Encoding

This article analyzes the codecs used by YouTube for 4K videos with millions of views, and the savings that AV1 and VP9 deliver over YouTube’s full encoding ladder.  This is the third in a series of articles written about which codecs YouTube uses. The first covers which codecs YouTube uses for high-volume 1080p videos. The second covers the codecs used …

This post describes how to formulate the optimal encoding ladder with VMAF. This analysis is excerpted from a lesson in the online course Streaming Media 101: Technical Onboarding for Streaming Media Professionals.  I received the following question from a reader; it’s got such general applicability that I thought I would share my response.  Question:  We’re currently reviewing our ABR ladder …

Author’s Note (March 15, 2022): A colleague recently advised me that YouTube was now encoding all videos into VP9 format. A quick check revealed that he was correct; literally every video that I checked, including some uploaded back in 2010, was encoded into VP9 as well as H.264. What’s interesting is that many low-volume videos, like this one with 118 …

The H.264 codec is still the most widely used video compression technology — aka codec in the world and likely will be for the next few years. For this reason, every streaming media professional should know what the H.264 codec is and how to encode with H.264. This beginner’s guide to encoding H.264 will describe what H.264 is, detail the …

I’m appearing on a panel next week at the SPIE Optics and Photonics Conference entitled Advanced Video Compression and Applications with a host of encoding luminaries. The panel will be streamed on August 3, 2021, at 3:30 PM PDT, but only registered guests can watch the Zoom feed (you can register here). The discussion will then be made available on YouTube …

This article is derived from a lesson in Streaming Media 101: Technical Onboarding for Streaming Media Professionals. If you’re looking for an efficient way to get up to speed on key streaming terms, technologies, workflows, and best practices, check out the course here.  Every time you encode a video file with a distribution-oriented codec like H.264, HEVC, VP9, or AV1, …

Maya Angelou once said that “You can’t really know where you are going until you know where you have been,” and so it is with per-title encoding. What began as a one-dimensional data rate adjustment that reflected the simple reality that all videos encode differently is now a complex analysis that incorporates frame rate, resolution, color gamut, and dynamic ranges, …

Streaming producers need tools to explore different encoding options and verify their work. Here are two free Windows tools that I couldn’t live without. MediaInfo MediaInfo is a video analysis tool that displays the most significant data points regarding a video file, including resolution, data rate, codec, bit depth, frame rate, duration, etc. It’s available for download here, and there …

To a great degree, video codec adoption is driven by the simple break-even formula presented above. You put your costs on top, your savings per hour on the bottom, and come up with the number of hours of video you have to distribute to recoup your costs and start hitting the plus column. If you’re in a TL/DR frame of …

We have been huge proponents of per-title encoding since its inception in 2015. Boy, has it come a long way. In this Streaming Media article, I recount the history of per-title encoding and trace its advancement from single file optimizations that could adjust only file data rate to AI-driven adjustments that can change resolution, data rate, frame rate, codec, color …