Video Codec & Sound Codec Explanation: February 2011

Sunday, February 20, 2011

Making using Windows Live Movie Maker

Youku : http://v.youku.com/v_show/id_XMjQ1NDI0MTEy.html

Flash : http://player.youku.com/player.php/sid/XMjQ1NDI0MTEy/v.swf

External Links To Other Web Sites/Blogs

1. Comparison of lossless audio compressors http://members.home.nl/w.speek/comparison.htm
2. Divx 和 Xvid 不能不说的故事 The story can not be can't said http://jx-kingwei.spaces.live.com/Blog/cns!1pofR-H-oy_M-wwU0rwinoOw!976.entry
3. Add Music to your blog: Another easy way ~ the original Blogger Tips and Tricks http://www.bloggertipsandtricks.com/2007/03/add-music-to-your-blog-another-easy-way.html
4. EAC(Exact Audio Copy) 抓轨完美教程+图解 Ripping: A perfect tutorial+diagram http://www.krmtv.com/bbs/thread-387751-1-1.html
5. 音频质量鉴别普及贴！如何辨别MP3音质的好坏和真假320MP3 Identification of audio quality! How to distinguish MP3 sound quality is good or bad and true or false 320MP3 http://www.krmtv.com/bbs/thread-392495-1-1.html
6. Nero - CD DVD Burning, Video Editing Software, Backup Software - Official Site http://www.nero.com/ena/
7. AIRPLAY - 官方网站 http://www.podez.com/
8. AIMP - Free Music Player http://www.aimp2.us/
9. Format Factory - Free media file format converter http://www.formatoz.com/
10. Digiarty Software - Blu-ray DVD Ripper, HD Video Converter - Best Multimedia Software Provider http://www.winxdvd.com/

Contains Table For Assignment 2

Future CMM 111 Assignment Submission

Reserve for future CMM 111 assignment submission...

[MV]SeeYa - Hot Girl(Xvid Codec)

Convert using WinX HD Video Converter Deluxe v3.10.2.0

Youku : http://v.youku.com/v_show/id_XMjQ1MzcyMTQ0.html

Flash: http://player.youku.com/player.php/sid/XMjQ1MzcyMTQ0/v.swf

C:\Users\USER\...\SeeYa - Hot Girl.avi
   General
   Complete name : C:\Users\USER\...\SeeYa - Hot Girl.avi
   Format : AVI
   Format/Info : Audio Video Interleave
   File size : 99.9 MiB
   Duration : 3mn 39s
   Overall bit rate : 3 812 Kbps
   Writing application : MEncoder version 4.0.0 building on 20100917
   Writing library : [= DigiArty videodll! =]
   Video #0
   ID : 0
   Format : MPEG-4 Visual
   Format profile : AdvancedSimple@L5
   Format settings, BVOP : Yes
   Format settings, QPel : No
   Format settings, GMC : No warppoints
   Format settings, Matrix : Default (H.263)
   Codec ID : XVID
   Codec ID/Hint : XviD
   Duration : 3mn 39s
   Bit rate : 3 486 Kbps
   Width : 640 pixels
   Height : 480 pixels
   Display aspect ratio : 4:3
   Frame rate : 25.000 fps
   Resolution : 24 bits
   Colorimetry : 4:2:0
   Scan type : Progressive
   Bits/(Pixel*Frame) : 0.454
   Stream size : 91.2 MiB (91%)
   Writing library : XviD 1.2.1 (UTC 2008-12-04)
   Audio #1
   ID : 1
   Format : MPEG Audio
   Format version : Version 1
   Format profile : Layer 3
   Codec ID : 55
   Codec ID/Hint : MP3
   Duration : 3mn 39s
   Bit rate mode : Constant
   Bit rate : 320 Kbps
   Channel(s) : 2 channels
   Sampling rate : 44.1 KHz
   Resolution : 16 bits
   Video delay : 40ms
   Stream size : 8.39 MiB (8%)
   Alignment : Aligned on interleaves
   Interleave, duration : 26 ms (0.65 video frame)
   Interleave, preload duration : 522 ms
   Writing library : LAME3.98.4

[MV]SeeYa - Hot Girl(Divx Codec)

Convert using Format Factory v2.60.0.0

Youku : http://v.youku.com/v_show/id_XMjQ1MzcxNDMy.html

Flash : http://player.youku.com/player.php/sid/XMjQ1MzcxNDMy/v.swf

C:\Users\USER\...\SeeYa - Hot Girl.avi

General

Complete name : C:\Users\USER\...\SeeYa - Hot Girl.avi

Format : AVI

Format/Info : Audio Video Interleave

File size : 67.0 MiB

Duration : 3mn 39s

Overall bit rate : 2 554 Kbps

Writing application : MEncoder SVN-r30881(20100311-gcc4.3.3)

Writing library : MPlayer

Video #0

ID : 0

Format : MPEG-4 Visual

Format profile : Simple@L1

Format settings, BVOP : No

Format settings, QPel : No

Format settings, GMC : No warppoints

Format settings, Matrix : Default (H.263)

Codec ID : DX50

Codec ID/Hint : DivX 5

Duration : 3mn 39s

Bit rate : 2 354 Kbps

Width : 1 280 pixels

Height : 720 pixels

Display aspect ratio : 16:9

Frame rate : 25.000 fps

Resolution : 24 bits

Colorimetry : 4:2:0

Scan type : Progressive

Bits/(Pixel*Frame) : 0.102

Stream size : 61.6 MiB (92%)

Writing library : Lavc52.58.0

Audio #1

ID : 1

Format : MPEG Audio

Format version : Version 1

Format profile : Layer 3

Codec ID : 55

Codec ID/Hint : MP3

Duration : 3mn 39s

Bit rate mode : Constant

Bit rate : 192 Kbps

Channel(s) : 2 channels

Sampling rate : 48.0 KHz

Resolution : 16 bits

Stream size : 5.04 MiB (8%)

Alignment : Aligned on interleaves

Interleave, duration : 24 ms (0.60 video frame)

Interleave, preload duration : 504 ms

[MV]SeeYa - Hot Girl

Youku : http://v.youku.com/v_show/id_XMjQ1MzcxMDY0.html

Flash : http://player.youku.com/player.php/sid/XMjQ1MzcxMDY0/v.swf

Original version download from KRMTV.com

C:\Users\USER\...\SeeYa - Hot Girl.rmvb

General

Complete name : C:\Users\USER\...\SeeYa - Hot Girl.rmvb

Format : RealMedia

File size : 54.6 MiB

Duration : 3mn 41s

Overall bit rate : 1 692 Kbps

Performer : 飞翔

Video #1

ID : 1

Format : RealVideo 4

Codec ID : RV40

Codec ID/Info : Based on AVC (H.264), Real Player 9

Duration : 3mn 39s

Bit rate : 1 628 Kbps

Width : 640 pixels

Height : 480 pixels

Display aspect ratio : 4:3

Frame rate : 29.000 fps

Resolution : 12 bits

Bits/(Pixel*Frame) : 0.183

Stream size : 42.6 MiB (78%)

Audio #0

ID : 0

Format : Cooker

Codec ID : cook

Codec ID/Info : Based on G.722.1, Real Player 6

Duration : 3mn 41s

Bit rate : 64.1 Kbps

Channel(s) : 2 channels

Sampling rate : 44.1 KHz

Resolution : 16 bits

Stream size : 1.69 MiB (3%)

Comparison of Audio Formats

Contain information from Wikipedia

Introduction
The following tables compare general and technical information for a variety of audio formats and audio compression formats. For listening tests comparing the perceived audio quality of audio formats and codecs, see the article Codec listening test.

General Information

Notes

First public release date is first of either specification publishing or source releasing, or in the case of closed-specification, closed-source codecs, is the date of first binary releasing. Many developing codecs have pre-releases consisting of pre-1.0 versions and perhaps 1.0 release candidates (RCs), although 1.0 may not necessarily be the release version.
Latest stable version is that of specification or reference tools.
If there happens to be OSI licensed software available for a particular codec, this does not necessarily permit one to use said codec free of charge. Likewise, if there is only proprietary licensed software available for a particular codec, one might be able to use the codec free of charge.
MP3 licence and patent status: The MP3 format is patented and therefore subject to license (expires latest: 2017). However with multiple contenders for the patent, it is far from certain in the market who is the patent holder with the right to set pricing and royalties. A sample of prices for one patent-holder is available. In practice, there is a wide range of MP3 authoring software and MP3 encoding worldwide is often performed on a private basis and unpaid, with patent rights unenforced against end users. See MP3#Licensing and patent issues.

Operating System Support

Multimedia Frameworks Support

Technical Details

Comparison of Video Codecs

Contain information from Wikipedia and Wikipedia Chinese

Introduction
A video codec is software or a device that enables video compression and/or decompression for digital video. The compression usually employs lossy data compression, so quality measurement issues become important. Shortly after the compact disc became widely available as a digital-format replacement for analog audio, it became feasible to also store and use video in digital form. A variety of technologies soon emerged to do so. The primary goal for most methods of compressing video is to produce video that most closely approximates the fidelity of the original source and simultaneously deliver the smallest file size possible. However, there are also several other factors that can be used as a basis for comparison.

Introduction to Comparison

The following characteristics are compared in video codecs comparisons:

Video quality per bitrate (or range of bitrates). Commonly video quality is considered the main characteristic of codec comparisons. Video quality comparisons can be subjective or objective.
Performance characteristics like compression/decompression speed, supported profiles/options, supported resolutions, supported rate control strategies etc.
General software characteristics, for example:

Manufacturer
Supported OS (Linux, Mac OS, Windows)
Version number
Date of release
Type of license (commercial, free, open source)
Supported interfaces (VfW, DirectShow, etc.)
Price for codec (volume discounts, etc.)

Video Quality

The quality the codec can achieve is heavily based on the compression format the codec uses. A codec is not a format, and there can be multiple codecs that implement the same compression specification – for example, MPEG-1 codecs typically do not achieve quality/size ratio comparable to codecs that implement the more modern H.264 specification. But quality/size ratio of output produced by different implementations of the same specification can vary, too.

Prior to comparing codec video quality, it is important to understand that every codec can give a varying degree of quality for a given set of frames within a video sequence. Numerous factors play a role in this variability. First, all codecs have a bitrate control mechanism which is responsible for determining the bitrate and quality on a per-frame basis. A difference between variable bit rate (VBR) and constant bit rate (CBR) creates a trade-off between a consistent quality over all frames, and a more constant bitrate, which is required for some applications. Second, some codecs differentiate between different types of frames such as key frames and non-key frames, differing in their importance to overall visual quality and the extent to which they can be compressed. Third, quality depends on prefiltrations, that is included on all present-day codecs. Other factors can also come into play.

For a sufficiently long clip, it is possible to select sequences which have suffered little from the compression and sequences which have suffered heavily, especially if CBR was used, in which the quality between frames can vary highly due to different amounts of compression needed to achieve a constant bitrate. So, in any one long clip such as a full length movie, any two codecs may perform quite differently on a particular sequence from the clip, while the codecs may be approximately equal (or the situation reversed) in quality over a wider sequence of frames. Press-releases and amateur forums sometimes select sequences known to favor a particular codec or style of rate control in reviews.

Objective Video Quality

Objective video evaluation techniques are mathematical models that approximate results of subjective quality assessment, but are based on criteria and metrics that can be measured objectively and automatically evaluated by a computer program. Objective methods are classified based on the availability of the original video signal, which is considered to be of high quality (generally not compressed). Therefore, they can be classified as:

Full reference methods (FR),
Reduced reference methods (RR), and
No-reference methods (NR).

The main FR metrics are:

Peak signal-to-noise ratio (PSNR): The most widely used video quality metric during the last 20 years (used approximately in 99% of scientific papers and in 20% of marketing materials). However, the validity of this metric is limited. It is only conclusive when the same codec (or codec type) and content is being compared.
Structural similarity (SSim.): A new metric (suggested in 2004) which shows better results than PSNR at the cost of a reasonable increase in computational complexity.

Some other metrics have been suggested by Video Quality Experts Group (VQEG), private companies, and universities, but are not widespread.

The main comparison method is the so-called RD-curve (rate/distortion chart), where a metric value is plotted against the Y-axis and the bitrate against the X-axis.

Some example NR metrics are:

Blocking measure — measurement power of so called blocking artefacts (extremely noticeable without deblocking filter usage on low bitrates)
Blurring measure — measurement of common video blurring (washout)
etc.

Subjective Video Quality

It is concerned with how video is perceived by a viewer and designates his or her opinion on a particular video sequence. Subjective video quality tests are quite expensive in terms of time (preparation and running) and human resources.

There is an enormous number of ways of showing video sequences to experts and to record their opinions. A few of them have been standardized. They are thoroughly described in ITU-R recommendation BT.500.

Following subjective video quality comparison methods are used:

Double Stimulus Impairment Scale (DSIS) — suggested in ITU-R BT.500-11.
Double Stimulus Continuous Quality Scale (DSCQS) type I and type II — suggested in ITU-R BT.500-11
Stimulus Comparison Adjectival Categorical Judgement (SCACJ) — suggested in ITU-R BT.500-11
Subjective Assessment Method for Video Quality evaluation (SAMVIQ)
MSU Continuous Quality Evaluation (MSUCQE)

The reason for measuring subjective video quality is the same as for measuring the Mean Opinion Score for audio. Opinions of experts can be averaged; average mark is usually given with confidence interval. Additional procedures can be used for averaging, for example experts who give unstable results can be rejected (for instance, if their correlation with average opinion is small).

In case of video codecs, this is very common situation. When codecs with similar objective results show results with different subjective results, the main reasons can be:

Pre- and postfilters are widely used in codecs. Commonly codecs use prefilters like video denoising, deflicking, deshacking and etc. Denoising and deflicking commonly maintain PSNR value, but increase visual quality (the best slow denoising filters also increase PSNR on middle and high bitrates). Deshacking seriously decreases PSNR, but increases visual quality. The same situation with postfilters — deblocking and deringing maintain PSNR, but increase quality. Graining (suggested in H.264) essentially increases video quality especially on big plasma screens, but decrease PSNR.

Note: All filters worsen compression/decompression time, so they increase visual quality, but decrease speed.

Motion estimation (ME) search strategy can also cause different visual quality for the same PSNR. So called true motion search commonly will not reach minimum sum of absolute differences(SAD) values in codec ME, but may result in better visual quality. Also such methods require more compression time.
Rate control strategy. VBR commonly cause better visual quality marks than CBR for the same average PSNR values for sequences.

It is difficult to use long sequences for subjective testing. Commonly, three or four ten-second sequences are used, compared with full movies used for objective metrics. Sequence selection is important — those sequences that are similar to the ones used by developers to tune their codecs are more competitive.

Performance Comparison

Speed Comparison

Number of frames per second (FPS) commonly used for compression/decompression speed measurement.

In case of codecs following issues should be taken into account for correct comparison:

Decompression (sometimes compression) frame time uniformity. Big difference in this time can cause annoying jerkily playback.
SIMD support by processor and codec — MMX, SSE, SSE2.
Multi-threading support by processor and codec (sometimes Hyper-threading support being turned on causes codec speed to decrease)
RAM speed (pretty important for codecs)
Processor's cache size (sometimes cause serious speed degradation on low cache CPU's such as the Intel Celeron.)
GPU usage by codec — some codecs can drastically increase their performance by using GPU advantages.

for example codec A is more optimized for memory usage (use less memory) but shows lower results than codec B on modern computer. The same codecs places can be swapped on old processor with limited cache size.

Profiles Support

Modern standards define a wide range of features and require very substantial software or hardware efforts and resources for their implementation. Only selected profiles of a standard are typically supported in any particular product. (This very common situation for H.264 implementations for example.)

The H.264 standard includes the following seven sets of capabilities, which are referred to as profiles, targeting specific classes of applications:

Baseline Profile (BP): Primarily for lower-cost applications with limited computing resources, this profile is used widely in videoconferencing and mobile applications.
Main Profile (MP): Originally intended as the mainstream consumer profile for broadcast and storage applications, the importance of this profile faded when the High profile was developed for those applications.
Extended Profile (XP): Intended as the streaming video profile, this profile has relatively high compression capability and some extra tricks for robustness to data losses and server stream switching.
High Profile (HiP): The primary profile for broadcast and disc storage applications, particularly for high-definition television applications (this is the profile adopted into HD DVD and Blu-ray Disc, for example).
High 10 Profile (Hi10P): Going beyond today's mainstream consumer product capabilities, this profile builds on top of the High Profile — adding support for up to 10 bits per sample of decoded picture precision.
High 4:2:2 Profile (Hi422P): Primarily targeting professional applications that use interlaced video, this profile builds on top of the High 10 Profile — adding support for the 4:2:2 chroma sampling format while using up to 10 bits per sample of decoded picture precision.
High 4:4:4 Predictive Profile (Hi444PP): This profile builds on top of the High 4:2:2 Profile — supporting up to 4:4:4 chroma sampling, up to 14 bits per sample, and additionally supporting efficient lossless region coding and the coding of each picture as three separate color planes.
Stereo High Profile: This profile targets two-view stereoscopic 3D video and combines the tools of the High profile with the inter-view prediction capabilities of the MVC extension.
Multiview High Profile: This profile supports two or more views using both inter-picture (temporal) and MVC inter-view prediction, but does not support field pictures and macroblock-adaptive frame-field coding.

The standard also contains four additional all-Intra profiles, which are defined as simple subsets of other corresponding profiles. These are mostly for professional (e.g., camera and editing system) applications:

High 10 Intra Profile: The High 10 Profile constrained to all-Intra use.
High 4:2:2 Intra Profile: The High 4:2:2 Profile constrained to all-Intra use.
High 4:4:4 Intra Profile: The High 4:4:4 Profile constrained to all-Intra use.
CAVLC 4:4:4 Intra Profile: The High 4:4:4 Profile constrained to all-Intra use and to CAVLC entropy coding (i.e., not supporting CABAC).

Moreover, the standard now also contains three Scalable Video Coding profiles.

Scalable Baseline Profile: A scalable extension of the Baseline profile.
Scalable High Profile: A scalable extension of the High profile.
Scalable High Intra Profile: The Scalable High Profile constrained to all-Intra use.

An accurate comparison of codecs must take the profile variations within each codec into account.

Supported Rate Control Strategies

Videocodecs rate control strategies can be classified as:

Variable bit rate (VBR) and
Constant bit rate (CBR).

Variable bit rate (VBR) is a strategy to maximize the visual video quality and minimize the bit rate. On fast motion scenes, a variable bit rate uses more bits than it does on slow motion scenes of similar duration yet achieves a consistent visual quality. For real-time and non-buffered video streaming when the available bandwidth is fixed, e.g. in videoconferencing delivered on channels of fixed bandwidth, a constant bit rate (CBR) must be used.

CBR is commonly used for videoconferences, satellite and cable broadcasting. VBR is commonly used for video CD/DVD creation and video in programs.

Usage of different rate control strategies — one of the main reasons of different results of codecs, implemented one standard.

Software Characteristics

Codecs List

The Xiph.Org Foundation has negotiated an irrevocable free license to Theora and other VP3-derived codecs for everyone, for any purpose.

Native Operating System Support

Note that operating system support does not mean whether video encoded with the codec can be played back on the particular operating system – for example, video encoded with the DivX codec is playable on Unix-like systems using free MPEG-4 ASP decoders (FFmpeg MPEG-4 or Xvid), but the DivX codec (which is a software product) is only available for Windows and Mac OS X.

Techinical Details

Codec	Compression type	Basic algorithm	Highest supported bitrate	Highest supported resolution	Variable frame rate
Blackbird	Lossy compression	Unknown	Unknown	384×288 (PAL), 320×240 (NTSC)	Yes
Cinepak	Lossy compression	Vector quantization^[26]	Unknown	Unknown	Unknown
Dirac	Lossy/Lossless compression	Wavelet compression	Unlimited^[27]	Unlimited^[27]	Yes
Sorenson 3	Lossy compression	Unknown	Unknown	Unknown	Unknown
Theora	Lossy compression	Discrete cosine transform	2 Gibit/s	1,048,560×1,048,560^[28]^[29]	Via chaining^[*]
RealVideo	Lossy compression	Discrete cosine transform	Unknown	Unknown	Yes

Theora streams with different frame rates can be chained in the same file, but each stream has a fixed frame rate.

Freely Available Codecs Comparison

About Me

Sunday, February 20, 2011

Lab 2011/2/21 Excel

[Audio]Navi - Hello

External Links To Other Web Sites/Blogs

Contains Table For Assignment 2

Future CMM 111 Assignment Submission

[MV]SeeYa - Hot Girl(Xvid Codec)

[MV]SeeYa - Hot Girl(Divx Codec)

[MV]SeeYa - Hot Girl

Comparison of Audio Formats

Notes

Comparison of Video Codecs

Video Codec & Sound Codec Explanation

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