How To Fix Problems With H.264 Linear PCM Codec?

 

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In this article, we will find out some of the possible causes that h.264 Linear PCM codec can cause, and then suggest possible recovery methods that you can try to fix the problem.

 

 

This morning I was on a Linked In thread where a video editor complained that DVDs and Blu-rays are fast disappearing and almost nothing like this can keep them busy place – unless they are released online and deliver media with a thumbs up. At this point, he was looking for the question: “Which codecs provide the best quality results for files stored on USB drives?” “

NOTE. I am using a USB stick for a small non-powered object that plugs directly into a USB port on my computer.

Over the years, I have typed a lot with codecs because they form the basis of our multimedia recording, editing and distribution function. Some of these articles are:

• Selecting the correct codec for recording SD video (2004)
• Selecting the best video codec (2006)
• Selecting the codec for HD (2007)
• Archiving Tutorial: Codec (2009)
• Compressing Videos Using I-Frame and GOP (2016)

But our industry is changing, so it’s time to reviseanswer this question. (Yes, or see the end for the answer.)

A codec (compressor / decompressor) is a mathematical algorithm that transforms reality (sound and light) into binary data that can be stored on an appropriate computer; this is the “compressor” part. It then converts all binary numbers back to video and sound that we can see and hear; it is part of the “decompressor”.

Codecs exist for still sound images and video files. Most popular still image codecs:

• TIFF
• PNG
• JPG / JPEG
• GIF

• WAV
• AIF / AIFF
• MP3
• AAC

• ProRes (in all dog formats)
• DNxHD (in all formats)
• CineForm sound (yes, also in all formats)
• R3D
• H.264 / H.265

NOTE. Some formats, such as QuickTime, MXF, and MPEG-4, are not realistic codecs, but containers contain many different codecs. For example, a QuickTime movie might contain a video file that controls the H.264 codec and an audio file that uses an AIF file.

I’ve used it in the past to track many types of aydio and video codecs. But to be honest, I gave up when hits hit 400. While the industry just doesn’t generate as many codecs as it does at the peak of SD to HD conversion, it doesn’t even start a month. codecs.

NOTE. As the best side lighting, codecs are often categorized as “lossy” and “lossless”. The lossless codec retains most of the original image quality, so that the image when restored is exactly the same as the original. High bit-depth RAW scripts have mostly a lossless codec. (I don’t think there is a lossless transparent video codec; the files are the same size.)

A lossy codec “strips” artistic information as part of the compression process, which effectively means that the compressed image does not have the original generator quality. Almost all video codecs are and will be somewhat lossy, but the size of the significant loss depends on the codec.

This is important: scandalous All storage media on a digital device just have to use a codec. Most importantly, any media that is not used on digital The device must be compressed.

Some videos, such as those recorded on iPhone 3G, are highly compressed. Other videos, such as those shot with a high-quality RED or Arri camera, are compressed, but not to the same extent.

The reason for this is because video files are HUGE and engineers are always looking for ways to reduce them without compromising quality. For example, a single 1080p window image in theoretical “uncompressed” format can exceed 100MB depending on bit depth! It will take 3GB PER SECOND to play the Ace line at 30fps !! Resolutions are growing, numbers are only getting worse.

The problem is that there is no lunch. An ideal codec would create “infinitely” high quality “infinitely” files with “infinitely” efficient processing performance.

Instead, let’s pick two from real culture, as the triangle above shows. You may prefer codecs that produce small files of modest quality, but are inefficient in processing them. processing requires significant computing power. H.264 and H.265 are examples of this recommendation categories.

Or we can work together to create some very efficient high quality files, but these files are not small. ProRes and DNxHD are experiments here.

Or we can create very small files, most of which are easy to process, but the standard quality is poor. An example is DV.

There are four main goals to consider when choosing a codec:

• Compressed file size
• Compression speed
• Decompression speed
• Final image quality

For example, when you publish a directory on the Internet, the size of all files and the speed of decompression are usually more important than the time it takes to compress a file in the first place or the quality of the latter. drawing. This does not mean that the last two are not important, but much less important.

On the other hand, when broadcasting live broadcast, the most important thing is the speed of the compression setting. If your site can’t compress faster than in real time, no one will be able to see the event for sure.

As a new third example for the network television school, speedThe decompression and art of the final image are of great political importance.

In the past, for 2 or 3 weeks of SD (standard definition video), we recorded, edited and distributed our media using only one codec. On a professional level, the codec is often DigiBetacam. Or just one, the DV level.

Despite all the problems with economical resolution, interlacing and conversion between the three new frame rates; Shooting SD video was essentially a walk in the park compared to the chaos we are experiencing today.

What has changed today is what I visit about the “Three Workflow Codec”. Save your personal codec, transcode (convert) it to your second codec for editing, then transcode your device to a third codec for distribution. In the middle, this codec is called the “intermediate” and “mezzanine” codec, which is used exclusively to provide high quality, high performance video format optimized for editing only.niya.

For example, the new iPhone records H.264 in an MPEG-4 container. It is converted to ProRes 422 for use in Final Pro Cut X and then uploaded as high bit rate H.264 here in the YouTube / Vimeo / Facebook QuickTime container.

Or Arri Alexa runs with Arriraw codec. This will almost certainly be transcoded into GoPro Cineform for editing in Premiere, and then transcoded into DCP for distribution to a digital cinema projector in a new theater.

These are just two examples, there are dozens and dozens of options. This is due to the fact that we have to use different codecs for different parts of the report and the post-processing process.

Previously, we had to rely on codecs that worked on both Mac and Windows. These days seem to be ending successfully.

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