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Real World Video Compression (Real World)

Real World Video Compression (Real World) Cover

 

Synopses & Reviews

Publisher 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 Author

Andy 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 Contents

Real 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

Product Details

ISBN:
9780321514691
Publisher:
Peachpit Press
Subject:
Interactive multimedia
Manufactured:
Peachpit Press
Author:
Beach, Andy
Subject:
Digital video
Subject:
Video compression
Subject:
Interactive Media
Subject:
Computers-Reference - General
Edition Description:
Trade paper
Series:
Real World
Publication Date:
20080431
Binding:
TRADE PAPER
Grade Level:
General/trade
Language:
English
Illustrations:
Y
Pages:
336
Dimensions:
9.07x7.51x.63 in. 1.47 lbs.

Related Subjects

» Arts and Entertainment » Film and Television » General
» Computers and Internet » Computers Reference » General
» Computers and Internet » Graphics » Digital Media » Video and Animation
» Engineering » Communications » Video

Real World Video Compression (Real World)
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Product details 336 pages Peachpit Press - English 9780321514691 Reviews:
"Synopsis" by , 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

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