What They Say
In the SMPTE Motion Imaging Journal is new paper “Ultrahigh-Definition Production Codecs – The Agony of Choice”. A team from the EBU and IRT pointed out that there are really too many codec choices for broadcasters at the moment. UltraHD and HDR adds extra complications.
At IBC in 2019, 200 possible codec configurations were identified and after a voting round, 40 were selected for testing. Seven generations were encoded for each configuration with PSNR calculated for each. The first, fourth and seventh versions were viewed by experts and rated.
For some of the algorithms, a small quality degradation was seen in noise behaviour and spatial resolution but no difference in dynamic range was noticeable. There is a small discernible difference in the performance for the different transfer functions .
What We Think
In digging around on this topic, I found an interesting article, produced in 2017, but still relevant for today on how to choose codecs for different parts of the process from capture to archiving. (BR)
