If the playback CPU requirements are not very low, use of B-frames with an interval value of 2 or 3 is recommended. This can either be set in Application.xml at the server or, better yet, set on the NetConnection object from the client-side application.
For example, if a content has streams of 500 Kbps, 800 Kbps, 1.2 Mbps, 1.8 Mbps, and 2.4 Mbps, then setting the ServerToClient bandwidth limit to 2.5 Mbps or 327,680 bps would provide the maximum stability. Ideally, this bandwidth limit should be set to a value slightly above the maximum bit rate of the streams being sent. Keeping the value too low, however, would limit the server’s ability to push more data when the client’s bandwidth increases again. Keep the server’s outgoing buffer small by keeping the ServerToClient bandwidth limit smaller. FMS looks for the keyframes in the new stream in chunks equal to the client’s buffer size (NetStream.bufferTime), so having a client buffer larger than the keyframe interval of the stream would help with a fast switch response time from the server. Keep the timeline of the multiple encoded files identical. Keeping a constant video keyframe interval. The video frame size should not exceed the maximum video frame size. For lower bit rate streams, encoding the channel as mono and maintaining the same bit rate (that is half the bit rate of their stereo equivalents). Keep the audio bit rates and sampling rates the same. The frame rate for videos below a bit rate of 100 Kbps could be set to lower values such as 15 fps, but at bit rates higher than 300 Kbps, a frame rate of at least 25 fps and ideally 30 fps is recommended. If the intended target users are towards the higher end of the bandwidth spectrum with at least a DSL connection, then the first couple of bit rates could be skipped. Adobe recommends using the bit rates given in Table 1 (see below) for dynamic streaming on demand. Next check out Abhinav Kapoor’s article and see how easily you can follow: Kush Amerasinghe did a great job putting this together, and his illustrations are beautiful. Warning though, after reading, you will want to take a vacation. Hopefully this will save you tons of time, or should I say kbps of time. My encoder of choice is Sorenson Squeeze, but that is a topic for another day. I used these notes as a check list when we finally moved to the encoder to build our presets. Follow the links, read the sources, and then use my notes as a quick reference. I am posting the following information with links to the original information. So now you know there are no magical presets, and knowing is half the battle. how many different multi bit-rate versions to make? Time, overhead, and costs to prepare you material for streaming: high end HD broadband users, with content embedded into a web page type of content (slow talking heads versus fast moving action) The “quality” of the video you want to stream: It’s like building a custom race car or a boat. The good news about this, is once you master creating your very own presets, you will have something specific to your project or company and that will help you define future success it will be something that can set you apart from the next guy. The presets you will find in the encoding programs and on the internet are merely a starting point. You are not going to find the presets you are looking for, because everyone has unique variables to factor in. My starting point for this research came from a simple and very innocent question: “Where can I find the multiple bit-rate (multi bitrate, multibitrate) presets I need to process our video content?” I never imagined the several weeks of research that would ensue.įirst, if you are new to dynamic streaming, let me save you some time by answering my first question: If this was Japanese martial arts, I would have been below a 1st Dan, maybe a “Level 0: Youtube uploader apprentice.” Now while I still do not understand everything, I can hold a conversation with a streaming professional, and as a business owner, this very important. Three months ago I opened a new internet based media production company in Japan and while I have had seven years of video experience, I realized I was clueless when it came to streaming.
#SORENSON SQUEEZE 10 TUTORIAL FULL#
My journey into the world of multi-bit rate adaptive/dynamic streaming for Flash Video on Demand (Is that a mouth full or what?):
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