![]() ![]() REWRAPPING CINEPLAY 64 BIT(Note that 64 bit NLE software often makes transcoding unnecessary, saving time and storage space). REWRAPPING CINEPLAY PROIn its 32-bit versions, Final Cut Pro typically requires transcoding files with the PreRes codec, which actually reduces compression in the file. Reduced compression editing: There are also workflows that rely on reduced compression during the editing process.You can add compression after download, but this is not part of most DSLR workflows, because the files are already highly compressed. Editing: Compression can also be added during ingestion or editing.For example, the Canon 7D DSLR records video using the H.264 codec. Capture: A codec is used to compress the video and audio during acquisition.With video workflows, compression can be applied (or removed) at several stages. ![]() Lossy compression schemes like H.264 (used on Canon video DSLRs) can have compression ratios of more than 100:1. Almost every video compression scheme is lossy. ![]() Lossy compression is a bit tricky because good lossy compression is a balancing act between quality, data rate/file size, color depth, and fluid motion. Lossy: As the word implies, lossy compression means you lose some image, video, or audio information.Lossless video codecs, such as the Animation codec (which is typically used for archiving or transferring files), have a low compression ratio. The most common way lossless compression works is by using a scheme known as “run length encoding”. Lossless: Lossless compression makes a file smaller, but the decoded file is unaltered after decompression has taken place.Much like still image compression, video compression can take one of two forms: lossless and lossy. JPEG compression, using a variety of techniques, can make a single image much smaller in size but can result in a considerable loss of quality. You encounter lossy compression when you take photos using JPEG formats. In practice you’re probably already familiar with compression. ![]()
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