Uploading 101 with Professor Compressor

This week in Howcast’s ‘Modern 101 for emerging digital filmmakers’ we’re pleased to welcome guest lecturer, Professor Compressor. Professor Compressor is one of the most revered thinkers in web video and is renowned for his ability to compress and upload videos using the proper codecs, in the correct aspect ratios, and at the precise data rate, so that they look, as he would say, ‘wunderful!’ Professor Compressor comes to us through the magic of video all the way from an Indian archipelago via Eastern Russia to share his expertise on uploading great-looking web video.



Thank you for watching Professor Compressor’s compression video! Here you can find all the pertinent notes from today’s lecture:

What is a codec?
A codec is the format in which you compress your video. It could be a variety of different formats, but the most modern, powerful, and commonly used codecs are H.264 and MPEG-4.

Why H.264 and MP4 (MPEG-4)?
H.264 and MP4 are wunderful codecs! They allow you to have a tremendous quality video at a fraction of the file size. Lets look at a theoretical example:

You’ve finished editing and have made a beautiful 1920x1080 master file. But it is in the Apple Pro Res format, and is over 2GB. This file won’t work for the web. The video codec is too large and the file size is too big. Inevitably you will end up with a low quality video, because the master file is not designed and optimized for the web.

Take that file and transcode it into an H.264. Since web players are designed to work seamlessly with H.264, you won’t have to worry about choppy or corrupted playback. And H.264 encodes your video in such a way that you won’t see a noticeable drop in image quality. What you will see is your 2GB master file shrink to less than 500MB -- perfect for the web!

Help, my footage looks stretched or squished and there are black bars bordering the footage!
This is a common problem that results from uploading an incorrect frame size. When uploading, you need to make sure the video is in the correct frame size for the player. This could be a variety of different frame sizes, varying from SD to HD, so check your website’s FAQ on uploading for instructions. The most common frame sizes are: 640x360, 640x480, 720x480, 1280x720, and 1920x1080.

This problem could also result from an incorrect Pixel Aspect Ratio. Pixel Aspect Ratio (or PAR) can be a little confusing, but the simple way to think of it is that this setting tells your program what aspect ratio to encode your video, at the pixel level. It determines how the digital information is presented and viewed onscreen. I recommend square pixels for HD, PAL for PAL, and NTSC for NTSC, though this can vary.. The best option is to play around with this setting when exporting until you get your video looking pristine.

Help, my video looks muddy and detail is lost. My text looks almost pixelated and the video is generally very low quality.
Low image quality is usually due to a low data rate when exporting your video. When exporting your video, you’re given many options; one of these is data rate. Setting the data rate to automatic will usually result in the best image. It is also highly recommended to do a multi-pass encode. It will take longer than a single-pass encode, but it will result in a much smoother video with higher image quality.

Well, that was a lot of information! Digest it, experiment, and start uploading those WUNDERFUL videos!

Nardeep Khurmi, Howcast’s Post Production Specialist (a.k.a Professor Compressor) recently watched "Pygmy Jerboa".

Tricking and treating with Disney this Halloween

We’d like to welcome today’s guest blogger, Annjanette Isorda, Senior Manager of New Media Business Development at the Walt Disney Company. Annjanette works with Disney Consumer Products, a division that extends the Disney brand to merchandise ranging from apparel and toys to books, magazines and even food. Today, she shares her experiences on how they use their Disney Living YouTube Channel to engage fans and communicate about holiday promotions.

The Disney Living channel was born in March 2009 when we realized that YouTube could provide a great way to answer the growing demand for entertainment and information on Disney products – everything from bridal fashion shows featuring gowns inspired by our Disney Princesses to sneak peeks of our latest toys and tech gadgets. We’ve found that YouTube has broad appeal and, unlike virtually any other channel, YouTube videos allow us to tell stories that we couldn’t convey in print or other online media. We create original content that you can’t see anywhere else for YouTube fans and the active blogger community.

As we go into the holidays, YouTube has emerged as one of the best ways for us to engage directly with a wide audience. For example, Halloween is an especially fun holiday for us at Disney. To make this year’s festivities unique, we created fun activities for the family on YouTube. We produced a "Disney Store 30 Costumes in 30 Seconds" YouTube Halloween Sweepstakes and have also set up a Halloween Dress Rehearsal Party for families to show off outfits in person (and receive free prizes!). The Disney Living channel helps us easily bridge the online and offline worlds.

Additionally, Disney Living is tricking and treating YouTubers to three scary movie spoofs, inspired by the flicks The Shining, The Ring, & The Sixth Sense. These Ghoulish Greetings are short e-greetings made to delight and surprise our audience. We hope fans will have a laugh and be inspired to share them with family and friends and participate in our Halloween contest with a video response of your own. We’ll choose five lucky winners after Halloween to win a $100 gift card to the Disney Store. We will continue to produce content like this for our YouTube channel because it is a powerful platform that allows us to create value for our subscribers and audience.



Finally, our last advice to anyone else considering building a presence on YouTube: connect it to your other social marketing efforts. We always connect our content to our Facebook fan page and share it in our tweets from Twitter. We’ve promoted the videos to the YouTube community as well to help connect more people to some of our most popular content. We have found using a mix of social media and paid advertising helps us reach both core Disney fans and newcomers.

We’re genuinely excited about engaging with our fans on YouTube and carrying on the Disney tradition of inspirational storytelling. Stay tuned — there will be more YouTube fun as we move into this year’s holiday season!

Jacques Hebert, Google AdWords Account Manager, recently watched “Disney Halloween Spoof: Ghoulish Greeting #3.”

If a picture is worth a thousand words, then a video is worth a million

Editors note: Today’s guest bloggers are Troy Olson, Digital Advertising Manager, and Jeff Loquist, Search Marketing Manager, for ShoppersChoice.com. ShoppersChoice.com owns and operates a family of web stores with a wide selection of products, from barbecue grills and accessories to patio sets.

We sell everything from home furniture and fireplaces to kitchen cookware, but our true passion is barbecuing and grills. We’re in BBQ country, where people are fanatical about barbecuing and smoking. We’ve found that the best way to connect with customers is to provide them with great videos – grill reviews, how-tos, and recipes – presented on our branded YouTube channel, YouTube.com/BBQGuys.

We started with instructional videos to address customer service. Then our attitude toward video morphed when our CEO was on a business trip 1,000 miles away from home and was recognized as the “Barbecue Guy.” We saw how great YouTube could be for reaching many people at once and conveying our company image. Our important performance indicator is our relationship with viewers. It excites us when we see comments such as, ‘Great recipe! I tried it a few days back, loved it.’

In 2009, we brought on Chef Tony. He knows Cajun food and has a gregarious personality that our viewers love. We get hundreds of thousands of views whether we’re showing how to smoke a brisket



or how to make honey-glazed sweet potatoes



We want our customers to love our grills, and the way we do it is to give them recipes that make them proud and happy with the results they can achieve.

Through Promoted Videos, there have been almost 100,000 views on our YouTube channel and more than 15 million impressions of our brand name – all at the most competitive cost-per-click you will find anywhere online. Our campaign is easily managed in the Google Adwords interface. Every tool we need is there to grow quickly and manage easily our video efforts. So far this year, we’ve had over 2,200 visitors to our BBQGuys.com site from YouTube. We’ve also seen a significant increase in subscribers across all our social media channels since we started using YouTube.

Online video advertising is central to our business. For this past August, our revenue was up 48%. Our videos were viewed 94,000 times during that month alone. Overall traffic to BBQGuys.com is up 20% from last year.

We’ve been so successful on YouTube that we are now planning to extend our YouTube presence to our SportsmanGuys brand and beyond.

For us, video is our secret sauce. If a picture is worth a thousand words, then a video is worth a million!

Serena Satyasai, Marketing, recently watched “Homemade Pizza Dough”

Dunk your favorite YouTube star on Prank House

Editor's Note: Today’s guest blogger is Brigham White who, together with Taran Chadha, created the new video reality game Prank House. The app is a live streaming reality show similar to Europe’s Big Brother, with one major twist: viewers can participate in pranks live via the Internet through robotically controlled devices like paintball guns and shockers.

Taran and I both wanted – as in really wanted – to take the internet’s virtual world and make it real, and we were just silly enough to try it. The result is Prank House. Blend Survivor and Halo, and you’re halfway there. On Prank House, you can shoot real people (including some of your favorite YouTube stars) with paintball guns, release angry goats, shock people, play foosball, drop water bombs, and drive remote control cars around a 200 square foot track.

It’s pretty simple: you download a free desktop app from our site, prankhouse.com, and choose a team to support. You then buy tokens to drive different types of pranks, controlled through robotic devices within the “prank house.” It’s your job to help your team through competition in scheduled events.

We officially started Season 1 on October 4 with an impressive lineup of YouTube celebrities. ShayCarl, Charles Trippy and Cory Williams are just a few of the YouTube stars actually living and competing for the title of Top Prankster in a reality show setting in a 10,000 square foot house in California. (Ask yourself – would you have the nerve?) So far, more than 65,000 viewers have tuned in.

We have 10 different rooms in the house that can be viewed 24/7 on 35 live cameras. You as the viewer can interact with – and influence – the outcome of the daily competitions. For example: one morning you might find Charles Trippy and ShayCarl suspended with ropes from the ceiling, swinging back and forth trying to grab the other’s flag. Using the Prank House desktop app, you can shoot the opposing team’s celebrity with a live paintball gun to help your team win. Basically, it’s all a matter of teamwork, and the people in the house are working with their fans and supporters on the Internet to prank the other team and win. It hurts (but only a little), and it’s hellaciously fun. See the trailer below.

Serena Satyasai, Marketing, recently watched “Swing time in the Prank House.”

The transmission of art by television (and now YouTube)

Inspired by YouTube Play. A Biennial of Creative Video, the Guggenheim has launched a terrific blog called The Take, featuring writings by scholars, artists and other experts on topics like online video, digital content, the history of video art, and the effects of the Internet on art and culture. Naturally, some of what’s being covered has strong connections to YouTube, and so the kind folks at the Guggenheim have allowed us to cross-post here.

This post is from writer/curator Michael Connor, founder of the Marian Spore contemporary art museum in Brooklyn and co-curator of the permanent exhibition “Screen Worlds” at the Australian Centre for the Moving Image in Melbourne. Connor also teaches at the School of Visual Arts and New York University's Interactive Telecommunications Program. You can read his original post here.



"The transmission of art exhibitions by television is the beginning of an era when the public will be taught to appreciate great works of art, seeing them in their homes.”

This was the prediction made in a report written by one E. Robb for the BBC way back in 1933, less than a year after their first experimental television broadcast. For Robb, art on television meant pointing a camera at a painting or sculpture.

More than three decades later, a German filmmaker named Gerry Schum had a similar idea. In those days, West Berlin was cut off from the rest of West Germany by the Iron Curtain. In 1968 Schum wrote that “not only must works of art be flown into the city, also critics and visitors from West Germany experience difficulty in reaching Berlin.” Television, he realized, could allow artworks and visitors to be connected across such long distances and closed borders.

West Berlin’s plight is partly what inspired Schum to start an art gallery on television. Fernseh-Galerie (Television Gallery), as it was called, was a pioneering series of video art commissioned by Schum, including two broadcast exhibitions in 1969 and 1970. The first exhibition, Land Art, was broadcast on the public station Sender Freies Berlin (SFB) on April 15, 1969. Many notable artists contributed films that were then transferred to videotape, including Jan Dibbets, Richard Long, Walter de Maria, Dennis Oppenheim, and Robert Smithson.

My favorite piece produced by the gallery is Jan Dibbets’s TV as Fireplace. Between December 25 and 31, 1969, public television station WDR III in Cologne rebroadcast Dibbets’s video of a burning fire every night for three minutes. The logs were lit on the first night, and the fire grew in intensity before slowly dying on the last one. Perfectly site specific, Dibbets’s piece turned the home’s cathode-ray tube into a flickering fire for just a few moments at a historical moment when the TV set had gone a long way toward replacing the hearth as the focal point of domestic space.

Watching TV as Fireplace on YouTube would of course be completely different. Online video shatters the direct link that Dibbets made between physical viewing environment and moving image. Given that audiences may now watch videos on an iPhone at the beach or a computer at the office, is it still possible for artists to create this kind of dialogue between the physical space of viewing and the space on-screen?

What do you think? Please comment below (note comments are moderated due to spam) or directly on The Take.