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WHAT IS HTML5?

“HTML5” is a convenient shorthand for a combination of technologies that together provide

the framework for Rich Internet Activities, that otherwise would require Adobe Flash. HTML5

itself it the fifth iteration of the HTML standards. This version is interesting because it pro-

vides for playback of video without the need for a plug-in like the QuickTime Player or Flash

Player by use of the <video> tag.

Nothing in life is simple and, while H.264 MP4 is supported for the HTML5 <video> tag in Sa-

fari, Chrome and some other minor browsers, FireFox’s Open Source creators aren’t happy

with a commercially licensed codec and instead are pushing for the Ogg Theora and Vorbis

codecs for video and audio in the HTML5 <video> tag. Google entered the fray with its pur-

chase of On2 and has released the On2 VP8 codec as Open Source in a MKV package, calling

the result WebM.

For our purposes, we can consider H264 MP4 - our standard encode - as being sufficient for

HTML5’s <video> element. Browsers that don’t support it directly will usually “fall through”

to supporting the file in a plug-in. (Best practice in web design mandates that fall-through

process but it’s not an encoding issue.)

While not related to encoding video, HTML5 also uses the <canvas> tag and CSS for animation

and Javascript for interactivity.

THE BEST WAY TO CREATE

MPEG-4 H.264

To encode an MPEG-4 H.264 file in Episode Pro, choose one of the iPod or Apple TV specific

settings as a starting point. Encoding for iPod seems to require some “secret sauce.”

Starting with an iPod compatible setting ensures playback on Apple devices and Flash com-

patibility. iPod settings work on iTouch and iPhone. Avoid targeting these players exclusively

as the files will be smaller than recommended, at lower quality than we want.

For Apple TV, use the “Export for Apple TV” setting.

Note: Apple TV settings are not compatible with some iPods and iPhones when

encoded from HD source.

IMPORTANT: Videos created by these presets have a .m4v file suffix instead of

.mp4. There's no difference between the two except that double-clicking a

.mp4 opens the file in QuickTime Player while double-clicking a .m4v opens the

file in iTunes. For web use, change the file suffix from .m4v to .mp4 since

many web servers don't know how to treat a .m4v file.

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ENCODING TECHNIQUES

Work from the source

Always work from the source. Encoding already encoded video is not going to deliver good re-

sults because the encoding artifacts from the first encoder are going to be preserved by the

second encoder, because it thinks the artifacts are details in the image, while it introduces

its own artifacts. So, always work from the source, preferably uncompressed video or at least

the native format of the edit.

Never use a video that has been encoded to Sorenson Video, Cinepak, MPEG-4, H.264 or other dis-

tribution codec. DV and HDV are acceptable if they are the native format. Also acceptable, if no

real master is available, is a “rip” from a DVD using MPEG Streamclip, DVDxDV or Cinematize.

Preprocessing

A very large part of what a professional encoding specialist will do is in the pre-processing of

the video before it’s encoded to make it easier for the encoding software to get the best pos-

sible image.

Pre-processing is out of the scope of “Simple” recipes for encoding but it should not be over-

looked as you develop skills in this area. The most bang-for-buck pre-processing is to:

De-interlace;

Crush the blacks in the image; and

Crop (if reducing the image size below 640 x 480 or 640 x 360)

De-interlace

NTSC and PAL video are interlaced. Much HD source is interlaced as well. All interlaced source

should be de-interlaced for web video because all computer screens are progressive. There-

fore video for the web must be de-interlaced.

Important Note: If the source is progressive DO NOT de-interlace

You need to know the software you’re using and work out how it goes from interlaced 480/

576 lines to 640 x 480 or 640 x 360 lines. I prefer to de-interlace first, then allow the software

to scale the image.

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Simple Deinterlacing (for encodes 320 x 240 or 320 x 180 ONLY)

Most encoding tools have a de-interlace control. In Episode Pro they’re in the Video Filters

area.

For small web video such as 320 x 240, the simplest de-interlace is preferred because it is the

fastest and because we’re not needing to see the results of two fields. These days I consider

320 x 240 to be too small and recommend

640 x 480 or 640 x 360, which requires Ad-

vanced De-interlace. (See next section.)

In Episode Pro, match the settings to the

right:

Simple deinterlacing like this is really only

suitable for sizes below 320 x 240 (one field

height).

Advanced Deinterlace (the default)

Since we actually recommend a 640 x 480 or 640 x 360 encode for general web video and Apple

devices, a more sophisticated de-interlace is required to keep the frame size large (effectively

SD size translated to square pixels) and retain as much detail from the source as possible. An

adaptive de-interlace will only de-interlace areas that are in motion, and will synthesize the

moving part by interpolation (i.e. making new images to fill what’s been taken out).

Episode Pro, using the settings to the left,

will detect which parts of the image are mov-

ing and then de-interlace those parts of the

image and interpolate (create new pixels be-

tween the values either side) only in the mov-

ing parts. This retains maximum quality but is

much slower to encode.

For a faster encode, select ‘Complete Dein-

terlace’ for ‘Deinterlace Type, which will

deinterlace the entire image, even those

parts that do not require deinterlacing.

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Reverse Telecine/Remove Pulldown

If you have a source file that has 3:2 (Regular Pulldown) on a file that was shot as 24P you

must remove the pulldown before encoding and only encode the progressive frames. It is bet-

ter to obtain the 24P master before pulldown was added to avoid the necessity for this step.

Note: Episode Pro uses the Frame Rate tool to Inverse Telecine. Inverse and

Reverse Telecine have the same meaning.

The most generally appropriate setting for Reverse Telecine is to use these settings:

However, if you know for sure that the

pulldown pattern is consistent you can

speed the encode by telling Episode that

there is a fixed cadence (pattern to the

pulldown) and specify which frames are

the split frames.

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Crush (Restore) the Blacks

Black is complicated in video. As the signal gets closer to black, it becomes noisy. Noise — a

random dancing pattern — is a problem for encoding software because it does not know that

noise is unimportant, so it devotes large amounts of the available data rate to preserve the

noise. This is exactly what we do not want!

So we want to make all the near-black values into real black. To do this we use a tool called

Black Restore in most encoding software.

In Episode Pro set the Black level to its

value from within the 0-255 range. Usually

something in the 20-30 range will kill the

noise in the very darkest parts of the image

without noticeably darkening the image.

This simple technique probably brings the

greatest benefit to images that are dark or

have dark areas, and still need to be encoded.

Crop encodes targeted at smaller than

SD sizes

In traditional video, at least 5% of the image from each side

was never intended to be seen. This is the “Safe Action”

zone and was an allowance for the part of a CRT that was

hidden behind the cowling. Of course, in web video we see

from edge to edge.

Since this part of the image was never intended to be seen, it

rarely has anything essential to keep in so we can crop it away

when we are encoding to a finished size smaller than 640 x 480.

NOTE: Do not crop when going to 640 x 480 or 640 x 360 (16:9)

or for HD sizes, because that would require the encoding en-

gine to scale the image larger, which would reduce quality.

Also note that we do not crop HD sizes before scaling be-

cause they are designed without significant overscan — HD

displays are usually LCD or Plasma and (mostly) display the

full raster.

Five percent of 720 pixels is 36 pixels.

Five percent of 480 pixels is 24 pixels. Five percent of 486 pixels

is 24.3 pixels, so for both 480 and 486 (NTSC) we use 24 pixels.

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In PAL territories, the same horizontal measure applies, but 5% of 576 pixels is 28.8 pixels.

Given that we like whole numbers (in fact most cropping tools only allow whole numbers)

you’d think can go with 28 or 29, but in practice only 28 is appropriate because we work

(mostly) in even numbers.

Figure 1: With low action sources,

there is no noticeable difference

between the single and multi-

pass. This is because this footage

has fairly constant amount of low

action so allocating bits from

parts with lower motion to parts

with higher motion gives no pay-

back.

To view this movie in a browser,

click here

Gamma

Figure 2: After applying the rec-

ommended gamma and crop set-

tings, the Gorilla footage looks

like this;

The image has better grayscale

values, noticeable around Ethan’s

head.

The rule of 8

A good rule of thumb is to make sure that any dimension we work with a codec is divisible by

8. Exactly divisible by 8. Codecs work most efficiently when they are working in blocks of 16,

8 or 4, with the most common requirement being blocks 8 pixels square. If we were to throw

in an odd number, like cropping 29 from top and bottom, the codec has to pad out to the next

largest block of 8 pixels, even though most of the pixels in the block will be without content

they still take up a finite bandwidth.

On decode the codec has to eliminate the redundant parts before it displays, reducing the

efficiency of the codec and making both encoding workstation and playback computer work

harder.

Simple Rule: Always make sure both dimensions of your encoded

video are divisible by 8.

We use the same rule here, so that the scaling will happen more linearly than if we did a dif-

ferent crop value, keeping maximum resolution.

ENCODING RECIPES

These recipes are designed for most types of footage. They are not optimized for “easy” or

“hard” to encode material. Source with lots of cuts, lots of camera moves and lots of action

are more difficult to encode than talking heads so we allow for the worst-case scenario. If

your source is primarily talking heads, you can reduce the data rate significantly.

For these tests I used two pieces of source material: a talking head of Ethan Markowitz dem-

onstrating the Gorilla

software at a Los Angeles Final Cut Pro User Group meeting (Gorilla)

and a short piece of mountain bike footage (Bikes). The Gorilla footage is relatively easy to

encode; the Bikes footage is more challenging because of the rapid motion.

There are encoding recipes for:

•

MPEG-4 H.264 with AAC audio. This is the recommended file format for most purposes. It

will work with QuickTime Player, MP4 players, in web browsers, for Flash, HTML5-capable

browsers, Windows Media Player on Windows 7, Silverlight and for Apple Devices.

•

Flash 8 a.k.a. On2 VP6. For targeting older Flash installations where it’s not possible to update

old Flash 9r3 (or earlier) installations. Note that Flash support for H.264 MP4 was fully released

by November 2007, so there should be few situations that require Flash 8 compatibility.

•

Windows Media 9/10 for those situations where Flash is not installed in corporate networks.

Windows Media only works in browsers with the Windows Media or Flip4Mac (OS X) plug-in.

The actual movies are available online (from a link near the still) so you can see the movie in motion.

For comparison of the difference between the default of Multi-pass (the default, but slower)

and single pass, see the Section on CBR vs VBR

WORKFLOWS

Episode 6 introduces Workflows-based settings so you can either start with a complete work-

flow or build your own. Conveniently the different sizes we’d most commonly need are built

into the one workflow. Drag the NTSC or PAL set to the Workflow area of the interface.

This gives you a

workflow that will

take one source

and encode it to

the three most-

commonly needed

sizes as shown to

the right.:

Of course, an Apple TV version only makes

sense if you have an HD source!

With the three workflows in the workflow

area, you can simply delete the ones that

you don’t want, and save a new workflow.

Or leave the workflow like it is and have

three versions for different purposes.

The most common size you’ll create is a

640 x 480 (4:3) or 640 x 360 (16:9)

whether from SD or HD material, so you can delete the unwanted encodes from this set by

selecting the Encoder module and deleting it. However, it’s better to make your own Work-

flow and it’s easy.

Creating and Saving a Workflow in Episode

1. Save any previous workflow if it is not saved, and you may want to re-use it.

2. Clear the Workflow area by clicking on the ‘Clear’ button at bottom left of the Work-

flow display. Acknowledge that you want to clear the Workflow area.

3. Choose the Encoders tab and locate the Encoder you plan on using.

4. Drag the Encoder to the Encoder slot in the Workflow area.

5. Select the Deployments tab and locate the Deployment you want to use, or create a

new Deployment.

6. Drag the deployment down to the Deployment position to the right of the Encoder.

7. Name and save the Workflow for future use.

Documents you may be interested

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