Data compression approach that reduces data size while discarding or changing some of it
Low-compression (high quality) JPEG
High-compression (low quality) JPEG
In information technology, lossy compression or irreversible compression is the class of data compression 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 coarser images as more details are removed. This is opposed to lossless data compression (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.
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 widely used lossy compression algorithm is the discrete cosine transform (DCT), first published by Nasir Ahmed, T. Natarajan and K. R. Rao in 1974.
Lossy compression is most commonly used to compress multimedia data (audio, video, and images), especially in applications such as streaming media and internet telephony. 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 master lossless file 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 information loss.
Types
It is possible to compress many types of digital data in a way that reduces the size of a computer file needed to store it, or the bandwidth 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 compressed without loss by saying "200 red dots" instead of "red dot, red dot, ...(197 more times)..., red dot."
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 information theory says that there is an absolute limit in reducing the size of this data. When data is compressed, its entropy increases, and it cannot increase indefinitely. For example, a compressed ZIP 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.
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 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.
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 effects of compression may be clearly discernible yet the result still useful for the intended purpose. Or lossy compressed images may be 'visually lossless', or in the case of medical images, so-called diagnostically acceptable irreversible compression (DAIC)[1] may have been applied.
Some forms of lossy compression can be thought of as an application of transform coding, which is a type of data compression used for digital images, digital audiosignals, and digital video. The transformation is typically used to enable better (more targeted) quantization. Knowledge of the application is used to choose information to discard, thereby lowering its bandwidth. 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.
In the case of audio data, a popular form of transform coding is perceptual coding, 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[5] – for example, in principle, if one starts with an analog or high-resolution digital master, an MP3 file of a given size should provide a better representation than a raw uncompressed audio in WAV or AIFF 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 the board. Further, a transform coding may provide a better domain for manipulating or otherwise editing the data – for example, equalization of audio is most naturally expressed in the frequency domain (boost the bass, for instance) rather than in the raw time domain.
From this point of view, perceptual encoding is not essentially about discarding data, but rather about a better representation of data. Another use is for backward compatibility and graceful degradation: in color television, encoding color via a luminance-chrominance transform domain (such as YUV) means that black-and-white sets display the luminance, while ignoring the color information. Another example is chroma subsampling: the use of color spaces such as YIQ, used in NTSC, 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 scanline, 150 pixels of yellow vs. green, and 50 pixels of blue vs. red, which are proportional to human sensitivity to each component.
Information loss
Lossy compression formats suffer from generation loss: repeatedly compressing and decompressing the file will cause it to progressively lose quality. This is in contrast with lossless data compression, where data will not be lost via the use of such a procedure. Information-theoretical foundations for lossy data compression are provided by rate-distortion theory. Much like the use of probability in optimal coding theory, rate-distortion theory heavily draws on Bayesianestimation and decision theory in order to model perceptual distortion and even aesthetic judgment.
There are two basic lossy compression schemes:
In lossy transform codecs, samples of picture or sound are taken, chopped into small segments, transformed into a new basis space, and quantized. The resulting quantized values are then entropy coded.
In lossy predictive codecs, 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 quantized and coded.
In some systems the two techniques are combined, with transform codecs being used to compress the error signals generated by the predictive stage.
Comparison
The advantage of lossy methods over lossless 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 human interpretation where the mind can easily "fill in the blanks" or see past very minor errors or inconsistencies – ideally lossy compression is transparent (imperceptible), which can be verified via an ABX test. 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 streaming video services such as Netflix and streaming audio services such as Spotify.
Emotional effects
A study conducted by the Audio Engineering Library concluded that lower bit rate (112 kbps) lossy compression formats such as MP3s have distinct effects on timbral and emotional characteristics, tending to strengthen negative emotional qualities and weaken positive ones.[6] The study further noted that the trumpet is the instrument most affected by compression, while the horn is least.
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 bit level while being indistinguishable to the human ear or eye for most practical purposes. Many compression methods focus on the idiosyncrasies of human physiology, taking into account, for instance, that the human eye can see only certain wavelengths of light. The psychoacoustic model 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 compression artifacts.
Compression ratio
The compression ratio (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.
Video can be compressed immensely (e.g., 100:1) with little visible quality loss
Audio can often be compressed at 10:1 with almost imperceptible loss of quality
Still images are often lossily compressed at 10:1, as with audio, but the quality loss is more noticeable, especially on closer inspection.
An important caveat about lossy compression (formally transcoding), is that editing lossily compressed files causes digital generation loss 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 raw image format instead of JPEG. 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 (format shifting), or to avoid paying patent royalties for decoding or distribution of compressed files.
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 possible.
JPEG
The primary programs for lossless editing of JPEGs are jpegtran, and the derived exiftran (which also preserves Exif information), and Jpegcrop (which provides a Windows interface).
These allow the image to be cropped, rotated, flipped, and flopped, or even converted to grayscale (by dropping the chrominance channel). While unwanted information is destroyed, the quality of the remaining portion is unchanged.
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 Jpegjoin), or scaling.[7]
Some changes can be made to the compression without re-encoding:
Optimizing the compression (to reduce size without change to the decoded image)
Converting between progressive and non-progressive encoding.
The freeware Windows-only IrfanView has some lossless JPEG operations in its JPG_TRANSFORMplugin.
Metadata
Metadata, such as ID3 tags, Vorbis comments, or Exif information, can usually be modified or removed without modifying the underlying data.
One may wish to downsample 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 bitrate peeling, 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 JPEG 2000 for still images and H.264/MPEG-4 AVC based Scalable Video Coding for video. Such schemes have also been standardized for older designs as well, such as JPEG images with progressive encoding, and MPEG-2 and MPEG-4 Part 2 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 signal and encode, or start with a compressed representation and then decompress and re-encode it (transcoding), though the latter tends to cause digital generation loss.
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 RealNetworks' "SureStream" – or offering varying downloads, as at Apple's iTunes Store), or broadcast several, where the best that is successfully received is used, as in various implementations of hierarchical modulation. Similar techniques are used in mipmaps, pyramid representations, and more sophisticated scale space 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 MPEG-4 SLS (Scalable to Lossless), WavPack, OptimFROG DualStream, and DTS-HD Master Audio in lossless (XLL) mode).
Researchers have performed lossy compression on text by either using a thesaurus to substitute short words for long ones, or generative text techniques,[15] although these sometimes fall into the related category of lossy data conversion.
Lowering resolution
A general kind of lossy compression is to lower the resolution of an image, as in image scaling, particularly decimation. One may also remove less "lower information" parts of an image, such as by seam carving. Many media transforms, such as Gaussian blur, 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 NASANew Horizons craft transmitted thumbnails of its encounter with Pluto-Charon before it sent the higher resolution images. Another solution for slow connections is the usage of Image interlacing 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.[citation needed]
↑ “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.” Masking and Perceptual Coding, Victor Lombardi, noisebetweenstations.com
1 2 K. R. Rao and J. J. Hwang, Techniques and Standards for Image, Video, and Audio Coding, Prentice Hall, 1996; JPEG: Chapter 8; H.261: Chapter 9; MPEG-1: Chapter 10; MPEG-2: Chapter 11.
An audio file format is a file format for storing digital audio data on a computer system. The bit layout of the audio data is called the audio coding format and can be uncompressed, or compressed to reduce the file size, often using lossy compression. The data can be a raw bitstream in an audio coding format, but it is usually embedded in a container format or an audio data format with defined storage layer.
A codec is a device or computer program that encodes or decodes a data stream or signal. Codec is a portmanteau of coder/decoder.
In information theory, data compression, source coding, or bit-rate reduction is the process of encoding information using fewer bits than the original representation. Any particular compression is either lossy or lossless. Lossless compression reduces bits by identifying and eliminating statistical redundancy. No information is lost in lossless compression. Lossy compression reduces bits by removing unnecessary or less important information. Typically, a device that performs data compression is referred to as an encoder, and one that performs the reversal of the process (decompression) as a decoder.
JPEG is a commonly used method of lossy compression for digital images, particularly for those images produced by digital photography. The degree of compression can be adjusted, allowing a selectable tradeoff between storage size and image quality. JPEG typically achieves 10:1 compression with little perceptible loss in image quality. Since its introduction in 1992, JPEG has been the most widely used image compression standard in the world, and the most widely used digital image format, with several billion JPEG images produced every day as of 2015.
Lossless compression is a class of data compression that allows the original data to be perfectly reconstructed from the compressed data with no loss of information. Lossless compression is possible because most real-world data exhibits statistical redundancy. By contrast, lossy compression permits reconstruction only of an approximation of the original data, though usually with greatly improved compression rates.
MPEG-1 is a standard for lossy compression of video and audio. It is designed to compress VHS-quality raw digital video and CD audio down to about 1.5 Mbit/s without excessive quality loss, making video CDs, digital cable/satellite TV and digital audio broadcasting (DAB) practical.
Image compression is a type of data compression applied to digital images, to reduce their cost for storage or transmission. Algorithms may take advantage of visual perception and the statistical properties of image data to provide superior results compared with generic data compression methods which are used for other digital data.
Transform coding is a type of data compression for "natural" data like audio signals or photographic images. The transformation is typically lossless on its own but is used to enable better quantization, which then results in a lower quality copy of the original input.
Motion compensation in computing is an algorithmic technique used to predict a frame in a video given the previous and/or future frames by accounting for motion of the camera and/or objects in the video. It is employed in the encoding of video data for video compression, for example in the generation of MPEG-2 files. Motion compensation describes a picture in terms of the transformation of a reference picture to the current picture. The reference picture may be previous in time or even from the future. When images can be accurately synthesized from previously transmitted/stored images, the compression efficiency can be improved.
A video codec is software or hardware that compresses and decompresses digital video. In the context of video compression, codec is a portmanteau of encoder and decoder, while a device that only compresses is typically called an encoder, and one that only decompresses is a decoder.
A discrete cosine transform (DCT) expresses a finite sequence of data points in terms of a sum of cosine functions oscillating at different frequencies. The DCT, first proposed by Nasir Ahmed in 1972, is a widely used transformation technique in signal processing and data compression. It is used in most digital media, including digital images, digital video, digital audio, digital television, digital radio, and speech coding. DCTs are also important to numerous other applications in science and engineering, such as digital signal processing, telecommunication devices, reducing network bandwidth usage, and spectral methods for the numerical solution of partial differential equations.
Motion JPEG is a video compression format in which each video frame or interlaced field of a digital video sequence is compressed separately as a JPEG image.
A compression artifact is a noticeable distortion of media caused by the application of lossy compression. Lossy data compression involves discarding some of the media's data so that it becomes small enough to be stored within the desired disk space or transmitted (streamed) within the available bandwidth. If the compressor cannot store enough data in the compressed version, the result is a loss of quality, or introduction of artifacts. The compression algorithm may not be intelligent enough to discriminate between distortions of little subjective importance and those objectionable to the user.
Transcoding is the direct digital-to-digital conversion of one encoding to another, such as for video data files, audio files, or character encoding. This is usually done in cases where a target device does not support the format or has limited storage capacity that mandates a reduced file size, or to convert incompatible or obsolete data to a better-supported or modern format.
Generation loss is the loss of quality between subsequent copies or transcodes of data. Anything that reduces the quality of the representation when copying, and would cause further reduction in quality on making a copy of the copy, can be considered a form of generation loss. File size increases are a common result of generation loss, as the introduction of artifacts may actually increase the entropy of the data through each generation.
JPEG XR is an image compression standard for continuous tone photographic images, based on the HD Photo specifications that Microsoft originally developed and patented. It supports both lossy and lossless compression, and is the preferred image format for Ecma-388 Open XML Paper Specification documents.
PGF is a wavelet-based bitmapped image format that employs lossless and lossy data compression. PGF was created to improve upon and replace the JPEG format. It was developed at the same time as JPEG 2000 but with a focus on speed over compression ratio.
A video coding format is a content representation format of digital video content, such as in a data file or bitstream. It typically uses a standardized video compression algorithm, most commonly based on discrete cosine transform (DCT) coding and motion compensation. A specific software, firmware, or hardware implementation capable of compression or decompression in a specific video coding format is called a video codec.
An audio coding format is a content representation format for storage or transmission of digital audio. Examples of audio coding formats include MP3, AAC, Vorbis, FLAC, and Opus. A specific software or hardware implementation capable of audio compression and decompression to/from a specific audio coding format is called an audio codec; an example of an audio codec is LAME, which is one of several different codecs which implements encoding and decoding audio in the MP3 audio coding format in software.
JPEG XL is a royalty-free raster-graphics file format that supports both lossy and lossless compression. It is designed to outperform existing raster formats and thus become their universal replacement.
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