One of the things we can choose when we are going to make a recording in addition to the resolution, the frame and many others, whether in video cameras or DSLR, is the compression rate, these rates are independent of the “image frequency” problem, resolution and other elements that involve the problem of “video quality”. The lower the compression rate, the higher the density of information in the video, the higher the quality and post-production possibilities.
The compression rate is basically defined by a few things: the amount of luminance and chrominance and the “frame repetition” rate?(Intraframe or Interframe).
- These elements (Intraframe or Interframe) were created for?Facilitate?the ability to create videos.
- We must remember that every second of video has a variation of “Frames”.
- Varying between 24.
- 30.
- 60.
- 120.
- Etc.
- ? (depending.
- Of course.
- On the technical possibility of each equipment).
- If each one?Table?receive individually and in its entirety?Information.
- Which makes up an image.
- It would be virtually impossible to create the size of the video would be the density of the generated files.
These repetition rates can essentially be defined in two ways
Inframe: This is one way the frame construction uses the full extent of image scanning (low compression). In other words, although the file is compressed (encoded), each box is constructed to maintain all elements of its construction.
Example used by Canon cameras in the? ALL-I?They have the file variant. In the following figure, you can see that the image is generated “box by frame”.
Intertrame: In this process, files become less dense because there is a complex image creation process in the construction of each image. Only a few frames are created throughout their sampling. (ME). Some images are created using the variation of the previous and/or later images of the video stream (are they usually the images in the medium?B). Are other image sequences generated? Sequence of images relative to their pixels.
Using the two-digit comparison using the compression rate used by Canon (All and IPB) as the basis, we can see that in the figure where the compression rate used was the BPI only of the change in the “Dots”. Three to four points is that a new frame has been built (intra-mark)
We found in most manufacturers that we can adjust compression rates. These settings can be adjusted in the camera menus and each manufacturer usually presents these variations with different nomenclatures.
Examples:
Canon DSLR: all cameras and/or IPB
Sony Alpha Cameras: XAVC, AVCDHD and MP4
Nikon DSLR Cameras: High and/or Standard.
Remembering that camcorders from different manufacturers also have this feature and that their names and clicks also change between them.
Therefore, it is important to understand that
If you want to do a good post-production job – in your video in terms of color processing, brightness, contrast, etc. – ideally this material will be recorded in “low compression”. This way you will have a wider range of handling But remember that this recording format – a larger volume of space on your memory card and also in the editing process, will use more machine processing. In the case of Canon, for example, a low compression record takes about 3 times more memory card space (in high compression mode on a 16GB card, you can store 64 minutes of Full HD resolution recording and low compression recording, you can only store 22 minutes at that same resolution).
If you need to record a large number of videos and you have little means to store your work at the time of capture and that its production does not require “major treatments”, choose to record in “high compression” mode. You will always have a good image and your work will undoubtedly be well evaluated.
Note that regardless of compression rate, the good result of a video depends on several factors.
Is this the advice?.