Most online video streaming uses HTTP to deliver the video to the player in the same way web pages are delivered to the browser. So QUIC – a replacement for HTTP – will affect us professionally and personally.
This video explains how HTTP works and takes us on the journey to seeing why QUIC (which should eventually be called HTTP/3) speeds up the process of requesting and delivering files. Simply put there are ways to reduce the number of times messages have to be passed between the player and the server which reduces overall overhead. But one big win is its move away from TCP to UDP.
Robin Marx delivers these explanations by reference to superheroes and has very clear diagrams leading to this low-level topic being pleasantly accessible and interesting.
There are plenty of examples which show easy-to-see gains website speed using QUIC over both HTTP and HTTP/2 but QUIC’s worth in the realm of live streaming is not yet clear. There are studies showing it makes streaming worse, but also ones showing it helps. Video players have a lot of logic in them and are the result of much analysis, so it wouldn’t surprise me at all to see the state of the art move forward, for players to optimise for QUIC delivery and then all tests to show an improvement with QUIC streaming.
QUIC is coming, one way or another, so find out more.
Web Performance Researcher,
In this talk, Color Me Intrigued, given at Demuxed 2017, Vittorio Giovara, Senior Video Encoding Engineer at Vimeo, sheds light on colorspaces – what they are, how and why they work, why we should care about handling edge cases properly. Starting with historical design choices, venturing through current standards such as BT.709, and arriving at modern times with High Dynamic Range, the focus will be on practical applications on the web and in broadcast.
A great primer for those who need it, and great revision for the rest!
Manager, Engineering – Video Technology,
We all need this occasionally – a reminder of the fundementals of watching video. Mark Schubin talks us through framerates from the earliest days of the motion picture industry when scientists, engineers and filmmakers collaborated on advancing the technologies that make motion pictures the most dynamic of art forms. Frame rates and colour space require common standards for industry-wide adoption.
Recorded at SMPTE Toronto, we see how in viewing tests, increased frame rate delivers a greater sensation of improvement than increased resolution (at a fraction of the increase in data rate), but some viewers of the higher-frame-rate Hobbit found the sensation unpleasant.
How does frames-per-second translate into pixels-per-screen-width? One common frame rate is based on profit; another is based on an interpretation of Asian spirituality.
Will future frame rates have to take image contrast into consideration? We are all involved with some part of the colour science pipeline as it spans filming to final display, and all the complex steps in between. In the last several years the subject of color management has become a colossal issue in the visual effects community. Modern media projects get content from a wide variety of sources. So how do we get all of this content to play nice together in a production environment?
On-demand Talk: 69 Minutes
Mark Yonge, AES Standards Manager, takes us on the journey of how AES67 came into being. This talk from 2015, builds on the clear indications that IP was the way forward up the technologies underpinning the standard and the implications for us on the new ways of working.
In a recorded talk at an AES UK Section meeting, Mark talks about delays, PTP, multichannel audio and much more.