#Video codec meaning full

Due to the generational loss, itвЂ™s important to make considerations when thinking about the different encoding process and codecs to use.ДЇor example, going back to GOPs. Different codecs have different generational loss performance, but as a general rule, to preserve quality, we need to reduce the amount of transcoding applied to the video through the content chain. Generational loss refers to the loss of quality between subsequent copies or transcodes of data. Where lossy compression is used, the concept of вЂњgenerational lossвЂќ becomes an issue. each time we decode and encode the video. When changing between codecs, or вЂњtranscodeвЂќ, you have to go back to the baseband - i.e. That number of frames is typically вЂњfixed GOP lengthвЂќ but can be вЂњvariable GOP lengthвЂќ in some applications

Several frames are therefore grouped into a вЂњgroup of picturesвЂќ (GOP), and, again, the variance between rather than the whole image data is stored.

Interframe compression Interframe compression does the same thing but between the frames, based on the principle that in many scenarios, there isnвЂ™t a massive change in the image between frames except at scene changes.

#Video codec meaning full

Therefore, intraframe compares differences in pixels in the horizontal and vertical planes of the image and, normally in blocks of pixels, stores the variance between them rather than the full data for each pixel вЂ“ you can see those blocks sometimes when you get a data interruption in a video stream. There are some things the eye canвЂ™t see in moving images that it will instil, which can be exploited.

Intraframe compression Intraframe compression is, at a high level, the same as the encoding used on digital photographs.

Therefore, most codecs use a combination of intraframe and interframe compression. The codecs apply algorithms to the video and create a facsimile (a copy) which is shrunk down for storage and transmission and later decompressed for viewing.ДЄ video is made up of several still images (or frames) played in sequence. They simply allow us to tightly compress a bulky video for delivery and storage. Lossy compression is used in a vast majority of video workflows where, generally speaking, the further we move from the content origination towards the viewer, the more compression is used.ДЄ video compression technology called codec is used to encode/decode and compress/decompress video. Depending on the application and level of compression, this may be impossible for the viewer to notice.

Lossy Lossy is compression where some of the вЂњqualityвЂќ of the image is lost.

This compression relies on models of how we perceive video and generally how the human eye works.

Visually lossless Visually lossless means the original data canвЂ™t be recovered, but the result is visually identical.

In the non-video world, a ZIP-file is the best and most well-known example of lossless compression, where similar techniques are used in video encoding.

Lossless Lossless means that all and any data that previously has been removed can be recovered completely.

To reduce the amount of data, there are three types of compression: In the encode process, you always try to keep the video quality as high as possible using the least possible data. To try and make a rather complex more tangible weвЂ™ll therefore give a summary of the most important common principles regarding compression, codecs, and other necessary information to be able to understand the process of video encoding.

The principles of encoding are the same for all the processes, the difference is how the principles are applied, and considerations around the encode depend on which process youвЂ™re talking about. This can become an important aspect of the amount of data since although at this point the video is not referred to as compressed, we can in many cases throw away (or compress) some of the colour information that our eyes arenвЂ™t sensitive to and reduce the video file size.Д®ncoding refers to several different processes in the content chain. Sometimes with RGB but more often other combinations like YUV. The вЂњbasebandвЂќ video is encoded into a colour space on similar principles. But on a computer, you get to choose 256 levels of Red, Green, and Blue. Chroma (Color) and Luma (Brightness) In the natural world, there are infinite degrees of hue, saturation, and brightness.Resolution (SD, HD, 4K, etc.) A captured video is always quantised to certain vertical and horizontal dimensions.The video is вЂњencodedвЂќ to baseband in a couple of different dimensions including: There are however instances where some encoding or compression has already been applied at this stage. When you capture or process a video, the starting point is often referred to as вЂњbasebandвЂќ, which is sometimes referred to as an вЂњuncompressedвЂќ video.