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Video Breakthroughs
Monitoring innovations in post-production, head-end, streaming, OTT, second-screen, UHDTV, multiscreen strategies & tools
Curated by Nicolas Weil
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Opus and Daala: State of the Art Royalty-free Codecs

Opus is a state-of-the-art royalty-free lossy audio codec convering more applications than any other single audio codec— from low latency VoIP to high fidelity music storage. After five years of open development, including contributions from Xiph.Org, Skype/Microsoft, Mozilla, Broadcom, and many individual developers, Opus was standardized in 2012 by the IETF in RFC 6716 and has since been deployed to hundreds of millions of computers and devices.


Daala is a new open effort to build a state-of-the-art video codec targeting compression performance beyond HEVC and VP9. Leveraging the experience we had with Opus we are building a new technical framework for video coding the ground up to avoid patent thickets and be royalty free: By breaking from the common design pattern of block based transform codecs we avoid many licensing complications and create an opportunity to better resolve some of the weaknesses of existing formats.


Via Ludovic Bostral
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VP8 could become MPEG standard

VP8 could become MPEG standard | Video Breakthroughs | Scoop.it

With the clearing of the patent issues that have cast a shadow over VP8's acceptability to open standards organisations as a open, royalty-free video codec, it is likely that its next major stop is becoming an MPEG standard. According to Rob Glidden, video patent analyst, Google proposed VP8 as the codec for MPEG's IVC in January. IVC is the name of one of the tracks that the ISO/IEC MPEG working group wasexploring in its search for a royalty-free codec for web video and other uses. It had been looking at technologies where the patents were expiring.

 

But it appears that Google wanted to give the process a boost. Glidden points to a posting on the Internet Engineering Task Force mailing list from a Google WebRTC developer, where the Google/MPEG LA deal was announced, that notes:

 

7. Submitted VP8 to ISO SC29/WG11 (MPEG) in January of this year
for standardization.

Nicolas Weil's insight:

Read also :

http://www.robglidden.com/2013/03/google-mpegla-vp8-mpeg-proposal/

http://www.osnews.com/story/26849/Google_called_the_MPEG-LA_s_bluff_and_won

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FOMS Workshop and the State of Open Web Video

FOMS Workshop and the State of Open Web Video | Video Breakthroughs | Scoop.it

The 2012 FOMS workshop took place in Paris, France. The working meeting consisted of focused sessions dedicated to bridging gaps among browser vendors and ensuing associative APIs meet the needs of developers that are making use of them. Browser vendors represented included Google Chrome, Mozilla Firefox, and Opera. Players platforms such as Youtube, BrightCove / VideoJS, Long tail / jwPlayer and of course Kaltura were also represented.

 

Organised by Siliva, the meeting has long severed as a great space to hack and ‘get things done‘ in the open media standards and software space. This year was no exception. In this post I highlight some of the sessions that took place and provide a rough summery of the state of associated web video APIs & components : WebRTC, Media Source Extensions / MediaStream Processing API, WebVTT, New Codecs...

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JPEG 2000, from master to archive

JPEG 2000, from master to archive | Video Breakthroughs | Scoop.it

Today's broadcasters are looking for the highest image quality, flexible delivery formats, interoperability and standardized profiles for interactive video transport and workflows. They also have a vested interest in a common high-end format to archive, preserve and monetize the avalanche of video footage generated globally.

 

This is the story behind the rapid adoption of JPEG 2000 compression in the contribution chain. Standardized broadcast profiles were adopted in 2010 to match current industry needs (JPEG 2000 Part 1 Amendment 3 — Profiles for Broadcast Application — ISO/IEC 15444-1:2004/Amd3), ensuring this wavelet-based codec's benchmark position in contribution.

 

In parallel, these broadcast profiles have also filled the industrywide need for compression standards to archive and create mezzanine formats, allowing transcoding to a variety of media distribution channels. The ongoing standardization process of the Interoperable Master Format (IMF) by SMPTE based on JPEG 2000 profiles brings the adoption full-circle.

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Destiny Media Announces Successful Testing of Cross Platform Playerless Streaming Video Prototype [PR]

Destiny Media Announces Successful Testing of Cross Platform Playerless Streaming Video Prototype [PR] | Video Breakthroughs | Scoop.it

Destiny Media Technologies is pleased to provide an update on development of its second generation playerless streaming video solution, which will eliminate the need for publishers to maintain separate streaming hardware and various video formats to reach their audience.


Destiny has developed a single video file format that acts like any other web object, streaming directly from a web server and rendering directly by the browser without a player plug-in. The technology is working well across a wide number of computers and smart phones, including Mac, Windows, Android, iPhone, iPad, Blackberry and any other recent device that is standards compliant. Video playback is at twenty-four frames per second and at similar quality to competing offerings. The company is currently building out the prototype solution into a mass-market product. A soft launch of the commercial product for sale to select early customers is expected by April.

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JPEG 2000 : it has benefits over IP networks, but some issues exist

JPEG 2000 : it has benefits over IP networks, but some issues exist | Video Breakthroughs | Scoop.it

JPEG 2000 has caught the attention of the professional media world for good reason. First, it closely matches some workflows, where the production process operates on each frame of a video stream as a discrete unit. This is different from MPEG-2 and MPEG-4 AVC, where, during the reconstruction process, algorithms reference frames before and after the frame being reconstructed. The ability to compress each frame as a free-standing unit has made it popular in the digital intermediate space in Hollywood. JPEG 2000 is also of interest to those who want lossless compression. It can provide a bit-perfect reconstruction of the original compressed image, although at a cost in terms of bandwidth. Also, the wavelet compression used in JPEG 2000 provides some unique opportunities that are not available in other compression methods.

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Why an Open Source ProRes Decoder Matters

Why an Open Source ProRes Decoder Matters | Video Breakthroughs | Scoop.it

ProRes 422 is Apple's lossy video high quality video compression format. It is the native format of Apple's popular Final Cut Pro video editing software. ProRes is also the format requested for HD Television and HD and SD Film to be delivered to the iTunes Store.

 

Still Apple products and tools are the only first class citizens of the ProRes ecosystem or were until now. Today an intrepid hacker released an open source reverse engineered ProRes decoder for FFmpeg. Now everyone trying ingest ProRes files is on an equal footing.

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Google's VP9 video codec nearly done; YouTube will use it

Google's VP9 video codec nearly done; YouTube will use it | Video Breakthroughs | Scoop.it

One of the biggest video sites on the Net will use Google's next-generation video compression technology after it's fully defined on June 17.

 

The VP9 bitstream definition, which describes how video is compressed into a stream of data so it can be transmitted efficiently over a network, has been in beta testing for a week, said Matt Frost, senior business product manager for the WebM Project.

 

Paul Wilkins, a Google codec engineer, detailed the final schedule for the VP9 bitstream definition Thursday in a mailing list post.

 

WebM will be updated to accommodate the new video codec and a new audio codec called Opus, too, said another Google employee, Lou Quillio.

Nicolas Weil's insight:

Official WebM announcement : "VP9 Codec Nears Completion" http://goo.gl/zLT8U

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GoPro CineForm Codec Moves Closer to Adoption by SMPTE as the VC-5 Standard

GoPro CineForm Codec Moves Closer to Adoption by SMPTE as the VC-5 Standard | Video Breakthroughs | Scoop.it

GoPro, the world’s most versatile camera, announced today it is broadening its efforts to ensure wide availability of the GoPro CineForm Codec, its high-performance video codec that has been highly valued in video post-production for many years as the industry’s highest quality compression format. The GoPro CineForm Codec is well established in the professional filmmaking marketplace, and has been integrated with several industry-leading devices and video cameras such as the Silicon Imaging SI-2K, Cinedeck mobile capture systems, and many renowned acquisition devices.

 

In addition to its efforts to make the GoPro CineForm Codec more widely available, GoPro is also supporting the efforts of SMPTE to adopt the codec as the VC-5 video compression standard to provide an open codec standard for video acquisition and post-production.

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Rovi introduces DivX Plus Streaming and UltraViolet support on Store

Rovi introduces DivX Plus Streaming and UltraViolet support on Store | Video Breakthroughs | Scoop.it

Interactive TV technology provider Rovi is using the CES show in Las Vegas to unveil an update to its Rovi Entertainment Store, the company’s white-label product for over-the-top storefront creation and management.


This new version will offer software development kits to streamline customer storefront launches, features including DivX Plus Streaming to help enhance the consumer viewing experience, and support for companies that wish to introduce UltraViolet-compatible services.

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ofmlabs codecs : A suite of JavaScript audio codecs

ofmlabs codecs : A suite of JavaScript audio codecs | Video Breakthroughs | Scoop.it

Web browsers are becoming more and more powerful, and new APIs like the Web Audio API and Audio Data API are making the web an ever more interesting and dynamic place. At ofmlabs we are invested in improving the state of audio on the web, and with JSMad showed that decoding audio purely in JavaScript is possible thanks to these APIs and the hard work of browser makers and spec authors. And now we've done it again. Introducing alac.js, a port of the recently open sourced Apple Lossless decoder to JavaScript. Now it is possible to play MP3 and Apple Lossless even in browsers without native support.

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