In this video, author Jeff Greenberg walks you through how to build a H.264 proxy preset in Apple Compressor.
- I'm going to do the same thing that I just did in the prior section. But this time I'm going to do it for H.264 media, giving you a different choice, a more compressed choice if you like. The one caveat is, if you decide you only want ProRes proxy you don't need to build this one. So, I'm going to go ahead here and just make sure we get all the little tick marks before we look at Compressor. I'm going to create a new QuickTime preset and set the codec to H.264. A really major difference compared to ProRes Proxy is you can pick any data rate you like.
In this case, because I'm going to be working with quarter res 1080, adjusting size a quarter, I'm going to actually pick a very small data rate, smaller than YouTube's five megabits for 1080 material. I'm going to add two effects, one for timecode and Proxy. I'm going to set the audio to passthrough. Last, I'm going to create a destination for these by picking a destination folder and I'm going to make sure that the destination setting doesn't change the name at all. Let's go ahead and take a look at Compressor. If you start Compressor and you don't see the left and right pane you should know on the left you can get to your settings and on the right you can get to your Inspector.
Here on the bottom left I'm going to go ahead and create a New Setting. I'm going to create a setting with the format QuickTime movie and I'm going to call this H264 Proxy Preset. For 1080 material. And say Okay. On my right, I'm going to go ahead and choose the Video tab. I'm going to pick the frame size up to 960 x 540. I'm going to change the QuickTime codec here from ProRes, H.264.
Now, this is known as a constant quality. I'm going to restrict it to a particular value. And I'm going to tell it to be single-pass. Multi-pass means it thinks about it before it compresses. Single-pass means it just thinks about it less. The number YouTube uses for 1080 material is 5000. But we're going to be working at a quarter of that size so I can comfortably set this number to a thousand or less. With it set at this number we can get about two hours of material in a gigabyte. I'm going to choose Okay. I'm going to go to the Audio tab.
I'm going to make sure on the Audio tab I'm set to Passthrough. Back on the Video tab I'm going to add my effects at the bottom. I'm going to add a video effect for Timecode Generator. I'm going to set it to Upper Center, Title Safe. I'm going to add a second video effect. I'm going to add a Text Overlay. I'm going to set it to the bottom, Lower Center. I'm going to type in the word Proxy. And of course, if you want to change the font or change its visibility you can do so with either of these controls.
With the Preset built, I need to build a location for this. So I'm going to go over to Locations. I'm going to come down to the bottom, add a new location. On my desktop I'm going to create a folder called h264 Proxy Handmade. Say Choose. And I'm going to check here about the location, that it's set to only have the file name be the source. It's a cool menu here that you can add other things to the file name but it's really crucial it matches the name exactly.
And with that, I'm ready to compress.
- Comparing workflows: online vs. offline
- Working with originals, proxies, and optimized clips
- Generating proxies during or after import
- Generating optimized footage
- Determining if a clip or library has a proxy
- Compressing footage
- Using a preset to generate proxies
- Placing custom proxies in the library
- Switching between offline and online
- Exporting the right quality for clients
- Moving media in and out of libraries