Hello, Today I’ll be sharing a Video converter program I developed based on FFMPEG, with a very simple interface and easy to use. With this Video converter: You can convert your videos to H264/AVC, H265/HEVC, or XDCAMHD 4:2:2 Long-Gop format, which is commonly used in television broadcasting, regardless of their original format. As an end-user, you can store your high bitrate videos by reducing their bitrate to save space. You can also use the WhatsExport option to make videos under 1:30 minutes viewable and shareable on WhatsApp.

Hello, I know it’s been a very long time since I’ve written to you, due to work intensity and family engagements. I hope I can share useful information with you in the article series I’m starting today. I’ll try to explain the SMPTE-2110 Standard, which is a more up-to-date version of the SDI Must Die and SMPTE-2022 article I thought about writing years ago, in a series of articles consisting of several parts.

I will try to provide a surface-level overview of the codecs and formats commonly used in HD television broadcasting, NLE editing, and HD Camcorders. DNxHD/Avid Developed by Avid for production purposes, this is an open-source codec. It can create files in MXF or QuickTime wrapper formats. It uses I-Frame Only compression infrastructure and is a good alternative to Apple’s ProRes format. In the table below, you can examine the bit depth, sampling, and bandwidth of DNxHD.

In this article, I want to explain a few topics that I’ve been planning to write about for a long time and about which I’ve received many questions. I’ll be sharing answers to common questions such as: What is 4:2:2? What is 4:2:0? What is 1.5 Gb/s? What is 3Gb/s? Let’s start with the color space, which is fundamental to these topics. RGB Color Space In the RGB color space, the color value of each pixel is stored in separate channels.

What is H265/HEVC? In today’s technology, we see tablets and mobile phones with 1920x1080p (full HD) screen resolution. As technology progresses in this way, you can imagine that large television screens will not settle for full HD technology. This is where resolutions like 2K, 4K, and 8K come into play. As you can appreciate, when resolutions increase so much, it becomes inevitable for new coding (codec) technologies to emerge and use new encodings.

When I started in television broadcasting, Tapeless Workflow was almost non-existent in our country. The market was generally dominated by Sony’s Betacam series VTRs and cameras. In this system, cameras recorded onto tapes, and VTRs read recordings from these tapes. Editing suites had numerous VTRs, and editors would enter with armfuls of tapes. Due to frequent use of tapes, generation loss would occur, desired footage couldn’t be easily found, and it led to time losses.