THOUGHT LEADER
FORMAT WARS NAVIGATING THE CODEC CONUNDRUM Frank Schönberger, senior product manager at MainConcept, looks at selecting the right codec for VFX workflows
files of the highest possible quality. For believable VFX, details are critical, which is why VFX artists often prefer lossless compression. This ensures files don’t lose quality each time they’re compressed, as can happen with certain codecs. But, as you would expect, there are cost implications to commercial codecs, and this can make their use cost-prohibitive for some productions and use cases. Codec technology is advancing all the time, and I expect we’ll start to see more widespread application of AI for enhanced compression and video optimisation. Next-gen codecs will most likely leverage AI to intelligently analyse and optimise video data, leading to big improvements in compression efficiency and rendering speed. This convergence of AI and codec technology could cause a workflow revolution, enabling even faster turnaround times, higher quality and new possibilities for creative workflows. The choice of open-source and commercial codecs remains a careful consideration for media companies. While open-source provides accessibility and cost-effectiveness, commercial offers greater efficiency, quality and superior features, which are advantageous for demanding VFX workflows. Despite their respective strengths, the choice is not always clear-cut and – as with most things in life – there are trade- offs. Ultimately, the optimal choice of codec depends on the specific needs and priorities of the workflow. Both open-source and commercial solutions will no doubt continue to play integral roles in helping content producers and filmmakers deliver exciting content to viewers worldwide.
COMPRESS TO IMPRESS Open-source
or commercial? Lossy or lossless? As with most things in life, there are trade-offs to be had when choosing a codec
W ithout codecs to compress the huge video files involved in video production and VFX workflows, filmmakers simply wouldn't be able to create the incredible movies and shows they currently do. After shooting, footage goes through numerous stages of post-production editing – such as grading and VFX – before the finished product is complete. The way video files are compressed, and the type of codec used, is fundamental to the quality of the finished product, so it’s essential filmmakers use the right codec for the application. But with so many out there, both open-source and commercial, how can video producers make certain? Essentially, codecs compress files to make them smaller in size and more manageable for transport and storage by disregarding data considered non- essential. Codecs also decompress files for the purposes of editing and viewing. There are broadly two types of compression: lossy and lossless, and they both have advantages and disadvantages. Lossy compression is generally better for reducing the file size, but the trade-off is a reduction in quality.
Lossless compression, on the other hand, retains much of the quality of the video – but the file sizes are not reduced by as much as with lossy compression. Unlike with lossy, lossless is reversible, so editors can always revert to the original video. Choosing the right video codec for a specific use case is essential. Determining which is best will largely come down to the nature of the production and the requirements of the workflow. Open- source software is free to use and plays an important role in allowing filmmakers to produce content, even when budgets are tight. Examples of royalty-free codecs include AV1 and VP9, which both support lossless compression. However, open-source codecs typically lack the advanced features and efficacy commercial alternatives like the popular ProRes, DNxHD/DNxHR, AVC and HEVC offer. These codecs – or families of codecs in the case of Apple ProRes and Avid DNxHD/ DNxHR – provide compression efficiency, quality and intelligent features making them suited to the rigours of professional production and VFX workflows. In a high-end production, post tasks such as colour grading and VFX require
33
definitionmags
Powered by FlippingBook