By Ben Waggoner
Compression for excellent electronic Video is a necessary reference for encoding electronic video and audio for the net, CDROM, DVD, and different media. electronic video execs in attaining higher and speedier effects through studying every thing that occurs prior to compression (shooting, modifying, and shooting) and after compression (getting records at the server, getting trustworthy bandwidth, and end-user configuration). This booklet offers a superior beginning within the basics of sunshine, imaginative and prescient, and compression know-how acceptable to any compression software program. It additionally teaches how one can use the preferred functions to optimize documents for optimum caliber, potency, and manageability. Compression for excellent electronic Videoshows readers tips to in achieving larger effects faster whilst encoding electronic video and audio for the net, CD-ROM, DVD, and different media.
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Extra info for Compression for Great Digital Video: Power Tips, Techniques, and Common Sense
640x480 4:2:0 needs one 640x480 and two 320x240 for a total of 3,686,400 bits per frame, exactly half as many. That means only half as many pixels to move around in memory, run through filters, and so on. With common filters, Y'CbCr’s advantages get even stronger. Filters that directly affect luminance, like contrast, gamma, and brightness, only need to touch a single 640x480 channel in Y'CbCr, compared to all three in RGB, making Y'CbCr three times faster than RGB. Chroma-only filters like saturation only need to do two 320x240s instead of three 640x480s, making Y'CbCr six times faster.
10 is on page VIII of the color section. although they can display to the screen in 16-bit. The ancient video codecs of Apple Video (aka Road Pizza) and Microsoft Video 1 were 16-bit. But hey, what do you expect? They didn’t have data rate control either. 24-bit color (Millions of Colors) This is the default depth for use in compression, for both RGB and YUV color space. 24-bit color allocates eight bits per channel. 24-bit color is adequate for most uses, although high-end prepress people working in CMYK color sometimes find it insufficient.
The Y value might range from full black to full white, where the chroma channels have no effect regardless of the information they hold. Obviously, the chroma channels in a sepia-tone movie should have constant values across the frame, yielding excellent compression. This is because the Cb and Cr channels can hold color information even when the luma channel makes the image all black or all white. However, upon conversion to RGB, the information in the Cb and Cr channels disappears—black in RGB means no R, G, or B; no color information at all.