Download A Practical Guide to Video and Audio Compression: From by Cliff Wootton PDF

By Cliff Wootton

Examine all approximately Codecs--how they paintings, in addition to layout and implementation with this complete, easy-to-use consultant to compression. After analyzing this ebook, it is possible for you to to arrange and distribute specialist audio and video on any platform together with streamed to the internet, broadcast on-air, kept in PVRs, Burned onto CD-ROMs or DVDs, brought via broadband, or seen in Kiosk purposes, PDA units, and cell phones.

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Additional info for A Practical Guide to Video and Audio Compression: From Sprockets and Rasters to Macro Blocks

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There are still issues with the form factor for a handheld device like this. To create a viewing experience that is convenient for long journeys, we might end up with a device that is a little bulkier than a phone should be. Maybe a hands-free kit addresses that issue or possibly a Bluetooth headset. Usable keypads increase the size of these devices. Currently, it is quite expensive to provide sufficient storage capacity without resorting to an embedded hard disk. That tends to reduce the battery life, so we might look to the new storage technologies that are being developed.

The encoder interprets any significant noise in the original as frame-to-frame changes. Even non-moving background content will compress badly if there is significant noise present. Either your compressor will be unable to reach the target bit rate, or if you cap the bit rate, quality of the video when played back will be very bad indeed. Motion artifacts are particularly hard to deal with when your source is interlaced video. Removing the interlacing is a significant challenge. Digitizing home movie film may be subject to unstable positioning of the film within the gate of the projector or telecine unit unless you are using a professional system.

The frames per second (fps) value tells you whether any time-based correction or pulldown is necessary to introduce additional frames for your target output platform. The scanning method indicates the complexity of any motion-based processing. Raw film can be converted to interlaced or progressive scanning quite easily. Video originates in an interlaced format, and that does not conveniently convert to progressive scanning without some complex interpolation. This interpolation is difficult because it takes place in space (X and Y) and on the time axis (between successive fields).

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