Every color pixel in a digital image is created through some combination of the three primary colors: red, green, and blue. Each primary color is often referred to as a “color channel” or “color component”, and has a range of intensity values specified by its bit depth. The bit depth for each primary color is termed the “number of bits per channel”, typically ranging from 8 to 16bits. The “bits per pixel” (bpp) refers to the sum of the “number of bits per color channel” i.e. the total number of bits required to code the color information of the pixel.
An uncompressed RGB image with a bit depth of 8 bits per color will have 24 bpp or 24 bits per pixels (8 bits for the Red, 8 bits for the Green, 8 bits for the Blue)
Why would you need video compression ?
Technology improves constantly, internet connections get better and faster, but in conjunction, video resolutions get higher and files exponentially bigger! Compression is more than ever a requirement to distribute your video.
Over the last 20 years, resolution and frame rates have moved from SD (@24fps), to HD, then 4K (@60fps), now reaching 8K (@120fps) and will likely keep increasing. Thanks to all these improvements, we are entertained with better images and videos, and machine vision algorithms (AI, Analytics) can make better decisions.
Higher frame rate, higher resolution, more bit per pixel (or precision) and higher dynamic range (HDR) imply a considerable increase in the amount of data to be transported, recorded and processed.
What makes JPEG XS technology different from other codecs?
Let's have a little talk with our expert in compression technology, Antonin Descampe !
Antonin Descampe is co-founder of intoPIX and member of the JPEG committee since 15 years.
During an interview, Antonin explained us how the JPEG XS technology differs from other codecs & what are the advantages of JPEG XS compared to other existing codecs.
Exciting times ahead for the media and entertainment industry
The pandemic has pushed the world to digitalise almost all industries – from the use of digital video solutions replicating a retail purchase, to remote production within the entertainment sector. In this blog Dhaval Ponda, Global Head, Media and Entertainment Services, Tata Communications, discusses the changing landscape of the sports and entertainment industry and the tech-enabled exciting times that lie ahead.
Kill Your Darlings: Being RUTHLESS about your film script and the integrity of your project
We need to cut down our script - it's just too long. So it's time for a red pen and some ruthless cutting.
Over the next few weeks we'll be sharing progress on our project to compare the RED KOMODO, RED DSMC2 MONSTRO 8K, and RED RANGER GEMINI 5K to, well, each other. And we'll be sharing insights into the post production process with both RED and LaCie - demystifying how it all really works. Spoiler alert: post production with RED is a lot easier that you might think.
Let’s Set Some Ground Rules – The Four Eighths Project With RED and LaCie
Our film experiment needs some ground rules so that we can fairly compare our three cameras: the RED KOMODO 6K, RED DSMC2 MONSTRO 8K, and RED RANGER GEMINI 5K. Let's set them in place. And stick to them!
Over the next few weeks we'll be sharing progress on our project to compare the RED KOMODO, RED DSMC2 MONSTRO 8K, and RED RANGER GEMINI 5K to, well, each other. And we'll be sharing insights into the post production process with both RED and LaCie - demystifying how it all really works. Spoiler alert: post production with RED is a lot easier that you might think.
We’re Making A Film – comparing RED KOMODO, RED DSMC2 MONSTRO 8K, and RED RANGER GEMINI 5K
Introducing The Four Eighths Project with RED and LaCie
We're making a film! A short film. A very short film. And we're doing it in three different ways with three different cameras to showcase just what's possible with RED's range and LaCie drives for post production.
Over the next few weeks we'll be sharing progress on our project to compare the RED KOMODO, RED DSMC2 MONSTRO 8K, and RED RANGER GEMINI 5K to, well, each other. And we'll be sharing insights into the post production process with both RED and LaCie - demystifying how it all really works. Spoiler alert: post production with RED is a lot easier that you might think.
The State of 8K in 2021: The Vision Becomes a Reality
The stage was set for 8K long before COVID-19 changed our world in 2020. In fact, 8K televisions were unveiled in 2019 at the Consumer Electronics Show (CES). While the pandemic may have slowed the transition to 8K, it also has generated more interest and increased demand for high-definition resolution options. The pandemic has also altered how content is captured, leading to cloud-based and remote production that is already using 8K technology for background and exterior shots, as well as smart cropping. We expect to see the demand for 8K accelerate as we emerge from the long shadow of COVID-19.
Why Do Things Twice? MainConcept SABET Speeds Processing of Live and VOD Workflows
Encoding an OTT (over-the-top) ladder can be a demanding job. To satisfy the needs of viewers on a variety of screen sizes and resolutions, like 4K TVs and smartphones, you will inevitably end up with an encoding ladder that has many rungs. For every rung, or every step on the ladder, typical encoding scenarios will require an encoding instance.
NEW【VICO-4L-XS】4K SDI to ST-2110 IP converter with JPEG-XS codec
VILLAGE island has an exciting new addition to the flagship VICO converter series: the JPEG-XS enabled VICO-4L-XS. This new converter allows 4K XS encoding/decoding at various compression rates (from 8:1 to 60:1), enabling a 12G-SDI 4K conversion to IP, and streaming in compliance to the SMPTE ST-2110 standards.