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this post was submitted on 19 Nov 2023
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Piracy: ꜱᴀɪʟ ᴛʜᴇ ʜɪɢʜ ꜱᴇᴀꜱ
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Newer codecs are more efficient. H.265 and AV1 are often 2/3 to 1/2 the size of an H.264 file for the same quality.
Of course there are also people uploading lower quality files as well.
As an editor I loved/hated h.265 until like…a year ago. Some NLE’s dragged their feet on support for some odd reason.
Licensing, probably. H.265 is very not open and you have to pay the MPEG piper to actually use it.
I wonder what the implications would be for us consumers & pirates.
Nothing, the licenses are for content providers and equipment manufacturers, obviously in the end you pay the license when purchasing the goods but the amount is small.
They have licensed countless other codecs and tons of cameras adopted it before they supported it. These aren’t some FOSS hobbyist projects. These are professional NLE’s for Hollywood level work. There’s no excuse if you ask me. Hell Resolve had it like 2-3 years prior I believe.
Agreed, proper h.265 support came way too late for some NLE's.
I really didn’t get it! When I got my GH5 I was pumped to do 10bit 422 h.265. Really wanted to see the latitude we could get at that compression. Premiere and FCPX in particular for like 5 years went “lol no.”
Yeah, beats me, I was surprised as well, like why do we still have to work with AVC clips, why can't I just import a HEVC clip... Premiere: nope, that ain't happenin'.
While I have you here, I recently had a project where they shipped me three separate FedEx packages of loose SD cards that were unlabeled, all .mts files. What on gods earth happened on that shoot?
Oh and the footage was all interlaced I shit you not.
Yeah, I can related to that 😔. I work in a TV station in a country that had the PAL standard, and... well, every fucking shot is interlaced 🤦. Not only that, but the output from the station is as well 🤦. Why? Backwards compatibility... what in the actual fuck 🤦... it's a stream, the decoder doesn't care about that, it can decode any frame rate, any frame type, it's all digital now 🤦. Tried explaining this, nope, we're still doing interlaced.
And, of course, after the cable companies have their way with the signal, the output is shit... not to mention they also archive the material as interlaced 🤦... and then people from outside the station complain about the matrial being garbidge... they still don't budge.
Just goes to show you what management is all about these days. They have the power, so they're gonna use it any way they see fit. Why? Cuz they're THE BOSS GOD DAMN IT 😠.
JUST CHANGE THE SETTINGS AHHHHHHH WHY BOSS WHY IT TAKES 3 SECONDS AND CHANGES NOTHING FOR YOU!!
Lol 😂. Actually, it doesn't take 3 seconds (well, 3 seconds for the stream output, yeah), there are workstations that need to be adjusted as well, but in a course if a day or 2, yeah, you can change the whole thing 👍. You could do the cameras last, that's not such a big problem, they can shoot interlaced for a few days, edit it that way, export it non-interlaced.
But that’s not as funny lol
hahaha 🤣🤣🤣, agreed 🤣.
H.265 on my phone is not 50% the size. Maybe ~25% less at maximum.
It completely depends on the specific video file. HEVC and AV1 are more efficient in general, but most of their benefits become apparent with 4K video, which they were specifically designed to be better at handling than AVC. It also depends on your phone's software and hardware, as it might not be fast enough to encode in real-time with higher compression settings (and you don't get to use things like 2-pass encoding which can drastically lower bitrate without sacrificing visual quality).
Depends on the encoding settings
I assume you mean H.265 recorded on your phone? That is live encoded in a single pass. It doesn't compress as much in that scenario. When you give a system more time that the real time playback of the video it can encoded things more efficiently.
It can be. Heavily depends on the bitrate, which as a shooter (depending on the camera) I can often control and with a wide array of options at that.