Podcasts about Ateme

This week, Mark Donnigan and I recap news from IBC about using cloud-based compute services for video workflows, encoding optimization, AV1/codec adoption, live encoding use cases, and AI's potential impact on encoding platforms. We also give updates on the Venu/Fubo lawsuit, price increases for NBA League Pass, the upgraded Roku Ultra device, Google rebranding their FAST channels, and some viewership numbers from Peacock. Finally, we discuss some interesting statements from Netflix regarding their ad tier, the NFL games on Christmas and how they view one-off sporting events versus full seasons.Companies mentioned include Akamai, Amagi, AOM, ATEME, AWS, Bitmovin, Brightcove, CDN77, Disney+ Hotstar, Dolby, Edgio, Harmonic, iSIZE, Neilsen, Netflix, NETINT, NVIDIA, THEO Technologies, Visionular, WaveOne, YouTube.Thanks to this week's podcast sponsors: Integrated Digital Solutions and Netskrt Systems.Podcast produced by Security Halt Media

React a 10 ans. 10 Ans de Révolution dans le Développement Web avec Amélie Benoît (@AmelieBenoit33) et Manuel Cartier (@neolectron). Enregistré le 04 mars 2024 Téléchargement de l'épisode LesCastCodeurs-Episode-309.mp3 React a 10 ans, longue vie à React ! Dans cet épisode, nous avons comme invités Amelie Benoît et Manuel Cartier. Les deux explorent l'évolution de React au cours de la dernière décennie, mettant en lumière ses principaux principes et son impact sur le développement web. Amélie et Manuel discutent des caractéristiques fondamentales de React, comme la composition des composants et l'utilisation de la virtual DOM, ainsi que des tendances émergentes telles que l'adoption de React Hooks, et les React Server Components. Enfin, nous avons ses conclusions sur l'avenir de React et son rôle continu dans le paysage du développement web. Amélie Benoît Amélie Benoit est une développeuse web avec une expérience d'environ 10 ans dans le domaine. Son expertise se concentre principalement sur React et React Native, qu'elle maîtrise tant en JavaScript qu'en TypeScript. En plus de son travail de développement, Amélie est une entrepreneuse communautaire active. Elle a fondé deux Meetups, dont l'un est dédié à React & React Native, démontrant ainsi son engagement envers la diffusion des connaissances et le développement de la communauté. Elle a également organisé des conférences, notamment lors de l'événement BDX I/O. Elle a aussi été oratrice a Devoxx France parmi d'autres conférences. Actuellement, Amélie occupe le poste de tech lead manager chez Busbud, une scale-up canadienne spécialisée dans la comparaison et la vente de billets de bus inter-cités en ligne. Son rôle en tant que leader technique et manager la place au cœur des opérations de développement et de gestion de projet au sein de l'entreprise. Grâce à son expertise technique, son engagement communautaire et son leadership, Amélie Benoit apporte une contribution significative au monde du développement web et de la technologie. Manuel Cartier Manuel est un développeur passionné, initié à l'art du code dès l'âge de 13 ans. Animé par cette passion précoce, il entreprend des études en développement de logiciels et gestion de projets, couronnées par l'obtention d'un BTS. Son parcours exceptionnel le conduit à se distinguer dès 2015 à l'école “42” de Paris, où il se classe premier parmi tous les candidats. Avec une solide expertise en C++, Manuel s'investit dans l'encodage vidéo et audio chez Ateme, contribuant ainsi à un transcodeur utilisant des bibliothèques faites maison, équivalentes à x264. Passionné par la diffusion en direct, il partage régulièrement ses connaissances en informatique et donne des cours de développement web sur Twitch et YouTube. Toujours avide d'apprendre et de repousser ses limites, Manuel se lance actuellement dans l'exploration de Rust, encouragé par la migration des projets C++ vers Rust chez Facebook. Parallèlement, il explore le développement d'applications mobiles avec Ionic Framework et AngularJS, expérience acquise lors de la création d'une start-up en 2015. Son dernier rôle en tant que développeur Fullstack chez SigFox lui permet d'approfondir sa compréhension des mécanismes de l'IoT. Aujourd'hui, son attention se porte sur l'écosystème JavaScript et l'amélioration de l'expérience utilisateur, ainsi que sur le rendu 3D sur le web avec des technologies innovantes telles que Three.js et React-Three-Fiber. Nous contacter Pour réagir à cet épisode, venez discuter sur le groupe Google https://groups.google.com/group/lescastcodeurs Contactez-nous via twitter https://twitter.com/lescastcodeurs Faire un crowdcast ou une crowdquestion Soutenez Les Cast Codeurs sur Patreon https://www.patreon.com/LesCastCodeurs Tous les épisodes et toutes les infos sur https://lescastcodeurs.com/

Michel Artières président d'Ateme, coté sur Euronext Growth,  nous explique que les 3 prochaines années devraient tirer profit des investissements réalisésHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Michel Artières président fondateur d'Ateme coté sur Euronext Growth nous explique que les contrats qui vont être signés au 2ème semestre permettront d'atteindre son objectif de croissance de l'annéeHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

GEO satellite has been with us since the dawn of the satellite age, and it's easy for us to take it for granted. GEO 2.0 makes its contribution to the Eternal Orbit campaign by inviting today's experts in geosynchronous orbit to discuss the future of this grandfather of satellite orbits. What's new, what's sexy and what is tried and true? Let's find out together in GEO 2.0. In the first episode of GEO 2.0, SSPI's Lou Zacharilla speaks with Mike Antonovich, CEO Commercial for U.S. Electrodynamics, Inc. Mike gives us a look at what may be in store for GEO's future in the satellite industry from the perspective of an industry veteran. Mike Antonovich is a globally recognized leader in the managed transmission service industry with over 30 years experience delivering high quality solutions and services to the world's leading media, enterprise and government clients. He currently serves as CEO Commercial for U.S. Electrodynamics, Inc. (USEI), a position he took on recently. Mike joined USEI after working as Senior Satellite Services Sales Specialist for Telstra, where he was responsible for growing Telstra's presence in the satellite communications marketplace. Before Telstra, he was VP of International Sales & Business Development at DataPath, where he worked in systems design and integration, global field services, and transportable Earth stations, among other areas. Mike served for 4 years as CEO of Eutelsat Americas, a position in which he was responsible for all activities for Eutelsat in the Americas and for supporting Americas-based clients on Eutelsat's global capacity. He has served in a variety of other leadership roles throughout his career in the industry, including SVP of Global Sales at Media Global Links, SVP and GM for the Americas at ATEME, President & CEO of The SPACECONNECTION and EVP of Global Sales and Marketing at PanAmSat.

Michel Artières président d'Ateme, coté sur Euronext, nous explique comment il continue d'accroître ses parts de marché et sa profitabilitéHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Ateme est une société française qui construit des solutions vidéos pour les chaînes de télé et les opérateurs telco. Une de leurs solutions est un enregistreur de flux vidéos dans le cloud. La fameuse fonction 'Enregistrer' de vos boxes - quand votre opérateur utilise les solutions d'Ateme - enregistre les programmes télé sur S3. Dans cet épisode, nous parlons de l'architecture de cette solution, comment ca marche sous le capot. Spoiler alerte : nous parlons de Kubernetes (un peu), de Amazon S3 (beaucoup) et d'infrastructure as code.

Ateme est une société française qui construit des solutions vidéos pour les chaînes de télé et les opérateurs telco. Une de leurs solutions est un enregistreur de flux vidéos dans le cloud. La fameuse fonction 'Enregistrer' de vos boxes - quand votre opérateur utilise les solutions d'Ateme - enregistre les programmes télé sur S3. Dans cet épisode, nous parlons de l'architecture de cette solution, comment ca marche sous le capot. Spoiler alerte : nous parlons de Kubernetes (un peu), de Amazon S3 (beaucoup) et d'infrastructure as code.

Join our resident Business Ninja Jamie together with Francois Guilleautot, Cloud Solution Director at Ateme. ATEME is a French company that specializes in video compression and delivery solutions for broadcasters, content providers, and service operators. Their products and services include video encoders and decoders, video streaming servers, cloud-based video processing solutions, and professional services such as consulting, training, and support.ATEME's solutions are used by many companies in the media and entertainment industry, including broadcasters, cable and satellite operators, and streaming video providers. The company's technologies are designed to help their customers reduce costs, improve video quality, and deliver content to a wider audience.In addition to its headquarters in France, ATEME has offices in the United States, Brazil, Singapore, China, and South Korea, among other countries.Learn more about them and visit their website https://www.ateme.com/-----Do you want to be interviewed for your business?  Schedule time with us, and we'll create a podcast like this for your business:  https://www.WriteForMe.io/-----https://www.facebook.com/writeforme.iohttps://www.instagram.com/writeforme.io/https://twitter.com/writeformeiohttps://www.linkedin.com/company/writeforme/https://www.pinterest.com/andysteuer/Want to be interviewed on our Business Ninjas podcast? Schedule time with us now, and we'll make it happen right away! Check out WriteForMe, more than just a Content Agency! See the Faces Behind The Voices on our YouTube Channel!

Dans la vidéo, Ateme s'occupe de tout ce qui ne peut être vu : l'encodage et la distribution. Un secteur en plein essor. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

M&E Industry Getting Serious About Sustainability M&E Industry Getting Serious About Sustainability M&E Industry Getting Serious About . OTTAWA—Tech companies in the media and entertainment (M&E) industry are making their business and production practices more sustainable by reducing their impact on the environment and contributions to climate change. “The video industry is taking the ‘green initiative' seriously,” said Thierry Fautier, vice president of strategy for Harmonic. “It has set a target and is now working toward achieving its goals. We have seen operators targeting zero carbon emission by 2040. There is also a new industry forum called ‘Greening of Streaming' that is addressing greener video delivery.” This last sustainability effort is particularly important, as “video traffic represented an estimated 84% of all consumer IP traffic in 2021 (up from 79% in 2016) according to the Cisco Visual Networking Index,” said Alain Nochimowski, CTO at the OTT/TV platform solutions company Viaccess-Orca. “Fortunately, the industry is starting to understand that it will need to take proactive steps toward being greener.” Real Companies, Tangible Actions Across the M&E industry, specific companies and organizations are taking tangible steps to make themselves and the industry as a whole more sustainable. They include video delivery provider Ateme, live video contribution tech provider Aviwest, SDVI and IBC, among many others. Given the billions of daily viewers of streaming services, reducing its environmental impact is a gigantic task. “The largest source of power consumption for video services is the device, followed by the network and then the data center,” Fautier said. “Some work has already been done on the device side with smart power management schemes deployed and regulations looking at limiting the display consumption. On the network side, the move to 5G is aimed at drastically reducing the watt-per-bit cost; reports show that cloud infrastructure is more power-efficient than a classical on-premises infrastructure approach.” Harmonic is enhancing its video compression algorithms to reduce traffic levels on IP networks, thus cutting the amount of electricity needed to deliver video content. “We are doing this by using AI-based encoding techniques such as content-aware encoding [CAE], dynamic frame-rate encoding [DFE] and dynamic resolution encoding [DRE] to improve legacy codecs; also AVC mostly but also HEVC,” said Fautier. The company is also promoting new, more efficient codecs such as AV1 and VVC, plus the LCEVC (low complexity enhancement video encoding) “intermediate solution” that combines legacy equipment and new approaches “to enable a significant savings in bandwidth and processing power,” he said. Use of the cloud is critical to meeting such goals. “Harmonic is 100% committed to cloud,” added Fautier. The company is also asking OTT content providers to consider using power-efficient multicasting in place of unicasting, bearing in mind that doing so would reduce delivery flexibility for consumers. One Stream for a Million Requests Content delivery solutions provider Broadpeak says its multicast adaptive bitrate (MABR) distribution product is a practical way to address unicasting's (one-to-one) high network usage. “Without multicast ABR, if a million people are streaming the same content at the same time, there are one million active connections requiring ad-hoc capacity throughout the network and consuming power accordingly,” said Yann Begassat, Broadpeak's business development manager. “With multicast ABR, there is only one stream to address the million requests, dramatically reducing capacity needs and energy consumption.” SDVI's Rally media supply chain management platform is helping users such as A&E Networks, Comcast, Discovery, Sky, ViacomCBS, and WarnerMedia manage their end-to-end video assets in a more efficient (and thus more sustainable) manner. “For our part, we have committed to a new sustaina...

The Faultline Podcast is an audio companion to Rethink Technology Research's Faultline service, a weekly news service that examines the video market – focused on Pay TV, OTT, SVoD, and the technology that supports them. Occasionally, our Rethink TV research wing stops by, to talk about upcoming forecasts and macroeconomic trends we're seeing. Hosted by Alex Davies, Tommy Flanagan, and Rafi Cohen, The Faultline Podcast hits the most important points from the last week's news. If you're in the business world and deal with video content, Faultline is a service you'll want to pay attention to. Find out more at: https://rethinkresearch.biz/product/faultline/ We're on Twitter too: https://twitter.com/_Faultline_ And LinkedIn: https://www.linkedin.com/showcase/faultline/ And YouTube! - https://www.youtube.com/channel/UCgGzAgB9b1I4KiWIQ4gcvAQ

NESTED 5G project brings together innovative French companies Orange, Viaccess-Orca, ENENSYS Technologies and IETR to develop solution for greener . NESTED 5G project brings together innovative French companies Orange, Viaccess-Orca, ENENSYS Technologies and IETR to develop solution for greener delivery PARIS, 23 NOVEMBER, 2021 – ATEME, the leader in video delivery solutions for broadcast, cable TV, DTH, IPTV and OTT, today announced that it is leading NESTED (New vidEo STandards for Enhanced Delivery), a consortium aimed at developing a high quality-of-experience (QoE) and sustainable video-streaming solution over 5G. The innovative NESTED 5G project is headed by ATEME in collaboration with Orange, which tests the efficiency and sustainability of the NESTED streaming solution in real use cases over 5G. The project brings together leading French companies Viaccess-Orca, contributing its secure video player, QoE analytics enabler suite and targeted advertising solution, and ENENSYS Technologies with its MediaCast Mobile and its CubeAgent Mobile. Renowned French institution IETR (Institut d'Electronique et des Technologies du numéRique), the research unit at French engineering school INSA Rennes, also participates by providing a VVC decoder. In addition to leading the project, ATEME plays a vital role in bringing the new solution to life with its latest compression technology, its Just-in-time packager and its CDN. The consortium will leverage the latest advances in video compression and delivery technologies, and their expected benefits in terms of reduced environmental impacts, among which: CMAF chunk sharing to reduce the traffic burden on the CDN The latest VVC video encoding with its promise of halving bitrates Multicast/unicast convergence enabling peak audience reach In addition, this collaboration will highlight the benefits of an e2e pre-integrated, best of breed multicast ABR solution, notably in terms of QoE and personalized viewing experience. Ultimately, it will therefore enable multicast for 5G, allowing operators to take a greener approach to streaming. Driven by Orange's goal to distribute video and manage bandwidth efficiency and delivery over 5G, the solution looks to increase the sustainability of streaming over 5G and to reduce broadcasting infrastructure costs for service providers while delivering the best quality of experience to viewers. The two-year project, supported by France's Brittany region (Région Bretagne), is due to end in 2023, by which time the consortium is confident it will be able to demonstrate the benefits of its solution when it comes to offering sustainable streaming over 5G and reducing the environmental impact of delivering video. Mickaël Raulet, Chief Technology Officer, commented: “We are proud that Orange has turned to us to help them achieve their sustainability goals. There is an ongoing debate about the environmental impact of streaming over 5G and this project will help to lessen that. It also highlights the innovation taking place within the French market and once completed, we look forward to helping other organizations around the world leverage that innovation through our new streaming solution.” Julien Lemotheux, TV&Video Senior Standardization Manager, Orange, said: “The impact our actions have on the environment is front of mind for everyone within our organization. By working with the NESTED 5G taskforce, we hope to make streaming more sustainable, reducing our energy footprint and allowing our customers to enjoy high-quality content.” “The reduction in environmental impact, together with the management of QoE and the provision of more personalized viewing experiences, are the determining factors for a sustainable future in video streaming; as an innovation leader, Viaccess-Orca is glad to contribute its unique expertise and technology enablers to help Orange and the other consortium partners explore innovative routes for video streaming.” said Alain Nochimowski, CTO a...

Du 26 au 28 octobre 2021 se tenait le Cabsat de Dubaï au DWTC. Salon incontournable du broadcast dans la zone Moyen-Orient, le Cabsat accueillait après 2 ans d'absence le pavillon France. 12 entreprises ont exposé sur le pavillon France dont : Ateme, Broadpeak, Vectracom, Multicam, Winmedia, Fighting Spirit, Vidmizer, France 24, INA, Dalet, Easybroadcast et Sparkup. Au travers de cet épisode, nous vous emmenons en direct de Dubaï avec les témoignages et retours d'expérience de : Stéphane Tésorière, CEO de WinMedia (00:01:08 - 00:04:49) Laurent Breboin, CEO de Vidmizer (00:04:54 - 00:08:10) Célia Letienne, CEO de Vectracom (00:08:07 - 00:10:54) Michael Meiseil, Regional Sales Manager de Dalet (00:11:60 - 00:14:14) Retrouvez ici le catalogue de l'édition 2021. Vous souhaitez rejoindre le pavillon France pour l'édition 2022, contactez Etienne Savin : etienne.savin@businessfrance.fr

La 8e #ConfPortzamparc dédiée aux #valeursMidAndSmall se tient du 29 mars au 1er avril en format 100% digital. 55 émetteurs iront à la rencontre des investisseurs. LA BOURSE ET LA VIE TV est partenaire de l’évènement et Didier Testot son fondateur a interrogé plusieurs entreprises sur leurs stratégies et perspectives. La société ATEME a donné cette semaine concernant ses résultats annuels 2020 les informations suivantes : “Comme indiqué le 29 janvier, le chiffre d’affaires total pour l’exercice clos au 31 décembre 2020 s’est élevé à 70,7 millions d’euros, en progression de 7 % par rapport à 2019 et stable sur une base comparable. Comme anticipé, le second semestre a été marqué par une nette accélération des ventes de logiciels, avec une amélioration consécutive du mix produit. En conséquence, la marge brute ressort à 58 % du chiffre d’affaires au second semestre, contre une marge de 50 % au premier semestre, ce qui conduit à une marge de 55 % pour l’exercice, soit un point au-dessus de celle de 2019. ATEME a continué d’investir dans son développement, en donnant la priorité à la R&D. Sur l’exercice, les dépenses opérationnelles s’élèvent à 37,0 millions d’euros, contre 31,4 millions d’euros en 2019, en progression de 18 %, avec l’intégration Anevia à compter du 1er novembre 2020“. Retour sur cette actualité, la stratégie de l’entreprise qui vise davantage de revenus récurrents et s’en explique dans cette interview. Michel Artières le Pdg de Ateme est mon invité.   Vous vous intéressez à l’actualité de la société, retrouvez toutes les vidéos avec Michel Artières Pdg d’Ateme uniquement sur la Web Tv www.labourseetlavie.com : https://www.labourseetlavie.com/?s=artieres       À propos d’ATEME : ATEME est le nouveau leader des technologies de diffusion vidéo, au service du contenu premium et des plus grands fournisseurs de services dans le monde. ATEME aide les fournisseurs de contenu et de services vidéo et TV à capter leurs audiences par une qualité d’expérience supérieure de sorte qu’ils peuvent doper l’engagement des spectateurs, remporter de nouveaux clients et dégager un nouveau potentiel de monétisation. Les solutions d’encodage multi-codec, d’origine/forfait tous formats, de DVR dans le cloud évolutif, de CDN sensibles aux audiences et d’insertion publicitaire dynamique génératrices de revenus d’ATEME permettent à des centaines de studios, détenteurs de contenus, diffuseurs et fournisseurs de services de diffusion en streaming par réseau terrestre, câble, satellite, IPTV et OTT de proposer des contenus de grande qualité à des milliards de spectateurs sur tout type d’écran. ATEME est à l’origine de multiples innovations dans des domaines qui vont de la qualité visuelle au caching (mise en cache) et à l’analyse intelligents. Grâce à ses équipes de R&D lauréates de nombreux prix, ATEME demeure un partenaire d’avenir par une participation active à des forums et des associations, au rang desquels DVB, SMPTE, ATSC, AOM, MPEG Streaming Video Alliance, CMAF-IF et 3GPP. Nom : ATEME – Code ISIN : FR0011992700 – Symbole boursier : ATEME – Compartiment : B     .pf-button.pf-button-excerpt { display: none; }L’article Michel Artières Pdg ATEME : “Nous sommes en train de migrer vers des revenus récurrents, c’est un levier qui peut accélérer l’effet de levier à moyen terme” : 8e #ConfPortzamparc dédiée aux #valeursMidAndSmall est apparu en premier sur La Bourse et la Vie TV L'information éco à valeur ajoutée.

The Faultline Podcast is an audio companion to Rethink Technology Research's Faultline service, a weekly news service that examines the video market – focused on Pay TV, OTT, SVoD, and the technology that supports them. Occasionally, our Rethink TV research wing stops by, to talk about upcoming forecasts and macroeconomic trends we're seeing. Hosted by Alex Davies, Tommy Flanagan, and Rafi Cohen, The Faultline Podcast hits the most important points from the last week's news. If you're in the business world and deal with video content, Faultline is a service you'll want to pay attention to. Find out more at: https://rethinkresearch.biz/product/faultline/ We're on Twitter too: https://twitter.com/_Faultline_ And LinkedIn: https://www.linkedin.com/showcase/faultline/

http://tvotshow.com - TVOT/ITVT is pleased to present another episode of “Televisionation,” our new video/audio podcast exploring the advanced/interactive-TV industry in the Coronavirus/Covid-19 Era.This episode features representatives of three French companies discussing how they are addressing the challenges of doing business in the US in the midst of the Coronavirus pandemic: Guillaume Bonnard, VP of Global Sales and Services at Thomson Broadcast (thomsonbroadcast.tv); Bruno Tariant, Head of Sales for the Americas at ENENSYS (enensys.com); and Mikael Raulet, VP of Innovation at ATEME (ateme.com).Among other things, they describe how the pandemic is impacting broadcasters in the US and delaying the implementation of ATSC 3.0; address concerns that the pandemic could result in the US adopting a less globalist and more nativist attitude to manufacturing and business in general; discuss how their companies are nevertheless continuing to build out their US presence; and cast light on how those companies are innovating during this “moment of pause.”(Note: If you would like to share your thoughts on how the Coronavirus/Covid-19 crisis will change the TV and advertising industries, and tell us what your company—or you yourself—are doing to prepare for this new reality, please contact us at tracyswedlow@gmail.com(link sends e-mail).)Subscribe: http://itvt.com/subscribe

Intel Chip Chat – Network Insights audio podcast with Allyson Klein: ATEME is a global technology company specialized in HEVC, H264, MPEG2 video compression solutions for broadcast, cable, DTH, DTT, IPTV and OTT. Thanks to its future-proof solutions, ATEME enables broadcasters, content providers and service providers to modernize, automate and transform their delivery infrastructure. Partnering […]

Intel Chip Chat – Network Insights audio podcast with Allyson Klein: ATEME is a global technology company specialized in HEVC, H264, MPEG2 video compression solutions for broadcast, cable, DTH, DTT, IPTV and OTT. Thanks to its future-proof solutions, ATEME enables broadcasters, content providers and service providers to modernize, automate and transform their delivery infrastructure. Partnering […]

Intel Chip Chat – Network Insights audio podcast with Allyson Klein: ATEME is a global technology company specialized in HEVC, H264, MPEG2 video compression solutions for broadcast, cable, DTH, DTT, IPTV and OTT. Thanks to its future-proof solutions, ATEME enables broadcasters, content providers and service providers to modernize, automate and transform their delivery infrastructure. Partnering […]

Today’s guest is Remi Beaudouin, Chief Strategy Officer at ATEME.   If you watch on-demand content on your TV or computer, it’s very likely that it’s been produced at some point in time by ATEME. More than 95% of their business is done outside of their HQ in France.   Like any other domain, the TV and on-demand content industry is in a period of transformation. Also like any other industry, some people are reluctant to change—but at some point they have to.

Is AV1 more efficient than HEVC? Dror & Mark get into the middle of a 3 against 1 standoff over whether AV1 is actually more efficient than HEVC. The following blog post first appeared on the Beamr blog at: https://blog.beamr.com/2018/11/23/codec-efficiency-is-in-the-eye-of-the-measurer-podcast/ When it comes to comparing video codecs, it's easy to get caught up in the “codec war” mentality. If analyzing and purchasing codecs was as easy as comparing fuel economy in cars, it would undoubtedly take a lot of friction out of codec comparison, but the reality is that it's not that simple. In Episode 02, The Video Insiders go head-to-head comparing two of the leading codecs in a three against one standoff over whether AV1 is more efficient than HEVC. So, which is more efficient? Listen in to this week's episode, “Codec Efficiency Is in the Eye of the Measurer,” to find out. Want to join the conversation? Reach out to TheVideoInsiders@beamr.com. TRANSCRIPTION (lightly edited to improve readability only) Mark Donnigan: 00:41 Hi everyone I am Mark Donnigan and I want to welcome you to episode two of the Video Insiders. Dror Gill: 00:48 And I am Dror Gill. Hi there. Mark Donnigan: 00:50 In every episode of the Video Insiders we bring the latest inside information about what's happening in the video technology industry from encoding, to packaging, to delivery, and playback, and even the business behind the video business. Every aspect of the video industry is covered in detail on the Video Insiders podcast. Dror Gill: 01:11 Oh yeah, we usually do cover everything from pixels, to blocks, to microblocks, to frames, to sequences. We go all the way up and down the video delivery chain and highlight the most important things you should know before you send any video bits over the wire. Mark Donnigan: 01:28 In our first episode we talked about a very hot topic which asked, “Hasn't this kind of been worn out?” The whole HEVC, AV1 discussion. But I think it was very interesting. I sure enjoyed the talk. What about you Dror? Dror Gill: 01:47 Yeah, yeah, yeah. I sure did. It was great talking about the two leading codecs. I don't want to say the word, codec war. Mark Donnigan: 01:58 No, no, we don't believe in codec wars. Dror Gill: 01:59 We believe in codec peace. Mark Donnigan: 02:00 Yeah, that's true. Why is it so complicated to compare video codecs? Why can't it be as simple as fuel economy of cars, this one gets 20 miles per gallon and that one gets 30 and then I make a decision based on that. Dror Gill: 02:15 I wish it was that simple with video codecs. In video compression you have so many parameters to consider. You have the encoding tools, tools are grouped into what's called profiles and levels, or as AV1 calls them “experiments.” Mark Donnigan: 02:31 Experiments, mm-hmm… Dror Gill: 02:35 When you compare the codecs which profiles and levels do you use. What rate control method? Which specific parameters do you set for each codec? And each codec can have hundreds, and hundreds of parameters. Then there is the question of implementation. Which software implementation of the codec do you use? Some implementations are reference implementations that are used for research, and others are highly performance optimized commercial implementations. Which one do you select for the test? And then, which operating system, what hardware do you run on, and obviously what test content? Because encoding two people talking, or encoding an action scene for a movie, is completely different. Dror Gill: 03:13 Finally, when you come to evaluate your video, what quality measure do you use? There're various objective quality measures and some people use actual human viewers and they assesses subjective quality of the video. On that front also, there're many possibilities that you need to choose from. Mark Donnigan: 03:32 Yeah, so many questions and no wonder the answers are not so clear. I was quite surprised when I recently read three different technical articles published at IBC actually, effectively comparing AV1 versus HEVC and I can assume that each of the authors did their research independently. What was surprising was they came to the exact same conclusion, AV1 has the same compression efficiency as HEVC. This is surprising because some other studies and one in particular (I think we'll talk about) out there says the contrary. So can you explain what this means exactly, Dror. Dror Gill: 04:16 By saying that they have the same compression efficiency, this means that they can reach the same quality at the same bitrate or the other way round. You need the same bitrate to reach that same quality. If you need for example, two and a half megabits per second to encode an HD video file using HEVC at a certain quality, then with AV1 you would need roughly the same bitrate to reach that same quality and this means that AV1 and HEVC provide the same compression level. In other words, this means that AV1 does not have any technical advantage over HEVC because it has the same compression efficiency. Of course that's if we put aside all the loyalty issues but we discussed that last time. Right? Mark Donnigan: 04:56 That's right. The guys who wrote the three papers that I'm referencing are really top experts in the field. It's not seminar work done by a student, not to downplay those papers, but the point is these are professionals. One was written by the BBC in cooperation with the Multimedia and Vision Group at the Queen Mary University of London. I think nobody is going to say that the BBC doesn't know a thing or two about video. The second was written by Ateme, and the third by Harmonic, leading vendors. Mark Donnigan: 05:29 I actually pulled out a couple of phrases from each that I'd like to quote. First the BBC and Queen Mary University, here is a conclusion that they wrote, “The results obtained show in general a similar performance between AV1 and the reference HEVC both objectively and subjectively.” Which is interesting because they did take the time to both do the visual assessment as well as use a quality measure. Mark Donnigan: 06:01 Ateme said, “Results demonstrate AV1 to have equivalent performance to HEVC in terms of both objective and subjective video quality test results.” Dror Gill: 06:10 Yeah, very similar. Mark Donnigan: 06:16 And then here is what Harmonic said, “The findings are that AV1 is not more advantageous today than HEVC on the compression side and much more complex to encode than HEVC.” What do you make of this? Dror Gill: 06:32 I don't know. It sounds pretty bad to me, even two of those papers also analyzed subjective quality so they used actual human viewers to check out the quality. But Mark what if I told you that researchers from the University of Klagenfurt in Austria together with Bitmovin published a paper which showed completely different results. What would you say about that? Mark Donnigan: 06:57 Tell me more. Dror Gill: 06:58 Last month in Athens I was the ICIP conference that's the IEEE International Conference on Image Compression and Image Processing. There was this paper presented by this University in Austria with Bitmovin and their conclusion was, let me quote, “When using weighted PSNR, AV1 performs consistently better for bit rate compared to AVC, HEVC, and VP9.” So they claim AV1 is better than three codecs but specifically it's better than HEVC. And then they have a table in their article that compares AV1 to HEVC for six different video clips. The table shows that with AV1 you get up to 25% lower bitrate at the same quality than HEVC. Dror Gill: 07:43 I was sitting there in Athens last month when they presented this and I was shocked. Mark Donnigan: 07:50 What are the chances that three independent papers are wrong and only this paper got it right? And by the way, the point here is not three against one because presumably there're some other papers. I'm guessing other research floating around that might side with Bitmovin. The point is that three companies who no one is going to say that any of them are not experts and not highly qualified to do a video assessment, came up with such a different result. Tell us what you think is going on here? Dror Gill: 08:28 I was thinking the same thing. How can that be. During the presentation I asked one of the authors who presented the paper a few questions and it turned out that they made some very questionable decisions in all of that sea of possibility that I talked about before. Decisions related to coding tools, codec parameters, and quality measures. Dror Gill: 08:51 First of all, in this paper they didn't show any results of subjective viewing. Only the objective metrics. Now we all know that you should always your eyes, right? Mark Donnigan: 09:03 That's right. Dror Gill: 09:04 Objective metrics, nice numbers, but obviously you need to view the video because that's how the actual viewers are going to assess the (video) quality. The second thing is that they only used the single objective metric and this was PSNR. PSNR, it stands for peak signal-to-noise ratio and basically this measure is a weighted average of the difference in peaks between pixel values of the two images. Dror Gill: 09:30 Now, we're Video Insiders, but even if you're not an insider you know that PSNR is not a very good quality measure because it does not correlate very well with human vision. This is the measure that they choose to look at but what was most surprising is that there is a flag in the HEVC open source encoder which they used that if chosen, the result is improved PNSR. What it does, it turns off some psycho-visual optimizations which make the video look better but reduce the PSNR, and that's turned on by default. So you would expect that they're measuring PSNR they would turn that flag on so you would get higher PSNR. Well, they didn't. They didn't turn the flag on! Mark Donnigan: 10:13 Amazing. Dror Gill: 10:17 Finally, even then AV1 is much slower than HEVC, and they also reported in this data that it was much, much slower than HEVC but still they did not use the slowest encoding standing of HEVC, which would provide the best quality. There's always a trade off between performance and quality. The more tools you employ the better quality you can squeeze out of the video, of course that takes you more CPU cycles but they used for HEVC, the third slowest setting which means this is the third best quality you can get with that codec and not the very best quality. When you handicap an HEVC encoder in this way, it's not surprising that you get such poor results. Dror Gill: 11:02 I think based on all these points everybody can understand why the results of this comparison were quite different than all of the other comparison that were published a month earlier at IBC (by Ateme, BBC, Harmonic). Mark Donnigan: 11:13 It's interesting. Mark Donnigan: 11:14 Another critical topic that we have to cover is performance. If you measure the CPU performance on encoding time of AV1, I believe that it's pretty universally understood that you are going to find it currently is a hundred times slower than HEVC. Is that correct? Dror Gill: 11:32 Yeah, that's right. Typically, you measure the performance of an encoder and FPS which is frames per second. For HEVC it's common to measure an FPM which is frames per minute. Mark Donnigan: 11:42 Frames per minute, (more like) frames per hour, FPH. Dror Gill: 11:45 A year and a half ago or a year ago when there were very initial implementation, it was really FPD or FPH, Frames per hour or per day and you really needed to have a lot of patience, but now after they've done some work it's only a hundred times slower than HEVC. Mark Donnigan: 12:02 Yeah, that's pretty good. They're getting there. But some people say that the open source implementation of AV1 I believe it's AOM ENC. Dror Gill: 12:11 Yeah, AOM ENC. Mark Donnigan: 12:16 ENC exactly has not been optimized for performance at all. One thing I like about speed is either your encoder produces X number of frames per second or per minute, or it doesn't. It's really simple. Here is my next question for you. Proponents of AV1 are saying, “well it's true it's slow but it hasn't been optimized, the open source implementation,” which is to imply that there's a lot of room (for improvement) and that we're just getting started, “don't worry we'll close the gap.” But if you look at the code, and by the way I may be a marketing guy but my formal education is computer science. Mark Donnigan: 13:03 You can see it already includes performance optimizations. I mean eptimizations like MMX, SSE, there's AVX instructions, there's CPU optimization, there's multithreading. It seems like they're already trying to make this thing go faster. So how are they going to close this a hundred X (time) gap? Dror Gill: 13:22 I don't think they can. I mean a hundred X, that's a lot and you know even the AV1 guys they even admit that they won't be able to close the gap. I talked to a few senior people who're involved in the Alliance for Open Media and even they told me that they expect AV1 to five to 10 times more complex than HEVC at the end of the road. In two to three years after all optimization are done, it's still going to be more complex than HEVC. Dror Gill: 13:55 Now, if you ask me why it's so complex I'll tell you my opinion. Okay, this is my personal opinion. I think it's because they invested a lot of effort in side stepping the patents (HEVC). Mark Donnigan: 14:07 Good point. I agree. Dror Gill: 14:07 They need to get that compression efficiency which is the same as HEVC but they need to use algorithms that are not patented. They have methods that use much more CPU resources than the original patent algorithms to reach the same results. You can call it kind of brute force implementation of the same thing to avoid the patent issue. That's my personal opinion, but the end result I think is clear, it's going to be five to 10 times slower than HEVC. It has the same compression efficiency so I think it's quite questionable. This whole notion of using AV1 to get better results. Mark Donnigan: 14:45 Absolutely. If you can encode let's say on a single computer with HEVC a full ABR stack, this is what people want to do. But here we're talking speeds that are so slow let's just try and do (encode) one stream. Literally what you're saying is you'll need five to 10 computers to do the same encode with AV1. I mean, that's just not viable. It doesn't make sense to me. Dror Gill: 15:14 Yeah, why would you invest so much encoding into getting the same results. If you look at another aspect of this, let's talk about hardware encode. Companies that have large data centers, companies that are encoding vast amount of video content are not looking into moving from the traditional software encoding and CPUs and GPUs, to dedicated hardware. We're hearing talks about FPGAs even ASICs … by the way this is a very interesting trend in itself that we'll probably cover in one of the next episodes. But in the context of AV1, imagine a chip that is five to 10 times larger than an HEVC chip and which is the same complexity efficiency. The question I ask again is why? Why would anybody design such a chip, and why would anybody use it when HEVC is available today? It's much easier to encode, royalty issues have been practically solved so you know? Mark Donnigan: 16:06 Yeah, it's a big mystery for sure. One thing I can say is the Alliance for Open Media has done a great service to HEVC by pushing the patent holders to finalize their licensing terms … and ultimately make them much more rational shall we say? Dror Gill: 16:23 Yeah. Mark Donnigan: 16:25 Let me say that as we're an HEVC vendor and speaking on behalf of others (in the industry), we're forever thankful to the Alliance for Open Media. Dror Gill: 16:36 Definitely, without the push from AOM and the development of AV1 we would be stuck with HEVC royalty issue until this day. Mark Donnigan: 16:44 That was not a pretty situation a few years back, wow! Dror Gill: 16:48 No, no, but as we said in the last episode we have a “happy ending” now. (reference to episode 1) Mark Donnigan: 16:52 That's right. Dror Gill: 16:52 Billions of devices support HEVC and royalty issues are pretty much solved, so that's great. I think we've covered HEVC and AV1 pretty thoroughly in two episodes but what about the other codecs? There's VP9, you could call that the predecessor of AV1, and then there's VVC, which is the successor of HEVC. It's the next codec developed by MPEG. Okay, VP9 and VVC I guess we have a topic for our next episode, right? Mark Donnigan: 17:21 It's going to be awesome. Narrator: 17:23 Thank you for listening to the Video Insider podcast a production of Beamr limited. To begin using Beamr codecs today go to beamr.com/free to receive up to 100 hours of no cost HEVC and H.264 transcoding every month.

In this livecast from the National Association of Broadcasters conference in Las Vegas, Shantanu Gupta and Aloni Yossi discuss industry challenges and advances in media graphics and delivery. Shantanu, Director of Business Development for the Media Accelerator Products group at Intel chats about how media processing is moving into the cloud and how the Intel® Visual Compute Accelerator allows content providers to utilize the incredible performance of the Intel® Xeon™ processor E5 v3 to provide the performance and scaling necessary for video transcoding workloads. Aloni Yossi, Chief Marketing Officer at ATEME highlights the evolution of ATEME into the media industry and the partnership that they have formed with Intel, combining ATEME’s high quality video compression skills and Intel’s Visual Compute Accelerator (Intel® VCA) PCle card. To learn more go to http://www.ateme.com/

On continue notre tour d'horizon des entreprises françaises rencontrées lors du Mobile World Congress, avec Ateme, une société française spécialisée dans la compression de...