A   S t r e a m i n g   M e d i a   P r i m e r :  
H O W   D O   I   M A K E   ( G O O D )   S T R E A M I N G   M E D I A ?
Sometimes a word is worth a thousand pictures
You will be forgiven for bad video but you will be abandoned for 
bad audio. While those reasonably priced DV camcorders do yield 
fi ne imagery for streaming, remember that consumer cameras have 
Minimize movement
 The less subject movement, the 
consumer microphones built in. Poor quality mics tend to pick up 
better. Avoid scenes with lots of activity or motion.
lots of background noise, which can be virtually impossible to fi lter 
Use a tripod
 The less camera movement the better. 
out later. Don't use a mic intended for rock and roll. Do use a remote 
If you really need to pan, a tripod with a fl uid head will 
reduce motion to just one dimension. 
lapel, handheld, or boom microphone with either a strong proximity 
effect or a directional pick up pattern. If you are shooting DV, record 
Keep the background simple
 Within a small frame, 
16 bit (not 12 bit) audio the more information you start with, the 
subjects moving on a simple background are easier to distin 
guish than subjects on a complex or moving background. 
better result you are likely to get when you encode your audio. Keep 
the audio level as loud as possible without driving the meter into the 
Avoid complex textures and stripes
red with DV, too much level can result in distortion. Be sure to test 
clothing or scenic elements can cause distortion effects. 
your audio levels prior to recording. Better yet, get an experienced 
Avoid trees or foliage with moving leaves
audio engineer to help. If feasible, record as much audio as possible 
small details in continuous motion compress horribly, 
in post production, rather than live. A voice over recorded in a 
even at high data rates.
studio will always produce much better audio than sound recorded 
Avoid  hot  colors
 Bright whites, blues, reds and 
on location.
yellows glare under video lights, and will look even worse 
on the Web than they do on NTSC tape; darker colors and 
Shooting for live Webcasting
earthtones will work better. If you can control what the 
subject is wearing, recommend dark, solid colors.
The operative word here is  live.  Make sure your subjects, and 
the audience if there is one, know that your are Webcasting live. 
Avoid harsh contrast
 Typically, video that is well lit 
and does not have a lot of contrast will compress better for 
Because what your cameras  see  and what your microphones pick 
streaming. Brightly lit subjects shot at a constant exposure 
up is exactly what is being sent to the audience at large on your 
will help keep the foreground detail crisp. 
corporate intranet or on the Internet. 
Tight shots are best
 Streaming video is seen on a 
miniature screen.  To your Web audience, a telescopic shot 
of a cast of thousands storming a hill will look like  chaos 
on an anthill.  Close ups work best, allowing Web viewers 
In the digital video workfl ow, post production includes everything 
to recognize faces and expressions, or to distinguish objects 
from capturing through outputting. However, for the purposes of 
and their details. People engaged in conversation should 
be positioned very close together, and be prompted to 
this primer, we will address only capturing through editing in this 
remain that way.
 Post Production  section, in order to cover the critical topic of 
outputting more thoroughly in a section of its own.
Keep your subjects within the frame
 Be sure your 
subjects or actors understand the boundaries within which 
they can move and still remain within the frame.  
Capturing video for streaming
Create plenty of background space for titles
Once you've shot or otherwise collected your video clips, you need 
small image size means you'll need a larger percentage of 
to get them into your computer, in digital format, so that you can 
the frame as a background for readable titles than you 
edit and/or encode your streaming production. Adobe Premiere 
would for a production with a larger image size. 
software, with native DV support for dozens of DV devices, as well 
Stick to hard cuts
 Pans and zooms add movement that 
as support for most analog capture cards, is an excellent choice for 
will not compress well.
controlling and automating the capture process. If you are planning 
Slow your shutter speed 
 A slow shutter speed causes 
to use Adobe Premiere or other non linear video editing software to 
moving objects to blur, but leaves still objects in focus, 
craft your production for VOD (video on demand), you'll follow the 
making your video easier to compress. Try using a shutter 
same basic capture procedures that you would for any type of digital 
speed that's about half your frame rate:  shoot 24 fps fi lm 
video project. You'll fi nd a description of how to confi gure your 
at 1/48 second; shoot 30 fps video at 1/60 second. 
system and what capturing your clips entails, in the Adobe Digital 
Don't neglect the audio
 Don't rely on a built in micro 
Video Primer.
namic Medianamic Media
phone use wireless remote mics or boom mics. Pre test 
audio levels. Get a sound expert, if possible.
Test whenever possible
 Shoot some test video, encode 
 If you shot DV, it's as easy as `plug 'n play' just connect your 
it, and stream it across the system you plan to employ. If you 
have had trouble managing expectations, showing an early 
DV camcorder to your computer via an IEEE 1394 connection 
obe Dobe D
test can convince clients that compromises or concessions 
and you're ready to edit. 
may need to be made.
 Adobe Digital Video Primer
33  Adobe Digital Video Primer, PDF available for download at http://www.adobe.com/motion/main.html

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