Art Adams : My Rules of Thumb When Choosing a CODEC

Started Aug 13, 2014 | Discussions thread
jkoch2 Senior Member • Posts: 1,198
Re: Art Adams : My Rules of Thumb When Choosing a CODEC

LingoDingo wrote:

Art Adams : Here are My Rules of Thumb When Choosing a Codec

Seems to like ProRes 4.4.4 with 10 bit color. 500mbps? Very big files. Monster system requirements to shoot, store, or edit. Important for green screen, grading, or special effects. Big studio stuff.

Grants some faint praise to XAVC, but certianly not the 4.2.0 8-bit stuff of plebes.

Definition of the All Powerful Codec: one that's so dense and deep that it takes the capital of media mogul to manage it.

Does not comment on a Twitter reference to AVCHD cited at the outset. Probably intended to make the connoisseurs gag. No mention of that other poor boy toy: h.264 MOV.

Yet, for all the formidible technical and financial barriers of entry to the domain of professional grade video, the rewards appear scanty. Despite skill sets on par with physicians, dentists, or engineers, they sure don't enjoy the same demand, pay, or recognition.

HVAC technicians face better job prospects.  Some are also able to get OTJ training.

If most non-industry people have trouble creating good video, it won't be for want of bitrate, but rather because of deficiencies in content, editing, audio, stabilization, lighting, and so on.

The idea that popular codecs are bad because they "throw information away" is like saying that a picture is no good if you can't see every blade of grass or the nostrils of every face in the crowd.  The genius of good compression is to save space by displaying only what matters most to convey motion or detail.

In the end, most video gets viewed at rather low bitrates on small screens, often at sub-HD resolution.  Advanced color grading and green screen work are worthy accomplishments, but demand more training and time than the market will remunerate fairly.

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