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 internet, CDROM, DVD, and different media. electronic video execs in attaining greater and speedier effects by way of studying every thing that occurs sooner than compression (shooting, enhancing, and shooting) and after compression (getting documents at the server, getting trustworthy bandwidth, and end-user configuration). This booklet offers an excellent 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 documents for optimum caliber, potency, and manageability.

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So, if we say there are 1,000 units of light, we can tell the difference between a value of 1,000 and 990 (1 percent less) and 1,010 (1 percent more). But if there are 100 units of light we can distinguish between values of 100 and 99 and 101. It’s the ratio between the light levels that’s important, not the actual amount of light itself. So, the brighter the light, the bigger a jump in absolute light levels we need to perceive a difference. We take advantage of this by making the scale we use to encode brightness perceptually uniform.

Ideally, a compression technology will know more about the structure of the data, and will be able to do compression specific to that structure. This is why lossless still image compression will typically make the file somewhat smaller than doing data compression on the same uncompressed source file, and will be a lot faster doing it. Note Lossy and Lossless Compression. Lossless compression codecs preserve all of the information contained within the original file. Lossy compression codecs, on the other hand, discard some data contained in the original file during compression.

You’ll encounter the same issue when working with images—you can’t show spatial information that changes faster than half the special resolution. So, if you have a 640-pixel–wide screen, you can have at most 320 variations in the image without getting errors. 4 (page 24) shows what happens to increasing numbers of vertical lines. This problem comes up in scaling operations in which you decrease the resolution of the image, because reducing the resolution means frequencies that worked in the source won’t work in the output.

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