Adobe offers a review and approval workflow via Adobe CS Review, while Apple offers no similar function. Compressor doesn’t support watch folders or FTP input or output. AME can retrieve files for encoding from watch folders, but not FTP, though it can deliver encoded files via FTP. AME can accelerate encoding with NVIDIA-based CUDA acceleration, but it encodes all files serially, even on a multiple-core workstation.įile input/output is limited with both tools. For example, Compressor can encode multiple files in parallel via Qmaster and share encoding tasks over multiple Compressor nodes on a network. Though each program provides adaptive streaming presets to encode individual files in an adaptive streaming set, Apple for HLS and Adobe for Flash and HLS, neither tool creates the required manifest files or supports Smooth Streaming.Įach product provides some bright spots in the performance realm. This doesn’t mean that quality suffers AME actually outputs very high-quality H.264 video, but if you’re looking for tweaking controls, neither program gives them to you. Preset customizability is relatively limited in both tools for example, neither lets you control an entropy-encoding technique (CABAC or CAVLC) or set B-frame interval, the number of reference frames, or any search-related options. Neither tool can output WebM, which may increase in importance as HTML5 becomes more prominent. In contrast, Compressor outputs only MPEG-2 and H.264, but only up to the Main profile and only using the low-quality Apple H.264 codec.
#Sorenson squeeze pro vs compressor 4 windows
(See Table 1.)Īs the features table shows, AME offers more output formats than Compressor, with support for H.264 (MainConcept codec), VP6, Windows Media (Windows version only), and AVC-Intra, XDCAM HD, and other broadcast formats. The other prominent entry is Adobe Media Encoder (AME), which is included with Premiere Pro when sold on a stand-alone basis or in a suite. Though Apple’s Compressor is sold separately, I’m including it in this group because it’s the clear choice for Final Cut Pro X (FCPX) producers. Let’s start with a look at bundled encoders. These lists will help you assess the suitability of bundled and desktop encoders, and I’ll mention additional considerations as we move into enterprise systems. For example, will you need telecine or inverse telecine capabilities? What about metadata and closed-caption support and conversion. Identify all specialty filters and other capabilities.For example, do your Flash programmers need an F4V file or can they work with MP4? Does your authoring program need program or elementary streams? For adaptive streaming, does the encoder need to create file chunks and manifest files or just the raw encoded files? Identify all audio/video output formats that the program must support, including single file and adaptive.Identify all audio/video input formats that the program must support.
#Sorenson squeeze pro vs compressor 4 software
In this article, I'll walk you through the general buying considerations within each category and detail when you need to consider stepping up to the next category.īefore evaluating any software encoder, you should compile the following lists:
There are three categories of software encoding tools: bundled, desktop, and enterprise.
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