More Sustainable Sports Competitions through Remote Production with JPEG XS
intoPIX new low-latency solutions reduce the need for high-bandwidth connections & eliminate the need for on-site hardware and people
High Quality Live Production in the LAN, over the WAN and into the Cloud using JPEG XS
IP networking has revolutionized media contribution and distribution along with the SMPTE ST2022 and ST2110 standards which lie at the core of new live workflows, dematerialized facilities and cloud-based operation.
JPEG XS to help the deployment of remote video review solutions for Video Assistant Referees (VAR)
VAR match officials can now work remotely from any location, with no latency thanks to JPEG XS !
Spurred on by the COVID-19 pandemic, intoPIX with all its customers and partners have devoted time and energy to develop and deploy a remote video access and cloud-based solution with zero latency and very high image quality.
Why “Not-compressing” simply doesn’t make sense?
Imagine a sponge or rather thousands of sponges to be transported over several kilometers. It would require several trucks to store and transport them all!
Let’s take all those sponges and squeeze them. If you look closely at the sponge, you will see that it has lots of holes in it, filled with air. When you squeeze it, you remove the air which is useless and the entire sponge takes up less space.
JPEG XS … What does it mean ?
Over the last 20 years, the number of shared images and videos has considerably increased. In terms of resolution, we have moved from SD, HD to 4K – even 8K – and this is not about to stop. Higher frame rates, higher resolutions, more precision and higher dynamic range (HDR) imply a considerable increase in the amount of data to be transported on our networks. Bandwidth and storage are getting cheaper but this does not compensate the drastic increase of data to be transported or stored. Compression is therefore more than ever a fundamental step in distributing your video over the internet.
Understand the concept of bpp and Mbps to define your compressed data rate!
Every color pixel in a digital image is created through some combination of the three primary colors: red, green, and blue. Each primary color is often referred to as a “color channel” or “color component”, and has a range of intensity values specified by its bit depth. The bit depth for each primary color is termed the “number of bits per channel”, typically ranging from 8 to 16bits. The “bits per pixel” (bpp) refers to the sum of the “number of bits per color channel” i.e. the total number of bits required to code the color information of the pixel.
An uncompressed RGB image with a bit depth of 8 bits per color will have 24 bpp or 24 bits per pixels (8 bits for the Red, 8 bits for the Green, 8 bits for the Blue)
Why would you need video compression ?
Technology improves constantly, internet connections get better and faster, but in conjunction, video resolutions get higher and files exponentially bigger! Compression is more than ever a requirement to distribute your video.
Over the last 20 years, resolution and frame rates have moved from SD (@24fps), to HD, then 4K (@60fps), now reaching 8K (@120fps) and will likely keep increasing. Thanks to all these improvements, we are entertained with better images and videos, and machine vision algorithms (AI, Analytics) can make better decisions.
Higher frame rate, higher resolution, more bit per pixel (or precision) and higher dynamic range (HDR) imply a considerable increase in the amount of data to be transported, recorded and processed.
What makes JPEG XS technology different from other codecs?
Let's have a little talk with our expert in compression technology, Antonin Descampe !
Antonin Descampe is co-founder of intoPIX and member of the JPEG committee since 15 years.
During an interview, Antonin explained us how the JPEG XS technology differs from other codecs & what are the advantages of JPEG XS compared to other existing codecs.
Exciting times ahead for the media and entertainment industry
The pandemic has pushed the world to digitalise almost all industries – from the use of digital video solutions replicating a retail purchase, to remote production within the entertainment sector. In this blog Dhaval Ponda, Global Head, Media and Entertainment Services, Tata Communications, discusses the changing landscape of the sports and entertainment industry and the tech-enabled exciting times that lie ahead.
Kill Your Darlings: Being RUTHLESS about your film script and the integrity of your project
We need to cut down our script - it's just too long. So it's time for a red pen and some ruthless cutting.
Over the next few weeks we'll be sharing progress on our project to compare the RED KOMODO, RED DSMC2 MONSTRO 8K, and RED RANGER GEMINI 5K to, well, each other. And we'll be sharing insights into the post production process with both RED and LaCie - demystifying how it all really works. Spoiler alert: post production with RED is a lot easier that you might think.