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13th October 2021, 00:17 | #62 | Link | |
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13th October 2021, 08:17 | #63 | Link | |
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10th January 2022, 13:21 | #64 | Link |
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Guys, do you think this claim is true?:
x264 cannot actually achieve lossless. It's lossless setting is close but ProRes422 is generally a little better quality, faster rendering, and smaller. MagicYUV is another possible option. Last edited by PCU; 10th January 2022 at 13:46. |
10th January 2022, 13:34 | #65 | Link | |
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Really how can something has a little better quality than lossless ? |
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10th January 2022, 13:42 | #66 | Link | |
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Take a source, use x264 lossless to encode the file, then use SSIM and PSNR to compare it with the source. If they return infinite, so perfect score, then it's really lossless, if they don't, then it's not. I would be very surprised if the result came out anything other than infinity, so lossless. ProRes is lossy and uses the DCT, so I expect the result from SSIM and PSNR to be a real number, lower in value. |
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13th March 2022, 10:29 | #68 | Link |
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What do you think about this opinion:
https://www.quora.com/What-is-the-mo...pression-codec Most codecs are not truly lossless, since mathematically lossless compression usually doesn’t give significant reduction in size and bit rate, and thus lossless compression is pretty much useless for video. Now, you can ask about “visually lossless” compression, which means that the input and output are not bitwise identical, but that the differences are not visible to a human observer with some specified visual acuity under some specified conditions. Of the current lossy codecs, H.265 and VP9 are probably the best for quality at a fixed bit rate. If possible, you should compare codecs using your own typical content, and viewing under your own typical viewing conditions. If you read the literature of codecs, they are always comparing their new codec against some previous best result. However, be wary of what measure they use for comparisons. Until recently, it was common to use measures like PSNR or SSIM to rate codecs, and these measures do not correlate well with human quality judgements. The VMAF video quality measure created by Netflix is designed to be better, but you should be aware of what it was designed to pay attention to. Also be aware that there are 3 different sets of “calibration” data for VMAF, depending on whether the viewer is assumed to be watching a UHD monitor at 1.5 times picture height, a HD monitor from 3 times picture height, or a mobile device from significantly further than 3 times picture height. |
13th March 2022, 11:05 | #69 | Link |
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Answer states established facts. Typical 'scholarly' answer
You have mathematically lossless codecs (modes) and visually lossless. h264/5 can be both, other codecs can be just on of those. Last edited by kolak; 13th March 2022 at 11:07. |
13th March 2022, 16:56 | #72 | Link |
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Can we call it the new video codec benchmark? If yes, how to use it:
https://github.com/Netflix/vmaf |
14th March 2022, 11:48 | #74 | Link |
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Exactly.
Also with lossless you don't gain much between best and worse codec, so chase for the best losses compression is about pointless. Some work better for anime, others for noisy etc. but on average all decent ones will be very similar: Use what works for you from the workflow point. All those metrics are pointless for mathematically lossless codecs. They are lossless, so all will have same value (1 or whatever means "same as source) If you familiar with ffmpeg use ffv1, which should hold for years as many national archives are now using it. It's efficient and not terribly slow. x264 is also viable option (x265 is slower for no real gain). Last edited by kolak; 14th March 2022 at 12:03. |
14th March 2022, 12:11 | #75 | Link |
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Thanks, but:
There are multiple criteria to take into account: encoding speed, decoding speed, bit depth, codec features, temporal compression, sub-resolution decoding. And quality-wise there are multiple different metrics (sign to noise ratio, human vision, generation loss, etc.). So I'd say it's a very hard topic to discuss... Goal: best compression for HDR: Current codecs: MagicYUV FFV1 x265 AV1 VC-2 JPEG XS lossless Ut Video Codec Suite CorePNG Lagarith So, what do you recommend for example: recoding video games with HDR, at least 60 FPS, 4K? Last edited by PCU; 14th March 2022 at 12:41. |
14th March 2022, 14:48 | #76 | Link |
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Your workflow/specific case dictates your choice.
UHD 60fps requires very fast codec. Most codecs from your list won't work due to performance. As I said- first look what apps you can use and what options they give you. Encoding 4K games at 60 fps isn't that trivial. Why do you need lossless encoding for games? Is it not overkill? All mentioned quality metrics are meaningless for lossless encoding as there is no difference to the source, so nothing to measure (nor any generation loss). Last edited by kolak; 14th March 2022 at 14:51. |
14th March 2022, 15:41 | #77 | Link |
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I edit the recorded videos of the game and sometimes I have to convert them lossless.
I use Premiere Pro and Media Encoder and talk to the plugin developer for Premiere Pro to add which lossless codec to PP and AME, but it's hard work which codec is better. So, I think only these 3 codecs are what I really need to make a decision about, right?: MagicYUV FFV1 x265 Last edited by PCU; 14th March 2022 at 15:43. |
14th March 2022, 16:35 | #78 | Link |
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If you really need lossless file ( I still don’t think you do) and you edit in Premiere then MagicYUV will be your best bet ( once you have plug-in which lets Premiere to import it at 8bit+).
Ffv1- may be hard to get real-time encoding and Premiere doesn’t support it if I’m correct. x265 is another option, but of course through GPU encoding. So your long list and loads of thinking got simplified to basically a single choice Last edited by kolak; 14th March 2022 at 17:13. |
14th March 2022, 18:50 | #79 | Link | |
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But I think it all ends in MYUV! |
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