A practical guide to video and audio compression: from by Cliff Wootton

By Cliff Wootton

Research all approximately formats - how they paintings, in addition to layout and implementation with this complete, easy-to-use consultant to compression. After interpreting this publication, it is possible for you to to arrange and distribute specialist audio and video on any platform together with streamed to the net, broadcast on-air, kept in PVRs, Burned onto CD-ROMs or DVDs, added by way of broadband, or seen in Kiosk functions, PDA units, and cellular phones.Key benefits:* study from an award-winning technologist for a most sensible media corporation who is familiar with find out how to clarify formats in phrases you could comprehend* This entry-level consultant comprises transparent reasons and 1000's of diagrams - no math heritage wanted! additionally incorporates a complete thesaurus which serves as an invaluable connection with many technical phrases and jargon you are going to come across* find out how to pick out the appropriate strategy to get the main from your compression approach - saving either space for storing and cash

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6 Downsides to Video Compression There are times when video compression causes more problems than it solves. 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.

In this chapter the important aspects of film are examined. Knowing about the nature of film will help you get the most out of the compression process if this is where your source material is coming from. 3 How Film Projectors Work Projectors and cameras transport the film in the same way. The camera simply uses a slightly larger shutter aperture than the projector. Many alternative mechanisms were 43 44 A Practical Guide to Video and Audio Compression tried and discarded before the sprocket-driven serial frame design became dominant.

Archiving systems tend to be large in both cases because there is a lot of material available. The metadata associated with the content assists the searching process and also facilitates the digital rights management (DRM) process. The content is easily accessible and widely available, but the playback can be controlled. Video may need to be encrypted as well as encoded. Other technologies such as watermarking are used, and these present additional technical problems. This is all addressed in more detail in Chapter 18, where DRM is covered extensively.

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