Download e-book for iPad: A Practical Guide to Video and Audio Compression: From by Cliff Wootton

By Cliff Wootton

ISBN-10: 0240806301

ISBN-13: 9780240806303

Research all approximately Codecs--how they paintings, in addition to layout and implementation with this entire, easy-to-use consultant to compression. After examining this e-book, it is possible for you to to arrange and distribute expert audio and video on any platform together with streamed to the internet, broadcast on-air, kept in PVRs, Burned onto CD-ROMs or DVDs, introduced by means of broadband, or seen in Kiosk purposes, PDA units, and cell phones.

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Extra resources for A Practical Guide to Video and Audio Compression: From Sprockets and Rasters to Macro Blocks

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5 Problems You May Encounter If the video you are trying to compress is of particularly poor quality, you will find the results of compressing it to be disappointing. The encoder interprets any significant noise in the original as frame-to-frame changes. Even non-moving background content will compress badly if there is significant noise present. Either your compressor will be unable to reach the target bit rate, or if you cap the bit rate, quality of the video when played back will be very bad indeed.

Trying to deploy it in unsuitable circumstances leads to difficulty later in the production and consumption cycle. 1 Origination Stage Video compression should be avoided at the origination stage. Some cameras compress the video as it is written to tape or disk inside the camera. These devices never yield an uncompressed output. The consequence is that any content you shoot with such a camera will probably turn out to be totally useless for anything other than home movies. For example, suppose you are shooting some training video and you want to color key the background.

This interpolation is difficult because it takes place in space (X and Y) and on the time axis (between successive fields). The interpolation is much easier if the video was created from a film format with a telecine process. This will become apparent after the discussion of how pulldown works. Film formats have picture information at the highest resolution. Frame rates are generally stable across all sizes at 24 fps. Some older home-movie footage may have been shot at 18 fps to economize on film stock.

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A Practical Guide to Video and Audio Compression: From Sprockets and Rasters to Macro Blocks by Cliff Wootton


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