Bitmovin have brought together Jan Ozer from the Streaming Learning Center, their very own Sean McCarthy and Carlos Bacquet from SSIM Wave to discuss how best to assess video quality.
Fundamental to assessing video quality, of course, is what we mean by quality, which artefacts are most problematic and what drives the importance of video quality.
Quality of streaming, of course, is interdependent on the quality of the experience in general. Thinking of an online streaming system as a whole, speed of playback, smooth playback on the player itself and rebuffing are all factors of perceived quality as much as the actual codec encoding quality itself which is what is more traditionally measured.
The webinar brings together experience in measuring quality, monitoring systems and ways in which you can derive your own testing to lock on to the factors which matter to you and your business.
See the related posts below for more from Jan Ozer
Optimising encoding by per-title encoding is very common nowadays, though per-scene is slowly pushing it aside. But with so many companies offering per-title encoding, how do we determine which way to turn?
Jan Ozer experimented with them, so we didn’t have to. Jan starts by explaining the principles of per-title encoding and giving an overview of the market. He then explains some of the ways in which it works including the importance of changing resolution as much as changing
As well as discussing the results, with Bitmovin being the winner, Jan explains ‘Capped CRF’ – how it works, how it differs from CBR & VBR and why it’s good.
Finally, we are left with some questions to ask when searching for our own per-title technology to solve the problem we have such as “can it adjust rung resolutions?”, “Can you apply traditional data rate controls?” amongst others.
As the first post of 2019, please allow me to say Happy New Year and to thank you for the time you spend coming to the website, following by email and/or following on social media. Your visits, interest and recommendations are very important and highly appreciated. 2018 ended with being nominated for the Royal Television Society Website of the Year. Whilst the hardworking and knowledgable people at The Broadcast Bridge won, and deservedly so, I hope you’ll be as mighty pleased as I was to see a non-commercial site pitted against the best in the industry. Be assured that The Broadcast Knowledge always aims higher than before so what better motivation than to top that!
As we set our sights on 2019, there’s time for a brief look back at the top video linked to here on The Broadcast Knowledge in 2018. Looking back at the stats, it has the most page visits and the most clicks, so let’s revisit this panel on AV1 and HEVC. It’s not often you get the likes of Facebook and Harmonic sharing their latest research on stage with companies like Harmonic and Bitmovin who are very active in the Codec community, so it’s no surprise this piqued the interest of many.
This panel took place during NAB 2018 when AV1 had just ‘released’ the AV1 codec at the show but the points discussed are as relevant today as they were then including the adoption of HEVC in the marketplace. Having said that, do check out the AV1 and HEVC tags to see what more recent discussions there have been including a discussion of the future of video codecs at Streaming Media East 2018
Comparing AV1, VP9, HEVC and H.264 is quite a task, but Streaming Media’s Jan Ozer is here to take us through it. From MPEG royalties to VP9 browser compatibility, from the AV1 roadmap to HEVC-enabled HLS, this is a comprehensive look at real world usage of the top four codecs.
This is a key topic because many content distributors and aggregators still use H.264 as their primary, if not exclusive, codec, but the bandwidth savings promised by newer, more powerful codecs are alluring. Those considering a switch must evaluate at least three options: HEVC, VP9, and AV1.
In this session, codec specialist Jan Ozer evaluates the quality of these codecs and compares them to H.264. Learn how much bandwidth you can save with each, and how the newer codecs compare from quality and implementation perspectives.