Streaming Media Best Practices

1
Streaming Media Best Practices

• Streaming Media East, May 10th 2004
• Steve Mack, LUX Media
• smack_at_luxmedia.com

2
Todays Agenda

• Creation (2 hours)
• Audio
• Video
• Encoding (1 hour)
• Encoding choices
• Processing
• Platform specific examples
• Authoring (1 hour)
• Metafiles
• Advanced Authoring (embedded players)
• Live Broadcasts (1 hour)

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Lets do it.

• Audio gear
• Video gear
• A laptop
• An internet connection
• Some software
• Push a few buttons
• Voila.

4
But Wait

• It gets even better.

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The Next Frontier
6
Internet Access Devices, Worldwide
1 Billion

• (millions)

Sources Cahners In-Stat Group
7
What Does It All Mean?

• Streaming media is a new mass medium
• Currently in its second wave
• New platform(s) for media delivery
• Huge audience
• Huge opportunity
• Entertainment, business, education, you name it
• The opportunity wont last forever line between
  traditional broadcasting and streaming will
  continue to blur as technology becomes more
  transparent
• The time is now

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We believe you.

• Get to the point.
• Okay, I will.
• Lets start at the beginning

9
Tools of the Trade

• Audio
• Good source good microphone, mixing desk
• Signal processing compressor, EQ unit
• proper recording environment

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Tools of the Trade (contd)

• Video
• Good camera DV is most cost-efficient, FireWire
  option
• Buy the best tripod you can afford!
• Lighting 3-point lighting kit

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Tools of the Trade (contd)

• Computer Hardware
• No such thing as too much CPU/RAM/storage
• Professional sound cards sound better
• USB audio interfaces a new option
• FireWire cards best bet for video capture
• Software
• Audio and video editing software, encoding
  software

12
Remember Bandwidth is Everything

• Typical dial-up user connects at 37kbps
  broadband users can expect 2-300kbps
• Uncompressed audio 1400Kbps
• 44.1Khz16bits2 channels
• Uncompressed NTSC video 30MBps
• 720480pixels24bits30frames/second
• thats roughly 237,000bps, folks!
• We need to reduce the data rates while
  maintaining as much quality as possible
• Codec compressor-decompressor or coder-decoder

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How Codecs Work

• Codecs use complex perceptual models to reduce
  the file size of media files
• Perceptual models approximate how we perceive,
  i.e. how we interpret what we see and hear
• Audio what we hear
• 20 20,000Hz over 120dB dynamic range
• Our ears are most sensitive in the midrange loud
  sounds mask quiet sounds
• Video what we see
• Full spectrum, 180 degree field of vision
• Our eyes are most sensitive to motion and color

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Audio Creation Tips

• Use good equipment and solid audio engineering
  practice
• Good equipment, microphone technique
• Set up a proper gain structure
• Use signal processing to optimize your source for
  encoding
• Our ears are most sensitive to the midrange
  (where speech resides), and loud sounds mask
  quiet sounds
• Codecs therefore concentrate on whatever is
  loudest, and discard sounds that are potentially
  masked
• Compression and EQ can be used to optimize as
  needed

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Audio Equipment

• Use good quality microphones
• Directional hand-held mics for reporting
  environments
• Lavaliere mics for stationary talent
• Shotgun microphone on a boom for location work
• Dont forget your windsock(s) for outdoor work
• Avoid using the on-camera mic
• Not high-quality
• Many cameras have AGC (Automatic Gain Control)
  built-in which brings up background noise
• Use balanced cables
• XLR or TRS
• Use Professional XLR adapter if necessary
• More noise resistant
• Better signal level

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Audio Audio Equipment - Location

• Large, Quiet, Isolated Locations are best
• Small rooms sound small
• Need room to move
• Keep noisy machinery away from microphones
• Treat Reflective Surfaces
• Hard flat surfaces reflect sound
• Acoustic foam, curtains, tableclothsare all
  extremely helpful
• Outdoors
• Additional challenges, but can be overcome with
  some forethought
• Directional mics, windsocks

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Audio Engineering Setting Up A Gain Structure

• Make sure each piece of equipment is operating in
  its optimal range
• Start with first piece of equipment and work
  through the signal chain, set the input and
  output gain for each
• Peaks at 0dB for analog, -3dB for digital
• Once set, should need little adjustment

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Signal Processing - Compression

• Remember Codecs treat loud signals as most
  important
• Compression evens out audio levels by turning
  down louder sections
• Protects your equipment from spikes in audio
  level, thereby providing protection against
  distortion
• By turning down loud sections, enables overall
  signal level to be turned up
• Fattens your audio, giving it a professional
  feel
• Can be done in software, but for live production
  a hardware compressor is essential

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How Compression works

• Set a threshold, a ratio, and a post-compression
  gain
• Start with a threshold of 10db, 41 ratio, and
  set gain to match original signal level
• Voice is much more compression tolerant than music

Compression in action
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Signal Processing Equalization

• Remember ears are most sensitive to midrange
• EQ is turning up or down certain frequencies in
  your audio signal
• Use EQ to improve the tonal quality of your audio
• Add sparkle, air, warmth, presence
• Remove rumble, hiss, clutter, harshness
• How?
• Find the right frequency, and turn the knob!
• Just like adjusting your car stereo or clock
  radio

EQ example
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Useful EQ Frequencies
22
Video Creation Tips

• Video codecs have a tough job to do
• Inter-frame as well as intra-frame compression is
  used to achieve desired data rates
• Objects that change or move are encoded, so
• Avoid unnecessary motion/changes
• Use a tripod, use a tripod, use a tripod
• Avoid moving objects in the background
• Avoid special effects
• When editing, simple splices encode the best
• Keep the number of cuts to a minimum
• Framing
• Smaller screen, so frame tighter

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Video Production Tips

• First and foremost, use good video engineering
  practice
• Good equipment, proper technique
• Lighting
• Essential to get it right nearly impossible to
  correct using software
• Though modern cameras can operate in low-light
  conditions, the picture quality is not as high

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Video Engineering

• White balancing
• Cameras need to be set correctly depending on
  whether youre shooting indoors or outdoors
• Best to set manually
• Camera filters
• UV filters can make outdoor shoots less hazy
• Fluorescent filters can make indoor office shoots
  look less anemic
• Diffusion filters can soften the image and make
  it look less harsh, more film-like
• Amount of diffusion to use depends on your camera
• http//videosystems.com/ar/video_curse_digital_vid
  eo/index.htm

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Video Lighting

• The 3-point Lighting system
• The basis of virtually all lighting
• Key light
• The main light for the scene
• Generally 15 - 60 from camera
• Fill light
• Fills in the hard shadows of the key light
• On opposite side of camera from key light
• Back light
• Separates the subject from the background
• Above behind the subject

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Video Processing Techniques

• VGA vs. Television displays
• VGA screens are far more detailed
• Traditional video tends to look dark washed out
• Adjust Brightness
• Add gain to match screen to a TV monitor
• Be careful if youre going back out to the
  broadcast world!
• Adjust Contrast
• Adding a small amount is good be careful though
• Too much contrast adds grain (bad for codecs)
• Color
• Increasing saturation a bit can be helpful

Show Me How
27
Working With Video

• Be sure to use the correct pixel aspect ratio
• TV pixels are slightly taller than wide VGA
  pixels are square
• TV resolution is approximately 720 x 480, but
  when displayed appears to be 43
• You must resize to a 43 aspect ratio if a VGA
  screen is your final destination
• 640x480, 400x300, 320x240, 240x180, etc.

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Quick Break

• Steve Mack, LUX Media
• smack_at_luxmedia.com

29
The Streaming Media Bible Workshop

• Encoding
• Steve Mack, LUX Media
• smack_at_luxmedia.com

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Agenda Encoding

• Encoding Basics
• Audio
• Video
• Advanced Encoding Techniques
• Limiting frame rate
• 2-Pass, VBR
• Advanced Encoding Filters
• De-interlace, Inverse Telecine
• Noise Reduction
• Examples

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Encoding

• Remember Bandwidth is Everything
• Make choices depending on audience bandwidth
• Total bit rate
• Audio bits vs. video bits
• Optimizing your encoding settings
• Audio
• video

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Audio Encoding Choices

• Total bit rate for audio
• 8kbps - minimum
• 16kbps good quality
• 32kbps - FM quality
• 64kbps CD quality
• Stereo vs. Mono
• Most program content is mono
• Mono codecs have better fidelity since they dont
  have to worry about two channels
• Music can benefit from stereo encoding
• Use mono below 32kbps

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Audio Encoding Choices

• Music vs. speech codecs
• Speech has limited dynamic frequency range
• Speech sounds decent through a music codec music
  sounds horrible through a speech codec
• When in doubt, stick to a music codec
• Windows Media 9 Series has a new hybrid codec
  (cool!) but
• Not entirely backwards compatible
• New codec install available for legacy players,
  but not automatic must be installed

34
Video - Encoding Choices

• Allot the correct amount for audio
• Audio tells the story
• People will tolerate less than optimal video
  provided it has good sounding audio the inverse
  is not true
• Choose the right screen size (resolution)
• Codecs will attempt to encode to whatever
  specifications you provide
• High action video content implies a smaller
  resolution low action content can be larger

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Video - Encoding Choices

• Choosing a Frame Rate / Frame Quality
• Less frames at better quality, or more frames at
  a degraded quality?
• Default encoder settings attempt to strike a
  balance, but you can tinker with it
• Rule of Thumb Its better to reduce the
  resolution rather than the frame rate
• Less frames more differences between frames
• More differences more to encode
• QuickTime/Windows Media
• set frame rate quality
• RealMedia
• Choose video quality (sharp/normal/smooth)

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Cropping Resizing

• Always be sure to maintain the correct aspect
  ratio when resizing or cropping
• Resizing
• DV/TV content is 720x480, which is NOT 43, but
  appears 43 when displayed on TVs
• Always resize to a 43 aspect ratio for VGA
  displays
• Cropping
• Overscan garbage around edge of screen usually
  hidden by TVs crop!
• Safe to crop up to 10 (title safe area)
• Widescreen content remove the black bars
• Resize first, then crop
• Resize to 43, then crop to 169

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Suggested Encoding Settings
38
Advanced Encoding Techniques

• Limiting the frame rate
• Choose factors of the native frame rate
• 29.97, 15, 10, 7.5, 6, 5 for NTSC video (30fps)
• 25, 12.5, 8.67, 6.25, 5 for PAL video (25fps)
• 24, 12, 8, 6 for film (24fps)
• 2-Pass Variable Bit Rate (VBR) encoding
• Codecs do a better job if they know whats ahead
• 2-Pass encoding is beneficial but takes longer
• VBR improves quality but can be unsuitable for
  streaming
• High data peaks can lead to re-buffering
• Sorenson V3 has a new 1-pass VBR that improves
  quality and streams well (limits peaks)

39
Advanced Encoding Filters

• De-Interlacing
• Artifacts arising from the difference between
  interlaced (TV) and non-interlaced (VGA) displays

40
Interlacing Artifacts

• Can be interpolated, blended, or discarded

41
Advanced Encoding Filters

• Inverse Telecine
• Artifacts arising from the process where film
  content (24fps) is transferred to video (30fps)
• Extra frames should are removed

42
Advanced Encoding Filters

• Noise Reduction (actually a blur filter)
• Codecs interpret grain (noise) as motion by
  blurring the frame slightly you can reduce the
  graininess

43
Encoding Examples

• QuickTime
• Use QuickTime Pro
• Simply open up a raw media file, and save it as a
  streaming file
• RealSystem
• Use RealProducer
• Session based
• Windows Media
• Use Windows Media Encoder
• Session profile based

44
The Streaming Media Bible Workshop

• Authoring
• Steve Mack, LUX Media
• smack_at_luxmedia.com

45
Authoring

• Simplest method use a metafile
• A browser will download or choke on protocol if
  linked directly
• A metafile is a small file that contains
  information about another file, including its
  location easy to deliver via HTTP
• Metafiles facilitate handoff between browser and
  media player

4
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Authoring - Metafiles

• QuickTime .qtl files
• RealSystem .ram files
• Windows Media .asx files

rtsptext rtsp//your.quicktimeserver.com/YourStrea
m.mov
rtsp//your.realserver.com/YourStream.rm
ref"mms//your.wmserver.com/YourStream.wmv" /

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Authoring - Embedded Players

• Use special HTML code to include the media player
  in the web page
• Different code required depending on which
  browser youre authoring for
• IE uses ActiveX control (except on Mac)
• Netscape-based browsers use a Plug-in
• You can get even fancier with JavaScript or
  VBScript, but beware
• Cross browser incompatibilities
• Netscape Plug-in vs. ActiveX controls
• Cross platform incompatibilities
• No NS plug-in for WM9S
• IE on Mac uses NS plug-in

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Embedded Players

• IE-based browsers use the tag
• Netscape-based browsers use

88ABDDC6B" codebase"http//www.apple.com/qta
ctivex/qtplugin.cab width"160"
height"136" value"YourRefMovie.mov"
height"136"
pluginspage"http//www.apple.com/quicktime/downlo
ad/"
You can use both for cross-browser compatibility
sort of.
49
Embedded Players QuickTime

• Use both for cross browser compatibility
• IE ignores the tags
• Netscape-based browsers ignore the tags
• NS 6.x is broken

88ABDDC6B" codebase"http//www.apple.com/qta
ctivex/qtplugin.cab width"160"
height"136" value"YourRefMovie.mov" src"YourRefMovie.mov" width"160" height"136"
pluginspage"http//www.apple.com/quicktime/
download/"
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Embedded Players - RealPlayer

• Each part of the RealPlayer is embedded
  separately, I.e.
• ImageWindow the video display
• All all the controls, or can be embedded
  individually
• Each part requires code
• All tied together with the console parameter

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Embedded Players RealPlayer
classid"clsidCFCDAA03-8BE4-11cf-B84B-0020AFBBCCF
A" width"240" height"180" NAME"controls" VALUE"ImageWindow" / NAME"console" VALUE"one" / NAME"src" VALUE"media/MyMovie_240x180.rpm"/
width"240" height"180"
controls"ImageWindow" console"one"
/ classid"clsidCFCDAA03-8BE4-11cf-B84B-0020AFBBCCF
A" width"375" height"100" NAME"controls" VALUE"All"/ NAME"console" VALUE"one"/ src"media/MyMovie_240x180.rpm" width"375"
height"100" controls"All" console"one"
/
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Embedded Players Windows Media

• It gets tricky for a number of reasons
• Windows Media discontinued support for the
  Netscape plug-in with the 7.0 player
• The 6.4 plug-in doesn't work on some Netscape
  browsers (NS6, NS7.0)
• IE on Mac uses the Netscape plug-in
• Windows Media now offers a Java Applet for 9
  Series
• Requires WM9S
• Dependent on Java environment
• WM9S resumed support for the plug-in!!
• Requires WM9S
• Netscape 7.1 now supports the ActiveX control!

53
Embedded Players Windows Media

• If you want to support the widest possible
  audience

Netscape 7.1 now supports the Windows Media
ActiveX control Java Applet solution is
dependent on user environment
54
Embedded Players Windows Media

• Use nested tags
• Different players have different sized controls
• 6.4 46px 7.0 40px 9.0 45px.
• Tricky to predict which player is installed
• Player will squeeze video window into available
  space
• height"244"
• classid"CLSID6BF52A52-394A-11d3-B153-00C04
  F79FAA6"
• src"media/wmv9.asx" width"240"
  height"226"

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Embedded Players - tips

• Keep it simple
• Dont forget to leave room for the control bar in
  your display window
• QuickTime 16 pixels
• RealPlayer 36 pixels for controls, 30-55 more
  for additional info (suggested will scale)
• Windows Media depends on player
• Dont forget the codebase and/or pluginspage
  parameters so users can get the player if they
  dont have it installed

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Break?
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The Streaming Media Bible Workshop

• Live Broadcasts
• Steve Mack, LUX Media
• smack_at_luxmedia.com

58
Live Concerns

• You only get one shot no room for error
• Redundancy is key you need two of everything
• Any processing must happen in real time, so you
  should consider hardware, such as an audio
  compressor
• You may want to be conservative with your
  encoding settings to increase your chance of
  success

59
Live Broadcast Decision Tree

• Connectivity on site?
• Can connectivity be installed in time?
• Has Permission been granted?
• Call all partied involved (talent, venue, label,
  etc)
• Sufficient Budget?
• Suitable Location
• Audio?
• Video?
• Power?
• All of the above must be satisfied

60
Live Concerns - Connectivity

• Send raw media back to Broadcast Operations
  Center (BOC)
• Satellite
• Vivyx (fiber)
• Wireless
• Send encoded streams back to BOC
• Need IP connectivity on site
• Minimum 8 week install window

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Live Concerns - Creation

• Redundancy demands lots of additional equipment
• At least one backup of all critical hardware
• Additional crew required
• Remote locations put a strain on equipment and
  are not easily controlled
• May need additional a/v for pre- post-show
• Need communication between crew members, on site
  BOC
• Don't rely on cell phones
• Land lines are best
• AIM a great tool

62
Live Concerns - Encoding

• Longer events imply longer listening times
• May want to be conservative with bit rate
• Faster machines required to encode highest
  quality in real-time
• Backup machines required

63
Live Concerns - Authoring

• Simplify web sites to speed up access to stream
• Nobody likes having to register
• Don't make them traverse entire site
• Complicated pages with lots of graphics/animation
  might cause the web server to fail
• If you must use an embedded player, at least
  offer a link to a metafile

64
Live Concerns Serving

• Vastly increased bandwidth demands
• Increased server licensing demands (RealSystem
  only)
• Need more servers
• Load balancing system is crucial

65
Live Encoding Examples

• RealSystem
• Windows Media

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Where to Find More Information

• Buy the book!
• Streaming Media Bible, published by Wiley
• Over 1000 pages of streaming media tips tricks
• Companion Web Site
• http//www.streamingmediabible.com
• Trained Audio Engineers Videographers
• The best possible resource
• Can be friendly if treated well
• Generally need the work
• Ask me
• smack_at_luxmedia.com

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Thank You

• Streaming Media Bible Workshop
• Steve Mack, LUX Media
• smack_at_luxmedia.com

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Glossary
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Glossary (contd)
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Glossary (contd)
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Glossary (contd)
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Glossary (contd)