255:, which transforms the raw data to a domain that more accurately reflects the information content. For example, rather than expressing a sound file as the amplitude levels over time, one may express it as the frequency spectrum over time, which corresponds more accurately to human audio perception. While data reduction (compression, be it lossy or lossless) is a main goal of transform coding, it also allows other goals: one may represent data more accurately for the original amount of space – for example, in principle, if one starts with an analog or high-resolution
2986:
2976:
527:. If data which has been compressed lossily is decoded and compressed losslessly, the size of the result can be comparable with the size of the data before lossy compression, but the data already lost cannot be recovered. When deciding to use lossy conversion without keeping the original, format conversion may be needed in the future to achieve compatibility with software or devices (
148:
compression techniques as closely matched to human perception as possible is a complex task. Sometimes the ideal is a file that provides exactly the same perception as the original, with as much digital information as possible removed; other times, perceptible loss of quality is considered a valid tradeoff.
127:
needed to transmit it, with no loss of the full information contained in the original file. A picture, for example, is converted to a digital file by considering it to be an array of dots and specifying the color and brightness of each dot. If the picture contains an area of the same color, it can be
147:
In many cases, files or data streams contain more information than is needed. For example, a picture may have more detail than the eye can distinguish when reproduced at the largest size intended; likewise, an audio file does not need a lot of fine detail during a very loud passage. Developing lossy
423:
methods is that in some cases a lossy method can produce a much smaller compressed file than any lossless method, while still meeting the requirements of the application. Lossy methods are most often used for compressing sound, images or videos. This is because these types of data are intended for
323:, allow one to reduce the resolution on the components to accord with human perception – humans have highest resolution for black-and-white (luma), lower resolution for mid-spectrum colors like yellow and green, and lowest for red and blues – thus NTSC displays approximately 350 pixels of luma per
271:
file of the same size. This is because uncompressed audio can only reduce file size by lowering bit rate or depth, whereas compressing audio can reduce size while maintaining bit rate and depth. This compression becomes a selective loss of the least significant data, rather than losing data across
553:
By modifying the compressed data directly without decoding and re-encoding, some editing of lossily compressed files without degradation of quality is possible. Editing which reduces the file size as if it had been compressed to a greater degree, but without more loss than this, is sometimes also
62:
Well-designed lossy compression technology often reduces file sizes significantly before degradation is noticed by the end-user. Even when noticeable by the user, further data reduction may be desirable (e.g., for real-time communication or to reduce transmission times or storage needs). The most
54:
methods that uses inexact approximations and partial data discarding to represent the content. These techniques are used to reduce data size for storing, handling, and transmitting content. The different versions of the photo of the cat on this page show how higher degrees of approximation create
695:
video, although those prior schemes had limited success in terms of adoption into real-world common usage. Without this capacity, which is often the case in practice, to produce a representation with lower resolution or lower fidelity than a given one, one needs to start with the original source
151:
The terms "irreversible" and "reversible" are preferred over "lossy" and "lossless" respectively for some applications, such as medical image compression, to circumvent the negative implications of "loss". The type and amount of loss can affect the utility of the images. Artifacts or undesirable
1264:, are, like lossy compression, irreversible: the original signal cannot be reconstructed from the transformed signal. However, in general these will have the same size as the original, and are not a form of compression. Lowering resolution has practical uses, as the
143:
file is smaller than its original, but repeatedly compressing the same file will not reduce the size to nothing. Most compression algorithms can recognize when further compression would be pointless and would in fact increase the size of the data.
1488:“Although one main goal of digital audio perceptual coders is data reduction, this is not a necessary characteristic. As we shall see, perceptual coding can be used to improve the representation of digital audio through advanced bit allocation.”
735:
methods. Some audio formats feature a combination of a lossy format and a lossless correction which when combined reproduce the original signal; the correction can be stripped, leaving a smaller, lossily compressed, file. Such formats include
403:, previous and/or subsequent decoded data is used to predict the current sound sample or image frame. The error between the predicted data and the real data, together with any extra information needed to reproduce the prediction, is then
201:. The remaining information can then be compressed via a variety of methods. When the output is decoded, the result may not be identical to the original input, but is expected to be close enough for the purpose of the application.
671:, but this functionality is not supported in all designs, as not all codecs encode data in a form that allows less important detail to simply be dropped. Some well-known designs that have this capability include
106:
which can then be used to produce additional copies from. This allows one to avoid basing new compressed copies off of a lossy source file, which would yield additional artifacts and further unnecessary
606:
Some other transforms are possible to some extent, such as joining images with the same encoding (composing side by side, as on a grid) or pasting images such as logos onto existing images (both via
31:
490:(that is, the size of the compressed file compared to that of the uncompressed file) of lossy video codecs is nearly always far superior to that of the audio and still-image equivalents.
1279:
which progressively defines the image. Thus a partial transmission is enough to preview the final image, in a lower resolution version, without creating a scaled and a full version too.
474:
describes how sound can be highly compressed without degrading perceived quality. Flaws caused by lossy compression that are noticeable to the human eye or ear are known as
59:(reversible data compression) which does not degrade the data. The amount of data reduction possible using lossy compression is much higher than using lossless techniques.
34:
Composite image showing JPG and PNG image compression. Left side of the image is from a low-quality JPEG image, showing lossy artefacts; the right side is from a PNG image.
1643:
707:
Another approach is to encode the original signal at several different bitrates, and then either choose which to use (as when streaming over the internet – as in
680:
667:
or otherwise decrease the resolution of the represented source signal and the quantity of data used for its compressed representation without re-encoding, as in
519:
from the re-encoding. This can be avoided by only producing lossy files from (lossless) originals and only editing (copies of) original files, such as images in
131:
The original data contains a certain amount of information, and there is a lower bound to the size of a file that can still carry all the information. Basic
102:. By contrast, lossless compression is typically required for text and data files, such as bank records and text articles. It can be advantageous to make a
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462:
When a user acquires a lossily compressed file, (for example, to reduce download time) the retrieved file can be quite different from the original at the
157:
432:. Data files using lossy compression are smaller in size and thus cost less to store and to transmit over the Internet, a crucial consideration for
424:
human interpretation where the mind can easily "fill in the blanks" or see past very minor errors or inconsistencies – ideally lossy compression is
411:
In some systems the two techniques are combined, with transform codecs being used to compress the error signals generated by the predictive stage.
466:
level while being indistinguishable to the human ear or eye for most practical purposes. Many compression methods focus on the idiosyncrasies of
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712:
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Still images are often lossily compressed at 10:1, as with audio, but the quality loss is more noticeable, especially on closer inspection.
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effects of compression may be clearly discernible yet the result still useful for the intended purpose. Or lossy compressed images may be '
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of its encounter with Pluto-Charon before it sent the higher resolution images. Another solution for slow connections is the usage of
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2684:
2507:
2301:
1151:
1349:"Usability of irreversible image compression in radiological imaging. A position paper by the European Society of Radiology (ESR)"
1992:
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the board. Further, a transform coding may provide a better domain for manipulating or otherwise editing the data – for example,
327:, 150 pixels of yellow vs. green, and 50 pixels of blue vs. red, which are proportional to human sensitivity to each component.
276:
of audio is most naturally expressed in the frequency domain (boost the bass, for instance) rather than in the raw time domain.
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339:: repeatedly compressing and decompressing the file will cause it to progressively lose quality. This is in contrast with
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An important caveat about lossy compression (formally transcoding), is that editing lossily compressed files causes
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307:) means that black-and-white sets display the luminance, while ignoring the color information. Another example is
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compressed without loss by saying "200 red dots" instead of "red dot, red dot, ...(197 more times)..., red dot."
719:), or broadcast several, where the best that is successfully received is used, as in various implementations of
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channel). While unwanted information is destroyed, the quality of the remaining portion is unchanged.
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1465:"T.81 – DIGITAL COMPRESSION AND CODING OF CONTINUOUS-TONE STILL IMAGES – REQUIREMENTS AND GUIDELINES"
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says that there is an absolute limit in reducing the size of this data. When data is compressed, its
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1997:
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signal and encode, or start with a compressed representation and then decompress and re-encode it (
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1576:, Prentice Hall, 1996; JPEG: Chapter 8; H.261: Chapter 9; MPEG-1: Chapter 10; MPEG-2: Chapter 11.
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1084:(Notable for lack of patent restrictions, low delay, and high quality speech and general audio.)
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197:. Knowledge of the application is used to choose information to discard, thereby lowering its
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1103:
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384:, samples of picture or sound are taken, chopped into small segments, transformed into a new
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file of a given size should provide a better representation than a raw uncompressed audio in
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2007:
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It is possible to compress many types of digital data in a way that reduces the size of a
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for video. Such schemes have also been standardized for older designs as well, such as
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Data compression approach that reduces data size while discarding or changing some of it
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information, can usually be modified or removed without modifying the underlying data.
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A general kind of lossy compression is to lower the resolution of an image, as in
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Video can be compressed immensely (e.g., 100:1) with little visible quality loss
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Optimizing the compression (to reduce size without change to the decoded image)
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Audio can often be compressed at 10:1 with almost imperceptible loss of quality
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1779:, comparing the suitability of JPG and lossless compression for image archives
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1256:. One may also remove less "lower information" parts of an image, such as by
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1073:(WMA) (Standard and Pro profiles are lossy. WMA Lossless is also available.)
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in 1974. DCT is the most widely used form of lossy compression, for popular
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The most common form of lossy compression is a transform coding method, the
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1887:
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1752:, comparing the speed and compression strength of five lossy audio formats.
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increases, and it cannot increase indefinitely. For example, a compressed
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193:. The transformation is typically used to enable better (more targeted)
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techniques, although these sometimes fall into the related category of
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Researchers have performed lossy compression on text by either using a
737:
664:
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Some forms of lossy compression can be thought of as an application of
79:
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From this point of view, perceptual encoding is not essentially about
1758:, including chapters on lossy compression of images, audio and video.
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791:(high-density lossless or lossy compression of RGB and RGBA images)
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429:
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209:
68:
355:
in optimal coding theory, rate-distortion theory heavily draws on
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2118:
2067:
1539:"Reminiscences of the Early Work in DCT: Interview with K.R. Rao"
806:
741:
644:
613:
Some changes can be made to the compression without re-encoding:
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437:
251:
In the case of audio data, a popular form of transform coding is
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1183:
1065:
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688:
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343:, where data will not be lost via the use of such a procedure.
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coarser images as more details are removed. This is opposed to
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814:
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620:
Converting between progressive and non-progressive encoding.
2148:
2002:
1987:
1977:
1724:"Semantic and Generative Models for Lossy Text Compression"
1574:
Techniques and
Standards for Image, Video, and Audio Coding
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1177:
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AVC) (may also be lossless, even in certain video sections)
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855:, Progressive Graphics File (lossless or lossy compression)
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The primary programs for lossless editing of JPEGs are
347:
foundations for lossy data compression are provided by
1772:
Using lossy GIF/PNG compression for the web (article)
1546:
78:
Lossy compression is most commonly used to compress
1588:"The Use of FFT and MDCT in MP3 Audio Compression"
659:Downsampling/compressed representation scalability
549:commons:Commons:Software § Ogg Vorbis (audio)
535:for decoding or distribution of compressed files.
158:diagnostically acceptable irreversible compression
1537:Stanković, Radomir S.; Astola, Jaakko T. (2012).
1422:
715:" – or offering varying downloads, as at Apple's
366:in order to model perceptual distortion and even
3007:
1536:
373:There are two basic lossy compression schemes:
178:, which is a type of data compression used for
156:', or in the case of medical images, so-called
63:widely used lossy compression algorithm is the
1644:"The inconvenient truth about Bluetooth audio"
428:(imperceptible), which can be verified via an
1804:
1430:(January 1974), "Discrete Cosine Transform",
817:pixel formats (lossless or lossy compression)
1818:
1232:to substitute short words for long ones, or
295:: in color television, encoding color via a
1674:"What is Sony LDAC, and how does it do it?"
1616:
1610:
1532:
1530:
1528:
1526:
1524:
1522:
1492:, Victor Lombardi, noisebetweenstations.com
1192:(noted for its lack of patent restrictions)
1186:(noted for its lack of patent restrictions)
1090:Adaptive differential pulse-code modulation
977:(noted for its lack of patent restrictions)
1811:
1797:
1690:
1665:
1635:
750:DTS-HD Master Audio in lossless (XLL) mode
504:
392:. The resulting quantized values are then
1372:
628:has some lossless JPEG operations in its
538:
1721:
1519:
1152:Algebraic code-excited linear prediction
29:
1585:
890:
809:, a successor of JPEG with support for
14:
3008:
1579:
1347:European Society of Radiology (2011).
1243:
1158:Relaxed code-excited linear prediction
845:, used by the Mars Rovers, related to
687:images with progressive encoding, and
580:(which provides a Windows interface).
335:Lossy compression formats suffer from
94:), especially in applications such as
1792:
1641:
1568:
1566:
1416:
803:(BPG) (lossless or lossy compression)
108:
1696:
1671:
830:, JPEG's successor format that uses
700:), though the latter tends to cause
545:commons:Commons:Software § JPEG
481:
419:The advantage of lossy methods over
208:(DCT), which was first published by
1217:(mostly for real-time applications)
1209:Constrained Energy Lapped Transform
330:
163:
24:
1563:
1198:Modified discrete cosine transform
1044:Adaptive Transform Acoustic Coding
1032:Modified discrete cosine transform
25:
3032:
1743:
1260:. Many media transforms, such as
723:. Similar techniques are used in
2985:
2984:
2975:
2974:
1631:from the original on 2017-02-13.
861:Cartesian Perceptual Compression
1715:
1617:Brandenburg, Karlheinz (1999).
874:(lossless or lossy compression)
834:(lossless or lossy compression)
458:Transparency (data compression)
451:
1699:"aptX HD - lossless or lossy?"
1495:
1482:
1457:
1432:IEEE Transactions on Computers
1389:
1340:
1146:Code-excited linear prediction
160:(DAIC) may have been applied.
13:
1:
1642:Darko, John H. (2017-03-29).
1586:Guckert, John (Spring 2012).
1490:Masking and Perceptual Coding
1223:
885:3D computer graphics hardware
414:
3021:Lossy compression algorithms
1096:Master Quality Authenticated
966:High Efficiency Video Coding
795:High Efficiency Image Format
583:These allow the image to be
287:of data. Another use is for
7:
1762:Lossy PNG image compression
1572:K. R. Rao and J. J. Hwang,
1282:
760:
638:
123:needed to store it, or the
10:
3037:
2866:Compressed data structures
2188:RLE + BWT + MTF + Huffman
1856:Asymmetric numeral systems
1785:, Jpg, Png compressor tool
1768: (archived 2005-10-03)
1722:I. H. WITTEN; et al.
1140:Adaptive predictive coding
1125:
1025:
1014:
906:
769:
755:
624:The freeware Windows-only
542:
508:
455:
303:transform domain (such as
167:
67:(DCT), first published by
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2938:
2856:
2781:
2713:
2704:
2627:
2561:
2552:
2453:
2370:
2361:
2277:
2225:Discrete cosine transform
2215:
2206:
2155:LZ77 + Huffman + context
2108:
2018:
1948:
1836:
1827:
1365:10.1007/s13244-011-0071-x
1121:
919:Discrete cosine transform
778:Discrete cosine transform
731:, and more sophisticated
341:lossless data compression
283:data, but rather about a
206:discrete cosine transform
65:discrete cosine transform
57:lossless data compression
2930:Smallest grammar problem
1697:Ford, Jez (2016-11-22).
1672:Ford, Jez (2015-08-24).
1334:
1134:Linear predictive coding
1010:
902:
801:Better Portable Graphics
765:
740:(Scalable to Lossless),
351:. Much like the use of
114:
48:irreversible compression
2871:Compressed suffix array
2420:Nyquist–Shannon theorem
1756:Data compression basics
1619:"MP3 and AAC Explained"
1503:"New jpegtran features"
1470:. CCITT. September 1992
1444:10.1109/T-C.1974.223784
1402:Encyclopedia Britannica
729:pyramid representations
721:hierarchical modulation
702:digital generation loss
595:, or even converted to
557:
517:digital generation loss
505:Transcoding and editing
401:lossy predictive codecs
345:Information-theoretical
1729:. The Computer Journal
1319:Rate–distortion theory
1021:Audio data compression
849:in its use of wavelets
572:(which also preserves
539:Editing of lossy files
531:), or to avoid paying
349:rate-distortion theory
289:backward compatibility
226:video coding standards
40:information technology
35:
18:Lossy data compression
2900:Kolmogorov complexity
2768:Video characteristics
2145:LZ77 + Huffman + ANS
1783:JPG Image Compression
1238:lossy data conversion
1126:Further information:
1104:MPEG-1 Audio Layer II
1056:Advanced Audio Coding
1015:Further information:
956:Advanced Video Coding
907:Further information:
770:Further information:
681:Scalable Video Coding
675:for still images and
509:Further information:
476:compression artifacts
456:Further information:
285:better representation
33:
2990:Compression software
2584:Compression artifact
2540:Psychoacoustic model
1314:Lossless compression
1289:Compression artifact
1005:Sorenson video codec
891:3D computer graphics
746:OptimFROG DualStream
472:psychoacoustic model
293:graceful degradation
104:master lossless file
2980:Compression formats
2619:Texture compression
2614:Standard test image
2430:Silence compression
1750:Lossy audio formats
1244:Lowering resolution
1170:Adaptive Multi-Rate
1071:Windows Media Audio
1017:Audio coding format
988:Wavelet compression
909:Video coding format
867:Fractal compression
863:, also known as CPC
823:Wavelet compression
212:, T. Natarajan and
71:, T. Natarajan and
2888:Information theory
2743:Display resolution
2569:Chroma subsampling
1958:Byte pair encoding
1903:Shannon–Fano–Elias
1596:University of Utah
1397:"Data compression"
1271:craft transmitted
1112:(based on Musicam)
811:high-dynamic range
643:Metadata, such as
576:information), and
568:, and the derived
309:chroma subsampling
133:information theory
100:internet telephony
36:
3003:
3002:
2852:
2851:
2802:Deblocking filter
2700:
2699:
2548:
2547:
2357:
2356:
2202:
2201:
1777:JPG for Archiving
1426:; Natarajan, T.;
1277:Image interlacing
913:Video compression
772:Image compression
599:(by dropping the
488:compression ratio
482:Compression ratio
444:services such as
436:services such as
253:perceptual coding
240:formats (such as
238:audio compression
220:formats (such as
218:image compression
154:visually lossless
44:lossy compression
16:(Redirected from
3028:
3016:Data compression
2988:
2987:
2978:
2977:
2807:Lapped transform
2711:
2710:
2589:Image resolution
2574:Coding tree unit
2559:
2558:
2368:
2367:
2213:
2212:
1834:
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1820:Data compression
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1650:. Archived from
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1386:
1376:
1353:Insights Imaging
1344:
1294:Data compression
993:Motion JPEG 2000
883:compression for
677:H.264/MPEG-4 AVC
663:One may wish to
631:
571:
567:
533:patent royalties
521:raw image format
468:human physiology
379:lossy transform
331:Information loss
176:transform coding
170:Transform coding
164:Transform coding
109:information loss
52:data compression
50:is the class of
21:
3036:
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3029:
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3006:
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2915:Rate–distortion
2848:
2777:
2696:
2623:
2544:
2449:
2445:Sub-band coding
2353:
2278:Predictive type
2273:
2198:
2165:LZSS + Huffman
2115:LZ77 + Huffman
2104:
2014:
1950:Dictionary type
1944:
1846:Adaptive coding
1823:
1817:
1766:Wayback Machine
1746:
1741:
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1390:
1345:
1341:
1337:
1285:
1252:, particularly
1246:
1234:generative text
1226:
1130:
1128:Speech encoding
1124:
1028:
1023:
1013:
958:(AVC / H.264 /
915:
905:
893:
774:
768:
763:
758:
669:bitrate peeling
661:
649:Vorbis comments
641:
629:
610:), or scaling.
569:
563:
560:
551:
541:
529:format shifting
513:
507:
484:
460:
454:
442:streaming audio
434:streaming video
417:
364:decision theory
337:generation loss
333:
172:
166:
117:
96:streaming media
28:
23:
22:
15:
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2349:Psychoacoustic
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1744:External links
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1359:(2): 103–115.
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1309:List of codecs
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257:digital master
180:digital images
168:Main article:
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9:
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2440:Speech coding
2438:
2436:
2435:Sound quality
2433:
2431:
2428:
2426:
2423:
2421:
2418:
2416:
2413:
2411:
2410:Dynamic range
2408:
2406:
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2401:
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2211:
2209:
2205:
2193:
2190:
2189:
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2177:
2176:
2175:LZ77 + Range
2174:
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2017:
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2001:
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1654:on 2018-01-14
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1300:
1299:Image scaling
1297:
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1270:
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1262:Gaussian blur
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1250:image scaling
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1117:
1116:aptX/ aptX-HD
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1038:Dolby Digital
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964:
961:
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954:
951:
947:
946:MPEG-4 Part 2
944:
941:
940:MPEG-2 Part 2
938:
936:
935:MPEG-1 Part 2
933:
931:
928:
926:
923:
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920:
917:
916:
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898:
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839:
836:
833:
829:
826:
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802:
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747:
743:
739:
734:
730:
726:
722:
718:
714:
710:
705:
703:
699:
694:
693:MPEG-4 Part 2
690:
686:
682:
678:
674:
670:
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656:
654:
650:
646:
636:
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630:JPG_TRANSFORM
627:
619:
616:
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611:
609:
604:
602:
598:
594:
590:
586:
581:
579:
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459:
449:
447:
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439:
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406:
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398:
395:
394:entropy coded
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387:
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376:
375:
374:
371:
369:
365:
361:
358:
354:
350:
346:
342:
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328:
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318:
314:
311:: the use of
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191:digital video
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184:digital audio
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121:computer file
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81:
76:
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70:
66:
60:
58:
53:
49:
45:
41:
32:
19:
2946:Hutter Prize
2910:Quantization
2815:Compensation
2609:Quantization
2332:Compensation
2207:
1898:Shannon–Fano
1838:Entropy type
1731:. Retrieved
1717:
1706:. Retrieved
1702:
1692:
1681:. Retrieved
1677:
1667:
1656:. Retrieved
1652:the original
1647:
1637:
1612:
1600:. Retrieved
1594:
1581:
1573:
1553:. Retrieved
1549:
1545:
1510:. Retrieved
1506:
1497:
1484:
1472:. Retrieved
1459:
1438:(1): 90–93,
1435:
1431:
1424:Ahmed, Nasir
1418:
1406:. Retrieved
1400:
1391:
1356:
1352:
1342:
1324:Seam carving
1269:New Horizons
1258:seam carving
1247:
1227:
717:iTunes Store
709:RealNetworks
706:
662:
642:
623:
612:
605:
582:
561:
552:
514:
485:
461:
452:Transparency
418:
410:
400:
378:
372:
334:
313:color spaces
284:
280:
278:
274:equalization
250:
203:
195:quantization
173:
150:
146:
130:
118:
77:
61:
47:
43:
37:
2905:Prefix code
2758:Frame types
2579:Color space
2405:Convolution
2135:LZ77 + ANS
2046:Incremental
2019:Other types
1938:Levenshtein
1507:sylvana.net
1329:Transcoding
930:Motion JPEG
733:scale space
698:transcoding
601:chrominance
587:, rotated,
523:instead of
511:Transcoding
426:transparent
386:basis space
353:probability
301:chrominance
210:Nasir Ahmed
69:Nasir Ahmed
3010:Categories
2962:Mark Adler
2920:Redundancy
2837:Daubechies
2820:Estimation
2753:Frame rate
2675:Daubechies
2635:Chain code
2594:Macroblock
2400:Companding
2337:Estimation
2257:Daubechies
1963:Lempel–Ziv
1923:Exp-Golomb
1851:Arithmetic
1733:2007-10-13
1708:2018-01-13
1683:2018-01-13
1658:2018-01-13
1555:13 October
1512:2019-09-20
1428:Rao, K. R.
1273:thumbnails
1254:decimation
1224:Other data
738:MPEG-4 SLS
713:SureStream
665:downsample
554:possible.
543:See also:
415:Comparison
407:and coded.
370:judgment.
360:estimation
319:, used in
281:discarding
80:multimedia
2939:Community
2763:Interlace
2149:Zstandard
1928:Fibonacci
1918:Universal
1876:Canonical
1452:149806273
1408:13 August
1230:thesaurus
1172:(used in
1166:(LD-CELP)
847:JPEG 2000
828:JPEG 2000
673:JPEG 2000
626:IrfanView
597:grayscale
405:quantized
390:quantized
368:aesthetic
297:luminance
234:H.264/AVC
228:(such as
214:K. R. Rao
199:bandwidth
125:bandwidth
75:in 1974.
73:K. R. Rao
2925:Symmetry
2893:Timeline
2876:FM-index
2721:Bit rate
2714:Concepts
2562:Concepts
2425:Sampling
2378:Bit rate
2371:Concepts
2073:Sequitur
1908:Tunstall
1881:Modified
1871:Adaptive
1829:Lossless
1626:Archived
1383:22347940
1283:See also
1110:Musepack
1092:(ADPCM)
832:wavelets
761:Graphics
645:ID3 tags
639:Metadata
608:Jpegjoin
578:Jpegcrop
570:exiftran
565:jpegtran
430:ABX test
421:lossless
357:Bayesian
325:scanline
315:such as
2883:Entropy
2832:Wavelet
2811:Motion
2670:Wavelet
2650:Fractal
2645:Deflate
2628:Methods
2415:Latency
2328:Motion
2252:Wavelet
2169:LHA/LZH
2119:Deflate
2068:Re-Pair
2063:Grammar
1893:Shannon
1866:Huffman
1822:methods
1764:at the
1648:DAR__KO
1602:14 July
1474:12 July
1374:3259360
1200:(MDCT)
1160:(RCELP)
1154:(ACELP)
1058:(AAC /
1046:(ATRAC)
1034:(MDCT)
1026:General
942:(H.262)
881:texture
813:, wide
807:JPEG XR
756:Methods
742:WavPack
725:mipmaps
593:flopped
589:flipped
585:cropped
446:Spotify
438:Netflix
187:signals
137:entropy
2994:codecs
2955:People
2858:Theory
2825:Vector
2342:Vector
2159:Brotli
2109:Hybrid
2008:Snappy
1861:Golomb
1450:
1381:
1371:
1211:(CELT)
1204:AAC-LD
1184:Codec2
1148:(CELP)
1136:(LPC)
1122:Speech
1066:Vorbis
1062:Audio)
1040:(AC-3)
975:Theora
960:MPEG-4
921:(DCT)
797:(HEIF)
780:(DCT)
748:, and
689:MPEG-2
679:based
633:plugin
591:, and
547:, and
388:, and
381:codecs
236:) and
189:, and
92:images
90:, and
82:data (
2785:parts
2783:Codec
2748:Frame
2706:Video
2690:SPIHT
2599:Pixel
2554:Image
2508:ACELP
2479:ADPCM
2469:ÎĽ-law
2464:A-law
2457:parts
2455:Codec
2363:Audio
2302:ACELP
2290:ADPCM
2267:SPIHT
2208:Lossy
2192:bzip2
2183:LZHAM
2139:LZFSE
2041:Delta
1933:Gamma
1913:Unary
1888:Range
1727:(PDF)
1703:AVHub
1678:AVHub
1629:(PDF)
1622:(PDF)
1591:(PDF)
1542:(PDF)
1468:(PDF)
1448:S2CID
1335:Notes
1304:Lenna
1190:Speex
1142:(APC)
1106:(MP2)
1098:(MQA)
1052:(MP3)
1011:Audio
998:Dirac
950:H.263
925:H.261
903:Video
872:JBIG2
815:gamut
766:Image
651:, or
259:, an
115:Types
88:video
84:audio
2797:DPCM
2604:PSNR
2535:MDCT
2528:WLPC
2513:CELP
2474:DPCM
2322:WLPC
2307:CELP
2285:DPCM
2235:MDCT
2179:LZMA
2080:LDCT
2058:DPCM
2003:LZWL
1993:LZSS
1988:LZRW
1978:LZJB
1604:2019
1557:2019
1476:2019
1436:C-23
1410:2019
1379:PMID
1266:NASA
1215:Opus
1178:3GPP
1176:and
1082:Opus
1077:LDAC
1019:and
981:VC-1
911:and
897:glTF
878:S3TC
843:ICER
838:DjVu
789:WebP
784:JPEG
691:and
685:JPEG
653:Exif
574:Exif
558:JPEG
525:JPEG
486:The
440:and
362:and
321:NTSC
291:and
269:AIFF
244:and
232:and
230:MPEG
222:JPEG
98:and
2842:DWT
2792:DCT
2736:VBR
2731:CBR
2726:ABR
2685:EZW
2680:DWT
2665:RLE
2655:KLT
2640:DCT
2523:LSP
2518:LAR
2503:LPC
2496:FFT
2393:VBR
2388:CBR
2383:ABR
2317:LSP
2312:LAR
2297:LPC
2262:DWT
2247:FFT
2242:DST
2230:DCT
2129:LZS
2124:LZX
2100:RLE
2095:PPM
2090:PAQ
2085:MTF
2053:DMC
2031:CTW
2026:BWT
1998:LZW
1983:LZO
1973:LZ4
1968:842
1440:doi
1369:PMC
1361:doi
1174:GSM
1060:MP4
972:Ogg
853:PGF
752:).
711:' "
464:bit
399:In
377:In
317:YIQ
305:YUV
267:or
265:WAV
261:MP3
248:).
246:AAC
242:MP3
224:),
141:ZIP
46:or
38:In
3012::
2660:LP
2491:FT
2484:DM
2036:CM
1701:.
1676:.
1646:.
1624:.
1593:.
1565:^
1550:60
1548:.
1544:.
1521:^
1505:.
1446:,
1434:,
1399:.
1377:.
1367:.
1355:.
1351:.
1240:.
744:,
727:,
704:.
647:,
635:.
478:.
448:.
182:,
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1798:v
1736:.
1711:.
1686:.
1661:.
1606:.
1559:.
1515:.
1478:.
1442::
1412:.
1385:.
1363::
1357:2
1180:)
952:)
948:(
396:.
299:-
20:)
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