Key Video Compression Formats

Why This Matters

Video compression isn't just a technical detail—it's the foundation of every creative decision you'll make about delivery, quality, and workflow. Whether you're exporting a final cut for streaming, preparing dailies for editorial, or archiving a project, the codec you choose determines how your work looks, how fast it transfers, and whether your audience can even play it. You're being tested on understanding the tradeoffs between compression efficiency, processing demands, and quality preservation—concepts that separate amateur exports from professional deliverables.

The formats below demonstrate core principles: lossy vs. visually lossless compression, interframe vs. intraframe encoding, open-source vs. proprietary licensing, and the eternal balance between file size and image fidelity. Don't just memorize codec names—know what workflow each serves and why you'd choose one over another for a specific delivery scenario.

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Delivery Codecs: Streaming and Distribution

These codecs prioritize small file sizes for efficient delivery while maintaining acceptable quality. They use interframe compression—analyzing multiple frames to eliminate redundant data—which makes them efficient but harder to edit.

H.264/AVC

• The universal delivery standard—compatible with virtually every device, browser, and platform you'll encounter
• Interframe compression uses predictive algorithms to achieve roughly 50:1 compression ratios while maintaining broadcast-quality output
• 4K capable but increasingly replaced by H.265 for ultra-high-definition content due to bandwidth limitations

H.265/HEVC

• Double the efficiency of H.264—achieves the same quality at approximately half the bitrate, making it essential for 4K/8K streaming
• Higher computational demands require modern hardware for smooth encoding and playback, limiting compatibility with older devices
• Licensing fees make it less attractive for open platforms, driving adoption of royalty-free alternatives

VP9

• Google's open-source answer to H.265—royalty-free and optimized specifically for YouTube and Chrome-based delivery
• Comparable compression efficiency to HEVC at 4K resolutions, with strong browser support but weaker hardware decoder availability
• Web-first design means excellent performance in HTML5 players but limited adoption in broadcast or physical media workflows

AV1

• The next-generation open standard—designed to surpass both H.265 and VP9 with 30% better compression efficiency
• Royalty-free licensing backed by the Alliance for Open Media (Netflix, Google, Amazon), positioning it as the future of streaming
• Extremely demanding encoding currently limits practical use to large platforms with dedicated infrastructure; expect wider adoption as hardware decoders mature

WebM

• Container format pairing VP8/VP9 with Vorbis/Opus audio—purpose-built for HTML5 web delivery
• Native browser support in Chrome, Firefox, and Edge makes it ideal for embedded web video without plugin dependencies
• Limited device compatibility outside browsers means it's rarely used for downloadable or offline content

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Production Codecs: Editing and Post-Production

These codecs prioritize image quality and editing performance over file size. They typically use intraframe compression—each frame is compressed independently—which allows instant access to any frame without decoding surrounding frames.

ProRes

• Apple's professional editing standard—maintains near-lossless quality while keeping files manageable for real-time playback
• Multiple variants (Proxy, LT, 422, 422 HQ, 4444, 4444 XQ) let you choose the quality-to-size ratio appropriate for your workflow stage
• Industry-wide adoption in post-production means editors, colorists, and VFX artists expect ProRes deliverables regardless of their NLE

DNxHD/DNxHR

• Avid's answer to ProRes—designed for Media Composer but now cross-platform compatible
• DNxHD handles HD resolutions while DNxHR extends support to 4K, 8K, and HDR workflows
• Low decode latency enables smooth real-time editing and color grading without proxy workflows

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Legacy and Specialized Formats

These formats serve specific niches—older distribution systems, simple capture applications, or broad compatibility requirements. Understanding them helps you navigate real-world projects involving archival footage or specialized hardware.

MPEG-4

• Umbrella standard encompassing multiple codecs—technically includes H.264 (Part 10) but often refers to older Part 2 implementations
• Versatile container format supports video, audio, subtitles, and metadata in a single .mp4 file
• Broad compatibility makes it a safe fallback for legacy systems, though newer codecs outperform it in pure compression efficiency

MPEG-2

• The DVD and broadcast television standard—still powers over-the-air TV and physical disc playback worldwide
• Lower compression efficiency than modern codecs means larger files for equivalent quality, but universal hardware decoder support
• Essential for legacy workflows including DVD authoring, some broadcast ingest systems, and archival compatibility

MJPEG

• Intraframe-only compression—each frame is a standalone JPEG image, making editing trivially simple
• Large file sizes compared to interframe codecs, but instant frame access without computational overhead
• Common in capture hardware like action cameras, surveillance systems, and older prosumer camcorders where simplicity trumps efficiency

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Quick Reference Table

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Self-Check Questions

1. You're delivering a 4K documentary to both Netflix (streaming) and a broadcast network (traditional TV). Which two codecs would you likely use, and why does each suit its delivery method?

2. Compare ProRes 422 HQ and H.264: both can encode the same 1080p footage. Why would an editor choose ProRes for the editing timeline but H.264 for the final YouTube upload?

3. A client requests a "future-proof" streaming codec that avoids licensing fees. Which format would you recommend, and what's the main tradeoff they should expect during encoding?

4. What distinguishes interframe compression (H.264, H.265) from intraframe compression (ProRes, MJPEG), and how does this difference affect editing performance?

5. You're archiving footage that may need to be accessed on unknown systems 20 years from now. Would you choose AV1 or MPEG-2 for maximum compatibility, and what's the reasoning behind your choice?