How can you solve common video format and compression issues in videography?

Choose your video format wisely. MP4 is widely compatible and good for standard content. MKV offers advanced features but may have compatibility issues. Consider your audience, content quality, editing needs, and platform requirements.

In my experience choosing a video editor that fits your needs and gives you flexibility for exporting your videos is a must. I use Davinci Resolve. Here are my favorite settings for exporting highest quality and good compression: - In the “Deliver” tab choose “Custom” - Format “Quictime” - codec H.264 - Resolution 1920 x 1080 HD - Quality-Automatic THE IMPORTANT PART In the “Advanced Settings” section - Color Space - Rec.709 - Gama Tag - sRGB This will give you the highest amount of quality with the list, bending in the colors with a suitable size for the social media platforms. Let me know if this was helpful!

MP4 videos plus an .srt file gets you subtitles on pretty much any platform. It is all I use. One norm I try to share with my clients is to work with subtitles during the entire production cycle of the film. In Premier, when I first make a rough cut, I generate automated subtitles. As I move things around, I move around the subtitles. The client always knows what subtitles will look like in their film. I generate and edit a new set of subtitles at the end, but since the film is edited with subtitles, I have no need for adjustments.

Selecting the right video format is like choosing the right tool for the job. Each format has its strengths and weaknesses, so it's vital to align your choice with your audience, distribution method, and editing requirements. Whether it's the widespread MP4 or the versatile MKV, understanding their nuances ensures your video reaches its full potential.

Once the edit is locked in, it's your mission to get from the timeline to the audience looking as much like the original vision as possible. If you are uncertain about the right deliverables, act preemptively by taking some extra time to export and deliver multiple formats just in case. For the movie Avatar: The Way Of Water, there were 1065 unique versions of the same movie delivered to cinemas!

For most of us, I suspect, video compression is not the challenge it used to be. Given that the majority of videos made for businesses will shared via one of the major hosting platforms like Vimeo or YouTube, we can create video files with high bit rates in H.264, H.265 etc and let the host create different sized versions that can be streamed automatically according to available bandwidth. On the whole, their systems do this well and clients can also download these smaller versions if needed. But there are times when we need to produce smaller files. Conversion software such as Adobe Media Encoder can be really helpful here as it provides lots of output formats and presets to suit different scenarios and which can be further customised.

If you are uploading to streaming platforms like Youtube / Vimeo, dont bother with compressing the video from your end. They will recompress into optimal sizes from their end and you will benefit from uploading your best quality video (if its within their upload file size restrictions).

Source Video must be high ended. After compression, quality difference then highly noticable. Focus, light, speed everything will be strongly noticable.

To reduce video file size, utilize compression tools or software to adjust bitrate, resolution, frame rate, or codec. Bitrate affects quality and size, resolution influences sharpness, frame rate impacts smoothness, and codec affects compatibility. Lowering these settings or choosing an efficient codec reduces file size without significant quality loss.

I use Adobe Media Encoder for compression. I generally deliver rough cuts to clients at a low bitrate, low resolution (720), and normal frame rate, usually 29.97. For final deliverables I always export an uncompressed copy for the archive, then compress in Media Encoder H264 or 265) for use on the web. I find that file size is still a problem for clients with limited shared hard drive space; if a file is too large (I'm delivering in 4K these days) I need to send them hard drives in the mail. A related problem: frame size. 4K acquisition is not always the same width as your standard edit frame; resizing for an edit can cause small changes in file size.

Preventing quality loss in video compression is crucial. Over-compression and multiple conversions can lead to detail loss and artifacts. To maintain quality, opt for lossless or high-quality compression methods. Avoid unnecessary conversions and choose reliable, compatible software to ensure video integrity.

To preserve quality with graphics layers over video, I usually make the graphic and all its animations in Adobe After Effects, export it lossless with alpha channel at full or larger resolution, then pull it into Premier. Alternatively, some graphics can be built directly into Premier. But I never export the graphic from Premier and pull it back into Premier because that introduces loss.

Balancing file size reduction with video quality is a critical challenge in compression. Over-compression and multiple conversions can lead to quality loss. To counter this, prioritize lossless or high-quality compression methods and minimize unnecessary conversions. Quality should always remain at the forefront of your compression strategy.

Video conversion is often necessary for compatibility, editing, or sharing. Tools like CloudConvert, Zamzar (online) or HandBrake, VLC (offline) offer format flexibility. Pay attention to settings affecting quality, size, and features. Always verify output compatibility before using or sharing your video. This helps address video format and compression issues effectively.

Video format and compression issues are common but manageable. When you need to convert videos for compatibility or editing purposes, both online and offline tools are available. Examples include CloudConvert, HandBrake, and VLC. During conversion, keep a close eye on settings that impact video quality and features. Always verify the output's compatibility before use or sharing. These steps empower videographers to overcome format and compression challenges and create videos that meet their objectives.

Also be mindful of the to-from codecs, because re-converting a highly compressed codec, like H.264, will generate (almost every time) bigger files and visible quality degradation.

Ultimately, we should aim to keep as much of the original video data as possible, particularly if the files are to be further edited. But if a small file size is critical, try experimenting with conversion settings that produce an acceptable result. This will depend on many factors, including how much detail is in the pictures. Variable bit rates in you conversion settings can help here. And however much video data you have to discard to achieve a target size, aim to keep the audio settings at a good level. At an absolute minimum I would suggest an audio bit rate of 128kbps, higher if possible. It’s small fry compared to video, and decent sound will compensate for lower video quality.

I'd like to share a recent experience where optimizing video compression made a significant difference. While working on a client's project, we faced the challenge of balancing video quality and file size. By carefully adjusting the codec and bitrate settings, we achieved a remarkable reduction in file size without compromising video quality. This not only streamlined the project's storage and delivery but also improved the user experience during streaming. It's a testament to how mastering video compression techniques can be a game-changer in today's digital landscape.

The most problematic compression errors are often localized to a short portion of a video, often a quick transition or fuzzy video or some other difficult piece of footage. It pays to test exports and compressions early in the process so you can get rid of video that will never look good.

Absolutely, building upon the previous discussions, it's important to highlight that the world of photography and videography is ever-evolving. New formats, tools, and techniques emerge regularly. Staying up-to-date not only ensures your work remains relevant but also keeps your creative journey exciting and dynamic. Remember, every master in these fields was once a learner. So, embrace the learning process, adapt to changes, and keep pushing the boundaries of your craft.

Be wary of wanting to work with big cameras and big raw files just for the sake of it. It is great to have more freedom in the edit room, but all the high bitrate 8k raw in the world can never compete with good composition, good direction and thoughtful planning. High quality footage is no assurance of high quality production.