Jan Ozer

 

Jan has worked in digital video since 1990, and is the author of over 20 books related to video technolgy, including Producing Streaming Video for Multiple Screen Delivery and the Premiere Pro CC: Visual QuickStart Guide. Jan currently writes for Streaming Media Magazine and Streaming Media Producer, and consults widely on streaming media-related topics.

Content Posted by Jan Ozer

Preliminary Survey Results - CBR, VBR and Capped CRF - $100 Amazon Gift Card Incentive

On January 13th, 2016, I launched a survey to determine the bitrate control techniques most commonly used by streaming producers. Some preliminary results are in, but the number of respondents is too small to draw any conclusions. I wanted to publis...

The Future of Video Marketing: Dive Into Automation Programs

Let’s face it. For-profit enterprises post videos, hold webinars, and produce virtual events to drive sales. How effective are these mediums for that purpose? There’s lots of positive anecdotal evidence, but where are the hard numbers?

How Netflix Pioneered Per-Title Video Encoding Optimization

The Netflix blog post entitled Per-Title Encode Optimization boldly declares that “to deliver the best quality video to our members, each title should receive a unique bitrate ladder, tailored to its specific complexity characteristics.” In a world where many companies simply deploy Apple’s recommendations from TN2224 without modification, it’s a breath of fresh air. The blog post goes on to detail how Netflix creates its per-title encoding ladders.

Survey: CBR, VBR, or Other for ABR Streaming

The recommended bit rate control technique for VOD files produced for adaptive streaming is one of the most fundamental decisions encoding professionals make, but in my view also one of the most confusing. If you scan the white papers on the topic, m...

Survey Results In: DASH Squeaks Win over HLS

Late last year I ran a survey asking respondents to choose whether DASH or HLS was the best ABR format going forward. The poll results are in and are shown below. Basically, a small majority preferred DASH over HLS. The reasons why are even more illu...

Life After Flash: Will Producers Move to HLS, DASH, or Both?

The great migration from Flash to HTML5 is underway. For many producers, this means a switch from RTMP or HTTP Dynamic Streaming to a more HTML5-friendly format. Typically the choice comes down to either HLS or DASH. To help tease out the pros and cons of each, I wrote a blog post called “DASH or HLS? Which is the Best Format Today,” in which I set forth my thoughts on the subject, invited comments, and presented a one-question survey asking which format readers preferred.

TN2224 is Dead. Welcome to the New Era of Content-Aware Encoding

The Netflix blog entitled, Per-Title Encode Optimization, boldly declares that “to deliver the best quality video to our members, each title should receive a unique bitrate ladder, tailored to its specific complexity characteristics.” In a world ...

Webinar: Content-Aware Encoding-Applying Lessons Learned from Netflix's Per-Title Optimization Blog Post

Webinar on Content-Aware Encoding; January 26, 2016 at 2:00 PM EST.  The ideal encoding ladder accomplishes two things-it creates great visual quality and uses the optimum amount of data, keeping audiences and finance happy at the same time. But wh...

HEVC Advance Releases Revised Licensing Terms

When HEVC Advance first proposed royalty rates and policies in July 2015, the terms were almost universally criticised, if not vilified. Recognizing that the proposed structure would slow HEVC adoption rather than promote it, HEVC Advance has issued a sweeping revision that addresses nearly all of the earlier concerns. While the ultimate fairness of the new terms will be determined by those who have to sign the license agreement and pay the royalty, the new terms are much closer to those for competiting offerings and older technologies like H.264.

SSIMWave SQM Review: Frustrating Video Quality Measurement

The perfect video analysis tool combines a video quality metric that accurately predicts the subjective ratings of real human eyes with the ability to show these quality differences to the operator. While SSIMWave makes a strong case that its SSIMplus algorithm has those predictive capabilities, the company’s SQM (for SSIMWave Video Quality-of-Experience Monitor) video analysis tool provides only a limited ability to visualize and confirm these differences. If you can get comfortable with the idea that SSIMplus is the best video quality metric available, you’ll find SQM a highly efficient tool for calculating the SSIMplus rating within the UI or batch mode. But I’m from Missouri—the Show-Me state—so when it comes to making compression decisions, I want to see easily the differences that the tool is measuring. If you’re like me, you’ll find the $3,600 tool frustrating in this regard.