Cliff Wootton's A Practical Guide to Video and Audio Compression: From PDF

By Cliff Wootton

ISBN-10: 0240806301

ISBN-13: 9780240806303

Examine all approximately Codecs--how they paintings, in addition to layout and implementation with this accomplished, easy-to-use advisor to compression. After examining this publication, it is possible for you to to organize and distribute specialist audio and video on any platform together with streamed to the net, broadcast on-air, saved in PVRs, Burned onto CD-ROMs or DVDs, brought through broadband, or seen in Kiosk purposes, PDA units, and cellphones.

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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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Today’s material is delivered to broadcasters in a digital format. New technologies such as Material eXchange Format (MXF) allow media to be delivered in files rather than on tapes, and this allows transfers to be networked through an information technology (IT) infrastructure. Any long-term storage of programs must be in a form that is ready to be reprocessed for new platforms and markets. A production company that has been in business for a while is likely to have some format-conversion and storage problems similar to those experienced by the broadcaster due to the continued change in video formats.

What Are We Trying to Compress? 41 Let’s say it is 2 years after you’ve launched a major multimedia-based Web site, and through cost-reduction exercises, you gave up logging the incoming material and just encoded it for delivery via modem, and then discarded the originals. When your marketing people strike the deal with a broadband portal to deliver your site as a major broadband experience, just how are you going to re-encode all that content? ” But the situation gets worse than that. Much worse.

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.

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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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