An Apple patent (number 7895045) for bitrate constrained variable bitrate audio encoding has appeared at the US Patent & Trademark Office. A hybrid audio encoding technique incorporates both ABR, or ...

Following the model established by Netflix in December 2015, Jan Ozer argues against content providers applying a standard encoding ladder to all of their content because of the inefficiencies and ...

Since you already have everything lossless, it doesn't really make much difference. I would do them at 128 or 160, and then re-do any at a higher bitrate if you can hear artifacts on those tracks ...

After three years or so in gestation, per-title encoding is becoming a required feature on most encoding platforms, whether in-house software or SaaS cloud providers. In this buyers' guide, we'll ...

The impact of H.264 on the world of digital video compression is growing. Companies such as Apple are already switching wholeheartedly to it. As part of the MPEG-4 standard (part 10), H.264 is now a ...

Now that we've looked at how to playback HEVC-encoded files, it's time to create them. There are a whole collection of tools and utilities that can encode HEVC, but in this article I'm going to focus ...

Lately I've been trying to rid my life of as many physical artifacts as possible. I'm with Merlin Mann on CDs: Can't believe how quickly CDs went from something I hate storing to something I hate ...

I have a TV channel that runs at 720/60fps progressive. Much of the content is 24fps sourced, so I usually do an Inverse Telecine (IVTC) to get get back to 24 FPS, when I compress for storage. Just ...

The story of compression in live broadcast production is a long, complex and ongoing one. But a new white paper from Sony Group company Nevion, entitled Video Encoding in Live Broadcast Production, ...

A few weeks back, one thousand of our readers participated in our MP3 bitrate test. Today, with the little help of a stats expert, we have results—and a recommended ...