Compression for Great Digital Video: Power Tips, Techniques, by Ben Waggoner

By Ben Waggoner

Compression for excellent electronic Video is a vital reference for encoding electronic video and audio for the net, CDROM, DVD, and different media. electronic video execs in achieving larger and speedier effects by way of studying every little thing that occurs ahead of compression (shooting, modifying, and taking pictures) and after compression (getting documents at the server, getting trustworthy bandwidth, and end-user configuration). This publication presents an outstanding origin within the basics of sunshine, imaginative and prescient, and compression know-how appropriate to any compression software program. It additionally teaches easy methods to use the preferred functions to optimize records for optimum caliber, potency, and manageability. Compression for excellent electronic Videoshows readers the best way to in attaining larger effects speedier while encoding electronic video and audio for the internet, CD-ROM, DVD, and different media.

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Obviously, the chroma channels in a sepia-tone movie should have constant values across the frame, yielding excellent compression. This is because the Cb and Cr channels can hold color information even when the luma channel makes the image all black or all white. However, upon conversion to RGB, the information in the Cb and Cr channels disappears—black in RGB means no R, G, or B; no color information at all. If the RGB version is converted back to Y'CbCr, the values in the Cb and Cr channels are no longer fixed.

In the first figure, the wheel is rotating at 6Hz. At 24fps, this means we have four frames of each rotation. Let’s increase the wheel speed to 11Hz. We have a little more than two frames per rotation, but motion is still quite clear. Let’s go up to 13Hz. 2 Two files scaled down 400%. The one on the right used filtering to weed out frequencies that would violate Nyquist, the one on the left didn’t. 3 The infamous wagon wheel example of the Nyquist limit. With a recording at 24Hz, wheels spinning at under 12Hz have a clear motion of direction.

In the previous chapter we discussed the enormous range of brightness the human eye is capable of perceiving—the ratio between the dimmest and brightest light we can see is about one trillion to one. Fortunately, we don’t need to code for that entire range. To begin with, the computer monitors and televisions compressed video is displayed on aren’t capable of producing brightness levels high enough to damage vision or deliver accurate detail for dim images. Plus, when light is bright enough for the cones in our eyes to produce color vision, we won’t see any detail in areas dark enough to require rods for viewing.

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