10/2/2023 0 Comments Editready vs handbrakeProxies are also easier and faster to transfer, with a service like MASV, so the editor can get started sooner while they wait for the original media to make its way to the edit suite. The solution is often to transcode to a lower quality ‘proxy’ version of the media that is much easier to edit with and takes up a lot less hard drive space. But they represent the highest possible quality version of the media. These place huge demands on the editing system in terms of the required CPU, GPU and storage capacities. ![]() Most modern cinema cameras shoot in very large resolutions (4K, 6K, 8K, 12K etc.) and in RAW uncompressed file formats. In video post-production there are numerous stages of the process that usually require some transcoding. Here the former is higher quality in comparison to the latter but has a larger file size. Apple ProRes often does a great job in this regard and it can be difficult to visually distinguish between, for example, ProRes 422 and ProRes LT. It is worth mentioning that there are also some smart codecs that are ‘visually lossless’, which is to say that you can’t tell by looking at them whether they are the original or the transcoded version. But, on the other hand, yes transcoding reduces quality, but usually this is the intention because you’re throwing away some of the data in order to reduce the file size or serve another purpose.There is no ‘generational’ loss between the copies if you don’t intend to introduce one. In some senses, no transcoding doesn’t reduce quality, in the way that taking a photocopy of something might do - especially if you take a photocopy of a photocopy.It all depends on how you do it and why you’re doing it. Let’s take a look at some common video transcoding workflows and some of the important considerations for each.īut before we do, one question we need to consider is: Does transcoding reduce quality? Or, the high-resolution makes adding effects and filters bog down the system to another stand still. Even the fastest hard drive would struggle to deliver data quickly enough from the drive to the computer without skipping or dropping frames, leading to stuttering playback. The file sizes are often too large for anything. Any editor who has worked with high-quality, computationally-intense and storage-hogging video files knows that this doesn’t make for a smooth or efficient video editing experience. Transcoding the video files in this way ensures the best possible experience for the end user at the time. These might include Blu-Ray MPEG files, H.264 mp4’s for online streaming and many more. These would then be transcoded from the master files into the various distribution formats required.Once editing is completed, the final master files would be created, transcoding them from the editing format to the delivery specification, and delivered.Transcode the original camera files into a more editing friendly format.So if we add all of this together we can see why video transcoding is so useful and essential at different stages of the video post-production workflow.Īt each stage of the process different media files are created with different uses in mind.Īs a general rule the files created at the start of this process will be at their highest raw quality, while thereafter some compromises will be made in order to balance the requirements of visual quality, file size and computing power depending on what is needed. So in our opening example, the original iPhone video would likely have had a higher quality audio and video bitrate and video resolution (for example, 1920 x 1080) than the version that was transcoded and shared on WhatsApp (for example 640 x 360). ![]() ![]()
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