Choosing a codec


Ogg, MPEG-LA and Submarine Patents

A few weeks ago, I published an interview with MPEG LA CEO Larry Horn on the patent group's decision not to charge for free content encoded with H.264. Then I got a note back from a reader who stated: I'm disappointed. The interview seemed to be pr...

Another Ogg to H.264 comparison

I recently posted an H.264 vs. Ogg comparison, which you can see here. http://www.streaminglearningcenter.com/articles/ogg-vs-h264---round-one.html I got lots of good feedback and am in the process of reworking my tests, primarily (I hope) to use a m...

Ogg vs H264 - Round One

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Updated findings below.

Ogg Theora and HTML5 have been top of mind for me over the last few weeks, and one consistent question was how Ogg compared to H.264 in terms of quality. So, I spent a few hours this past weekend encoding and comparing. Click through to the main article to see what I found. 

Which codec is hardest to play back; VC-1, H.264 or VP6?

One of the lingering rumors about H.264 is that you need a beast of a computer to play it back. Is this a reality or part of an insidious Fear, Uncertainty and Doubt campaign inspired by H.264 detractors and competitors. Well, read the article and find out!

HD Showdown: Codec Vendors Battle for Supreme Quality

Comparing H.264, VP6 and VC-1 files produced by Microsoft, On2 and your truly.

Codec Comparison: VP6, H.264, and Windows Media - StreamingMediaEast - 2008

See the video of the presentation given at StreamingMediaEast 2008 in New York City. The session compared the video quality of the big three codecs: VP6, H.264, and Windows Media, and included a comparison of the primary H.264 codecs including Apple, Sorenson, Main Concept, and Dicas.

Comparing and Using Online Video Codecs - StreamingMediaEast 2008

This workshop focuses on comparing the quality, playback environment, and feature sets of the big three codecs (VP6, H.264, and Windows Media), including a comparison of the primary H.264 codecs including Apple, Main Concept, Telestream, and others. Attendees will also get an introduction to universal encoding parameters, like variable and constant bitrate encoding and I, B, and P frames, and then learn the technical requirements for producing files with each codec. During the final hour, the workshop will analyze which sub-$1,000 encoding tools do the best (and worst) jobs with each format.