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Wayne Morellini
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I'm curious how 3D-5D wavelets turned out that they use in some security camera compression (post non authentic image (noise) correction.
Your comparison, if you can compare to modern redcode, you atr basically comparing to cineform technology anyway. Kineinfinity uses an official cineform, but at what depth and quality?
So, you are saying you are taking 165MB effectively lossless redcode down to 9MB, or taking a 16 bit, 4:4:4 demosiaced frame grab to 9MB. Those 4:4:4 grabs would be incredibly devoid of much detail, as two thirds is recreated after a low pass filter smuges a lot of difference out, in a simple compressible way. Devoid of noise, 4:4:4 (especially this stuff) becomes much more compressible, and 16 bits a lot more again. Jpeg HDR used to get incredible compression rates on frames, as you are describing something that is mainly difference in peaks that are described similarly in data producing huge savings.
So, I should clarify, the 2-4:1 maxing out in the old days was 8 bit video. So, what is it now for what you are dealing with I wouldn't know. 4:1+ might he the norm on Bayer, even more again with prefiltering. Everything is largely mappable except unexpected things like noise. In testing small cameras codec quality, I will furll the things around unpredictable and examine the data rate and quality. Another one was wavey water, used to tank out and macro block older codecs, but with h264 we got smudging as a solution. However, it is possible to make the codec nap the waves, something I pushed for. With extra datarate the wave thing became a lot less anyway. But strong flapping leaves and branches swirls of mists, making most of the picture, are the sorts of things to separate out lossy cameras.
Anyway, interesting conversation I've had with cineform, or SI, which ever engineer, they objected to my pushing for noise elimination to dramatically increase the compressibility, as removing authentic image, which I politely pointed out the noise was not in the scene and the recreated pixel was likely much more authentic. But it seems to be a potential factor. But it means interesting things for lossless, as the noise was probably a main factor limiting to 2:1-4:1 max normal compressibility ratios.
It also means, that your routine might go ahead more than on normal footage because of prefiltering.
Your comparison, if you can compare to modern redcode, you atr basically comparing to cineform technology anyway. Kineinfinity uses an official cineform, but at what depth and quality?
So, you are saying you are taking 165MB effectively lossless redcode down to 9MB, or taking a 16 bit, 4:4:4 demosiaced frame grab to 9MB. Those 4:4:4 grabs would be incredibly devoid of much detail, as two thirds is recreated after a low pass filter smuges a lot of difference out, in a simple compressible way. Devoid of noise, 4:4:4 (especially this stuff) becomes much more compressible, and 16 bits a lot more again. Jpeg HDR used to get incredible compression rates on frames, as you are describing something that is mainly difference in peaks that are described similarly in data producing huge savings.
So, I should clarify, the 2-4:1 maxing out in the old days was 8 bit video. So, what is it now for what you are dealing with I wouldn't know. 4:1+ might he the norm on Bayer, even more again with prefiltering. Everything is largely mappable except unexpected things like noise. In testing small cameras codec quality, I will furll the things around unpredictable and examine the data rate and quality. Another one was wavey water, used to tank out and macro block older codecs, but with h264 we got smudging as a solution. However, it is possible to make the codec nap the waves, something I pushed for. With extra datarate the wave thing became a lot less anyway. But strong flapping leaves and branches swirls of mists, making most of the picture, are the sorts of things to separate out lossy cameras.
Anyway, interesting conversation I've had with cineform, or SI, which ever engineer, they objected to my pushing for noise elimination to dramatically increase the compressibility, as removing authentic image, which I politely pointed out the noise was not in the scene and the recreated pixel was likely much more authentic. But it seems to be a potential factor. But it means interesting things for lossless, as the noise was probably a main factor limiting to 2:1-4:1 max normal compressibility ratios.
It also means, that your routine might go ahead more than on normal footage because of prefiltering.