The battle for codecs intensified and dominated the most-read content management articles along with cyber security and interviews with 21CF and Aljazeera executives.
MPEG is promoting a video-based point cloud compression technology – and Apple is driving it.
IBC365 takes an in-depth look at an increasingly popular choice for acquisition, with new methods trading cumbersome, data heavy workflows for virtually identical image fidelity but at lower data rates and file sizes.
Alliance for Open Media spokesman Matt Frost on the rollout of AV1 and the creation of another delivery codec.
Explore the next generations of immersive media with technical papers from leaders in the field including Fraunhofer Heinrich Hertz Institute and Ubisoft Paris.
This paper provides a technical/historical overview of the acquisition, coding and rendering technologies considered in the MPEG-I standardisation activities for immersive applications.
Read technical papers from Ateme, BBC R&D and Divideon lifting the lid on serious disquiet in the world of video compression and watch experts recent progress and predict future performance gains.
This paper presents background information on the state of video codec licensing and lays out a description of the XVC licensing framework, constructed to significantly improve the current video codec licensing situation.
This paper analyses the overall compression capabilities of these two emerging technologies with respect to HEVC, including objective and subjective performance evaluation and the associated encoding and decoding complexities.
Now that the specification is finalised, the Alliance for Open Media has set high expectations for AV1. The prospect of a royalty free alternative to HEVC has many industry supporters, particularly those addressing streaming applications for a standard that is optimised for OTT delivery.
IBC2018: The video industry will have to learn to juggle between AV1, H.264, HEVC and VP9 and future codecs like VVC. That’s the lesson from IBC where warring factions in the codec wars came to trade blows without landing a palpable hit.
Digigram’s IQOYA Call IP audio codec and IQOYA Cloud management system are helping Danish radio station DR make a controlled shift toward audio over IP, enabling the public broadcaster to address the gradual extinction of ISDN connections and making it easy for staff to realise the cost and quality benefits ...
The world of codecs will be one of the big talking points at IBC this month, as the industry weighs up a raft of new, more efficient video compression techniques like AV1, VVC and XVC.
Work on the standard mastering format for B2B content distribution across the digital landscape has been a long process, but a gathering of the leading cheerleaders for IMF at NAB in Las Vegas may indicate that consensus is closer than ever
Delivering new methods and codecs for working with large-scale data, particularly VR and HDR, is high priority for the media and entertainment industry.
BBC Studios Chief Executive Tim Davie, Discovery Networks International President and Chief Executive Jean-Briac ‘JB’ Perrette and YouTube Chief Product Officer Neal Mohan are to deliver keynotes at the IBC2018 Conference.
Some of the leading exponents of AV1 speak with IBC365 about the origins of AV1, the industry’s reaction to the codec, and how it is likely to evolve.
A new codec designed for delivering OTT content that is backed by the likes of Amazon, Netflix and Google, threatens to challenge the dominance of HEVC.
Belden’s decision to buy SAM and combine it with Grass Valley continues a long history of acquisitions for both companies, but what are the challenges in merging the firms and what does the deal mean for the wider industry?
Though High Efficiency Video Coding (HEVC) is still in its take-up phase, it is foreseeable that even better compression will be needed in the future.
An 8K Super Hi-Vision (8K) broadcasting system capable of highly realistic 8K Ultra High Definition Television (UHDTV) video and 22.2 multichannel (22.2 ch) audio is currently under development
As CTO at Globo, Raymundo Barros is responsible for overseeing engineering and technology operations. He led and spearheaded major initiatives such as the transition to digital TV and the creation and distribution of 4K, 4K HDR and 8K content.
4K Ultra High Definition (UHD) TV displays were introduced in 2012, with the promise of fundamentally changing television through having four times the spatial resolution of High Definition TV (HDTV), with 3840x2160 pixels.
The television industry is going through rapid change. The adoption rate of new formats and technologies is accelerating.
An ever-growing share of US consumers uses OTT for viewing live content, such as sports events, while the vast majority is still served using traditional distribution methods, such as cable, satellite, IPTV and terrestrial broadcast.
We are witnessing today the big shifting of audio-visual professionals towards Beyond HD resolutions.
Content owners and broadcasters are increasingly using adaptive streaming (ABR) over HTTP to reach a multitude of devices at any time and place.
The ITU-T Video Coding Experts Group (VCEG) and the ISO/IEC Moving Picture Experts Group (MPEG) combined their expertise to form the Joint Collaborative Team on Video Coding (JCT-VC), and finalised the first version of the H.265/High Efficiency Video Coding (HEVC) standard (1) in January 2013.
Digital video compression has transformed the way in which television has been consumed and delivered to consumers for more than 25 years.
Over-The-Top (OTT) content streaming is poised to grow exponentially in the coming years, driven by the consumer’s need for a rich and high quality viewing experience.