1. Week 8 - Tutorial Interactive Digital Moving Image Production | CU3003NI | - Pratik Man Singh Pradhan

2. Media Encoding

3. Media Encoding Overview  Why and how audio and video are encoded.

4. Encoding Media  Encoding refers to the conversion of media files from one form to another (Compression)  Encoding is performed for the following purposes  Compressing a file to a smaller size (data/frame size)  Making it usable on a particular device / software player  Practically all audio and video is encoded and compressed for distribution.  Uncompressed audio and video are retained for archiving and re-use / re- encoding.

5. Encoding > Decoding Flow Data File Stream Webcam Microphone OB Unit / Studio Control room Uncompressed Video Uncompressed audio Compressed data file Compressed stream Local Storage Transport Network (www) Data File Encoding Engine Decoding Engine

6. Transcoding  The techniques used for transcoding are the same as for encoding.  The goal of transcoding is not to get a file down to a small size (compression)  Transcoding can be seen as ‘translating’ from one form to another maintaining maximum quality. Example: some editing systems may not be capable of processing a particular type of video – footage is transcoded to a form that can be used.

7. Digital Media Files  Containers (Wrappers)  Encoded media is stored within container formats  Containers ‘store’ encoded audio and / or audio ‘streams’  Containers also contain metadata needed for the player to make ‘sense’ of the enclosed media formats.  Container formats include QuickTime (MOV), RealMedia (RM), MPEG and OGG (open source format) IMPORTANT: Container formats do not describe the manner in which a file has been encoded. - QT file might not play in QuickTime on a particular machine - The software requires the appropriate Codec to be installed

8. Digital Media Files - Codecs  Whether or not a file will play depends on its codec  Codec refers to the particular encoding method (algorithm) used to compress and decompress a piece of media (COmpress - DECompress)  Codecs specifically describe the type of video or audio compression used  Certain codecs play almost universally (MPEG4)  Some codecs may require plugins to be installed for playback (Vorbis(OGG), VP3 (Theora))

9. Encoding Applications  Encoding is don at the following points  A/V production applications (from the timeline)  Final Cut Pro (native & via compressor)  Protools  Within bespoke compression applications  Adobe Media Encoder (PC/MAC)  Compressor(Apple)  MediaCoder (Open Source)  As import/export options on media players  iTunes (import)  QuickTime Pro (export options)  On websites such as YouTube (FFMPEG server side encoder) Some encoding applications offer more control than others

10. Lossless and Lossy Compression Lossless  Refers to any file type that is a true (verbatim) copy of the original  No quality has been lost is saving a file in the following formats  Lossless Audio – Flac, WavPac, Monkey’s Audio, ALAC  Lossless Video – Animation Codec, Huffyuv, Uncompressed  Lossless Graphics – Gif, PNG, Tiff  A basic example of lossless compression methods include RLE (Rule Length Encoding)  Using the following as an abstraction of the data used to store a segment of audio – [AAAAABBCCCCCDEEEEEEE] = 20bytes  RLE would look at the ‘run lengths’ or repeated adjacent runs of data and summarise them as A5B2C5D1E7 = 10bytes

11. Lossless and Lossy Compression Lossless  File formats and codecs where a file may look or sound acceptable or as good as the original but is in fact a degraded copy  Lossy file formats include  Lossy audio – AAC, MP3, Vorbis  Lossy video – M2V, H.264  Lossy Graphics - JPEG  Lossy compression approximates data in order to make easily represented sequences of data  A (very) basic example is to use a similar scenario as before  AAAAABAAAAA represents a signal or series of pixels (11 bytes)  The compression could represent it as A5B1A5 (6 bytes lossless)  Lossy compression decides that the discrepancy is not significant enough to record so instead approximates it back to A (A11 = 3 bytes lossy)

12. Redundancy  File compression uses systems based around redundancy  Redundancy elements are parts of the sound or image that are not required to be recorded (written) as data in the compressed file  Audio uses psychoacoustic principles to determine which sound can be omitted without adversely affecting the overall quality (low/high frequencies, hiss, overlapping sounds)  Video uses pixel colour data to determine redundancies  Different codecs and encoders view and process these redundancies in different ways (algorithms) with different results  Redundancy can be broken into two categories  Objective Redundancy  Subjective Redundancy

13. Objective Redundancy in Imagery  An area of pure black is detected (area spans 15,300 pixels all black)  The area is mapped between 4 points (corners of green rectangle)  15,300 pieces of information can be reduced to 5 pieces of information  That information can then be decoded in the player and rendered exactly as it was.

14. Subjective Redundancy in Imagery  An area is detected where pixels are similar in colour (a;; black / dark grey)  The encoder decides that the difference is negligible (won’t be noticed)  The area is mapped similarly to before using 1 colour value  Information has been discarded and the quality of the compresses file is less than the original.

15. Compressing  The goal of compression is to get the smallest file size while retaining maximum ‘meaningful’ information (fidelity/clarity)  Compression is always a trade-off between quality and file size  The same principle applies to audio/video as to graphics  Always work from a high quality source  Never compress already compressed media (generation loss)  Always retain (archive) a high quality original for future work

16. THE END