Compression for Great Video and Audio: Master Tips and by Ben Waggoner

By Ben Waggoner

How one can compress video and audio with optimum caliber and minimum hassles. popular professional Ben Waggoner teaches you to enhance the standard of your ultimate content material and improve powerful workflows. comprehend the fundamental suggestions of imaginative and prescient and listening to, practice that wisdom within the context of compression, then circulate onto functional, appropriate info for growing, enhancing, and compressing the simplest video and audio, even if you're providing for the internet, DVD, Blu-ray, telephones, or beyond.

Clear examples of the way to make the easiest offerings in real-world projects
Covers Mac and home windows items for an entire examine today's compression applied sciences: all of the assorted instruments, formats, and codecs for other kinds of deliverables are defined, concentrating on tips to decide the suitable concepts for specific tasks, avid gamers, and sources

Formats

Windows Media
QuickTime
Flash FLV and F4V
MPEG-4 and H.264
MPEG-2
Ogg Vorbis and Theora
Silverlight and gentle Streaming
Devices

iPod and iPhone
Zune HD
Playstation Portable
Playstation 3
Xbox 360
DVD and Blu-ray

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Extra info for Compression for Great Video and Audio: Master Tips and Common Sense (2nd Edition)

Example text

Trust me on this. This is going to come up again and again, and is the fundamental reason why we use green screens for “blue screen” video these days, and why red subtitles can get so blocky when going out to DV tape. Late-Night College Debate Settled Once and for All! 2 shows that what you see as red is what every other person with normal version perceives as red. In every culture in the world, in any language, if you ask what the most “red” color is and offer a bunch of samples, almost everyone picks the sample at 564 nm.

The original “talkie” movie projectors running at 24 fps had far too much flicker. 8) Paris Street: A Rainy Day by Gustave Caillebotte. This painting uses both shading and converging lines to convey perspective. 10 Chapter 1 quickly modified so the lamp in the film projector flashes twice for each film frame at 48 Hertz (Hz) to present a smoother appearance. A higher setting doesn’t improve legibility, but a higher refresh rate eventually makes the screen look much more “stable” (it takes at least 100 Hz for me).

Or, more gracefully put, our visual system is very well attuned to the sort of things bipedal primates do to survive on planet Earth, such as finding good things to eat without being eaten ourselves. But given images that are radically different from what exists in nature, strange things can happen. Optical illusions take advantage of how our brains process information to give illusory results—a neuropsychological hack, if you will. 3. Notice how you see a box that isn’t there? And how the lines don’t look quite straight, even when they are?

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