MPEG is requesting responses and bit streams for possible inclusion of learning-based video codecs into the dataset, and has advanced 3 new standards. ISOBMFF, energy-efficient consumption and PPC temporal scalability are open topics for research, with the CVQM dataset available.
Read MoreIn November 1993, work began on MPEG-2 in Seoul. Three Committee Drafts were approved at the Friday afternoon plenary. Besides MPEG-2, activities such as DSM-CC and MPEG-4 were also happening, producing over 1 million copies. Photocopy machines worked 24 hours a day.
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At the 144th MPEG meeting, MPEG Technical Requirements (WG2) issued a Call for Proposals on Feature Compression for Video Coding for Machines and achieved an average Bjøntegaard-Delta rate of up to 94%. The group will continue working on video feature compression methods and aims to reach FDIS status by July 2025.
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The BBC R&D team provides streaming media test content for adaptive bit rate systems. Streams include VOD, live and low-latency versions, all conformant to CMAF. Live streams help clients interact with server while Low Latency reduces latency to broadcast speeds. Updated features such as webcasts, languages & access services improve interoperability & protocol capabilities. Clients can verify synchronisation between components.The BBC R&D team provides streaming media test content for adaptive bit rate systems. Streams include VOD, live and low-latency versions, all conformant to CMAF. Live streams help clients interact with server while Low Latency reduces latency to broadcast speeds. Updated features such as webcasts, languages & access services improve interoperability & protocol capabilities. Clients can verify synchronisation between components.
Read MoreAvanci Video, founded by Marconi in 2017, provides a licensing platform of AV1, HEVC, VVC, MPEG-DASH, and VP9 to reduce risk for content providers. Licensors LG and Huawei contribute, while internet streaming companies are targeted for MPEG-DASH and H.264/H.265. The platform levels the playing field and provides regular, predictable returns for licensors.Avanci Video, founded by Marconi in 2017, provides a licensing platform of AV1, HEVC, VVC, MPEG-DASH, and VP9 to reduce risk for content providers. Licensors LG and Huawei contribute, while internet streaming companies are targeted for MPEG-DASH and H.264/H.265. The platform levels the playing field and provides regular, predictable returns for licensors.
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The DVB Project has had 30 successful years, creating digital TV standards for interoperability. Key components include MPEG-2 video and audio codecs, DVB-S for mass market products, and DVB-AVC for various video and audio codecs, like H.264/AVC and AC-3. These innovations enable HDTV and 4K UHD services while also protecting content.The DVB Project has had 30 successful years, creating digital TV standards for interoperability. Key components include MPEG-2 video and audio codecs, DVB-S for mass market products, and DVB-AVC for various video and audio codecs, like H.264/AVC and AC-3. These innovations enable HDTV and 4K UHD services while also protecting content.
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MPEG has ratified 3rd editions of VVC and VSEI, 11th edition of AVC, HEVC CDAM amendments for neural network post-filtering. ISOBMFF extended to support uncompressed video/images. MPEG-DASH update adds dynamic multimedia delivery. Bitmovin claims new Player Web X with structured concurrency.
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Telestream’s 2020 OTT Streaming Trends report reveals OTT providers are increasingly using fMP4 and CMAF for packaging ABR content instead of the MPEG-2 TS standard. H.264 is the most used codec (58%), followed by HEVC (23%), VP9 (16%) and AV1 (3%). HLS remains dominant, but many streaming services are switching to CMAF. Get the report for more details.
Read MoreH.264 is the top codec with 72% usage rate in 2023. VP9 has the highest browser penetration, while HEVC leads in usage. AV1 has 70.45% browser support but costly encoding. VVC and LCEVC launched in 2020 and 2030 respectively; HEVC jumps from 18-44% and LCEVC is expected to have 40% attach rate by 2030. VIA LA owns H.264 and VP9, HEVC has two pools, AV1 is run by Sisvel, VVC owned by VIA LA/Access Advance and LCEVC royalty paid by publisher.
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LCEVC is a royalty-free, efficient video codec that offers improved encoding efficiency (22%) and faster encoding times (3X). VP9 browser penetration leads the way but usage is expected to regress over the next 7 years. AV1 has 70.45% of browsers but restricted licensing prevents its 2% usage. VVC requires hardware support for encode/decode, while LCEVC runs on existing hardware and is licenced by V-Nova with no patent pool fees.
Read MoreXHE-AAC is the latest state-of-the-art Advanced Audio Coding (AAC) technology, providing improved audio quality and uninterrupted streaming experience. Developed by MPEG Audio and partners, it is included in the AAC license with no extra cost and supported on multiple devices. Netflix and Meta have both endorsed xHE-AAC, citing its loudness management and Dynamic Range Control for a superior listening experience.
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(Author’s note: This article was co-authored by Jan Ozer and attorney Robert J.L. Moore . Also, this article was written before the consolidation of MPEG LA and Via Licensing and updated.) Much of the hostility relating to codecs like HEVC and VVC relates to the threat of patent royalties, whether real or imagined. The reality is that nearly all royalties are paid by companies like Apple and Samsung, which sell consumer electronic devices and profit greatly from the video-related capabilities these codecs afford their products. In contrast, content royalties for video codecs generally apply in only a few well-defined cases. This reality hasn’t stopped video publishers from delaying the widespread use of HEVC or journalists from fawning and gushing over the supposed “open source and royalty-free” AV1. To set the record straight, this article reviews when and where content royalties apply with H.264, VP9, HEVC, AV1, VVC, and LCEVC. We’ll share what we know and what we …
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