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DSC compression works on a horizontal line of pixels encoded using groups of three consecutive pixels for native 4:4:4 and simple 4:2:2 formats, or six pixels (three compressed containers) for native 4:2:2 and 4:2:0 formats. [7] Preprocessing: If RGB encoding is used, it is first converted to reversible YC G C O. If "simple 4:2:2" is used, it ...
A second edition was published in 2022, [26] adding support for direct compression of raw CFA Bayer content, lossless compression, and support for 4:2:0 color subsampling. Today, the JPEG committee is still actively working on further improvements to XS, with the third edition published in 2024.
The TICO codec, an abbreviation for "Tiny Codec," [1] is a video compression technology created to facilitate the transmission of high-resolution video over existing network infrastructures, including both IP networks and SDI infrastructures, the result appears visually lossless. TICO codec was represented in 2013 by the Belgian company intoPIX.
Huffyuv (or HuffYUV) is a lossless video codec created by Ben Rudiak-Gould which is meant to replace uncompressed YCbCr as a video capture format. The codec can also compress in the RGB color space. "Lossless" means that the output from the decompressor is bit-for-bit identical with the original input to the compressor.
LZ4 is a lossless data compression algorithm that is focused on compression and decompression speed. It belongs to the LZ77 family of byte-oriented compression schemes. Features
Lossless data compression is used in many applications. For example, it is used in the ZIP file format and in the GNU tool gzip. It is also often used as a component within lossy data compression technologies (e.g. lossless mid/side joint stereo preprocessing by MP3 encoders and other lossy audio encoders). [2]
Uncompressed digital media as well as lossless compression have high memory and bandwidth requirements, which is significantly reduced by the DCT lossy compression technique, [7] [8] capable of achieving data compression ratios from 8:1 to 14:1 for near-studio-quality, [7] up to 100:1 for acceptable-quality content. [8]
The quality the codec can achieve is heavily based on the compression format the codec uses. A codec is not a format, and there may be multiple codecs that implement the same compression specification – for example, MPEG-1 codecs typically do not achieve quality/size ratio comparable to codecs that implement the more modern H.264 specification.