{"id":2304,"date":"2020-10-26T22:55:35","date_gmt":"2020-10-26T22:55:35","guid":{"rendered":"http:\/\/mp4gain.com\/mp4gain\/?p=2304"},"modified":"2020-10-26T22:55:35","modified_gmt":"2020-10-26T22:55:35","slug":"h-264-some-truth-about-delusions","status":"publish","type":"post","link":"https:\/\/mp4gain.com\/mp4gain\/h-264-some-truth-about-delusions\/","title":{"rendered":"H.264. Some truth about delusions"},"content":{"rendered":"

H.264. Some truth about delusions<\/strong><\/p>\n

\"How<\/p>\n

This article is devoted to misconceptions, the constant distortion of facts, attempts to publicize competing compression technologies, and simply important points related to using the H.264 compression format. In video surveillance systems, of course,<\/p>\n

\"How<\/p>\n

Although the general trend in the world is evident, some still try to defend their point of view at the cost of correcting these same trends. Well, I respect your point of view, unless it is based on a reluctance to study the subject or is simply a PR of your own technological solution. However, the second case is no less respectable, since protecting one’s interests is always good, even for the development of the industry; in this case, the dispute helps the consumer to better understand the correctness of the choice.<\/p>\n

So what is it really about? It is already clear about video compression in H.264 format. But we will return to the controversy surrounding its use in digital video surveillance.
\nMir and H. 264
\nMeanwhile, the world has chosen H.264. This is not an unfounded statement. Let’s see who uses this compression format. All and various. Let’s leave the perverse proprietary reviews on the conscience of the manufacturers, as even a good idea can be spoiled by a bad implementation. Let’s see, which of the manufacturers doesn’t use it? These are mostly megapixel IP video cameras, as the performance of the processors built into them is for the most part still insufficient to compress multiple megapixels in real time. Rather inexpensive processors with the ability to compress video in H.264 to a resolution of at least 2 megapixels have just started to appear on the market (yes, the widely advertised HDTV is only 2 megapixels, multiply 1920 by 1080 yourself). What can we say about the highest resolution? For the broad masses, focusing on the medium and low price segment, it will not be available soon. But there are more than enough hardware codec chips to embed in IP cameras with a resolution of D1 (720×576): here you have DSP processors and ASIC chips, and whatever your heart desires, today it is difficult to find a standard definition camera that does not support this format. …
\nAgain time-lapse versus inter-frame
\nHowever, there are apologists who advocate other options for video compression. In his arsenal, arguments about better compression and the suitability of formats as evidence in court. But think about it, what does the court care, with what codec is it compressed? Is the compression format important to the court and not if the witness can confirm the violation and the expert can confirm the invariability of the video? Or maybe someone will argue that video compressed with a frame-by-frame codec is harder to switch (false) than one between frames? And the frame-by-frame codec doesn’t need a digital signature at all?<\/p>\n

Both the magazines and the Internet forums are full of debates about the suitability and professionalism of the formats, and I am tired of reading absolutely unfounded “evidence” of this or that. The hobby is the main problem, an argument based on emotions, not arguments and mathematics. Let me give you a couple of examples.<\/p>\n

There is a gigantic error based on the unwillingness to read the standards and generally study the device of even the simplest codecs. We are talking about the H.264 format and, in general, the methods of compression between frames.<\/p>\n

“All the frames, except me, are synthesized, since they take information from the previous ones and simply indicate where to move this section of the image to a new location. That is, as if you selected a section of the frame in Photoshop and moved it to a new location. actually there is a frame that is not valid. ”<\/p>\n

In fact, quite the opposite. It is the blocks in IP frames that are compressed when modified, and those that have not changed (that is, there was no movement) will remain unchanged. In general, the IP frame consists only of the modified information (blocks), which means that the information in them is not repeated, but is updated, but the l-frame is completely compressed, regardless of the changes.<\/p>\n

Also there: “The codec uses psychophysical compression, that is, part of the image, which moves, becomes rough – all the small details are removed. This is because a person does not distinguish between details in fast-moving objects So does it make sense for a film codec to waste space and traffic to get details? “<\/p>\n","protected":false},"excerpt":{"rendered":"

H.264. Some truth about delusions This article is devoted to misconceptions, the constant distortion of facts, attempts to publicize competing compression technologies, and simply important points related to using the H.264 compression format. In video surveillance systems, of course, Although the general trend in the world is evident, some still try to defend their point … Continue reading “H.264. 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Arias","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/secure.gravatar.com\/avatar\/8ca03263e87418cfde07c571c83fa172297ce230085e4f181b9e5f9af745d6be?s=96&d=blank&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/8ca03263e87418cfde07c571c83fa172297ce230085e4f181b9e5f9af745d6be?s=96&d=blank&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/8ca03263e87418cfde07c571c83fa172297ce230085e4f181b9e5f9af745d6be?s=96&d=blank&r=g","caption":"R. Arias"},"description":"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. 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