4K codecs - the good, the big and the ugly. Part 1

There can be little doubt that there is going to be a huge increase in the demand for 4K footage over the next few years and much of that early demand will have to satisfied by stock material. Currently broadcasters can turn to an enormous library of SD and HD material compiled over decades of shooting, but that won't cut the mustard when intercut with newly acquired 4K footage.

Which is good news for those of us who are planning on making our own library of high quality 4K stock shots. One question I would love to answer is which flavour of 4K will be the choice of stock libraries and I really hope that the big boys can come to some sort of agreement here, because uploading four different versions of a 4K clip is not a quick process.

Now H.265 has been announced and I think this will become the bookies favourite even though its younger cousin H.264 is not currently stock libraries first choice for progressive footage. But efficient as H.265 is, it's unlikely to be a good format to edit with for reasons I won't go into here. This means any stock footage will have to be transcoded to another format or codec before editing.

So I ran some tests on existing codecs using a 4K clip from a time lapse within Adobe After Effects to see if any of them would be good enough to host on the web and edit with natively. Here is a still from the sequence. 

The One Tower, St Georges Wharf, Vauxhall, London

The crane on the tall building behind Vauxhall Bridge was unfortunately hit by a helicopter in January 2013 in case it looks familiar - you can see a 1080p version of the time lapse here. I chose this clip because of the complexity of the image with lots of vertical and horizontal lines and a lot of detail in the sky and water.

Here are the codec candidates:

Avid DNxHD - works on Mac and PC and the codec is free.
BlackMagic codec - great quality but probably too big and not widely used.
Cineform - again works on Mac and PC but you need the Premium version of Cineform Studio to create files and this is $299.
Photo JPEG - An old codec, with good compatibility. Currently the choice of many stock companies but not the most efficient of compression choices.
TIFF - Using LZW compression should give a perfect image but with file sizes to match. Also tried a QT using TIFF.
Animation - Not used so much any more but moving between editing and graphics tools is used to be the king. Huge differences in file size depending on the compression ratio.
MPEG A & B - Had their day I think and largely used only for interlaced  
ProRes - A really great codec but will not play well (if at all) on PCs, which really is a ridiculous situation. If it did this would be numero uno. I'm working on a PC so couldn't produce any test results. Pah!

I created a 4K (4096x2304) 1 second clip in each format at two or three compression settings (75%, 90% & 100% where possible) to look at file size and quality. Here are the results:

File sizes of  1 second 4K clip in various codecs 

The TIFF sequence adds up to 288 MB for the 25 frames. 

Unsurprisingly the uncompressed or lossless compression codecs are significantly larger than the lossy compressed versions. The embedded TIFF QTs were significantly larger than the sequence of stills using the LZW lossless compression and the TIFF sequence would still be a good way to exchange between editing and graphic systems.

The lossy compression codecs start with Cineform (100% quality) at 126 MB for a 1 second clip. Bearing in mind that the maximum  length of a clip on iStock is 30 seconds and you could end up with a files of 3.78 GB! At 75% quality it would be a mere 1.8 GB

The tests showed that DNxHD 444 10 bit was almost the same size at 100%, 90% and 75%. Somewhat surprisingly it made little difference on MJPEG codecs whether 75% or 90% compression was chosen. But Cineform at 100% jumped up to 126 MB - almost double the 90% file size, which shows remarkably efficient compression if the quality stands up.

Photo JPEG and MPEG4 also showed a big difference between 75% and 90% and a 30 second clip at the higher compression (75% quality) would be just over 1 GB in size.

In Part 2 of this blog I look at the picture quality of the smaller files to see whether they have a future as a 4K stock format.

Useful software for videographers and photographers - Part 2

Earlier this year I was presented with some footage shot in Cote d'Ivoire, Africa on a Canon 5D MKII. The pictures were OK but the sound was distorted when the levels peaked and a look at the waveform showed that everything was square off. After an appeal on Twitter (@pukkascott if you want to follow) one suggestion was to try iZotope's RX2 audio repair software. 

iZotope RX2 tools

This is an immensely powerful suite of tools including Denoise, Declip, Spectral Repair, Declick & Decrackle, Remove Hum and more. After a quick view of an instructional video I applied Declip to the exported WAV file and after a little bit of playing around the distortion was completely removed and the waveform peaks nicely rounded. At $349 for the standard version it is not cheap but could save your bacon. 
A much cheaper version called music and speech cleaner is available for $39 which improves noisy speech but is no good for declipping.
There a lots of sound capturing pieces of software available and after a lot of experimenting I plumped for SoundTap by NCH software. It produces very clean records from anything played on a computer or voice recordings from Skype. 
There a lots of sound capturing pieces of software available and after a lot of experimenting I plumped for SoundTap by NCH software. It produces very clean records from anything played on a computer or voice recordings from Skype. 

SoundTap

Backup is one of the most important day to day operations since tapeless production came along. It took me a while to get round the fact that my G-Tech Raid drives were not backed up despite having two drives in the case but my Netgear network drives were. So now I use Netgear network drives to backup the G-Tech ones using Netgear's own NTI Shadow software. It works OK but it's a resource hogger and I have to disable the software when editing.
Backup is one of the most important day to day operations since tapeless production came along. It took me a while to get round the fact that my G-Tech Raid drives were not backed up despite having two drives in the case but my Netgear network drives were. So now I use Netgear network drives to backup the G-Tech ones using Netgear's own NTI Shadow software. It works OK but it's a resource hogger and I have to disable the software when editing.

Deep Meta thumbnail selection

It's important to set up the right recording location and the file naming convention in options as it would be impossible to find the recordings later if you don't. One feature I really like about the software is that even when you click "start recording" the file only starts to be created when it senses an audio input. Until the end of December it is available for $19.99 so I recommend you to get it this week.

To backup my system drive I use Casper 7.0 by Future Systems which creates a clone of the drive. The software manages to copy every file on the drive so the backup is true replica of the primary drive and when that falls over you really can slot in the backup and everything boots up perfectly. 

It is light on computer resources and it uses SmartClone to only back up changes to the drive, but doesn't take hours checking the drive like other tools I have tried. I doesn't work with network drives or on a Mac unfortunately but should be on everybody's PC.

Getting more specialist I thought I would briefly mention two tools I use to upload and manage stock material. 

I recently discovered Deep Meta by Belgium company Eazign byba which is a great analysis tool for iStockphoto material. I won't go into detail about what the software can do because as it is free there is no reason not to try it, but one feature I discovered is a real bonus. If you control+click to select a number of connected files and then right click to open the dialogue window, click on "create thumbnail links...", save changes and a little while later the associated thumbnails will appear in the iStockphoto listing for each one giving a link to alternative shots for a purchaser. 

 Finally Send to Smugmug by Omar Shahine is a very useful piece of freeware for uploading photo and video files to your Smugmug account. Once account details have been entered it will list your albums (or you can create a new one) that you can upload to. Choose a folder containing the files and select which files you want to send and click upload. Very quick and easy.

Is there anything that can’t be copyrighted?

On 12th January 2012 a London Court came to the conclusion that one company had breached the copyright of another by using an image of a London Bus in front of the Houses of Parliament. In both images the London bus was in red but all the background elements were in a flat monochrome. But there the similarities end and you can see them both here.

The two photographs were taken at different vantage points, taken at a different time and even the buses are slightly different.According to a lawyer quoted by Amateur Photographer: 'His honour Judge Birss QC decided that a photograph of a red London bus against a black and white background of Big Ben and the Houses of Parliament, with a blank sky, was similar enough to another photograph of the same subject matter to infringe copyright.' 

Image from iStockphoto

Ok so what about this image from iStockphoto. It ticks the same boxes as the two in the court case, so should iStockphoto remove it from their catalogue or will I be taken to court if I pay for an extended license and use it on the packaging of my new brand of Red Bus Chocolate Buttons?Debate about what can be patented or copyrighted started in the United States in 1790 when the first patent was issued and in England in 1449 when King Henry VI granted one to John of Utynam.

More recently in the world of TV, in the 1980's Quantel successfully destroyed the company that made a graphic design package called Pastiche that worked in a similar way to the Quantel Paintbox, the then market leader. Quantel proved in court that they had the patent for mixing colours in a palette, just like artists have been doing for thousands of years, and the Pastiche could not use this way of mixing colours. At the time there wasn't a viable alternative and the product died.

Unfortunately common sense rarely applies in case of copyright - I would like to see the "don't be so ridiculous" plea made admissible in court - something that Apple lawyers have made into an art form. So now I need a way of copyrighting every image I take or film without it costing me anything - ideas?