What are lossless file formats


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Whether it is image, music or video files, it is important to understand the difference between different types of formats and when to use them. Using the wrong format can ruin the quality of a file or make the file size unnecessarily large.

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Some types of media file formats are “lossy” and some types “lossless”. We will explain what these terms mean for the benefits of each type of file format and why you should never convert lossy to lossless formats.

Compression explained.

We use compression to make files smaller so they can retrieve faster and take up less storage space. For example, when you take a photo, your camera captures all the light you can get and collects an image. If you save the image in RAW format, which retains all the clear data that the camera sensor receives, the image can reach 25 MB. (Depending on image resolution: A multi-megapixel camera provides a larger image.)

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If we upload these files to a social network or put them on a website, we don’t want these image files to take up so much space. A photo gallery with RAW images could take hundreds of megabytes of space. RAW formats can be used by professional photographers to maintain high image quality during the editing process, but they are not intended for the average person.

Instead, our camera or smartphone converts the image into a JPEG file. JPEG files are much, much smaller than RAW images. When you convert RAW to JPEG, some of the image data is “discarded”, which produces a much smaller file. The conversion process uses a compression algorithm that works well for photos, so they can look pretty good despite compression. You can still see compression elements, depending on the quality settings.

Note that lost formats generally have a setting that controls their loss. For example, JPEG has a variable quality setting. Low quality produces a smaller JPEG image file, but the image quality is significantly poorer. Below is a close-up example of a lost JPEG: various “compression artifacts” can be seen.

We call RAW a “lossless” format because it retains all the original data in the file, while we call JPEG a “lost” format because some data is lost when we convert an image to JPEG. However, these are not the only design and loss-free formats.

Images: RAW, BMP and PNG are all image formats without data loss. JPEG and WebP are lost image formats.
Audio: WAV is a container file that is often used to contain lossless audio, although it is also capable of containing lost sound. FLAC is a lossless audio format, while MP3 is a lossless audio format.
Video: Consumers use few lossless video formats as they involve video files taking up a large amount of space. Common formats like H.264 and H.265 are all lost. H.264 and H.265 can deliver smaller files with higher quality than previous generations of video codecs because it has a “smarter” algorithm that is better at choosing which data to discard.
Some of these lossless formats also provide compression. For example, a WAV file generally contains uncompressed audio and takes up little space. A FLAC file may contain the same lossless sound as a WAV file, but it uses compression to continue creating a smaller file. Formats like FLAC provide no data: they store all data and compress them intelligently, just like ZIP archives. However, they are still much larger in size than MP3s that throw a lot of data.

A conversion can be a loss, even between formats without data loss. For a conversion to be effectively lossless, the data in the original file must fit within the destination file. For example, loss without FLAC files only supports 24-bit audio. If you converted a WAV file containing 32-bit PCM audio to FLAC, the conversion process must generate some data. The conversion process between a WAV file containing 24-bit PCM audio in FLAC would be lossless.


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WMA – Everything about WMA (1)

Windows Media Audio (WMA) is an audio codec (in addition to an audio container format) developed by Microsoft Corporation to end MP3’s hegemony as the standard codec for consumer audio. In fact, the format promised the Same quality as MP3 using only half the bitrate and, in addition, it claimed to achieve CD-Audio quality with a bitrate of only 64Kbps.

Files encoded with this codec and stored in the WMA container have the .wma extension.

It was created in the late 90’s at the Microsoft Signal Processing Center and was initially known as MSAudio 4.0 (released in 1999) and later renamed WMA version 1. Numerous versions followed one another until reaching the current version, version 9. (released in 2003). Today it is one of the most popular because it is the standard format of the Windows Media player (included in the ubiquitous Windows operating system), one of the most popular at the user level. This program allows both the reproduction and the creation of files (only from version 7 of this program) encoded with this format. It is also the standard format for the Zune Portable audio player, the popular competitor to Apple’s even more popular Ipod.

Currently there are 4 different versions of Windows Media Audio:

Windows Media Audio: Currently in its version 9 (released in 2003) it is the best known of the 4 codecs that make up the WMA family. It is a lossy codec that bases the elimination of information from the original signal on psychoacoustics and the “defects” of the human ear (those sounds that are considered inaudible are eliminated in the coding process). If the bitrate is low, a lot of information from the original signal will have to be discarded which can cause the sound of the signal encoded in wma to be different from the original and present some errors.

To implement WMA coding, a sampling rate of up to 48,000Hz is used with two independent stereo channels, variable bitrate (VBR, which assigns a higher bitrate to the more complex sections (transitions from bass to treble faster, sudden volume changes etc)) and the average bitrate technique in which not all sections are transmitted to the same bitrate (as in VBR) but in every second the same information is always transmitted in total (as with bitrate constant) .Thanks to these 2 techniques we will have the same quality throughout the audio file. Both VBR and medium bitrate are only available as of WMA 9.

In addition there is a low delay version (only from WMA 9.1) for bidirectional (Full-duplex) applications such as VoIP.

Like the rest of the audio codecs for music such as MP3, Vorbis, AAC or ATRAC, it is based on the Modified Discrete Cosine Transform (MDCT) to transform the signal from the temporal domain to the frequency one. Finally, the samples are encoded with the Huffman algorithm. In addition, a joint audio technique known as stereo M / S encoding is used (see description) .In addition, when the bitrate is extremely low, sample prediction techniques such as LSP (Line Spectral Pairs) or LSF (Line Spectral Frequencies) are used. .
All these characteristics are reflected in the conclusions of some studies on audio codecs:
For a 32Kbps bitrate the quality is better than that of its direct competitor: Mp3.
For 48kbps bitrate the WMA Pro quality is the second best of all codecs, just behind HE-AAC version 2.
At 64Kbps WMA Pro Bitrate Outperforms HE-AAC in Quality
At a bitrate of 80Kbps and 96Kbps WMA lost in quality compared to HE-AAC, Vorbis and AAC-LC
At 128Kbps the quality of WMA Pro is equal to that of its competitors AAC, MP3 and Vorbis
At 768Kbps bitrate WMA Pro gets spectral response across the spectrum while DTS (Digital Theater Systems) needs twice the bitrate to do it. At these high bitrates, all lossy codecs achieve transparency, that is, a totally perfect quality where the differences from the original signal are imperceptible to the human ear.
For a much more extensive comparison, SoundExpert can be consulted.

Being a format developed by a multinational as powerful as Microsoft, almost all the players allow you to work with WMA, both portable, desktop and computer players, although the ideal WMA environment is to use the Zune portable player and the player for the Windows operating system, Windows Media player (its latest version is 11).

One of the most controversial aspects of the format is that it incorporates DRM (Digital Rights Management), which limits the distribution of copyrighted files encoded with this format.