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Some terms that help how you sell your films in the digital age. These definitions are fluid as is the nature of technology. VOD: Video on demand (display) (VOD) are systems which allow users to select and watch/listen to video or audio content such as movies and TV shows when they choose to, rather than having to watch at a specific broadcast time, which was the prevalent approach with over-the-air broadcasting during much of the 20th century. IPTV technology is often used to bring video on demand to televisions and personal computers. More here. SVOD: Subscription VOD (SVOD) services use a subscription business model, where subscribers are charged a monthly fee to access unlimited programs. These services include Netflix, Hulu Plus, Amazon Video, Videoland, HBO Go and CuriosityStream. AVOD: Advertising video on demand is a VOD model which uses an advertising-based revenue model. This allows companies that advertise on broadcast and cable channels to reach people who watch shows using VOD. As well, this model allows people to watch programs without paying subscription fees. Hulu has been one of the major AVOD companies, though the company ended free service in August 2016. Ads still run on the subscription service. Yahoo View continues to offer a free AVOD model. Advertisers may find that people watching on VOD services do not want the same ads to appear multiple times. Crackle has introduced the concept of a series of ads for the same company that tie in to what is being watched. NVOD : Near video on demand (NVOD) is a pay-per-view consumer video technique used by multi-channel broadcasters using high-bandwidth distribution mechanisms such as satellite and cable television. Multiple copies of a program are broadcast at short time intervals (typically 10–20 minutes) providing convenience for viewers, who can watch the program without needing to tune in at only scheduled point in time. A viewer may only have to wait a few minutes before the next time a movie will be programmed. This form is very bandwidth-intensive and is generally provided only by large operators with a great deal of redundant capacity and has been reduced in popularity as video on demand is implemented. TVOD: Transactional VOD Transactional (or Transaction) VOD is the counterpart of the "all you can eat"-buffet concept of SVOD. TVOD will normally not charge you anything to sign up for the service/create a user profile. Instead, you will pay an amount based on the content you watch. Most often this relates to movies, but is also used for series and in particular for sports and events. Think Apple iTunes as an example (although strictly speaking not a pureplay OTT service). Details here. FVOD: Free Video On Demand : VOD programming offered by a network operator free of charge. FVOD programming includes on-demand advertising and on-demand programming offered as part of a basic VOD package. More here.
The the Apple page here. All members of the Apple ProRes codec family support frame sizes up to 4K as well as SD, HD, and 2K at full resolution. The data rate of Apple ProRes varies based on codec type, image content, frame size, and frame rate. Apple ProRes includes the following formats: Apple ProRes 4444: This codec offers the best quality for 4:4:4:4 sources and for workflows involving alpha channels. It features: Full-resolution, mastering-quality 4:4:4:4 RGBA color, perceptually indistinguishable from the original material with excellent multigeneration performance Mathematically lossless alpha channel (up to 16 bits) with real-time playback High-quality solution for storing and exchanging motion graphics and composites A remarkably low data rate compared to uncompressed 4:4:4 HD (the target data rate is approximately 330 Mbps for 4:4:4 sources at 1920 x 1080 and 29.97 fps) Direct encoding of, and decoding to, both RGB and Y′CbCr pixel formats Apple ProRes 422 (HQ): This codec preserves visual quality at the same high level as Apple ProRes 4444, but for 4:2:2 image sources. With widespread adoption across the video post-production industry, Apple ProRes 422 (HQ) offers visually lossless preservation of the highest-quality professional HD video that a (single-link) HD-SDI signal can carry. This codec supports full-width, 4:2:2 video sources at 10-bit pixel depths, while remaining visually lossless through many generations of decoding and reencoding. The target data rate of Apple ProRes 422 (HQ) is approximately 220 Mbps at 1920 x 1080 and 29.97 fps. Apple ProRes 422: This codec offers nearly all the benefits of Apple ProRes 422 (HQ), but at 66 percent of the data rate for even better multistream, real-time editing performance. Apple ProRes 422 (LT): With a target data rate that is roughly 70 percent of the data rate of Apple ProRes 422 and 30 percent smaller file sizes than Apple ProRes 422, this codec is perfect for environments where storage capacity and bandwidth are at a premium. Apple ProRes 422 (Proxy): This codec is intended for use in offline workflows that require low data rates but full-resolution video. The target data rate is roughly 30 percent of the data rate of Apple ProRes 422.A