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.
In this debate from NAB 2018, the panel discusses the video codecs which are competing to be the next-generation standard in the OTT environment and, notably, HEVC and AV1 being the front-runners. The debate on which video standard is best suited to our industry is in full swing especially as the Alliance for Open Media released AV1 at the NAB Show and Apple is supporting HEVC in its products and has decided to join the Alliance for Open Media as a founding member. This panel discusses the pros and cons of HEVC and AV1, and also put in perspective content-aware encoding techniques with AVC that might be a strong challenger in the short term for OTT distribution.
In this video from Streaming Media East 2018, Jan Ozer looks at per-title encoding. Jan presents detailed results from tests of competing methods to help us understand the dos and don’ts of encoding and VQ and how these methods allow higher resolution profiles in ABR ladders.
What is ‘per-title’ encoding and why is it important?
What are the different methods? (CRF, SABL, Context Aware, EuclidIQ Rithm)
In this on-demaind video, Streaming Learning Center’s Jan Ozer explains objective metrics to us and how they can be used to build better ABR ladders.
Choosing the number of streams in an adaptive group and configuring them is usually a subjective, touchy-feely exercise, with no way to really gauge the effectiveness and efficiency of the streams. However, by measuring stream quality via metrics such as PSNR, SSIMplus, and VQM, you can precisely assess the quality delivered by each stream and its relevancy to the adaptive group.
This presentation identifies several key objective quality metrics, teaches how to apply them, and provides an objective framework for analyzing which streams are absolutely required in your adaptive group and their optimal configuration.
Low latency and fast startup times are KPIs for most streaming video producers, particularly for live events. In this talk from Streaming Media west, you will learn how to achieve the low latency live streaming.
David and Jun show the importance of measuring startup time, latency, and network overhead and with Jan Ozer, they show you how to get latency down by:
• reducing fragment sizes, using hybrid fragment sizes;
• specifying first variant retrieved;
• controlling the number of fragments retrieved before playback starts;
• and opening a persistent connection between player.
You’ll learn the most effective strategies for minimizing startup time and latency without swamping your network with additional HTTP requests, and what you’ll need to do to implement them in your encoding and delivery workflows.
David Hassoun, CEO RealEyes Media
Jun Heider, Director of Technology, RealEyes Media
Jan Ozer, Streaming Learning Center
A great ffmpeg how-to from Jan Ozer followed by cloud deployment advice from RealEyes Media.
Starting from some of the basics of the ffmpeg command line, working up to HLS packaging, Jan Ozer offers advanced alternatives along side the familiar commands.
By taking control of your own encoding and packaging, you can greatly reduce cost and maintain high adaptability and agility to meet your needs now and in the future. When working with cloud encoding, there are several transcoding and packaging options, and the APIs for these options will change over time. David Hassoun and Jun Heider, from RealEyes Mediatalk talk about how to build a more dynamic cloud encoder that can use the best tool for a specific job by decoupling the tools from the core application, as well as how to mix and match multiple operations concurrently on a single encoding task. Operations include WebVTT and AAC sidecar manifests, DASH assets, metadata, video quality, and stream muxing/demuxing. This session covers some of the strategies we’ve used to handle dynamic cloud encoding and packaging for live and VOD delivery.
From the Streaming Tech conference in Sweden, Jan Ozer gives us a pleasantly detailed overview of the status of codec licencing, costs, development and performance. From h.264 to VP9 to AV1 with a section on HEVC.
Streaming Tech Sweden is a Swedish conference with a dedicated focus on the technology for video streaming. This is the meeting place for tech managers, architects, developers and product managers looking to be educated and inspired by experts in this area, network with peers and bring home new thoughts and ideas.
This panel discusses real-world methods, techniques, and solutions for moving beyond traditional fixed bit-rate ABR profiles to a content adaptive approach, where the encoding bit-rate is determined by the needs of the video vs. a pre-determined recipe. Come hear innovative thinking that, if adopted, can yield a 20% or potentially higher savings while improving the quality of your video encodes.
Moderator: Mark Donnigan, VP, Marketing – Beamr
Jan Ozer, Principal – Streaming Learning Center and Contributing Editor, Streaming Media
David Sayed, VP, Product Strategy & Product Marketing – Brightcove
P.P.S. Narayan, Vice President, Engineering – Yahoo
Daniel Sanders, VP, Video Engineering – Verizon Digital Media Services