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Real World Video Compression (Real World)by Andy Beach
Synopses & ReviewsPublisher Comments: Video is the Internet these days and as the growing trend toward viewing video on mobile devices increases too, the attention is turning toward creating a good user experience for downloading and viewing that video. One of the keys to this is delivering video in the correct format with the proper compression for that delivery. Real World Video Compression is one of the first books on this topic to demystify the various approaches to compression. It begins by describing the basic concepts of video compression, explains why you might choose a particular compression tool over another, and covers important workflow practices. After the groundwork is laid, readers will learn how to compress their video according to the specific requirements of their projects and will learn some best practices by following the author's own tips and recipes. Experts in the field lend their own solutions in several sidebars throughout the book, making this a valuable learning tool for anyone learning to encode video, whether they are bloggers, DVD authors, video editors, or students. Contents at a Glance Chapter One: Understanding Video and Audio. Chapter Two: The Language of Compression Chapter Three: Best Practices Chapter Four: Preprocessing Interview with a Compressionist: John Howell Chapter Five: Compression Tools Interview with a Compressionist: Nico Puertollano Chapter Six: Compressing for DVDs Interview with a Compressionist: Ben Waggoner Chapter Seven: Compressing for the Web Interview with a Compressionist: Jim Rohner Chapter Eight: Compressing for Mobile Interview with a Compressionist: Ryanne Hodson Chapter Nine: Compressing for Set-Top Boxes Interview with a Compressionist: Andy Beach
"In the highly accessible REAL WORLD VIDEO COMPRESSION, Andy Beach illuminates the dark-art of encoding and provides candid insight from working professionals. Andy's fluid style and easy prose decode this often misunderstood and often misinformed world...he is the Carl Sagan of compression."
Brian Gary Filmmaker, Compressionist Author of the COMPRESSOR 3 QUICK REFERENCE GUIDE
Synopsis:Video is the Internet these days and as the growing trend toward viewing video on mobile devices increases too, the attention is turning toward creating a good user experience for downloading and viewing that video. One of the keys to this is delivering video in the correct format with the proper compression for that delivery. Real World Video Compression is one of the first books on this topic to demystify the various approaches to compression. It begins by describing the basic concepts of video compression, explains why you might choose a particular compression tool over another, and covers important workflow practices. After the groundwork is laid, readers will learn how to compress their video according to the specific requirements of their projects and will learn some best practices by following the author's own tips and recipes. Experts in the field lend their own solutions in several sidebars throughout the book, making this a valuable learning tool for anyone learning to encode video, whether they are bloggers, DVD authors, video editors, or students. Contents at a Glance Chapter One: Understanding Video and Audio. Chapter Two: The Language of Compression Chapter Three: Best Practices Chapter Four: Preprocessing Interview with a Compressionist: John Howell Chapter Five: Compression Tools Interview with a Compressionist: Nico Puertollano Chapter Six: Compressing for DVDs Interview with a Compressionist: Ben Waggoner Chapter Seven: Compressing for the Web Interview with a Compressionist: Jim Rohner Chapter Eight: Compressing for Mobile Interview with a Compressionist: Ryanne Hodson Chapter Nine: Compressing for Set-TopBoxes Interview with a Compressionist: Andy Beach About the AuthorAndy Beach is the Director of Product Management at Inlet Technologies. Prior to joining Inlet, he served as the Director of Product Development at Magnet Media where he oversaw the creation of Zoom In Online. His expertise in video postproduction, compression, and interactive design has attracted clients worldwide, including: Apple Inc., Adobe Systems, British Design Council, V2 Records, Universal Music and Paramount Pictures, to name a few. Andy has spoken at industry conferences including NAB, Web Video Summit, and WWDC, has been featured in industry magazines, and has taught digital filmmaking and encoding at the School of Visual Arts. Table of ContentsReal World Video Compression Table of Contents Preface. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xi Chapter One: Understanding Video and Audio. . . . 1 Elements of Video. . . . . . . . . . . 2 Frames and Fields. . . . . . . . . . . . . . 3 Benefits of Interlacing . . . . 4 Problems Caused by Interlacing. . . . . . . . . . . 4 Progressive Scan Video . . . . . . . . . . . . . . 6 Resolutions. . . . . 7 Aspect Ratio . . . . . 9 Analog vs. Digital. . . . . . . . . . . 12 How Compression Works . . . . . . . . . . . . . . 13 Lossless and Lossy Compression. . . . . . . . . . . . . . . . 15 Spatial (DCT) and Wavelet Compression . . . . . . . . . . . . . 16 Quantization. . . . . . . . . . . . . . 17 Interframe and Intraframe Compression. . . . . . . . . . . . . . . . . . . . . . 18 Audio Compression . . . . . . . . . . . . . 19 Evaluating Video for Compression. . . . . . . . . . . . . . 20 How Was the Video Shot?. . . . 21 How Was It Edited?. . . . . . . . . . . . . 21 Who Is the Intended Audience? . . . . . . 22 Conclusion . . . . . . . . . . . . . . . . . . 23 Chapter Two: The Language of Compression. . . . . . . . . . . . . 25 Players . . . . . . . . . . . . . . . . . . . . 26 QuickTime Player . . . . . . . . . . . . . 27 Windows Media Player . . . . . . . . . . . . . 31 Adobe Flash Player. . . . . . . . . . . . . . 32 RealPlayer. . . . . . . . . . . . . 34 Other Video Players. . . . . . . . . . . . . . . . 36 Wrappers . . . . . . . . . . . . . . . . . . 38 Codecs. . . . . . . . . . . . . . . 39 Descriptions of the Commonly Used Codecs. . . . 40 A Time and a Place for Everything. . . . . . . . . . . . . . 43 Delivery Codecs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 Authoring Codecs . . . . . . . . 45 Legacy Codecs . . . . . . . . . . . 45 Compression Parameters . . . . . . 47 Data Rates. . . . . . . . 48 VBR and CBR . . . . . . 48 Frame Rates . . . . . 49 Frame Types. . . . . . 49 Aspect Ratios. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Square and Nonsquare Pixels. . . . . . . . . . . . . . . . . . . . . . . . . 53 Resolution. . . . . . . . . . 53 Online Delivery: Streaming vs. Download . . . . . . 54 Conclusion . . . . . . . . 56 Chapter Three: Best Practices. . . . . . . . . . 57 What Are Your Compression Needs?. . . . . . 58 Long-Form or Short-Form Content?. . . . . . . . . . . . 58 What Is Your Final Delivery Target?. . . . . . . . . . . . . . 58 How Is Your Content Delivered to You?. . . . . . . . . . . 58 How Much Content Are You Compressing?. . . . . . . . . . . . . . . 59 Is Compression All You’re Doing?. . . . . . . 60 Quality or Timeliness?. . . . . . . . . . . . . . 60 Are You a Content Owner or a Cog?. . . 60 How Knowledgeable Is Your Client?. . . . . . . . . . . 60 Equipment and Workflows for Different Scenarios. . . . . . . . . . . . . . 61 Encoding as an Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Encoding as a Compressionist. . . . . . . . . . . . . . 64 Automating the Encoding Process . . . . . . . . . . . . . 65 Enterprise Systems: The Big Leagues. . . . . . . . . . . . . . . . . . . . . . . . . 66 Essential Encoding Equipment . . . . . . . . . . . . . . . . . . . . . . . . . . 67 Hardware . . . . . . . . . . . . . 67 Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 Productivity Tips. . . . . . . . . . . . . . 75 Minimizing Quality Loss Without Overdoing It. . . . . . . . . . . 75 Stay Organized. . . . . . . . . . . . . . . . . 76 File-Naming Conventions. . . . . . . . . . . . . . . . 77 Experimenting Can Be a Good Thing. . . . . . . . . . . . . 78 Make Your Own Recipe Book. . . . . . . . . . . . . . . . 79 Mezzanine, or In-Between, Files . . . . . . . 79 Archiving and Transcoding . . . . . . . . . . . . . 80 Conclusion . . . . . . . . 80 Chapter Four: Preprocessing. . . . . . . . . . . . . 81 Deinterlacing Video . . . . . . . . . . . . . . . . . . . . . . . . . . . 82 Blend. . . . . . . . . . . . 83 Weave. . . . . . . . . . . . . . 83 Area-based. . . . . . . . . . . . . . 83 Motion Blur. . . . . . . . 83 Discard . . . . . . . . . . . . . . . . . 83 Bob . . . . . . . . . . 84 Progressive Scan. . . . . . . . . . . . . 84 Motion Compensation. . . . . . . 84 Telecine and Inverse Telecine. . . . . . . . . . . . . 85 Cropping. . . . . . . . . . 86 Scaling . . . . . . . . . . . . . . . . . . . 87 Image Aspect Ratio Correction. . . . . . . . . . . . . 89 Pixel Aspect Ratio Correction. . . . . . . . 89 Noise Reduction. . . . . . . . . . . . . . 90 Luma Adjustments . . . . . . . . . . . . . . 92 Gamma Correction. . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Brightness and Contrast. . . . . . . . . . . . . . 94 Chroma Adjustment. . . . . . . . . . . . . 94 Saturation. . . . . . . . . . . . . . . . 94 Hue. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 Audio Preprocessing. . . . . . . 95 Adjusting Volume. . . . . . . . . . . . . . 95 Noise Reduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 Conclusion . . . . . . . . . . . . . . . . . . 96 Interview with a Compressionist: John Howell . . . . . . . . . . . 97 Chapter Five: Compression Tools. . . . . . . . . . . . . . . 101 Adobe Media Encoder . . . . . . . . . . . . . . 102 What Does It Look Like?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 How Does It Work?. . . . . . . . . . . . 105 What Makes It Special? . . . . . . . . . . . 108 What Should You Watch Out For?. . . . . . . . . . . . . . 108 What Should You Remember? . . . . . . . . . . . . . 108 QuickTime Pro. . . . . . . . . . . . . 109 What Does It Look Like?. . 110 How Does It Work?. . . . . . . . . . . 112 What Makes It Special? . . . . . . . . . . . . . 117 What Should You Watch Out For?. . . . . . . . . . . . . 117 What Should You Remember? . . . . . . . . . . . . 118 Compressor. . . . . 119 What Does It Look Like?. . . . . . . . . . . . . 120 How Does It Work?. . . . 121 What Makes It Special? . . . . . . . 125 What Should You Watch Out For?. . . . . . . . . . . . 126 What Should You Remember? . . . . . . . . . . . . . . 126 Microsoft Expression Encoder. . . . . . . . . . . . . . 127 What Does It Look Like?. . . . . . . . . . . . . 128 How Does It Work?. . . . . . . . . . . . . . 129 What Makes It Special? . . . . . . . . . . . . 133 What Should You Watch Out For?. . . . . . . 133 What Should You Remember? . . . . . . . . . . . . 133 Squeeze Compression Suite. . . . . . . . . . . . 133 What Does It Look Like?. . . . . . . . . . . 136 How Does It Work?. . . . . . . . . . . . 137 What Makes It Special? . . . . . . . . . . . . . 142 What Should You Watch Out For?. . . . . . . . . . . . 143 What Should You Remember? . . . . . . . . . . . . . . 143 Episode Pro. . . . . . . . . . . . . . 144 What Does It Look Like?. . . . . . . . . . . . . . 144 How Does It Work?. . . . . . . . . . . . . . 146 What Makes It Special? . . . . . . . 149 What Should You Watch Out For?. . . . . . . . . . . . . 150 What Should You Remember? . . . . . . . . . . . . . 150 Higher- and Lower-End Options . . . . . . . . . . . 150 Less-Expensive Solutions. . . . . . . . . . . . . . 151 A Note About Enterprise Solutions. . . . . . . . . 153 Conclusion . . . . . . . . . . . . . 155 Interview with a Compressionist: Nico Puertollano. . . . . . . . . . . . 157 Chapter Six: Compressing for DVDs. . . . . . . . . . . . 161 What’s a DVD?. . . . . . . . . . . 162 Producing SD DVDs . . . . . . . . . 162 SD Media. . . . . . . . 162 SD Codecs . . . . . . . . . 165 What the Heck Is a VOB?. . . . . . . . . . . . . 166 What’s a Blu-Ray Disc? . . . . . . . . . . . . . . 167 Producing Blu-ray Discs. . . . . . . . 169 Blu-ray Overview. . . . . . . . . 171 Recording Blu-ray Discs. . . . . . . . 172 DVD Workflows. . . . . . . . . . . . . . 173 That Whole Bit Budget Thing. . . . . . . . . . . . . 175 Recipes for Producing SD DVDs. . . . . . . . . . . . . . 178 Compression and DVD Studio Pro Markers. . . . . . . . . 178 Rendering a DVD-Compatible File in Compressor. . . . . . . . . . . . . 180 Creating an SD DVD in DVD Studio Pro. . . . . . . . 186 Recipes for Producing Blu-ray Discs. . . . . . . . . . . 191 Working in Premiere Pro. . . . . . . . . . . . . 192 Managing the Handoff. . . . . . . . . . . . . 192 Producing an MPEG-2 Blu-ray-Compatible File in Adobe Media Encoder. . . . 193 Producing an H.264 Blu-ray-Compatible File in the Adobe Media Encoder.. 196 Creating a Blu-ray DVD in Encore. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198 Conclusion . . . . . . . . . . . 201 Interview with a Compressionist: Ben Waggoner. . . . . . . 203 Chapter Seven: Compressing for the Web. . . . . . . . . . . . . . . . . . . . . . 209 The Early Days of Web Video . . . . . . . . . . . 210 Modern Web Video. . . 211 The Rise of Short-Form Video. . . . . . . . . . . . . 211 More Broadband Penetration . . . . . . . . . . . . . . 212 Better Tools. . . . . . 213 Audience and Creator Are the Same Thing. . . . . . . . 214 Everybody Is a Star. . . . . . 215 Citizen Journalism. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215 Traditional Media Catches On. . . . . . . . . . . . 216 Modern Web Tools and Formats. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217 Recipes for Compressing Video for the Web . . . . . . . 218 Encoding for YouTube from Episode Pro. . . . . . . . . . . . . . 219 Streaming Windows Media from Compressor . . . . . . . 226 Progressive Download Flash Video. . . . . . . . . . . . . 235 Conclusion . . . . . . . . . . . . . . . . 237 Interview with a Compressionist: Jim Rohner . . . . . . . . . . . . . 239 Chapter Eight: Compressing for Mobile . . . . . . . . . 243 How Little Video Became Big. . . . . . . . . . . . . . 244 Live Streaming to Mobile Devices. . . . . . . . . 245 Download and (Maybe) Sync. . . . . . . . . . . 246 Mobile Devices and Their Formats of Choice. . . . . . . . . . . . . 249 Cell Phones. . . . . . . . . 249 Smart Phones and Pocket PCs . . . . . . . . . 252 Apple iPhone . . . . . . . . . 253 Media Players. . . . . . . . . 254 Recipes for Compressing Video for Mobile. . . . . . 259 3GP Files for Those Non–Smart Phones. . . . . . . . . . 259 Adding Chapter Markers to a Video Podcast. . . . . . . . . . . . 268 Conclusion . . . . . . . . . . . . . 274 Interview with a Compressionist: Ryanne Hodson . . . . . . . . . . 275 Chapter Nine: Compressing for Set-Top Boxes . . . . . . . . . . . . . 279 More Than Just Cable . . . . . . 280 Digital TV. . . . . . . . . . . . . 280 IPTV. . . . . . . . . . . . . . 282 IP-Based STBs. . . . . . . . . . . . . 284 Apple TV. . . . . . . . . . . . . . 284 Xbox 360. . . . . . . . . . . . . . 286 Vudu . . . . . . . . . . . . . . 288 Recipes for Compressing Video for STBs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289 Ripping a DVD with HandBrake. . . . . . . . . . . . . 290 Standard-Definition Video for Xbox . . . . . . 296 Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299 Interview with a Compressionist: Andy Beach. . . . . . . . . . 301 Index. . . . . . . . . . 305
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