H264 lossless compression ratio

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Can anubody write ffmpeg comand for that? Lossless compression is the opposite of "max. The compression ratio of lossless algorithms can't be tuned for a great range of speed vs. Depending on the video material complexity and similaritylossless compression ratios may typically be between and in relation to uncompressed YUV; lossy HEVC compression can achieve about Last edited by LigH. Enabling SAP can emprove lossless compression.

Do you know ffmpeg command for that? Originally Posted by qo4on. May be you are right. But I still can't find any information about using nvenc hevc through ffmpeg. Can you suggest anything to read about that?

Last edited by poppy i disagree live 16th Jan at Last edited by raffriff42; 16th Jan at Thank you!

But I've already read this list. It doesn't answer to a lot of questions: what is the difference between lossless and lossleshp, which other options I can use with lossless, how to setup rec full and limited range?

Originally Posted by LigH. If a technique is valid for several encoders, it is often exposed as general ffmpeg option instead of encoder-specific parameters. Check the ffmpeg "full help" too.

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Generic ffmpeg options valid for more or less all encoders: Code:.By using our site, you acknowledge that you have read and understand our Cookie PolicyPrivacy Policyand our Terms of Service. The dark mode beta is finally here. Change your preferences any time. Stack Overflow for Teams is a private, secure spot for you and your coworkers to find and share information. Note bene: I realize this is an immensely complicated question with about a million levels of nuance that I'm trying to reduce to a single number I'm about to undertake a large video encoding project using H.

We are trying to create multiple bitrate profiles in order to accommodate streaming across internet connections, processors, devices, etc.

Generally speaking, what kind of compression ratio should I be expecting to see while staying within a reasonable level of quality? That seems insane - more than compression? That's Is my math wrong? I'm just looking for a rough outer guide for quality, like "more than x compression is crazy" or "less than x is a waste of bandwidth".

I've looked everywhere, and nothing gives me any kind of expected compression In a quite interesting document called H. So for instance, if we take a x video at 24 FPS, with medium motion movie with slow camera movements, not many scene changes This is purely a hint, and in my opinion, the only way to accurately find the ideal bitrate is trial by error :.

It will vary dramatically depending on the content of the source videos. I'll get to that in a bit. Maybe kbps if you are really interested in quality. How is this possible?

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A simplified answer: There are a couple of techniques and facts about video compression that make this possible:. So, back to the "It will vary dramatically depending on the content of the source videos" comment: The compression ratio you'll see, and the resulting quality, will depend significantly upon:.

Example : A video of a door in a room like a security camera with one key frame every ten minutes is going to have an amazingly high compression ratio. My back-of-the-napkin calculations put that scenario at 15, compression. Since you are starting on a large video encoding project, I would recommend a couple of things to determine what your compression ratio is going to be:. It's a big complicated subject. Good luck. My experienced "thumb-to-the-wind" test says you'll be more than happy with kbps for your project.

In 8-bit color depth each pixel only worth bit or 64bit each 4 pixels. Medium high Film DVR only can provide bit!! And nobody will use H. Well i can suggest you that to get a good ratio in balance with the best qualitythe key that really matters to it is to play with the Resolution size. H tends to loose details more if you don't compress the frame into a little bit of smaller resolution.

Learn more. Suggested Compression Ratio with H. Ask Question.It is ubiquitous - internet video, Blu-ray, phones, security cameras, drones, everything. Everything uses H. Technically, it is very interesting. This post will give insight into some of the details at a high level - I hope to not bore you too much with the intricacies.

Also note that many of the concepts explained here apply to video compression in general, and not just H. A simple uncompressed video file will contain an array of 2D buffers containing pixel data for each frame. So it's a 3D 2 spatial dimensions and 1 temporal array of bytes. Each pixel takes 3 bytes to store - one byte each for the three primary colors red, green and blue. This is next to impossible to deal with. You can't move it anywhere fast. No, they're right.

The H. It looks like we're storing times the amount of data in the video. But the file size is a fifth. There are very many tricks! Let's go through the important ones.

h264 lossless compression ratio

Imagine you're building a car for street racing. You need to go faster. What is the first thing you do? You shed some weight. Your car weighs lbs. You throw away stuff you don't need. Those back seats? Chuck those. That subwoofer? No music for you. Air Conditioning? Yeah, ditch it. We're gonna need that. This concept of throwing away bits you don't need to save space is called lossy compression. PNG is a lossless codec. It means that nothing is thrown away.The intent of the H.

This was achieved with features such as a reduced-complexity integer discrete cosine transform integer DCT[6] [7] [8] variable block-size segmentation, and multi-picture inter-picture prediction. The H. A specific decoder decodes at least one, but not necessarily all profiles. The final drafting work on the first version of the standard was completed in Mayand various extensions of its capabilities have been added in subsequent editions.

A license covering most but not all patents essential to H. The commercial use of patented H. It is thus common to refer to the standard with names such as H. Such partnership and multiple naming is not uncommon. The first draft design for that new standard was adopted in August That work included the development of two new profiles of the standard: the Multiview High Profile and the Stereo High Profile.

Throughout the development of the standard, additional messages for containing supplemental enhancement information SEI have been developed. SEI messages can contain various types of data that indicate the timing of the video pictures or describe various properties of the coded video or how it can be used or enhanced. SEI messages are also defined that can contain arbitrary user-defined data. SEI messages do not affect the core decoding process, but can indicate how the video is recommended to be post-processed or displayed.

Some other high-level properties of the video content are conveyed in video usability information VUIsuch as the indication of the color space for interpretation of the video content. As new color spaces have been developed, such as for high dynamic range and wide color gamut video, additional VUI identifiers have been added to indicate them. The standardization of the first version of H. YUV and The design work on the FRExt project was completed in Julyand the drafting work on them was completed in September Five other new profiles see version 7 below intended primarily for professional applications were then developed, adding extended-gamut color space support, defining additional aspect ratio indicators, defining two additional types of "supplemental enhancement information" post-filter hint and tone mappingand deprecating one of the prior FRExt profiles the High profile that industry feedback [ by whom?

Specified in Annex G of H. For temporal bitstream scalability i. In this case, high-level syntax and inter-prediction reference pictures in the bitstream are constructed accordingly. On the other hand, for spatial and quality bitstream scalability i. In this case, inter-layer prediction i. The Scalable Video Coding extensions were completed in November Specified in Annex H of H. An important example of this functionality is stereoscopic 3D video coding.

Two profiles were developed in the MVC work: Multiview High profile supports an arbitrary number of views, and Stereo High profile is designed specifically for two-view stereoscopic video. The Multiview Video Coding extensions were completed in November Additional extensions were later developed that included 3D video coding with joint coding of depth maps and texture termed 3D-AVCmulti-resolution frame-compatible MFC stereoscopic and 3D-MFC coding, various additional combinations of features, and higher frame sizes and frame rates.

Versions of the H.Post a Comment. Conclusion In terms of lossless compression, x and x took less time and produced smaller files. In our tests, AV1 takes approximately x more time than x to encode in their lossless mode. AV1 does have a lossless mode, but the output is not lossless at all.

VP9 and AV1 can take advantage of multi-threading, but they can not load all CPU cores all the time as x and x do. Note At of JuneAV1 is still experimental. We used x as the AVC encoder. We used x as the HEVC encoder. LZMA is also the default algorithm of 7-Zip. All encoders ran in their lossless mode, all other settings were as default. For Intel's 7th and 8th generation processors, the only Windows operating system that Intel supports is Windows 10 x There is no official driver for Windows 7, Windows 8, or Windows 8.

The graphics driver for 6th gen proce…. Read more. In this part, we tested the lossy compression capability. To measure the fidelity of the reconstruction encoded video of lossy compression codecs in our tests, we used PSNR Peak signal-to-noise ratio. The greater the PSNR of two videos, the more similar they are. If the encoded video is lossless, the PSNR will be infinity when compared to the original.

We tried to match the PSNR and compared the video stream size, the smaller the size, the better the codec. But it is hard to make the PSNR exactly the same. As mentioned earlier, as of Junethe AV1 is still experimental and we were not able to set its constant quality mode as we expected.

h264 lossless compression ratio

And AV1 is extremely slow. So we did the AV1 in its vibrate bitrate mode first. We have found that the VP9 produces better results when encoded in its 2-pass constant quality mode can be set with "-crf"so we c…. Choose FFmpeg and select matroska as the container, libxrgb as the video encoder, flac as the audio encoder.Basically, video compression is divided into two categories: lossless compression and lossy compression.

Lossy video compression makes video file smaller mainly through video codec conversion and parameters adjustment. Don't be gloomy. There are visually lossless video codecs for you to shrink video file size with output quality almost equal to the original one.

You can find out the best lossless video codecs comparatively speaking from the following video codecs comparison, which rounds up the currently most popular video codecs incl.

Background knowledge does matter a lot in learning something new. The same applies to know the best lossless video codec. Prior to go directly to the best visually lossless video codecs, you'd better have a basic understanding about the current most popular video codecs and their advantages and disadvantages. Thus, it would be much easier for you to conclude the best virtually lossless video codecs. Certainly, you can skip this part and jump to the section you need if you know a thing or two about the top video codecs.

If not, you're suggested to spend 2 mins here reading the brief introductions of best video codecs.

h264 lossless compression ratio

H is one of the most commonly used video compression standard for video recording, compression and distribution. Pros: 1. Unparalleled compatibility, accepted by almost any device, player and platform. Keep good balance between file compression and quality, virtually lossless in quality. Supported by most devices and platforms.

Produce excellent output quality, visually lossless. When it comes to compare H with Hthe biggest difference lies in coding tree units. High compression ratio, 2 times that of H High effeciency without the expense of quality. Highest possible quality is guaranteed. Cons: Higher demands on hardware configurations. The video codec compatibility leaves something to be desired. ASF container format to contain the encoded multimedia content.

High data compression ratio, suitable for online video streaming. Royalty-free public license, no patent fees. Keep an even development between video file size and video quality. Slightly lower quality than H, visually no difference. Poor compatibility.Introduction to Video Codec Comparison How to compare video codecs? How to do it correctly? The following comparisons are currently being conducted: Cloud Benchmark summer Comparison of cloud encoding services Annual Video-Codecs Comparison autumn Fifteel annual video-codecs comparison Global codecs trends autumn Re-comparison of previously participated codecs versions on one platform and set of video sequences.

How to Understand Codecs

For a given type of digital video filtration we typically develop a family of different algorithms and implementations. These optimized versions can be licensed to companies.

Please contact us for details via video at graphics. Some of such projects are non-exclusive. Also we have internal researches. Please let us know via video at graphics. Project sponsored by YUV soft Corp. Send your comments to video compression. Vatolin, Dr. Smirnov, A. Ratushnyak, V. Andreev, pictures, News: High-quality encoding report on new codecs aom, rav1e, SVT, etc. Cloud transcoding services comparison report released!

Call for codecs: apply for MSU video codecs comparison! Subjective report on HEVC codecs comparison released! Express report on HEVC codecs comparison released! Call-for-codecs HEVC codec comparison released! Report 9 on 3D-video Quality Analysis released! HEVC codec comparison released! Report 8 on 3D-video Quality Analysis released! Semiautomatic Visual-Attention Model released! The public objective benchmark for video-matting methods released! New sequences, new codecs and new presets were used in this comparison.

GPU-encoders comparison. New quality metrics. New types of analysis, new sequences, new codecs, new presets were used in this comparison. Additionally to traditional comparison new type of analysis with synthetic sequences was performed. Also new sequences, new codecs, new presets were used in this comparison.


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