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Compressor 4 Essential Training streamlines the processes of compressing and encoding media in Final Cut Pro X's companion compression software. This course introduces the fundamental concepts of compression, how to determine appropriate compression settings, and building and modifying encoding presets for a variety of outputs, including Apple and Android devices, DVDs, PowerPoint, and the web. The course also covers placing watermarks, setting destinations, and transcoding files automatically using droplets.
Filters give us quite a bit of power with Compressor, but they're an optional choice. We're going to take a look at one of the ways you can use it for adjustment of video, regardless of setting. I'm going to go ahead and I'm going to bring in my video. And any setting I pick, I'm just going to pick one of the Apple-set pre-built settings. I'll pick, for example, their HD for Devices like the iPhone. I'm going to go ahead and select that setting so it becomes live in the Inspector, and I'm going to add an adjustment to it here as a filter.
When I'm done, I have the option of saving this. I can take any setting that I've built at any point across this course, or any other setting I've used, and I can add filters to it. So I want you to hear that this is an add-on for anything I do. Since we're talking about adjusting my video, there are a couple of major adjustments I might want to make. If I've not edited this video, I may want to be able to do something like a fade-up or a fade-out. Now, this video has no fade-up. It does, at the end of it, have a fade-out.
So what I'm going to do is add a fade-in to this video. I'm going to go ahead and turn that on. And the Duration I'm going to make is maybe 0.50 of a second. I'm going to do no fade-out. And you can see now here at the very beginning, the left side is the original video; the right side, it's controlled by this knob up here, is showing you the results of what you're doing. And as I drag, you can see that the video is fading up. The other adjustment that I'm going to make along with this fade-in and fade-out is some noise removal.
When you work with particularly lossy cameras--this would be anything that shoots in H.264. This would be your DSLR cameras. This would be your iPhones. You may find that your footage is particularly noisy. Now, an optimal place to correct this would be in an editorial program, but you may find that you'd like to correct this here in compression, because maybe you didn't edit it. So to do this, we're going to turn on Noise Removal, and we're going to observe the changes on the right side. Noise is particularly a curse for compression.
The more noise in the video, the harder it is to compress. What Noise Removal is going to do is soften the video but soften similar areas. By softening similar areas, it will make it smoother and therefore easier to compress, but it's going to lose some detail. I'm going to go ahead here and turn on Noise Removal. Now, just the fact that I've turned it on, whether or not we can really see that difference--and I'm having trouble seeing it, so I'm going to probably really up that difference as we go-- this is going to make the video a little bit easier to compress.
You can see a little bit of across her face. Now, I have got to put a little bit of a note in here, because if you're watching this online, you may be seeing an artifact of the compression of this whole title. So I'm really going to take it a little bit too far to really help you see what I'm talking about as the difference. I'm going to find that when I have noise in my compression that it's more across the chroma, or the color, information. So I'm going to have it do this to the chroma channels, and I'm going to do more iterations.
Again, I'm pushing this further than I should, and I encourage you to experiment until you feel happy with how the picture looks on the right side. I'm going to take this up to 4 iterations. This is going to make the colors much blurrier, and let's see if we can see that difference at all. It's very slight, but it is visible. As I move across her face, she gets a little soft, and we're okay about that. The idea here is by making it softer it will compress better and look cleaner and hopefully remove the noise we have.
This is built into part of the actual setting. So if I'm going to use this a lot, I'm going to do a Save As. Now, this happens to be in HD for Apple Devices. So I'm going to save this as HD Apple Devices with the Filters of both Noise Removal and Fade Up, meaning that I have this for the future for the next time I come across a video that's got a quite a lot of Noise and not a Fade Up. Other filters that you may choose to use along these lines are a gamma correction, which adjusts the midpoint, gray point.
This is really what you want to use instead of Brightness or Contrast, not that you have those as filters. But Gamma Corrections are usually what you want to do to make a video brighter or darker. And while I probably don't use them too much, I don't use the BlackWhite Restore or the color correction choices here, and I never use deinterlacing. Deinterlacing, if you need to adjust this, should be done over on the Frame controls here. And the reason is is this filter has been depreciated. Deinterlacing is very useful when you're coming from interlaced devices. It's not crucial.
Compressor is set by default to automatically deinterlace when appropriate. So that's the basic idea of how you use filters, at least as a corrective tool or an adjustment tool.
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