Currently, there are several approaches to choose from: JPEG2000 (a.k.a. Nothing should therefore stop even the most exacting broadcaster from at least trying compression on their contribution and remote production video content.
This is why most image compression standards available today or announced for the near future are either presented as being “visually lossless” or else allow operators to select a lossless encoding/decoding approach. In the light of past experiences with formats like MP3 compression is still widely considered a technology that, although very effective at squeezing data sizes, comes at the cost of an irreversible loss of quality. Mezzanine compression ratios typically range from 2:1 to 10:1. The combination of meeting bandwidth constraints while preserving image quality is called “mezzanine compression.” A mezzanine compression protocol must allow for multiple encoding and decoding passes as the video goes through the pipeline, as well as for additional processing and editing, without loss. With 4K (or even 8K) and HDR on the horizon, the number of concurrent streams dwindles.Ī compression ratio of 4:1 can turn a 48Gbps ultra-HD 300fps High Frame-Rate video signal-which may come sooner than expected by most-into a 12Gbps stream, making its use on future 100Gbps networks far more reasonable. Knowing that an uncompressed HD-SDI signal has a bandwidth of 1.57Gbps when encapsulated as SMPTE ST2022-6, dividing 10Gbps by this figure reveals that only six HD-SDI camera signals (streams) can be transported simultaneously. IP links have a nasty habit of offering fixed bandwidths, with 10Gbps and 1Gbps being the most widespread offerings at the moment.
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