I'm trying to create several short documentaries including clips and stills with the aim of uploading to our vimeo plus account. I am here in Japan so firstly, 16:9 right and I have been told in the past it should be 29.97p rate. I have also used the following setting up till now:
but now I'm not sure whether I shouldnt be using either of the following. Can somebody please advise as to which would produce the best results in the end? Thanking you.
Just additional FYI; I sometimes do ProRes 422, sometimes H.264 ("Audio + Video" setting) and get good results both ways. And I almost always am editing/exporting 30fps. But I've used other frame rates and had good results. I find Vimeo's processing to be excellent and maintain image quality. Unlike YuckTube who screws your video badly, but not nearly as badly as The FarceBook.
Whokuni wrote: I'm trying to create several short documentaries including clips and stills with the aim of uploading to our vimeo plus account. I am here in Japan so firstly, 16:9 right and I have been told in the past it should be 29.97p rate. ..Can somebody please advise as to which would produce the best results in the end? Thanking you.
As FCPX.guru said, exporting to ProRes is the best quality. Filmmaker Philip Bloom usually uploads ProRes to Vimeo. For very short programs this can work. It rapidly becomes more cumbersome with longer programs.
Part of the decision process is (1) Your broadband capability (2) Your audience's broadband capability and (3) playback and viewing method, e.g, mobile vs fixed.
You are in Japan. According to Dec 2017 OECD data, 78% of Japan's broadband subscriptions are fiber served. By contrast in the US only 12.6% are fiber. This has implications for a content provider uploading large files. In general fiber-served broadband is symmetrical -- upload and download bandwidth is the same. Non-fiber methods are often highly asymmetrical. E.g, I have Comcast 350 Mbps, but upload bandwidth is only 30 Mbps (provisioned rate), and it can drop to 20 Mbps. Comcast has a 1TB per month data cap (combined upload/download for all data, including NetFlix, Hulu, etc). Just uploading one ProRes 422 copy of a 22 min. documentary I edited can take 8 hr and consumes 1/10th of my monthly data limit.
Another factor is how your viewers will watch the material. This varies by your audience demographic and by country. In the US the younger demographic is more likely to view your material on a mobile device. I think in Japan viewing video on mobile devices is even more common. If your material is designed for a younger audience (esp. in Japan) it's quite likely the majority may view it on a mobile device. This has implications for encoding and upload. I doubt many could see the difference between a ProRes vs H264-encoded upload when viewed on a mobile device.
The default FCPX export parameters for 1080p H264 are quite good -- about 20 mbps, which is double what Youtube recommends. For DCI 4k, Youtube recommends 35-45 Mbps, and FCPX's default UHD 4k H264 export is about 30 Mbps.
Vimeo recommends 10-20 Mbps for H264 1080p and 30-60 Mbps for 4k.
If your ISP in Japan has no data cap and is on symmetrical fiber, you could upload ProRes, even if most of your viewers might be using mobile devices. Otherwise, the default FCPX H264 export for 1080p H264 at 20 Mbps is pretty good. For 4k H264 it might be a bit low, so using Compressor to export a 50 Mbps file might be a good idea.
Note both Youtube and Vimeo will re-encode whatever file you upload. They will typically use H264 or a similar long GOP codec. Uploading ProRes avoids the theoretical issue of re-encoding an already compressed video. Each time you re-encode or re-edit a compressed format such as JPG or H264, there can be generational loss. However due to the above factors this might not be noticeable on most playback devices.
However there are other quality factors besides resolution, and these may only appear on certain material. If your material has any monochrome gradients such as blue sky, blue ocean, a red-lit room, etc, these are much more susceptible to banding. Another issue is certain camera and subject motions if double-encoded via long GOP may exhibit jerky movement (not typical frame judder). Uploading ProRes might in some cases help mitigate these.
Youtube will re-encode to several codecs, and will preferentially use AV1 which is similar to HEVC where possible. During playback initialization the client side handshakes with the streaming server to negotiate what streaming codec is mutually supported. In Youtube you can right-click on the video and select "Stats for Nerds" and it will show various diagnostic info, including what codec is being streamed.
wow. Thank you everybody for this information. I have created 3 small clips these last couple of days and no problems with the two created in fcpx. I can’t say the say for the quickie I tried to get away with in a slideshow in iPhoto. Lesson learnt! Stay with fcpx for best quality and your input now backs the results up. Thank you once again. Lesson well learnt