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The question is: If I had an uncompressed image, and then I compressed it with this codec, how similar would the new image be to the old image? How much information is lost in the transcode? If the two images are very similar, then the codec is not very lossy. I mean the amount of data that is retained by the codec, only some of which you can see. When I’m talking about lossyness, I don’t necessarily mean what your eye sees. One of the columns in the table is “lossyness,” which is an important concept with codecs. That way you can compare codecs as you read through the article. And it’s easier to find help if something goes wrong. They are more likely to work on your system, your client’s system, your system-in-five-years, etc. There is a significant advantage to using popular codecs. The ones I’ve included are by far the most common. There are many different codecs that can be used in the editing process. This list can help you compare different codecs against each other and make the best decision for your project. I’ve also pulled together a list of all of the most common codecs used in the postproduction world. Deeper bit-depth (larger numbers) is good for color-correction and VFX.
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Macro-Blocking: Finds blocks (varying size) of similar colors and makes them all the same color.Really bad if you’re doing green screen or VFX work. 4:2:2 is some chroma subsampling.4:2:0 is lots of chroma subsampling). Chroma subsampling: Throws away some color data (4:4:4 is no chroma sampling.If you’re skipping the video, here are some very basic explanations: It’s not required viewing to understand this article, but it certainly won’t hurt. A few years ago, I created a video that covers the main compression techniques that many codecs use. And they’re pretty smart about how they do that. What a Codec DoesĪ codec is a method for making video files smaller, usually by carefully throwing away data that we probably don’t really need. You’ll be able to work faster on a laptop than many can on a high-end tower. It can also make your work faster, and lets you take the best advantage of your computer and storage. Choose the right codec and you’ll preserve your images in the highest quality. The benefits of optimizing your codecs can be huge. I’ll also give you some examples of the most commonly-used codecs for that stage.Īlong the way, we’ll cover why low-end codecs and high-end codecs can each slow down your editing, the reasons for a proxy/offline edit, a real-world project walkthrough, some storage-saving strategies, and an explanation for why transcoding cannot improve your image quality. I’ll cover:Īt each stage, I’ll explain which factors you should be considering as you choose a codec. Click on a heading to jump to that section. I’m going to walk you through every step in the process of making a video. So you can choose the right codec for yourself, instead of relying on what worked for someone else. My goal is to give you what you need to make your own informed decisions about codecs.
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I guess the bottom line is that you need to check with the recepient what their needs really are, and if they are flexible on format.By the end of this article, you will be able to pick the best codec for you on each project. I actually do most of my broadcast delivery with the QuickTime H.264 option, and I'm on a PC.
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One clear option in this regard would be to use H.264 as the codec this is either available by selecting H.264 as the Format (which creates an MP4 and has quite a few configurable options) or by selecting QuickTime as the Format (this creates an MOV, but isn't quite as configurable).
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That said, if they don't need to edit the file, or archive it, or are going to be recompressing the file for broadcasting (through some sort of play-out server), then there are other high-quality options you might potential use that are already available in Pr, don't require a codec download and installation, and will create much smaller delivery files. They both provide a large, high-quality, able-to-be-edited, suitable-for-broadcast, ready-for-archive video file. I suggested DNxHD, because doughnuts-to-doughnuts, it's pretty similar in quality and function to ProRes the compression type they both use is the same. Well, there are lots of codec choices and format options in Pr that would potential satisfy any delivery requirement-but we really don't know what your delivery requirement is.