The codec is widely supported and used in production, post and distribution of video. It was used for HDV videotape and was popular for web video. MPEG-2 is a lossy compression but when used at lower levels of compression it can deliver a high image quality. A lossy codec and the follow up to H. Flash was once the most popular option for encoding online videos, but now, the Adobe developed, lossy codec is mostly used for animations and games.
MJPEP was used in the past for web video and some post work. Apple ProRes is a series of codecs that offer both lossless and lossy compression. The ProRes codecs were the replacement for the older Apple Intermediate codec. Windows Media Video is typically used as a lossy codec and has never been widely supported except by Microsoft products. WMV is the preferred video codec for PowerPoint. HuffyYUV and Lagarith are both free lossless video codecs that are often paired with an. There are dozens of digital video formats and containers out there; this is a list of common containers and formats and their usual uses.
CinemaDNG supports uncompressed and compressed image files. ACES is a color management and image file interchange system that is free, and it is growing in software support.
You just chose the ACES profile that matches your work in your post software, import your footage and go. ACES is the only global archiving standard for digital video, so if you want your grandkids to be able to watch your work years from now, using the same archiving standard as The Academy Oscars is a good start to ensuring they can.
The AVI. It can be used with possibly the largest number of audio and video codecs of any container which makes it very helpful. Apple developed the MOV. The standard uses the H. Since the format is used by many cameras, software support is widespread.
AVCHD typically uses the. Panasonic developed the AVC-Intra format for its professional camcorders. AVC-Intra uses intra-frame compression meaning the image is compressed one frame at a time as opposed to compression across multiple frames like AVCHD. MXF is a format designed to be a standard for file exchange of compressed video. Video encoding also reduces the size of compressed files significantly , making storing and distributing them much easier. But what is the role of video codecs in the encoding process?
Why do you need a video codec anyway? What are the best video codecs out there, and how do you choose the right one? Codec is a device or software that shrinks a digital data file into a more manageable size to make the storage and distribution processes easier. That makes creating and storing things like long-form and HD videos more widely accessible. The way codecs work is that they apply an algorithm that compresses video files into a container format to make transporting and storing them easier.
After the files reach their destination, codecs decompress them , making them viewer-ready. The reason you need a codec is simple — uncompressed audio and video files are massive! That makes it challenging to transport them, particularly over the internet. Without codecs, all digital media files would take dozens of times longer to download!
Also, codecs optimize video files for playback. That means they will be much smoother and with higher frame rates. One vital thing we have to mention before moving to our picks for the best video codecs is the difference between a codec and a container format. Container format is a package or a wrapper that contains all the necessary metadata of a digital file , including an audio codec , video codec, and closed captioning. Here are some of the most common container formats:.
These containers can hold several types of codecs , so they are essentially just a storage unit and should not be confused with codecs. Very big. And to give us products that do the things with HDV that we already do with DV, there had to be some new data reduction techniques developed.
The key technical advance that makes HDV viable is that instead of treating each frame of video as a single element, HDV "packets" adjacent frames into a GOP, or group of pictures, then applies compression to the GOP rather than each frame of video. It's a much more efficient form of compression since in most typical video content, there's not that much change that happens between adjacent frames. So, for example, frame is packaged with perhaps a dozen frames on each side and the software samples all the data of one single frame in the group the "key" frame and then simply notes the changes that take place in the surrounding frames.
Now for compressing a video stream this is very cool. It shrinks the data stream very efficiently. But when it comes to editing, it's a whole 'nother ballgame. Because what if the precise place you want to place your "cut" is somewhere between two of those key frames and only the "difference data" is available? Big problem. Software engineers looked at the situation and realized that in order to facilitate editing with the HDV streams, they'd need a way to decompress and re-compress the HDV stream "on the fly" in order to achieve both the smaller data flow they wanted and the editing capabilities that their customers demand.
Amazingly, today's modern desktop computers and software designers are so capable that they've actually developed ways to do this. And those solutions are finally coming to market from quite a few companies. So what do the hardware and software companies have in the wings to rescue us from the current SD world and set us down safely in HD land — or at least HDV land?
As it turns out, a lot, so long as you're willing and financially able to equip yourself properly. Clearly, HDV editing isn't a task well suited for a years-old modestly powered computer. You need computing horsepower to spare.
You'll also need a software package that runs on your hardware that's capable of HDV editing. Some of the more popular software vendors are already touting their packages as "HDV ready. Scalable is just a fancy term for the software not really caring how big the incoming data stream will be. Aedipuss, I checked eBay as well as a local AV rental shop for the deck you mentioned.
I do have a question, though. Wikipedia says that frame size for HDV p is x That's what I captured. HDV i is listed as x But you wrote that I was going "from x hdv to x out the hdmi to x mov". But I'm not reducing the frame size of the original tapes if they never were x, right? Originally Posted by moxiecat. Thanks for all your responses. I can live with the minimal alteration to the source.
But for some reason FCP cannot play back the audio. Is this normal for a ProRes file? Does it have to do with the Anyone have any ideas? And lossy recompression is still lossy recompression - 1 generation down. Just saw your last post: something else is wrong. The MOV format has no problem with incorporating audio along with whatever video.
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