.html?link=6i9a5p&new=1&autoplay=false"><a target="_blank" href="https://vid.ly/6i9a5p"><img src="https://vid.ly/6i9a5p/poster" /></a></iframe>

Example UI screenshot:

 


<script type="text/javascript" src="https://vid.ly/e6r3m1/embed"></script>

Edge Picture embed test

<iframe frameborder="0" allowfullscreen webkitallowfullscreen mozallowfullscreen msallowfullscreen width="640" height="360" name="vidly-frame" src="http://s.vid.ly/embeded.html?link=5u8t6c&new=1&autoplay=false"><a target="_blank" href="http://vid.ly/5u8t6c"><img src="http://vid.ly/5u8t6c/poster" /></a></iframe>

Embed test for Aaron

HTML code:

<iframe frameborder="0" allowfullscreen webkitallowfullscreen mozallowfullscreen msallowfullscreen width="640" height="360" name="vidly-frame" src="http://s.vid.ly/embeded.html?link=9f1t9w&hd=yes&new=1&autoplay=false"><a target="_blank" href="http://vid.ly/9f1t9w"><img src="http://vid.ly/9f1t9w/poster" /></a></iframe>

Vid.ly Demo

Direct link at http://vid.ly/4l7e1l

Embed code sample:

<iframe frameborder="0" allowfullscreen webkitallowfullscreen mozallowfullscreen msallowfullscreen width="640" height="360" name="vidly-frame" src="http://s.vid.ly/embeded.html?link=4l7e1l&hd=yes&new=1&autoplay=false"><a target="_blank" href="http://vid.ly/4l7e1l"><img src="http://vid.ly/4l7e1l/poster" /></a></iframe>

Token Test

10 minute token


2 day token

Video Bitrate Calculator

Format	AJA KONA 10-bit Log RGB 720 AJA KONA 10-bit Log RGB 1080 AJA KONA 10-bit RGB 720 AJA KONA 10-bit RGB 1080 AJA KONA 2Vuy 720 AJA KONA 2Vuy 1080 Apple Animation NTSC Apple Animation PAL Apple Animation 720p Apple Animation 1080p Apple Intermediate 720p Apple Intermediate 1080i AVID 1:1 NTSC Best AVID 1:1 PAL Best AVID 1:1 720p Best AVID 1:1 1080p Best AVID 2:1 NTSC Best AVID 2:1 PAL Best AVID 3:1 NTSC Best AVID 3:1 PAL Best AVID 4:1 NTSC Best AVID 4:1 PAL Best AVID 10:1 NTSC Best AVID 10:1 PAL Best AVID 14:1 NTSC Best AVID 14:1 PAL Best AVID 15:1 NTSC Best AVID 15:1 PAL Best AVID 20:1 NTSC Best AVID 20:1 PAL Best AVID 28:1 NTSC Best AVID 28:1 PAL Best AVID 35:1 NTSC Best AVID 35:1 PAL Best AVID DV25 411 NTSC AVID DV25 411 PAL AVID DV50 NTSC AVID DV50 PAL Cineform 10-bit Low 1080p Cineform 10-bit Medium 1080p Cineform 10-bit High 1080p Cineform 10-bit Film Scan 1080p Cineform 10-bit Film Scan 2 1080p Cineon 720 RGB Cineon 720 RGBA Cineon 1080 RGB Cineon 1080 RGBA DNxHD 220 8-bit 1080p DNxHD 145 8-bit 1080p DNxHD 36 8-bit 1080p DNxHD 220 8-bit 720p DNxHD 145 8-bit 720p DVCPROHD 720p DVCPROHD 1080p DVCPROHD 720p24N H.264 480p (Canon 5D MkII) H.264 1080p (Canon 5D MkII) H.264 480p (Canon 7D) H.264 1080p (Canon 7D) H.264 NTSC H.264 PAL H.264 720p H.264 1080p HDV 720p HDV 1080p Maya IFF NTSC Maya IFF PAL Maya IFF 720 Maya IFF 1080 MPEG-2 6.2Mbps fixed rate MPEG-2 5.0Mbps fixed rate MPEG-2 3.7Mbps fixed rate NTSC DV NTSC DVCPRO50 NTSC uncompressed 8-bit NTSC uncompressed 10-bit OpenEXR uncompressed 720 OpenEXR uncompressed 1080 PAL DV PAL DVCPRO50 PAL uncompressed 8-bit PAL uncompressed 10-bit Photo-JPEG NTSC Photo-JPEG PAL Photo-JPEG 720p Photo-JPEG 1080p ProRes 422 NTSC ProRes 422 HQ NTSC ProRes 422 LT NTSC ProRes 422 Proxy NTSC ProRes 4444 NTSC ProRes 422 PAL ProRes 422 HQ PAL ProRes 422 LT PAL ProRes 422 Proxy PAL ProRes 4444 PAL ProRes 422 720p ProRes 422 HQ 720p ProRes 422 LT 720p ProRes 422 Proxy 720p ProRes 4444 720p ProRes 422 1080p ProRes 422 HQ 1080p ProRes 422 LT 1080p ProRes 422 Proxy 1080p ProRes 4444 1080p ProRes 422 2K ProRes 422 HQ 2K ProRes 422 LT 2K ProRes 422 Proxy 2K ProRes 4444 2K REDCODE28 RAW 2K REDCODE28 RAW 3K REDCODE28 RAW 4K REDCODE36 RAW 2K REDCODE36 RAW 3K REDCODE36 RAW 4K SGI Raw RGB 720 SGI Raw RGBA 720 SGI Raw RGB 1080 SGI Raw RGBA 1080 SGI RGB 720 SGI RGBA 720 SGI RGB 1080 SGI RGBA 1080 Softimage 720 Softimage 1080 TGA uncompressed RGB 720 TGA uncompressed RGBA 720 TGA uncompressed RGB 1080 TGA uncompressed RGBA 1080 TIFF 720 8-bit RGB Uncompressed TIFF 720 8-bit RGBA Uncompressed TIFF 1080 8-bit RGB Uncompressed TIFF 1080 8-bit RGBA Uncompressed TIFF 720 10-bit RGB Uncompressed TIFF 720 10-bit RGBA Uncompressed TIFF 1080 10-bit RGB Uncompressed TIFF 1080 10-bit RGBA Uncompressed Uncompressed 720p 8-bit Uncompressed 720p 10-bit Uncompressed 1080p 8-bit Uncompressed 1080p 10-bit
Resolution
Frame rate	14.98 15 23.98 24 25 29.97 30 50 59.94 60 90 120
Video length	hours minutes seconds frames

Total space:

Coding and thanks to http://www.digitalrebellion.com/webapps/video_calc.html

Custom poster test

Justin Marks at Laguna Seca

Editing 4K RED Files in Adobe Premiere

By Luke and Marika Neumann at http://www.neumannfilms.net/ Here is their Raw RED Scarlet 4K .r3d sample file download.

Adobe CS6 RED plugins download at http://labs.adobe.com/downloads/redepic_importer.html

Install walkthrough from James of 5kinsight



The process is the same for each supported program which includes Adobe Media Encoder, Encore, After Effects, and Prelude. At this moment, it does not appear that Speedgrade CS6 supports the Redcolor3/Redgamma 3 format.

RED PDF guide at http://www.adobe.com/content/dam/Adobe/en/products/premiere/cs6/pdfs/adobe-premiere-pro-cs6-red-workflowguide.pdf

3D Mastering in FFmpeg

Input

The default image file format for a high-end VFX workflow is Lucasfilm's OpenEXR (.exr). In addition to the standard .exr file, a stereo (3D) extension to the EXR standard called SXR exists, which is basically a container for both the left and the right eyes within one file. (Saves the data managers having to worry about 2 sequences of files per each stereo stream). Unfortunately, at the time of this writing, OpenEXR is not very well supported in ffmpeg (despite there being claims of OpenEXR support) and SXR is definitely not supported. This means that the first part of the workflow must be a file conversion from EXR to either DPX or TIFF (or lossless JPEG).

Describing this conversion process is outside the scope of this guide, but there are many ways to skin this cat. The easiest one is to use Nuke to create a reader node for the SXRs, attach a writer node to it and have it write out a sequence of converted frames. The one thing to keep in mind is that many VFX workflows work with a color LUT to manipulate the look of the resulting images. FFmpeg does not have a way of applying a text-based LUT to its inputs so the LUT must be applied during the conversion process. Once we have a sequence of DPX/TIFF/JPEG/whatever images, we can proceed with encoding them into a movie clip.

One thing to note is that the high dynamic range of EXR (and 16bits per channel) will be "flattened" once the frames are converted to DPX or some other format, but this is OK because the best most video codecs can do is a 10bit depth per channel anyway.

Output

FFmpeg will take an image sequence on the input and will then output a movie clip file (usually in a .mov or .avi container). The VFX/film industry would mostly use the .mov container, especially for client deliveries, because it is the most commonly used format in the industry. Making these clips is pretty straightforward, but we'll look at the options that are of interest to this specific industry the most.

Mono vs. Stereo

The current trend in filmmaking is geared towards producing 3D (stereo) movies. In terms of a file container, a stereo movie is simply a single movie file (like .mov) that contains 2 video tracks - one for each eye. When choosing an output format one must make sure that it supports multiple video tracks (quicktime does, not sure about .avi). Creating a stereo movie requires two extra steps. The first one is that the correct input source must be specified for each eye. This basically means replicating the input path and any parameters for the 2nd eye. The second and most important step is to map both of the input streams into a single video stream. This is done using the "map" filter that comes with ffmpeg and by passing it the following parameters:

-map 0:0 -map 1:0 -metadata stereo_mode=left_right

This tells ffmpeg to take input stream #0 and input stream #1 and map both of them into output stream #0. It is possible to control 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.

From http://ffmpeg.org/trac/ffmpeg/wiki/vfxEncodingGuide

Electromagnetic Spectrum

Men in Suits

Through interviews with some of the top suit actors and exclusive ‘behind the scenes’ footage, MEN IN SUITS shines a long overdue light on a craft that is getting lost in this age of computer graphics.

These interviews include:


• Doug Jones (Hellboy, Pan's Labyrinth)

• Tom Woodruff Jr. (the Alien fims, Pumpkinhead)

• Haruo Nakajima (Godzilla, Ultraman)

• Bob Burns (The Ghost Busters, Invasion of the Saucer Men)

• Brian Steele (Hellboy II, Predators)

• Douglas Tait (Zathura, Knights of Badassdom)

• Misty Rosas (Congo, Sid The Science Kid)

• Michelan Sisti (Teenage Mutant Ninja Turtles, Dinosaurs)

• John Alexander (Gorillas In The Mist, Men In Black)

• Van Snowden (H.R. Pufnstuff, Sigmund and the Sea Monsters)

• Arturo Gil (Monkeybone, Bill & Ted’s Bogus Journey)

• Camden Toy (Buffy The Vampire Slayer, Angel)

• Bobby Clark (Star Trek)

Breaking Bad POV

Michael Slovis, ASC is behind the lens at the enormously popular and critically acclaimed AMC show Breaking Bad where he's shot four seasons and earned three Emmy nominations. Although his early work was in independent film in New York, Slovis has had a long, successful run in episodic TV including work on Fringe, 30-Rock, and CSI: Crime Scene Investigation for which he won an Emmy, among many others.

"There is a feeling of intentionality when you shoot film, at least for TV, that this is what the director wants you to see," says Michael. "In video or digital, you can turn your camera operators loose to shoot the scene and evaluate it later. For Breaking Bad, it's all about that methodical, intentional feel, and that texture is very important. This is something I feel strongly about, that the trust that you give us on the set and especially to Vince will not be betrayed."

Michael also speaks about shooting 11,000 feet of film a day, the post grading and finishing process, the amazing storytelling being done on TV these days -- and how his long journey on Breaking Bad began with him telling them he wasn't interested in taking the job. Read the entire article here: Behind the Lens: Breaking Bad

Empire of the Sun

Empire of the Sun are an Australian electronic music duo from Sydney, formed in 2008. The duo consists of longtime collaborators Luke Steele of alternative rock act The Sleepy Jackson, and Nick Littlemore of electronic dance outfit Pnau.

Smells like 1999

Michelle Munson of Aspera

Older AWS interview from 2009, but nice overview of why Aspera transport is so much faster vs. TCP.

XML document escape characters

There are only five:

"   "
'   '
<   &lt;
>   &gt;
&   &amp;

From http://stackoverflow.com/questions/1091945/where-can-i-get-a-list-of-the-xml-document-escape-characters

Full CDATA specs at http://www.w3schools.com/xml/xml_cdata.asp

Google Public DNS

Been getting a lot of "waiting for apis.google.com"? Or "googleads.doubleclick.net"? Lagging out using Comcast DNS? Found this little nugget...!

Set your DNS to 8.8.8.8 and 8.8.4.4 and you'll be all set.

Instructions
http://code.google.com/speed/public-dns/docs/using.html

FAQ
http://code.google.com/speed/public-dns/faq.html

Documentary about Jeroen Wijering

WHOISJW? is a documentary about a very talented and successful young entrepreneur from Holland: Jeroen Wijering. He is the creator of the JW Player, a videoplayer which is used on countless websites throughout the world. Many very prestigious websites like Disney, Harvard, IMDB, Intel, NASA en The White House use his JW Player. Even YouTube ran on the JW Player in the first 18 months of their existence.

Full screen test

HTML5 Audio Embed

Sample code:

<audio controls preload="none" style="width:640px;">
 <source src="http://www.pixelgoat.net/encoding/demos/FLB_ActLikeYouKnow.m4a" type="audio/mp4" />
 <source src="http://www.pixelgoat.net/encoding/demos/FLB_ActLikeYouKnow.ogg" type="audio/ogg" />
 <source src="http://www.pixelgoat.net/encoding/demos/FLB_ActLikeYouKnow.mp3" type="audio/mp3" />
</audio>

Are You Experienced?

404

That screeching sound is probably the #1 reason I left New York. I hope you enjoy it too!

EDC Roadster

Free Fresnel Lens

Vid.ly HD Test

From http://vid.ly/6c4m3b

Sample code:

<iframe frameborder="0" allowfullscreen webkitallowfullscreen mozallowfullscreen msallowfullscreen width="640" height="360" name="vidly-frame" src="http://s.vid.ly/embeded.html?link=6c4m3b&new=1&autoplay=false&hd=yes"><a target="_blank" href="http://vid.ly/6c4m3b"><img src="http://vid.ly/6c4m3b/poster" /></a></iframe>

VFX Oscar Protests

From Hollywood Reporter: Globalization is wreaking havoc on Hollywood's visual effects community.

Cheap labor in China and India and seductive tax incentives like British Columbia's 33 percent credit on local labor have allowed foreign firms to trigger competitive bidding so intense that the biggest VFX houses are surviving on slim profit margins, often less than 5 percent annually, in a hot-and-cold business. Rhythm & Hues, Oscar-nominated for Life of Pi, filed for bankruptcy Feb. 13, laid off 250 employees and is relying on $17 million in court-approved loans from studios.

R&H tried to adapt by opening facilities in Mumbai, Vancouver, Malaysia and Taiwan -- but didn't move fast enough. "Infrastructure and head count in these territories is only adding cost" for California-based companies opening branches abroad, says Ed Ulbrich, CEO of VFX rival Digital Domain, which went through bankruptcy in 2012 and was acquired by India's Reliance MediaWorks.

http://www.flickr.com/photos/neonmarg/sets/72157632848557341/with/8505477615/

http://www.npr.org/blogs/alltechconsidered/2013/02/26/172910128/among-oscars-fanfare-visual-effects-industry-faces-difficult-times

http://vfxsoldier.wordpress.com/

http://www.hitfix.com/motion-captured/the-visual-effects-community-sees-red-in-the-wake-of-oscar-protest-and-on-air-snub/1

Oli HTML5 Test

Sample code:

<video controls height="360" width="480">
  <source src="http://www.pixelgoat.net/encoding/markus_output/html5/olitest.mp4" type='video/mp4' />
  <source src="http://www.pixelgoat.net/encoding/markus_output/html5/olitest.webm" type='video/webm' />
</video>

Suggested HTML5 Video targets:

mp4 - videos play in Safari, Internet Explorer, Android, and iPhone
webm - videos play in FireFox, Chrome, and Android
flv - Flash fallback, requires Adobe Flash plugin
ogg - older format, lower quality, for old versions of FireFox

NOTE: For Android devices, I'd still recommend Webm VP8 for 100% compatibility. With Android there is spotty support for Flash, HLS, and MP4 depending on manufacturer, OS version, and preinstalled players.

4K and HEVC UltraHD formats

Emerging 4K cameras are the next generation of video. In the future, we may see H.265/HEVC codecs for Ultra HD formats, but for now, please use H.264 high profile at level 5.1 for 4K support. 4K Ultra HD consumer displays have a 16:9 resolution of 3840 × 2160 (8.3 megapixels)

Reasons:

1. There are no hardware H.265/HEVC chips yet for consumer devices
2. Even when those chips do come out in 3-5 years, they will still support H.264
3. H.265/HEVC transcoding math is extremely slow (64x64 DCT & 12-tap interpolation)
4. 4K is great for mastering and digital cinema (10 GB per minute edit codec)
5. 4K is costly bandwidth for digital cable to the home (Bitrate 2x higher vs Blu-ray)
6. About 90% of consumers can't tell the difference between 1080p and 4K
7. There is no 4K disc standard to replace Blu-ray (only 25 GB single layer)

All that said, when H.265/HEVC is ready, you can be sure we will have something amazing. For now, just encode in H.264 high profile at level 5.1 for 4K support. That is what you were watching at CES. We can support these ultra large files over 100+ GB using Aspera transport to our private cloud.

H.264 level details
http://en.wikipedia.org/wiki/H.264/MPEG-4_AVC#Levels

4K format details
http://en.wikipedia.org/wiki/4K_resolution

4K sample from Gizmodo
http://gizmodo.com/5914426/the-first-cinema-resolution-movie-download-available-to-consumers-is-160gb-and-absolutely-breathtaking

UPDATE April 20, 2013 Las Vegas: Just saw about a dozen 4K displays at NAB from various manufacturers and encoding providers. Some were playing back on custom H265 quad-SLI hardware, etc... Unfortunately, all were heavily noise reduced with lots of blurring on medium detail areas. Completely defeats the whole point of a higher resolution. Most engineers I spoke with said they expect to see real consumer H265 sometime in 2016. Sony unveiled 55" and 65" sets in its XBR series; at $5,000 and $7,000, respectively, they're significantly more affordable than their 84" predecessor ($25,000) shown at CES.

UPDATE March 30, 2014 Las Vegas: Most HEVC 4K samples still showing very heavy blurring and noise-reduction. Only a few prototype chips being shown. Samsung pricing 55" UHDTV at $2,500 and 65" UHDTV at $3,500.

AVS Forum discussion:
http://www.avsforum.com/t/1515895/hevc-x265-is-here-any-media-players-capable

Latest OpenHEVC commits:
https://github.com/OpenHEVC/FFmpeg/commits/hevc_optimized

Doom9 HEVC discussion:
http://forum.doom9.org/archive/index.php/t-170051.html

It will be a while before HEVC is fully supported in browsers and mobiles, most estimates are 2016.