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Tip #865: What is HDMI?

… for Codecs & Media

Tip #865: What is HDMI?

Larry Jordan – LarryJordan.com

HDMI is an uncompressed audio and video standard for connecting devices.

Three types of HDMI connectors: Type D (Micro), Type C (Mini) and Type A (from left to right).

Topic $TipTopic

We’ve used it for years, but what, exactly, is HDMI? At its simplest, HDMI is a standard used to connect high-definition video devices.

More specifically, HDMI (High-Definition Multimedia Interface) is a proprietary audio/video interface for transmitting uncompressed video data and compressed or uncompressed digital audio data from an HDMI-compliant source device, such as a display controller, to a compatible computer monitor, video projector, digital television, or digital audio device. HDMI is a digital replacement for analog video standards.

NOTE: See the use of “uncompressed” in the preceeding paragraph. HDMI may be easy to use, but it provides the highest possible quality.

Several versions of HDMI have been developed and deployed since the initial release of the technology in 2003, but all use the same cable and connector. In addition to improved audio and video capacity, performance, resolution and color spaces, newer versions have optional advanced features such as 3D, Ethernet data connection, and CEC extensions.

The challenge remains for HDMI to keep up with the constant growth in media technology, specifically larger frame sizes and faster frame rates.

As you’ll read in Tip #863, the latest version of HDMI seeks to take our computers and TVs “to infinity … and beyond.”

Here’s a Wikipedia article to learn more.

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Tip #866: A Better Way to Upscale Media

… for Codecs & Media

Tip #866: A Better Way to Upscale Media

Larry Jordan – LarryJordan.com

I haven’t used this software, but the demos are stunning.

(Image courtesy of TopazLabs.com.)

Topic $TipTopic

Normally, up-rezing standard definition media to HD – or beyond – is an exercise in blurry pixels.

However, Topaz Labs has invented Video Enhance AI. This software is trained on thousands of videos and combining information from multiple input video frames, it will enlarge and enhance your footage up to 8K resolution with true details and motion consistency.

I have not used this software, which runs on both Windows and Mac, however the demos on their website are stunning.

Render speeds vary based upon your hardware and GPU, however Topaz Labs reports “On a PC with Nvidia GTX 1080, when converting a video from HD to 8K, it typically takes 2-3 seconds for each frame. If you upscale a video from SD to HD, it will take about 0.4 seconds for each frame.”

The software supports: .avi, .flv, .m1v, .mkv, .mov, .mp4, .mpg, .mpeg, .webm, and .wmv for video. As well as .png, .tif, and .tiff for still images.

Available for purchase at $199.99, which, personally, I prefer to a subscription, a free trial is also available.

Here’s the link to learn more.

Thanks to Jean Detheux for this tip.

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Tip #849: 8 Reasons Why You Should Shoot Raw

… for Codecs & Media

Tip #849: 8 Reasons Why You Should Shoot Raw

Larry Jordan – LarryJordan.com

RAW files are bigger and require processing, but the advantages are worth it.

A simulated RAW (left) and corrected image. (Courtesy of Pexels.com)

Topic $TipTopic

This article, written by Rob Lim, first appeared in PhotographyConcentrate.com. This is an excerpt.

NOTE: This article was originally written for shooting still images in JPEG. However, these comments also apply to shooting video using AVCHD or H.264 codecs.

Raw is a file format that captures all image data recorded by the sensor when you take a photo. When shooting in a format like JPEG image information is compressed and lost. Because no information is compressed with raw you’re able to produce higher quality images, as well as correct problem images that would be unrecoverable if shot in the JPEG format.

NOTE: Raw is not an acronym. So, unless you are discussing ProRes RAW, it’s spelled lower case.

Here’s a list of the key benefits to shooting raw:

  1. Get the Highest Level of Quality
  2. Record Greater Levels of Brightness
  3. Easily Correct Dramatically Over/Under Exposed Images
  4. Easily Adjust White Balance
  5. Get Better Detail
  6. Enjoy Non-Destructive Editing
  7. Have an Efficient Workflow
  8. It’s the Pro Option

EXTRA CREDIT

The article linked at the top has more details on each of these points.

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Tip #851: A Comparison: Frame Size vs. File Size

… for Codecs & Media

Tip #851: A Comparison: Frame Size vs. File Size

Larry Jordan – LarryJordan.com

This chart, measured in GB/hour, illustrates how file size expands with frame size.

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As frame sizes continue expanding to equal a living room wall, the accompanying file sizes explode as well.

This chart in this screen shot illustrates how quickly file sizes increase with frame size.

NOTE: This table is based on ProRes 422, at two frame rates: 24 fps and 60 fps. Shooting raw or log files would increase these file sizes about 2X.

Here are the source numbers for this chart.

 
 

Gigabytes Needed to Store 1 Hour of ProRes 422 Media

24 fps 60 fps
720p HD 26 66
1080p HD 53 132
UHD 212 530
6K 509 1,273
8K 905 2,263

(File sizes published by Apple in their ProRes White Paper.)

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Tip #852: What is ProRes RAW?

… for Codecs & Media

Tip #852: What is ProRes RAW?

Larry Jordan – LarryJordan.com

ProRes RAW is a codec optimized for speed and quality.

Processing flowchart for ProRes RAW. Note that image processing is done in the application, not camera.

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Apple ProRes RAW is based on the same principles and underlying technology as existing ProRes codecs, but is applied to a camera sensor’s pristine raw image data rather than conventional image pixels.

ProRes RAW is available at two compression levels: Apple ProRes RAW and Apple ProRes RAW HQ. Both achieve excellent preservation of raw video content, with additional quality available at the higher data rate of Apple ProRes RAW HQ. Compression-related visible artifacts are very unlikely with Apple ProRes RAW, and extremely unlikely with Apple ProRes RAW HQ.

ProRes RAW is designed to maintain constant quality and pristine image fidelity for all frames. As a result, images with greater detail or sensor noise are encoded at higher data rates and produce larger file sizes.

ProRes RAW data rates benefit from encoding Bayer pattern images that consist of only one sample value per photosite. Apple ProRes RAW data rates generally fall between those of Apple ProRes 422 and Apple ProRes 422 HQ, and Apple ProRes RAW HQ data rates generally fall between those of Apple ProRes 422 HQ and Apple ProRes 4444.

NOTE: What is means is that, rather than creating RGB images in camera, which triples file size, the raw image is processed later, in the application. This still provides the highest image quality, but decreases the size of the native raw files.

Like the existing ProRes codec family, ProRes RAW is designed for speed. Raw video playback requires not only decoding the video bitstream
but also demosaicing the decoded raw image. Compared to other raw video formats supported by Final Cut Pro, ProRes RAW offers superior performance in both playback and rendering

EXTRA CREDIT

Here’s the link to Apple’s ProRes RAW white paper, which contains much more information on this format.

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Tip #828: What is Hardware Acceleration?

… for Codecs & Media

Tip #828: What is Hardware Acceleration?

Larry Jordan – LarryJordan.com

Hardware is faster because it doesn’t have the latency and overhead of software.

Image courtesy of Pexels.com.

Topic $TipTopic

As media compression codecs get more complex, compression starts taking longer and longer. Hardware acceleration comes to the rescue, but… what, exactly, is it doing?

In computing, hardware acceleration is the use of computer hardware specially made to perform some functions more efficiently than is possible in software running on a general-purpose central processing unit (CPU).

Hardware is far faster, but software is far more flexible when it comes to handling change. Hardware is superior when performing the same task over and over and over again. This is because software has a processing overhead due to loading and interpreting instructions as well as data. Hardware, provided it is designed for that purpose, doesn’t have the overhead and delay associated with software. But, it is much more difficult changing hardware when the task it needs to perform changes.

An operation can be computed faster in application-specific hardware designed or programmed to compute the operation than specified in software and performed on a general-purpose computer processor.

Hardware acceleration is advantageous for performance, and practical when the functions are fixed so updates are not as needed as in software solutions. However, the invention of reprogrammable hardware (FPGSs) has allowed hardware to be more flexible because it can be reprogrammed as necessary.

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Tip #829: Why Are Some Codecs “Inefficient?”

… for Codecs & Media

Tip #829: Why Are Some Codecs “Inefficient?”

Larry Jordan – LarryJordan.com

GOP compression yields smaller files, but those files are much harder to edit.

Topic $TipTopic

One of the key reasons for transcoding highly-compressed camera masters into an intermediate (or mezzanine) format is to make the media more “efficient.” But, what makes some codecs efficient and others not?

In general, there are two ways that media can be compressed:

  • I-frame
  • GOP

In I-frame compression, each frame in a sequence is compressed individually. The entire contents of the frame are contained in that compressed image. This means that to display that image, all the computer needs to do is uncompress that one frame.

In GOP compression images are compressed in groups; generally containing either 7 or 15 frames. The first image is compressed in its totality. However, for each remaining image in the group, only those pixels that are different in each frame from the preceding frame are compressed and stored in the file.

NOTE: GOP (pronounced “gop”) is an acronym for “Group of Pictures.”

GOP compression creates far smaller files because only portions of each frame are getting compressed.

However, in order to display a GOP-compressed frame, the computer needs first to find the first frame in the group and decompress it. Then, it needs to add all the changes stored in all the frames after the first frame and up to the frame the playhead is parked on.

While GOP compression creates very small files, the computer has to work VERY hard to display each frame as you jump randomly around in the timeline. This is especially true as multiple clips are stacked above each other. Each group needs to be decompressed separately.

GOP compression is perfect for playback, because the changes in each frame can easily be added to the currently displayed frame. However, video editing means that we are randomly jumping from one frame and clip to another. In those situations, I-frame compression is much more efficient because only one frame needs to be decompressed, not an entire string.

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Tip #830: Count the Timecode Formats

… for Codecs & Media

Tip #830: Count the Timecode Formats

Larry Jordan – LarryJordan.com

Timecode takes many forms, all with the goal of clearly labeling every frame of video.

The timecode display in Apple Final Cut Pro X.

Topic $TipTopic

Most of us are familiar with timecode: A unique label for each frame of video in a clip, expressed as four pairs of numbers: Hours:Minutes:Seconds:Frames (or milliseconds, depending upon format).

While timecode expresses these locations as time values, there is no necessary relationship between timecode and the time of day the image was recorded. Sometimes there is, but it isn’t required.

Thinking about timecode got me wondering about how many different timecode formats there are. And that took me to Wikipedia.

In video production and filmmaking, Wikipedia writes, SMPTE timecode is used extensively for synchronization, and for logging and identifying material in recorded media. During filmmaking or video production shoot, the camera assistant will typically log the start and end timecodes of shots, and the data generated will be sent on to the editorial department for use in referencing those shots. This shot-logging process was traditionally done by hand using pen and paper, but is now typically done using shot-logging software running on a laptop computer that is connected to the time code generator or the camera itself.

The SMPTE family of timecodes are almost universally used in film, video and audio production, and can be encoded in many different formats, including:

  • Linear timecode (LTC), in a separate audio track
  • Vertical interval timecode (VITC), in the vertical blanking interval of a video track
  • AES-EBU embedded timecode used with digital audio
  • Burnt-in timecode, in human-readable form in the video itself
  • CTL timecode (control track)
  • MIDI timecode

Keycode, while not a timecode, is used to identify specific film frames in film post-production that uses physical film stock. Keycode data is normally used in conjunction with SMPTE time code.

NOTE: Rewritable consumer timecode is a proprietary consumer video timecode system that is not frame-accurate, and is therefore not used in professional post-production.

EXTRA CREDIT

All these different timecode formats provide one key reason why we need to copy all files from a camera card to our hard disk. Many times, timecode is not embedded in the video.

Also, aside from BWAV (Broadcast WAV) files, audio does not support timecode.

Here’s a Wikipedia article to learn more.

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Tip #813: What is Handbrake?

… for Codecs & Media

Tip #813: What is Handbrake?

Larry Jordan – LarryJordan.com

Handbrake is a free, general-purpose media compression program.

Topic $TipTopic

HandBrake is an open-source video transcoder available for Linux, Mac, and Windows. Everyone can use HandBrake to make videos for free.

HandBrake takes videos you already have and makes new ones that work on your mobile phone, tablet, TV media player, game console, computer, or web browser—nearly anything that supports modern video formats.

HandBrake does:

  • Convert nearly any video to MP4 or MKV
  • Crop and resize video
  • Restore old and low-quality video
  • Remove combing artifacts caused by interlacing and telecine
  • Pass-through audio without conversion for certain audio types
  • Downmix discrete surround sound to matrixed surround or stereo
  • Adjust audio volume levels, and dynamic range for certain audio types
  • Preserve existing subtitles, and add or remove soft subtitles (subtitles stored as text)

HandBrake does not:

  • Combine multiple video clips into one
  • Pass-through video without conversion (video is always converted)
  • Create Blu-ray, AVCHD, or DVD discs

HandBrake also does not defeat or circumvent copy protection of any kind. It does not work with video files employing Digital Rights Management (DRM). This includes but is not limited to, copy protected content from iTunes, Amazon Video, Netflix, or other online providers, and many commercial DVD and Blu-ray discs.

Here’s the link to learn more.

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Tip #814: What is the VP9 codec?

… for Codecs & Media

Tip #814: What is the VP9 codec?

Larry Jordan – LarryJordan.com

VP9 is a replacement codec for HEVC.

Topic $TipTopic

One of the complaints heard after WWDC was that Apple did not make mention of VP9 during the two keynotes. Still, this got me wondering what VP9 is?

According to Wikipedia:

VP9 is an open and royalty-free video coding format developed by Google. It is supported in Windows, Android and Linux, but not Mac or iOS.

VP9 is the successor to VP8 and competes mainly with MPEG’s High Efficiency Video Coding (HEVC/H.265).

In contrast to HEVC, VP9 support is common among modern web browsers with the exception of Apple’s Safari (both desktop and mobile versions). Android has supported VP9 since version 4.4 KitKat.

An offline encoder comparison between libvpx, two HEVC encoders and x264 in May 2017 by Jan Ozer of Streaming Media Magazine, with encoding parameters supplied or reviewed by each encoder vendor (Google, MulticoreWare and MainConcept respectively), and using Netflix’s VMAF objective metric, concluded that “VP9 and both HEVC codecs produce very similar performance” and “Particularly at lower bitrates, both HEVC codecs and VP9 deliver substantially better performance than H.264”.

Here’s a link for more information.

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