How YouTube Encodes Videos
Looking for insights into exactly how YouTube encodes billions of videos? Jan Ozer went down the rabbit hole and shares what he discovered about AV1, VP9, and resolutions.
Judging Apple's Advanced Video Quality Tool
As a metric, Apple's Advanced Video Quality Tool (AVQT) showed some bright spots, but it's hard to see it bumping VMAF or SSIMPLUS from real-world workflows without a lot more verification.
The Alliance for Open Media has gone all-in on SVT-AV1, but real-world tests show that Scalable Video Technology codecs don't live up to their promise when it comes to performance.
Defend Your Video Encoding Choices with Data
If you're charged with configuring your encoding ladder, there are a few datapoints you should have nailed. The most important is the VMAF score of the top rung of your encoding ladder.
When to Ditch the Webcam
I produce most of my live training with a webcam because the quality delta between a webcam and other options is negligible when presented in postage-stamp-sized videos. But what setup should you use for a really important conference or a call that will be distributed to many viewers live or on demand? That's where things get interesting.
New Rules of Codec Development
The game has changed for new codecs entering the market.
When It Comes to Being on Camera, Don't Be "That Person"
There's no longer any excuse for poor-quality audio or bad video on your Zoom meetings or webinars. By following just a few simple tips and spending less than $200, you can look like a pro.
It's Time to Retire PSNR
Peak signal-to-noise ratio is poor predictor of subjective video quality. So why are PSNR comparisons used in almost all codec comparisons?
4 Keys to Evaluating Cloud Transcoding Options
Here are the four differentiating factors to focus on when assessing cloud transcoding solutions
When it Comes to Bitrates, Less is Always More
What can streaming producers do in the short-term to reduce the load during these COVID-19-related bandwidth usage spikes?
When it Comes to Video Quality Measurements, Average Won't Cut It
Average scores can be deceiving, so be sure you're using a tool that gives you a more accurate assessment of your video quality
All Roads Lead to ABR Royalties
As recent lawsuits regarding DASH-related patents make clear, royalty payments on adaptive bitrate streaming are inevitable—even if it's not yet clear who'll be paying who, or how much
The Compressionist's Aha! Moment: 'The Other Leg, Lanczos'
Every compressionist fantasizes about discovering the perfect configuration option, but our columnist learns that some results are too good to be true.
DASH Patent Pool—Criticized From the Start—Might Cease Operations
The fact that DASH was always marketed as being free didn't stop MPEG LA from forming a patent pool. But lack of support from the major IP contributors appears to have doomed the effort.
Announcing the Swift Death of Per-Title Encoding, 2015-2019
Once revolutionary, pre-title encoding was replaced by shot-based encoding and then context aware encoding. Here's how to evaluate vendors when choosing a solution.
Work in Parallel to Streamline the VQ Measurement Workflow
There's a long way to run video quality measurement tasks and a shorter way. As our columnist learned, it's never too late to learn a more efficient system.
Solutions Abound for High-Volume Live Video Cloud Transcoding
Streaming Media West provided a look at new options for demanding live cloud transcoding jobs. Here's a rundown for those who couldn't be there.
Creating a Recipe for Codec Success to Please All Palates
Looking back and the successes and misfires of H.264, HEVC, and VP9 show what the industry can expect from AV1 and VVC.
New Codecs Are Coming; Here's How to Evaluate Codec Evaluations
When comparing the video quality created by different codecs, consider the companies running the comparisons and the metrics they're offering.
Time to Start Testing: FFmpeg Turns 4.0 and Adds AV1 Support
AV1 delivers equivalent quality to HEVC, but with a lower data rate. For now, though, it's slow. A five-second clip took 23 hours and 46 minutes to encode.