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Real world video compression.

Autor Andy Beach
Vydavatel: England : PEACHPIT Press (CA), 2008.
Edice: Real world series
Vydání/formát:   Tištěná kniha : Biography : Russian
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Detaily

Typ materiálu: Biography
Typ dokumentu Kniha
Všichni autoři/tvůrci: Andy Beach
ISBN: 0321514696 9780321514691
OCLC číslo: 233177699
Obsahy: Real World Video CompressionTable of ContentsPreface. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xiChapter One: Understanding Video and Audio. . . . 1Elements of Video. . . . . . . . . . . 2Frames and Fields. . . . . . . . . . . . . . 3Benefits of Interlacing . . . . 4Problems Caused by Interlacing. . . . . . . . . . . 4Progressive Scan Video . . . . . . . . . . . . . . 6Resolutions. . . . . 7Aspect Ratio . . . . . 9Analog vs. Digital. . . . . . . . . . . 12How Compression Works . . . . . . . . . . . . . . 13Lossless and Lossy Compression. . . . . . . . . . . . . . . . 15Spatial (DCT) and Wavelet Compression . . . . . . . . . . . . . 16Quantization. . . . . . . . . . . . . . 17Interframe and Intraframe Compression. . . . . . . . . . . . . . . . . . . . . . 18Audio Compression . . . . . . . . . . . . . 19Evaluating Video for Compression. . . . . . . . . . . . . . 20How Was the Video Shot?. . . . 21How Was It Edited?. . . . . . . . . . . . . 21Who Is the Intended Audience? . . . . . . 22Conclusion . . . . . . . . . . . . . . . . . . 23Chapter Two: The Language of Compression. . . . . . . . . . . . . 25Players . . . . . . . . . . . . . . . . . . . . 26QuickTime Player . . . . . . . . . . . . . 27Windows Media Player . . . . . . . . . . . . . 31Adobe Flash Player. . . . . . . . . . . . . . 32RealPlayer. . . . . . . . . . . . . 34Other Video Players. . . . . . . . . . . . . . . . 36Wrappers . . . . . . . . . . . . . . . . . . 38Codecs. . . . . . . . . . . . . . . 39Descriptions of the Commonly Used Codecs. . . . 40A Time and a Place for Everything. . . . . . . . . . . . . . 43Delivery Codecs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44Authoring Codecs . . . . . . . . 45Legacy Codecs . . . . . . . . . . . 45Compression Parameters . . . . . . 47Data Rates. . . . . . . . 48VBR and CBR . . . . . . 48Frame Rates . . . . . 49Frame Types. . . . . . 49Aspect Ratios. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51Square and Nonsquare Pixels. . . . . . . . . . . . . . . . . . . . . . . . . 53Resolution. . . . . . . . . . 53Online Delivery: Streaming vs. Download . . . . . . 54Conclusion . . . . . . . . 56Chapter Three: Best Practices. . . . . . . . . . 57What Are Your Compression Needs?. . . . . . 58Long-Form or Short-Form Content?. . . . . . . . . . . . 58What Is Your Final Delivery Target?. . . . . . . . . . . . . . 58How Is Your Content Delivered to You?. . . . . . . . . . . 58How Much Content Are You Compressing?. . . . . . . . . . . . . . . 59Is Compression All You're Doing?. . . . . . . 60Quality or Timeliness?. . . . . . . . . . . . . . 60Are You a Content Owner or a Cog?. . . 60How Knowledgeable Is Your Client?. . . . . . . . . . . 60Equipment and Workflows for Different Scenarios. . . . . . . . . . . . . . 61Encoding as an Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . 61Encoding as a Compressionist. . . . . . . . . . . . . . 64Automating the Encoding Process . . . . . . . . . . . . . 65Enterprise Systems: The Big Leagues. . . . . . . . . . . . . . . . . . . . . . . . . 66Essential Encoding Equipment . . . . . . . . . . . . . . . . . . . . . . . . . . 67Hardware . . . . . . . . . . . . . 67Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70Productivity Tips. . . . . . . . . . . . . . 75Minimizing Quality Loss Without Overdoing It. . . . . . . . . . . 75Stay Organized. . . . . . . . . . . . . . . . . 76File-Naming Conventions. . . . . . . . . . . . . . . . 77Experimenting Can Be a Good Thing. . . . . . . . . . . . . 78Make Your Own Recipe Book. . . . . . . . . . . . . . . . 79Mezzanine, or In-Between, Files . . . . . . . 79Archiving and Transcoding . . . . . . . . . . . . . 80Conclusion . . . . . . . . 80Chapter Four: Preprocessing. . . . . . . . . . . . . 81Deinterlacing Video . . . . . . . . . . . . . . . . . . . . . . . . . . . 82Blend. . . . . . . . . . . . 83Weave. . . . . . . . . . . . . . 83Area-based. . . . . . . . . . . . . . 83Motion Blur. . . . . . . . 83Discard . . . . . . . . . . . . . . . . . 83Bob . . . . . . . . . . 84Progressive Scan. . . . . . . . . . . . . 84Motion Compensation. . . . . . . 84Telecine and Inverse Telecine. . . . . . . . . . . . . 85Cropping. . . . . . . . . . 86Scaling . . . . . . . . . . . . . . . . . . . 87Image Aspect Ratio Correction. . . . . . . . . . . . . 89Pixel Aspect Ratio Correction. . . . . . . . 89Noise Reduction. . . . . . . . . . . . . . 90Luma Adjustments . . . . . . . . . . . . . . 92Gamma Correction. . . . . . . . . . . . . . . . . . . . . . . . . . . 93Brightness and Contrast. . . . . . . . . . . . . . 94Chroma Adjustment. . . . . . . . . . . . . 94Saturation. . . . . . . . . . . . . . . . 94Hue. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94Audio Preprocessing. . . . . . . 95Adjusting Volume. . . . . . . . . . . . . . 95Noise Reduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96Conclusion . . . . . . . . . . . . . . . . . . 96Interview with a Compressionist: John Howell . . . . . . . . . . . 97Chapter Five: Compression Tools. . . . . . . . . . . . . . . 101Adobe Media Encoder . . . . . . . . . . . . . . 102What Does It Look Like?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103How Does It Work?. . . . . . . . . . . . 105What Makes It Special? . . . . . . . . . . . 108What Should You Watch Out For?. . . . . . . . . . . . . . 108What Should You Remember? . . . . . . . . . . . . . 108QuickTime Pro. . . . . . . . . . . . . 109What Does It Look Like?. . 110How Does It Work?. . . . . . . . . . . 112What Makes It Special? . . . . . . . . . . . . . 117What Should You Watch Out For?. . . . . . . . . . . . . 117What Should You Remember? . . . . . . . . . . . . 118Compressor. . . . . 119What Does It Look Like?. . . . . . . . . . . . . 120How Does It Work?. . . . 121What Makes It Special? . . . . . . . 125What Should You Watch Out For?. . . . . . . . . . . . 126What Should You Remember? . . . . . . . . . . . . . . 126Microsoft Expression Encoder. . . . . . . . . . . . . . 127What Does It Look Like?. . . . . . . . . . . . . 128How Does It Work?. . . . . . . . . . . . . . 129What Makes It Special? . . . . . . . . . . . . 133What Should You Watch Out For?. . . . . . . 133What Should You Remember? . . . . . . . . . . . . 133Squeeze Compression Suite. . . . . . . . . . . . 133What Does It Look Like?. . . . . . . . . . . 136How Does It Work?. . . . . . . . . . . . 137What Makes It Special? . . . . . . . . . . . . . 142What Should You Watch Out For?. . . . . . . . . . . . 143What Should You Remember? . . . . . . . . . . . . . . 143Episode Pro. . . . . . . . . . . . . . 144What Does It Look Like?. . . . . . . . . . . . . . 144How Does It Work?. . . . . . . . . . . . . . 146What Makes It Special? . . . . . . . 149What Should You Watch Out For?. . . . . . . . . . . . . 150What Should You Remember? . . . . . . . . . . . . . 150Higher- and Lower-End Options . . . . . . . . . . . 150Less-Expensive Solutions. . . . . . . . . . . . . . 151A Note About Enterprise Solutions. . . . . . . . . 153Conclusion . . . . . . . . . . . . . 155Interview with a Compressionist: Nico Puertollano. . . . . . . . . . . . 157Chapter Six: Compressing for DVDs. . . . . . . . . . . . 161What's a DVD?. . . . . . . . . . . 162Producing SD DVDs . . . . . . . . . 162SD Media. . . . . . . . 162SD Codecs . . . . . . . . . 165What the Heck Is a VOB?. . . . . . . . . . . . . 166What's a Blu-Ray Disc? . . . . . . . . . . . . . . 167Producing Blu-ray Discs. . . . . . . . 169Blu-ray Overview. . . . . . . . . 171Recording Blu-ray Discs. . . . . . . . 172DVD Workflows. . . . . . . . . . . . . . 173That Whole Bit Budget Thing. . . . . . . . . . . . . 175Recipes for Producing SD DVDs. . . . . . . . . . . . . . 178Compression and DVD Studio Pro Markers. . . . . . . . . 178Rendering a DVD-Compatible File in Compressor. . . . . . . . . . . . . 180Creating an SD DVD in DVD Studio Pro. . . . . . . . 186Recipes for Producing Blu-ray Discs. . . . . . . . . . . 191Working in Premiere Pro. . . . . . . . . . . . . 192Managing the Handoff. . . . . . . . . . . . . 192Producing an MPEG-2 Blu-ray-Compatible File in Adobe Media Encoder. . . . 193Producing an H.264 Blu-ray-Compatible File in the Adobe Media Encoder.. 196Creating a Blu-ray DVD in Encore. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198Conclusion . . . . . . . . . . . 201Interview with a Compressionist: Ben Waggoner. . . . . . . 203Chapter Seven: Compressing for the Web. . . . . . . . . . . . . . . . . . . . . . 209The Early Days of Web Video . . . . . . . . . . . 210Modern Web Video. . . 211The Rise of Short-Form Video. . . . . . . . . . . . . 211More Broadband Penetration . . . . . . . . . . . . . . 212Better Tools. . . . . . 213Audience and Creator Are the Same Thing. . . . . . . . 214Everybody Is a Star. . . . . . 215Citizen Journalism. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215Traditional Media Catches On. . . . . . . . . . . . 216Modern Web Tools and Formats. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217Recipes for Compressing Video for the Web . . . . . . . 218Encoding for YouTube from Episode Pro. . . . . . . . . . . . . . 219Streaming Windows Media from Compressor . . . . . . . 226Progressive Download Flash Video. . . . . . . . . . . . . 235Conclusion . . . . . . . . . . . . . . . . 237Interview with a Compressionist: Jim Rohner . . . . . . . . . . . . . 239Chapter Eight: Compressing for Mobile . . . . . . . . . 243How Little Video Became Big. . . . . . . . . . . . . . 244Live Streaming to Mobile Devices. . . . . . . . . 245Download and (Maybe) Sync. . . . . . . . . . . 246Mobile Devices and Their Formats of Choice. . . . . . . . . . . . . 249Cell Phones. . . . . . . . . 249Smart Phones and Pocket PCs . . . . . . . . . 252Apple iPhone . . . . . . . . . 253Media Players. . . . . . . . . 254Recipes for Compressing Video for Mobile. . . . . . 2593GP Files for Those Non-Smart Phones. . . . . . . . . . 259Adding Chapter Markers to a Video Podcast. . . . . . . . . . . . 268Conclusion . . . . . . . . . . . . . 274Interview with a Compressionist: Ryanne Hodson . . . . . . . . . . 275Chapter Nine: Compressing for Set-Top Boxes . . . . . . . . . . . . . 279More Than Just Cable . . . . . . 280Digital TV. . . . . . . . . . . . . 280IPTV. . . . . . . . . . . . . . 282IP-Based STBs. . . . . . . . . . . . . 284Apple TV. . . . . . . . . . . . . . 284Xbox 360. . . . . . . . . . . . . . 286Vudu . . . . . . . . . . . . . . 288Recipes for Compressing Video for STBs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289Ripping a DVD with HandBrake. . . . . . . . . . . . . 290Standard-Definition Video for Xbox . . . . . . 296Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299Interview with a Compressionist: Andy Beach. . . . . . . . . . 301Index. . . . . . . . . . 305
Název edice: Real world series

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Excellent primer in video compression

od blurayplayeruser (Publikoval uživatel WorldCat 2010-11-23) Velmi dobré Trvalý odkaz

Excellent resource for getting up to speed on compression. Not a detailed step by step guide for every situation but rather an overview of the current standards, codecs, players, encoding software, as well as the general principles of compression. I think it gives a good level of detail for a complicated...
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