Video encoding methods


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Video encoding methods

Codec

Average video converter should have three encoding modes: CBR, VBR1 (1 step), VBR2 (2 steps).

Video Codecs

CBR is a constant bit rate that compresses all scenes equally. If there are static and dynamic scenes in the movie, then the CBR dynamics may be of insufficient quality and the static may be of excessive quality, which is completely unnecessary.

→ CBR can be used if the movie is small and can provide the highest encoding quality: 8500-9000 kbps.

VBR: variable bit rate. We set limits, for example, from 2000 to 9000 kbps. In static scenes, the encoder automatically reduces the bit rate and in dynamic scenes it increases. VBR1 is a single pass variable bit rate encoding. Its only advantage is speed, that is. the encoding time will be spent 2 times less than with VBR2. But the quality at average bitrate values ​​(5000-7000 kbps) will be lower than that of VBR2.

Having reached the first complex fragment, the encoder will be afraid to set the maximum bit rate, because it does not know what will happen next. What if suddenly dynamic scenes, and then we will not meet! And in simple, static scenes, the encoder is again afraid of reducing the bit rate considerably; if there are more scenes of the same, then we will not get the desired bitrate. As a result, the deviations from some average bit rate will be small. The quality is certainly better than CBR, but not enough.

→ If the film is smooth enough or pressed for time, use VBR1. Also, this method can encode a less important part of the disc, as a bonus.

VBR2 is a two-step variable bit rate encoding.
In VBR2 encoding mode, the encoder performs two passes, thus lengthening the encoding time. But after the first pass, you have all the information about the number and duration of the dynamic and static fragments, so the encoder safely increases the bitrate to the maximum or reduces it to the minimum. As a result, we will obtain the highest quality.

→ The VBR2 encoding method offers the best quality in a movie with scenes of different dynamics.


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Author: R. Arias

R. Arias is the author of this article and has extensive experience for more than 30 years as a recording engineer and audio specialist, as well as more than 20 years of experience creating algorithms related to audio and video. Linkedin