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In Premiere Pro CS4 Beyond the Basics, Adobe Certified Instructor Chad Perkins explains how to take video editing from simple nuts and bolts to an art form. He shares tips for shooting video in the field to get the most from a subject and get the best footage for a project. He demonstrates how to build a project through the careful use of cutaways, pacing, and suggestive edits. He covers special effects, color correction, and keying and compositing, integrating all these concepts as he builds a music video project from scratch. Exercise files are included with this course.
Folks, I think it's time to dig a little bit deeper into the world of video compression, understand a little bit about how video is compressed and that way, even if things change from the formats I mentioned in the last movie, like maybe H.264 isn't the coolest thing in a couple of years or whenever, that at least you will know how to judge and understand the different types of video compression that will come out. There are there two basic types of video compression. There is Spatial Compression and Temporal Compression. We are going to look at Spatial Compression in this movie. Basically, Spatial Compression is when the compression algorithm looks at every single frame independently and compresses it as if it compressed an image.
This is also referred to as intraframe compression. So again, this works like image compression where each frame is compressed like an image. So the compression algorithm will look at this frame and say, what's similar? Well, these big areas of orange on the gym floor, they're pretty similar. So we could do some averaging here, and maybe some of this yellow is the same, so we could average some of those pixels together and kind of lump them rather than keeping track of all that data.
Then typically as things get a little busier, say later on in this sequence-- by the way, this is from a movie called "I hate basketball" that I worked on and this is a little clip from that. So this guy, our hero here, is getting pelted by these evil basketballs and there's a lot going on here and so something like this would generally make the file size increase, because the spatial compression is going to have to process individual pixels more because there is a lot more going on. It's not going to be able to take those shortcuts that it could earlier when there was just a bunch of emptiness.
If you have shots at night or other scenes where there's a lot of pitch-black pixels, those usually compress really well with spatial compression. Now I should point out that most methods of compression use spatial compression. Some of them additionally use temporal compression, which we'll look at the next movie.
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