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New compression standard could be in commercial products as early as next year

The Moving Picture Experts Group (MPEG) met recently to issue a draft international standard of a new video compression format offering twice the performance of current standards. The new video compression format is called High Efficiency Video Coating or HEVC. The new H.265 compression codec is roughly twice as effective as the current H.264/AVC standard.
 
“There’s a lot of industry interest in this because it means you can halve the bit rate and still achieve the same visual quality, or double the number of television channels with the same bandwidth, which will have an enormous impact on the industry,” says Per Fröjdh, Manager for Visual Technology at Ericsson Research, Group Function Technology, who organized the event as Chairman of the Swedish MPEG delegation.
 
H.265 could usher in ultra high definition television with significantly more clarity than the 1080p we have today. The new compression format will also significantly reduce the bandwidth required for streaming video on mobile networks where wireless spectrum is at a premium. The format will pave the way for wireless carriers to offer more video services within the confines of their available spectrum.
 
“Video accounts for the vast majority of all data sent over networks, and that proportion is increasing: by 2015, it is predicted to account for 90 percent of all network traffic,” Fröjdh says.
 
He believes that the HEVC format discussed during the meeting in Stockholm could find its way into commercial products as early as 2013.
 
“It will take time before it’s launched for a TV service, but adoption is much quicker in the mobile area, and we’ll probably see the first services for mobile use cases next year,” Fröjdh added.

Source: Ericsson



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RE: You know what would be even more helpful?
By Dorkyman on 8/16/2012 12:08:59 PM , Rating: 2
Ah, but there is a very powerful lobby that is happiest with film remaining at 24, because of the ease of showing such product in any 50Hz country (or more accurately, any country having adopted a 50Hz field rate for video).

The industry has already argued these matters exhaustively; 24, 30, 60. Back when the HDTV standards were hammered out in the late 1980's there were two camps--50 fields per second and 60. And that's where things remain.


RE: You know what would be even more helpful?
By amanojaku on 8/16/2012 12:55:33 PM , Rating: 2
Guys, you're talking about two different things:

1) The PAL standard has a frame rate of 50 fps interlaced (often listed as 25 fps, but not the same as 25p ), which synchronizes with the 50Hz electrical signal. 25p is the PAL equivalent of NTSC's 24p.

2) NTSC 24p is used in American film for a variety of reasons, and is not the same as PAL. Back in the day, video was hand-cranked, so you got slow, irregular frame rates. Estimates were 8-16 fps. When video was automated and sound was added, playback varied from theater to theater, usually between 12-24 fps. Sound was played on a record and had to be synchronized with the video.

It made sense to standardize a rate to synchronize video and audio, so a survey was done (I think by Western Electric) of all the movie theaters. It turns out, the larger theaters had a higher frame rate. The larger the theater, the faster the audio needed to be played back. I think it has something to do with the speed at which sound travels: the further you get from the source, the more the sound distorts and looses synchronization with the video. Faster playback distorts less over the same distance. I don't have a record player, so I can't test this out. 24 fps was found to be adequate for most theaters.

Why did the smaller theaters go with a slower frame rate? The machines broke down less frequently at slower speeds.


By amanojaku on 8/16/2012 1:10:08 PM , Rating: 2
Ugh, 24p is not an NTSC standard, is is a film standard, sorry. NTSC is a 29.97 frame rate. Film transferred to NTSC is a 23.976 refresh rate. Thank the flying spaghetti monster for digital and its whole numbers!


By crimsonson on 8/16/2012 2:16:24 PM , Rating: 3
quote:
1) The PAL standard has a frame rate of 50 fps interlaced (often listed as 25 fps, but not the same as 25p ), which synchronizes with the 50Hz electrical signal. 25p is the PAL equivalent of NTSC's 24p.


Some mistakes here.
There is no such thing as 50 fps interlaced, or at least in the current broadcast standards. 50i refers to 25fps at interlaced scanning. SMPTE for all their wisdom decided to make the convention as follows, if "i" follows a number, the number will indicate FIELDS. If a "p" follows a number then it will indicate FRAMES. 2 FIELDS equals 1 FRAME.

50i = 25 fps interlaced (aka PAL)
50p = 50 fps progressive
60i = 30 fps interlaced (more commonly known, but not 100% accurate as 29.97 fps) - NTSC
60p = 60 fps
23.976 = is 24 fps with the NTSC .01 factor added. Basically in order to maintain a more coherent and "simpler" relationship with 29.97 fps, 23.976 (aka 23.98) was created. This is "24p" for the BROADCAST video world.
24p (24fps) = is true 24fps originated from FILM production. Created after film with sync sound.

I don't blame any one for confusing the matter as engineers and SMPTE members themselves are often wrong and often cannot even explain why such things.

"NTSC" are often referred to frame rates compatible with the 60 Hz cycle and "PAL" for 50 Hz cycle. Though technically both terms refer to something more than frame rate.

Bonus point: NTSC .01 factor was added to make color and B&W transmission compatible with each other.


By Jeffk464 on 8/17/2012 9:41:35 AM , Rating: 2
By the way, OLED TV's don't have the same blurring issue with 24fps that LCD TV's do. My understanding is that they display motion pretty much about the same as plasma. This might really help solve this issue instead of going to the higher frame rate.


By zephyrprime on 8/16/2012 3:35:45 PM , Rating: 2
The argument will be settled ad hoc in the field rather than by useless committees. Pretty much everything is going 30fps so I expect film will do so to eventually.


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