video encoding

Tom Scott explains why confetti and snow wreck video quality, using interframe compression and bitrate. He demonstrates it live by changing the quality on screen.

Astronomer David Kipping of Cool Worlds talks with Mick West to break down the three declassified Pentagon UFO videos. They explain the footage through camera artifacts, glare, and perspective effects.

Steve Mould explains motion amplification and video magnification, techniques that find tiny changes in video invisible to the eye and exaggerate them. He covers the MIT research and industrial uses such as diagnosing vibrating machinery.

Mick West explains the three Navy UFO videos (FLIR, GIMBAL and GOFAST) released in 2020, giving mundane explanations such as a distant plane and camera artifacts. He notes the videos were not new and had been circulating since 2017.

Captain Disillusion's comedic, fast-paced explainer on how color works in cameras, displays and video. It covers the biology of color perception and what it means for screens.

LGR looks at the 1988 Canon Xap Shot, a still video camera that records photos to a floppy disk as analog NTSC signal rather than digital data.

Tom Scott explains YouTube's 11-character video IDs, which are base-64 encoded 64-bit numbers, and whether YouTube could ever run out of them. It covers counting systems and base 64 briefly.

Mick West analyzes the Navy "Go Fast" UFO footage and shows with simple trigonometry and the data overlay that the object is slow and high up, consistent with a balloon. He explains how parallax makes it look fast and argues the original TV claims were wrong.

Veritasium examines research suggesting science explainer videos like Khan Academy's make students feel they understand while tests show they have not learned, because misconceptions go unaddressed. It suggests how to partly fix this.

Part one of Technology Connections' account of the VHS versus Betamax format war. It argues Sony was caught off guard by JVC's cheaper, more practical VHS system.

NASA's animated explanation of the Curiosity rover's Mars landing, which relied on a complex automated sequence taking about seven minutes. It features NASA engineers discussing the risks before the 2012 landing.

A filmmaker explains why the Apollo moon landing footage could not have been faked in a studio, based on the video and film technology of the late 1960s. He walks through the limits of cameras, frame rates and effects of the era.

An Every Frame a Painting video essay on how Akira Kurosawa used movement, weather and composition to tell stories. It draws on clips and interviews with other filmmakers.

Benn Jordan's video about storing a PNG image in a living bird, a starling that learns to reproduce encoded sounds. It mixes ornithology, audio engineering, and data encoding.

The Thought Emporium follows up on his earlier video showing negative ion products are radioactive, reporting that Amazon pulled listings and companies shut down. He tests more radioactive quack products with a Geiger counter and cloud chamber.

Tom Scott's video whose title shows its own live view count, and the story of how he made that work. It explains why open APIs were once common and why they largely disappeared.

A video essay on how the editors of Star Wars: A New Hope recut and rearranged the footage to rescue the film. It walks through specific changes that improved pacing and drama.

A guest video by Welch Labs on 3Blue1Brown explaining how text-to-image and video models work. It covers CLIP, shared embedding spaces, diffusion models (DDPM, DDIM), conditioning, guidance and negative prompts.

Technology Connections compares Betamax and VHS picture quality using footage from a 1979 RCA VCR and argues the Beta quality advantage was largely marketing.

A short CGP Grey bonus video explaining the shortest-splitline algorithm, which draws electoral districts by repeatedly splitting a state along its shortest dividing line while balancing population. It is offered as a neutral, algorithmic fix for gerrymandering.

Mick West analyzes the Navy's Gimbal UFO video and gives four checkable observations suggesting it is an infrared glare that appears to rotate because the camera rotates while tracking. He argues the object is likely a hot craft hidden behind the glare.

Tom Scott explains for Computerphile how Unicode and UTF-8 grew out of messy older character encodings to become the web's standard. It covers why the design works and how it handles worldwide text.

Game Maker's Toolkit examines Nintendo's design approach of starting from a core play mechanic, making it fun, and building around it. Examples include Mario's jump and Luigi's Mansion's vacuum.

A video essay from the Alt-Right Playbook series that explains how extremist movements draw ordinary people in, using deniable rhetoric, bad-faith games, and gradual escalation. It draws on books about the alt-right, male radicalization, and cult-style brainwashing.

A video essay from Every Frame a Painting about Vancouver, a major film production city that almost never appears onscreen as itself. It shows clips of films and TV shot there that pass the city off as somewhere else.

An Every Frame a Painting video essay on Michael Bay's style, 'Bayhem', covering his camera movement, composition, color and editing. It argues that even if you dislike his films, they teach something about visual perception.

An Every Frame a Painting video essay analysing how Edgar Wright creates visual comedy through framing, camera movement, editing, sound effects and music.

CGP Grey explains jury nullification, a juror's power to acquit despite the law, and why mentioning it can get you struck from jury selection.

An Every Frame a Painting video essay on Buster Keaton's visual comedy, examining how he built and framed his gags. It uses clips from his silent films to show the thinking behind them.

A video essay from Every Frame a Painting on animator Satoshi Kon and his editing style, which distorts and warps space and time. It draws on his four features and one TV series.

A Two Minute Papers episode on NVIDIA's recurrent denoising autoencoder, which cleans up noisy Monte Carlo path-traced image sequences. It shows how a neural network can produce usable renders from very few samples.

Dr. K of HealthyGamerGG explains why people feel unmotivated and unable to start tasks after hours of YouTube or similar distractions. He frames it as a result of how social media is designed to capture attention, and says not to blame yourself.

2swap explores lambda calculus using John Tromp's lambda diagrams, with animated beta-reductions, asking what PLUS times PLUS gives. It touches on Church encodings and the equivalence of Turing machines and lambda calculus.

Nature video showing MIT researchers flying the first plane with no moving parts, powered by an ion drive that creates an ionic wind from high-powered electrodes. The 5m-wide craft flies across a sports hall.

A short Nature video on the discovery that our home supercluster is Laniakea, redefined by mapping the flow of galaxies rather than their density. It names the structure with a Hawaiian word meaning 'immeasurable heaven'.

Freya Holmer's 74-minute video essay on splines, covering Bezier curves, B-splines, derivatives and the different levels of continuity (C0, C1, C2), built with custom animation tools. She notes she did not cover non-uniform splines.

Every Frame a Painting analyzes how Jackie Chan stages action comedy, with nine principles such as starting from a disadvantage, using the environment, clear shots, and keeping action and reaction in the same frame.

Technology Connections explains dishwasher detergent use, arguing people use too much and that powder beats pods and gels. It follows an earlier dishwasher video and covers enzymes, bleach, rinse aids and when salt is needed.

Mathologer examines how identities like 1+2+3+... = -1/12 arise in Ramanujan's work, starting from his 1913 letter to Hardy. The video explains the rules for summing infinite series and why such results are meaningful but not naive sums.

The 8-Bit Guy covers IBM's 1981 CGA graphics system, including how composite output and artifacting produced extra colors beyond the nominal palette. He argues CGA looked better in period than it does on RGB monitors.