Exporting and Deliverables: Codecs, Settings, and Quality Checks

1) Delivery vs. Acquisition: Why Export Settings Differ from Camera Settings

Camera (acquisition) settings are designed to capture as much usable information as possible so you can edit, color-correct, and mix audio without the image or sound falling apart. Export (delivery) settings are designed to play back reliably on a target platform, at a manageable file size, with predictable compatibility.

Acquisition priorities (capture)

• Editing latitude: higher bit depth, less compression, and robust chroma sampling help with grading and heavy adjustments.
• Resilience: intraframe or lightly compressed formats tolerate multiple renders and effects better.
• Consistency: stable frame rate and clean audio recording reduce downstream issues.

Delivery priorities (export)

• Compatibility: common codecs and containers that devices and platforms decode smoothly.
• Efficiency: smaller files via interframe compression and tuned bitrates.
• Predictable playback: keyframes, GOP structure, and bitrate control that avoid stutters and buffering.

A practical way to think about it: acquisition is about preserving options; delivery is about meeting constraints (platform limits, bandwidth, device decoding, turnaround time).

2) Container vs. Codec, Bitrate, GOP, and Keyframe Basics

Container vs. codec

A container is the file wrapper that holds streams (video, audio, subtitles, metadata). Common containers include .mp4, .mov, and .mkv. A codec is the compression method used for the video or audio stream inside the container (for example, H.264 for video, AAC for audio).

Two files can both be .mp4 but behave differently because the codec and settings inside differ.

Bitrate: the main lever for size vs. quality

Bitrate is how much data per second is used to represent the video or audio. Higher bitrate usually means better quality and larger files, but only up to the point where the codec and content no longer benefit.

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• CBR (Constant Bitrate): steadier data rate; predictable file size; can waste bits on simple scenes.
• VBR (Variable Bitrate): allocates more bits to complex scenes and fewer to simple ones; often better quality per file size.
• 1-pass vs 2-pass (when available): 2-pass analyzes the video first, then distributes bits more efficiently; useful when you must hit a target size/bitrate.

Rule of thumb: if the export looks blocky in motion, breaks up in gradients (banding), or shows mosquito noise around edges, you likely need a better codec choice, higher bitrate, or a higher-quality master workflow.

GOP and keyframes (I-frames) for interframe codecs

Many delivery codecs (like H.264/H.265) use interframe compression: they store full frames occasionally and then store changes between frames.

• I-frame (keyframe): a full image; easiest to decode; good edit/seek points.
• P-frame/B-frame: store differences from nearby frames; more efficient but harder to decode.
• GOP (Group of Pictures): the pattern/length between I-frames.

Why you care: longer GOPs can reduce file size but may increase decoding load and make seeking less responsive. More frequent keyframes can improve scrubbing/streaming resilience but can increase bitrate needs.

Keyframe interval: a practical setting

Many platforms recommend a keyframe interval around 2 seconds for uploads. Conceptually, that means an I-frame every 2 seconds (e.g., at 30 fps, every 60 frames). If your editor offers a “keyframe distance” or “GOP length” setting, this is where it applies.

3) Common Deliverables: 1080p/4K, Vertical Formats, Social vs. Archive Masters

Start from the destination requirements

Before exporting, decide: where will this file live and how will it be used? A file for editing/archiving is different from a file for upload, and both differ from a file for playback at an event.

Standard deliverables (horizontal)

• 1080p (1920×1080): common for web delivery; good balance of quality and size.
• 4K (3840×2160): used for higher-end delivery, reframing flexibility, or platform preference; larger files and heavier decoding.

Conceptually, match export resolution to your timeline/output needs. Upscaling can be acceptable for some uses, but it does not create real detail; it can also amplify noise and compression artifacts.

Vertical and square formats

Vertical deliverables are not just “rotate and export.” They require intentional framing and safe areas.

• 9:16 vertical: 1080×1920 or 2160×3840.
• 1:1 square: 1080×1080.
• 4:5: 1080×1350 (common for feeds).

Practical approach: create a dedicated sequence/timeline for each aspect ratio so scaling, repositioning, and graphics placement are correct for that format.

Social upload file vs. archive/master

Think in layers of deliverables:

• High-quality master: a visually robust file intended for storage, future re-exports, and handoff to other systems. Typically uses an editing-friendly or mezzanine codec, higher bitrate, and minimal loss.
• Upload/streaming file: smaller, highly compatible, optimized for platform encoding and viewer bandwidth.

Why keep a master: platforms re-encode your upload. If you upload an already heavily compressed file, the second compression pass can compound artifacts (especially in gradients, fast motion, and fine textures).

Practical step-by-step: choosing a deliverable type

1. Identify the primary destination: web platform, client review, broadcast spec, internal archive.
2. Decide the “master” you will keep: choose a high-quality codec and keep full resolution and frame rate.
3. Create a “distribution” preset: H.264/H.265 in MP4 is common; tune bitrate for size and playback.
4. Name and version clearly: include resolution, frame rate, and version number (e.g., ProjectName_1080p30_Master_v03.mov, ProjectName_1080p30_Upload_v03.mp4).

4) Audio Export Settings: Sample Rate, Bitrate, Loudness (Conceptual)

Sample rate and why it matters

Sample rate is how many times per second audio is measured. Common values are 48 kHz (typical for video) and 44.1 kHz (common for music). For video deliverables, exporting at 48 kHz is a safe default because it aligns with most video pipelines.

Bit depth and codec choices

• PCM (uncompressed): large files; used in masters and professional delivery.
• AAC (compressed): common for MP4 uploads; good quality at moderate bitrates.

For upload files, AAC is typically used. For masters, uncompressed PCM (often inside MOV) is common when you want maximum robustness.

Audio bitrate (for compressed audio)

Higher audio bitrate generally improves quality, especially for music and complex mixes. Conceptually:

• Lower bitrates can introduce swishy highs and smeared transients.
• Moderate-to-high bitrates preserve clarity and stereo imaging better.

Loudness: peaks vs. perceived volume

Peak level tells you the highest instantaneous level; loudness (often measured in LUFS) reflects perceived average volume over time. Platforms may normalize loudness, so a mix that is too loud can be turned down, and a mix that is too quiet can feel weak next to other content.

Conceptual targets vary by destination, but the workflow is consistent: keep peaks under control (avoid clipping), and aim for a consistent perceived loudness across the program.

5) Quality Control Checklist: Watchdown and Common Failure Points

Quality control (QC) is the step that prevents “it looked fine on my timeline” problems. Do QC on the exported file, not only inside the editor.

Watchdown workflow (practical step-by-step)

1. Export to a local drive (avoid slow network locations during QC).
2. Play the file in at least two players (e.g., your OS default player and a second robust player) to catch decoding quirks.
3. Watch full-screen at 100% scale (no scaling) when possible.
4. Listen on two systems: headphones and speakers, to catch noise, harshness, or missing channels.
5. Scrub and seek to ensure keyframes allow responsive navigation (especially for review files).

QC checklist (what to verify)

• Start/end frames: no accidental black frames, frozen frames, or cut-off audio tails.
• Cut integrity: no flash frames, unintended jump cuts, or missing shots.
• Titles/graphics: correct spelling, safe margins, consistent positioning, no flicker, no aliasing on thin lines.
• Audio peaks and distortion: no clipping, no sudden level jumps, no missing music cues, no pops at edits.
• Sync: dialogue matches lips throughout (watch for drift in long exports).
• Color consistency: no unexpected shifts between shots; check skin tones and neutral areas; verify that blacks aren’t crushed and highlights aren’t clipped more than intended.
• Banding and gradients: look at skies, walls, and soft backgrounds for posterization; if present, consider a higher-quality master or different codec/bitrate.
• Motion artifacts: look for macroblocking in fast motion, shimmering in fine textures, or muddy detail.
• Interlacing/frame issues (if applicable): no combing artifacts; motion looks natural; frame rate matches the intended delivery.
• Metadata and naming: correct version, correct aspect ratio, correct audio channel layout.

Common “export surprise” causes

• Mismatch between timeline and export frame rate causing judder or duplicated frames.
• Too-low bitrate for high-motion or noisy footage.
• Wrong color range/tagging leading to washed-out or overly contrasty playback in some players.
• Audio channel mapping errors (e.g., dual-mono exported as one channel, or missing a channel).

6) Exercise: Export Two Versions and Compare

This exercise builds a repeatable export habit: one file optimized for future use (master) and one optimized for sharing (upload).

Part A: Export a high-quality master

Goal: preserve quality for future re-exports and revisions.

1. Choose a master container/codec appropriate for editing and archiving (often a mezzanine codec rather than a highly compressed streaming codec).
2. Match timeline settings: resolution, frame rate, and aspect ratio should match your intended master.
3. Use high-quality audio: export at 48 kHz; prefer uncompressed audio if the master format supports it.
4. Disable unnecessary “web optimization” options that trade quality for size.
5. Export and label clearly (include Master, resolution, frame rate, and version).

Part B: Export a smaller upload file

Goal: fast upload, broad compatibility, smooth playback.

1. Select MP4 as container (common for web delivery).
2. Select a delivery codec (commonly H.264; H.265 can be smaller but may be less compatible on older devices).
3. Set bitrate strategy: choose VBR if available; raise bitrate for 4K, high motion, or detailed textures.
4. Set keyframe interval to a practical value (often around 2 seconds) if the platform benefits from it.
5. Audio: AAC at 48 kHz; choose a bitrate that preserves clarity for dialogue and music.
6. Export and label clearly (include Upload and destination, e.g., IGReel, YouTube).

Part C: Compare size, quality, and playback performance

Create a simple comparison table for your two exports:

What to look for during comparison:

• Fine detail: hair, fabric, foliage, and text edges.
• Gradients: skies and walls for banding.
• Motion: fast pans, handheld movement, confetti-like textures, water, or crowds.
• Audio clarity: sibilance on dialogue, cymbals in music, and overall consistency of loudness.

If the upload file struggles, adjust one variable at a time (bitrate, codec, keyframe interval, resolution) and re-export a short test segment to confirm the improvement before committing to a full export.