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Lee Hanken
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hpr_transcripts/hpr2310.txt
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Episode: 2310
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Title: HPR2310: Kdenlive Part 6 Workflow and Conclusion.
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Source: https://hub.hackerpublicradio.org/ccdn.php?filename=/eps/hpr2310/hpr2310.mp3
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Transcribed: 2025-10-19 01:09:08
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---
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This is HPR episode 2,310 entitled, KVN Live Part 6 workflow and conclusion.
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It is hosted by Gens and is about 19 minutes long and can rim a clean flag.
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The summary is a look at the final KVN Live project workflow and conclusion.
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This episode of HPR is brought to you by an Anasthost.com.
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Get 15% discount on all shared hosting with the offer code HPR15, that's HPR15.
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Better web hosting that's honest and fair at Anasthost.com.
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Hello again HPR listeners, this is Gettys with Part 6, the phone and article in this KDIN
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live series entitled Workflow and Conclusion.
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The top is included are introduction, the goal master, the render menu and the goal master,
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encoding workflow, post-production workflow and finally conclusion.
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So let's get going.
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Introduction Post-production is along an involved process.
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As these articles have demonstrated, KDIN live is capable of handling every step
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with efficiency and flexibility.
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In this article we will discuss the final export of the full project from KDIN live, as
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well as examine the overall free software workflow of post-production.
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At this point in the KDIN live project, all editing has been completed, the picture
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lock has been declared, color correction has finished, compositing has been perfected
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and titles inserted and the audio mix has been finalised.
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The only step left is to export the movie from KDIN live as a self-contained movie file.
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The first export of your movie should be a full quality, bit for bit copy of exactly
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what you see in KDIN live.
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This serves a few different purposes.
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1.
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Ensures that you have a full quality, backup, goal master in brackets of your movie.
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2.
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Ensures that everything you think you see in the smallish windows and relatively chaotic
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interface of your video editor is actually true.
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Regardless of how good an editor you are, there is just something different about sitting
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back and watching a movie without the ability to stop it and make a quick adjustment or
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a quick edit.
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This isn't something you should reserve for the very end of your project either.
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This is a step you probably want to do periodically throughout the edit.
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They are called sanity checks in the industry.
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The goal master.
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To get a goal master from KDIN live, click the render button in the main toolbar or
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access it via project menu render.
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As your destination, choose lossless forward slash HQ.
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Name your output file as your goal master or Rc1 if it's merely a release candidate or
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whatever notation you want to use.
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The render menu and the goal master.
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KDIN live uses FFMPEG as its render backend, offers FFV1 and Hough YUV as its full quality
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master formats.
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Choose one of these, open brackets, both are good, Hough YUV will be a larger file size
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as it uses PCM for audio while the FFV1 preset uses flat, close brackets and click the
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render to file button on the top left of the dialog box.
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I tend to use Hough YUV as I have had good experiences with it.
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Now that you have a full quality version of the movie, you can either use it as your
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transcoding source if you wish to encode or distribute manually or you can use KDIN
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lives interface.
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I use FFMPEG directly, mostly out of habit, but the KDIN live front end is to date the
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most sensible FFMPEG front end I've used.
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Encoding Encoding video for distribution is subject to artistic preference and per
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project requirements.
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There is not a single encodes best way to encode your project.
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You must consider your desired format, your intended delivery method and so on.
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KDIN live takes into account most of the usual delivery methods offering presets for DVDs,
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mobile devices, websites like YouTube and Vimeo and much more.
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From the user perspective, video codecs are mostly all created equal.
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Open brackets are gross oversimplification that probably has FFMPEG and KDIN live
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developers cringing close brackets.
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They take video and somewhat compress it and are daily played back on the desired device.
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So it's useless for a content creator to debate over which codec will be best for their
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film.
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Fact is, any codec will do.
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The desired factor will be subtleties like bitrate, keyframing and GPO size and frame size.
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The bitrate of a video determines how much information each frame contains.
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This affects not just the visual quality of the video, but also the ability of the video
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to be streamed over a network or even a device, open brackets, since the graphic chips
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of any device will have its limitations, close brackets.
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A very high bitrate like 3500 kilobits per second and higher up to about 5400 kilobits per
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second or 54 megabits per second is common on a medium light blue ray.
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DVDs have a bitrate of about 8000 kilobits per second.
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Internet video, obviously, varies greatly, depending on how much confidence the content provider
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has in the network connection to their audience.
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Variable bitrate help load the overall file size by throttling the bitrate during shots
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that don't actually require much information.
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A relatively still shot of a building for example is a lot less demanding on video playback
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than a high speed car chase.
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The best way to optimize this is to use the two pass option.
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This takes twice as long to encode, but the results are invariably better in both quality
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and file size.
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During the first pass, FFMPEG reviews the footage and plans out the optimal method for encoding.
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On the second pass, FFMPEG does the actual encoding.
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If you're using Decadian Live Render dialog box, the bitrate and number of passes are
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really all you can control, aside from choosing a video format and frame size.
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The free video formats X-Feed, MP4, Fiora and WebM are all excellent codecs, most of which
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are gaining widespread adoption.
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I would argue that 9 times out of 10, these codecs alone are sufficient for most distribution
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channels.
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That is, there are those devices that require special options, and for this you really
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simply have no choice but to encode into a format that you don't really own or control.
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Frame size has a very direct result on file size, so if your target in a specific file
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size, then the bitrate and frame size are the attributes you can target to help you achieve
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your goal.
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The lower the bitrate, the smaller your file size will be, and if you reduce your frame size
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by 50%, you'll often see nearly a 50% drop in file size.
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Of course, the trade off in both cases is quality.
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If you want to try some custom FFMPEG commands to run against your uncompressed gold master,
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then you can choose all the options you want, and then, rather than clicking the Render
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to File button, click the Generate script instead.
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This dumps the FFMPEG command that KDNLive has generated to a file on your hard drive.
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You can customise this script using your favourite text editor, and then run from the KDNLive
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Render dialog box via the Scripts tab.
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Workflow
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The bigger picture of post-production warrants some consideration, since KDNLive is only
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one piece of the puzzle in a diverse industry that is filled with developing technologies.
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These six articles have shown that KDNLive is poised to easily be a drop in solution for
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video editing, being able to ingest a variety of formats, combine all manner of visual effects,
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and be the final mix of all the different elements that go into a video production.
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The bigger question then is whether the new Linux is ready to be a multimedia production
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solution.
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Post-production workflow
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The general flow of post-production revolves around a video editor, but requires a number
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of additional, specialised applications.
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Before the media even gets ingested by the video editing application, it must be organised
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and sorted in some useful way.
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Repriature editing applications mostly encourage editors to do this within their application.
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This is often very helpful, as long as you're only accessing the media from within the application,
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which is really ever the case, even when the proprietary application claims to be a turnkey
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solution.
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Proper media management should be done in a farm manager, such as Dolphin or Nautilus
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or the Terminal of your choice.
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Here are some good principles that any good assistant editor knows.
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Stay organised, don't scatter your footage all over your computer and expect your project
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to retain its integrity for years to come.
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If your project is a quick one-off video that you're going to post out to the internet or
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render out to a hard drive and then delete the source files from your computer, then you might
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not need to bother with proper organisation.
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For a serious video project that is going to take more than an afternoon to edit, however,
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keep your files in one directory tree, keep them organised on your hard drive and back them
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up.
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2. Name your files so that they are useful.
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MV1008087.AVI and DSC underscore 00101.Move are not appropriate file names for video clips
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upon which your project relies.
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In a perfect world, we'd all be assigned an assistant editor to watch all of our footage
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and carefully summarise what's in the take, what the take number is and then to name the
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clip accordingly.
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Until this happens, responsibility falls upon you, so watch your clips, give them logical
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names, such as Clatu Drinks Coffee underscore 21 MCU underscore 2 dot MTS, where Clatu Drinks
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Coffee is the scripted action, 21 is the scene number, MCU is the type of shot open brackets
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in this case medium close up close brackets and 2 is the take number.
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Stay with that convention and you'll never fail to know exactly what is in each shot and where
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in your project it should be.
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3. Don't edit off a USB 2 drive. There are exceptions to this rule, but USB 2 really
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is too slow for serious high depth editing and even I find for standard depth editing once
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the project becomes very complex. Get an extra SATA controller if you have to or a SATA external
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drive or upgrade to USB 3, but try to avoid USB 2 for editing if possible.
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2 existing projects have been developing lately, both geared towards media management on a larger
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scale. D media associated with the up and coming NovaCut video editor promises distributed
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workflows, and MIS from NIDA media provides editors with comprehensive details about shared
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media in a central media library.
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Once the media has been properly organised, it's safe to import it into your video editing
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application. KDN Live allows you to create folders within the project tree, use this to manage
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scenes. Also remember to make copies of each major cut of your work, versioning is important.
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Tranks coding, if it needs to be done, is an area in which GNU Linux excels. Between
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FFMPG and MENCODA, you will usually have no trouble getting video into a format that is
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easily edited. In fact, at the production facility where I work, it's a Linux box built at the
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fraction of the price of the computers around it, and yet 3 times as powerful. And is the
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main conversion station when video comes in that nothing else will edit, open brackets,
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eventually of course it will be Linux that will be used to edit everything in the first place, close
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brackets. After the project has been created in your editing application and the media is
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ready to be cut, the next step is obviously editing the film. As this article has shown,
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KDN Live handles this with ease. A few things to keep in mind in any editing application,
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KDN Live not accepted.
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1. Whatever is in the timeline is in your RAM. In EMAX terms, the timeline is your buffer.
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If you are editing standard definition footage and have 4GB of RAM, then you surely be able to
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edit about half an hour footage with numerous cuts and clips without noticing any burden on your
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system. High-deaf footage on a 4GB of RAM is quite another story. Keep this in mind. If you
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must, edit your project in 2 or 3 scene chunks as convenient and then marry it all together
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in the end. 2. I've edited on both my laptop and my main workstation. The laptop is technically
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able to edit, which is convenient when not in the studio, but it's far more pleasant to edit on the
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workstation. Marketing ads, so in professional editors cutting their film on a small laptop,
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are doing just that, marketing. If you are about to embark on a serious video project,
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buy or build a computer appropriate to do the job, with multiple CPU cores, plenty of RAM and a
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healthy video card. 3. Unfortunately, my tests with the 3 video card drivers available for
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ATI and Nvidia have not yet proven to be capable of the same performance as the proprietary drivers.
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Intel cards are nice in this way, being both open source and depending on the chip capable.
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But if you are doing serious compositing, you will most likely require Nvidia or ATI. Hopefully,
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the free drivers will be able to develop quickly, so that they can be used for heavy lifting,
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or Nvidia or ATI will come to their senses and open source their drivers. This situation has improved since
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the article was written. Once the picture is locked or nearly locked,
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effects, composites and titles can be worked on. While KDN Live could do basic versions of all
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of these, there are better tools in the Gnu Linux world for the job. In fact, we have two excellent
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tools that again, equal or rival the tools available in the proprietary world, Blender and Singfing Studio.
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In the FX world, it is typical to work with image sequences rather than video.
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To export just a scene from your movie, to deliver to the composite artists, you can utilize
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in and out points in the timeline just as you would in the clip monitor. It is common to deliver the scene
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to the FX artist with handles, that is, a second or so of the shot leading into the FX shot
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and a few seconds of the shot following. In the render dialog box, choose
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loss-slash-4-slash-hq as your destination. Deselect the export audio option
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and save the clip to some location. Then in the terminal, convert the shot to a
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series of images with FFMpeg. Please see the article for the sample terminal command and its
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explanation. Titling can be done a few different ways. For animated title sequences,
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Blender or Singfing will probably be the best choice. If you are simply going to use static
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title cards, then you can also design your titles in Gimp and import a single PNG
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or TIFF image to your project. You might have to adjust for pixel aspect ratio.
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Open brackets i.e. design your titles in Gimp at 720 x 534
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or so, such that when they import into 720 x 480 projects, they will appear properly proportioned.
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In the previous article, preparing the audio mix was discussed in detail.
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Free software offers a number of excellent options for achieving a professional sound mix,
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whether you know just enough to use audacity or prefer a full featured digital audio work station
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or Q tractor. With over 100 plugins available from the Ladsper and Carf projects and a few others,
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you'll have everything you need and quite possibly a lot more than you'd normally have
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if you had to pay for all of those features separately.
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When the audio and composites are ready, they are re-imported into KDN Live and integrated with the project.
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More than lightly, a few last minute revisions will be made by a picky director or
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the all-knowing producer in brackets they are always all-knowing, but more or less the project is finished.
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Export it as a lossless goldmaster and compress for your targeted distribution.
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Conclusion
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Geno Linux has refined its multimedia capabilities to being both user friendly, flexible, efficient and stable.
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It is a realistic platform for post-production and content delivery.
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It is also flexible enough to integrate into an existing non-Linux environment, with many tools
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such as blender and audacity and FFM pig being completely cross-platform.
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Start converting your post-production process today and discover true independent filmmaking.
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And that's the end of KDN Live Part 6, the final part in the series.
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As usual, your feedback and comments are welcome, this has been Geddes for Hacker Public Radio
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and I will speak to you again when I will be narrating a new series of information of interest to hackers
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and particularly focused on those in the community who develop web apps.
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Speak to you soon.
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You've been listening to Hacker Public Radio at HackerPublicRadio.org.
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We are a community podcast network that releases shows every weekday, Monday through Friday.
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