When we ask customers about their video bitrates, it’s not unusual for people to say things like “we work in 4k or ProResHQ.” Although picture size and codec are factors in determining data quality and file size, they are not bitrates.
Others will say, “my Netflix 4k plays perfectly over my internet, so it’s not my internet that is causing playback problems in my workflow.”
This is actually a great point to consider the technical aspects of video bitrates and why it matters.
Let’s consider Netflix. Netflix uses different bitrates for 4K HDR video, depending on whether it uses a fixed ladder or an optimized ladder. The fixed ladder has predetermined bitrates of 8, 10, 12, and 16 Mbps, while the optimized ladder can reach higher bitrates for more complex content. A higher bitrate generally means higher video quality.
ProRes 4444 (4K), by comparison, is approximately 330 Mbps at 30 fps.
If you’re trying to edit this on a typical home internet connection with 200 Mbps download speed — or worse, on Wi-Fi, where your bandwidth is more like 80 Mbps — you can see the problem. A 330 Mbps video on an 80 Mbps connection? It’s a recipe for dropped frames, stuttering playback and a lot of frustration.
As we mentioned back in the introduction, most teams having difficulties with remote video editing are almost always unknowingly struggling with the bitrates they are using.
Their workflows are being disrupted by bitrates that far exceed what their internet connections can handle. The bitrates of the video assets they’re using in post are usually many times higher than the bit rates used by Netflix and many other broadcasters.
And when post workflows overload on bitrate, it wreaks havoc on timelines, budgets and the overall creative experience.
Wi-Fi bottlenecks
Now, imagine trying to work around these bitrate challenges with the limitations of your creative tools and internet setup.
Many don’t realize that the internet connection speed they bought from their provider was sold to them based on download speeds — but upload speeds are often exponentially slower.
And when creative users work remotely, most prefer using their laptop connected to Wi-Fi, often not realizing that this can cut their download bandwidth by over 50%.
This makes managing bitrates even more critical, as relying on Wi-Fi can significantly degrade performance, leading to further complications with playback and editing. For more on how Wi-Fi affects connection speeds, check out this article.
Choosing the right video bitrate for your project
The key to choosing the right bitrate is finding a balance between maintaining video quality and managing file size.
It’s also about understanding project and delivery requirements, e.g. broadcast, web streaming, cinema. There are certainly times when you will want the highest bitrate possible (ie. the highest quality picture), but that’s usually the last part of the post-production process.
Most of a project’s life in post-production is spent getting the images and sound placed correctly (editing, mixing and sound design). It is this “offline” phase where bitrates usually matter a lot less.
That’s not to say low-quality video and images are acceptable, they are not. But the latest compression algorithms provide us with both quality and speed. So remember, lower bitrates will keep you agile and able to respond quickly to changing and evolving creative decisions.
For home video editing, choosing the right codec and data rate is crucial to balancing quality and file size. ProRes and DNxHD/DNxHR are excellent choices for high-quality editing workflows, while H.264 and H.265 are suitable for more general use and distribution.
Tools for managing video bitrates
