Abstract

The digitization of the audiovisual image entailed the need to compress the generated data. For this, different audio and video codecs were used. The multiplication of options when deciding what kind of codec to use entails a series of problems derived from the compatibility of the equipment at the time of incorporating these codecs. On the other hand, the business models of the codec creators do not favor the implementation of standards in a fast way. Only after a long period of time can it be verified which codecs have been used the most and, therefore, have become the standards of the industry. At this moment, after a relative hegemony for some years of the H.264 codec when distributing content in HD, we are facing the challenges of the distribution of works in 4K and 8K, and the appearance of numerous codecs to compress the huge amount of data that these UHD formats suppose. In the field of image editing something similar happens, although the number of options is much smaller and, therefore, the compatibility between teams is much more assured.