FFV1
A lossless video codec often used for preservation workflows. It retains the encoded image data without the generational losses associated with lossy compression. File sizes can be substantial, and playback support varies by software.
Oxford Duplication Centre · Archival & Digitisation Specialists
Video File Format Guide
Understand the difference between containers, codecs and digital deliverables—and how to choose files for preservation, professional post-production and everyday viewing.
Choosing the right video file format
Digitised video can be delivered in a range of formats, depending on whether the priority is preservation, editing, access or sharing. The best choice depends on the source tape, the intended workflow, playback requirements and available storage.
For important collections, it can be useful to retain a high-quality master and create a separate, smaller access copy. These files serve different purposes and should not be treated as interchangeable.
Common video formats and deliverables
The extension alone does not tell the whole story: quality and compatibility also depend on the codec, resolution, frame rate, bit depth and compression settings used.
Apple ProRes 422 HQ
A high-quality, edit-friendly codec widely used in professional video post-production. ProRes 422 HQ is useful when a robust editing master is required, though it is not the same as an uncompressed or lossless preservation file.
Avid DNxHD
A family of professional codecs designed for production and editing workflows. The appropriate DNxHD profile depends on resolution, frame rate, bitrate and the requirements of the editing system.
AVI
An established container that can hold video and audio encoded with different codecs. AVI may be suitable for particular legacy or specialist workflows, but the extension by itself does not guarantee a specific quality or preservation characteristic.
MOV
A QuickTime container commonly used in professional media workflows. It can hold different video and audio codecs and is frequently used for high-quality editing deliverables, depending on the codec selected.
MP4 / H.264
A widely supported combination for everyday playback, web delivery and sharing. It generally produces smaller files than high-quality editing masters, but H.264 commonly uses lossy compression and is best considered an access copy rather than the only preservation copy.
DPX
A frame-based image sequence used in some film and post-production workflows. It can retain substantial image information, but it generates many files and requires a workflow designed to manage image sequences and associated sound separately.
WebM
An open media format intended in part for browser-based playback. It can be useful for online access, but the chosen codec and encoding settings determine the balance between image quality, file size and compatibility.
Audio deliverables
Video transfers may include synchronised audio. Depending on project requirements, audio deliverables can include WAV, WAVE, BWF, AIFF, MP3 or CD, with archive and production specifications agreed for the project.
Containers and codecs: what is the difference?
Container
A container packages media elements together—typically video, audio and sometimes subtitles or metadata. Common container extensions include .mp4, .mov and .avi.
Codec
A codec encodes and decodes the video or audio stream. Examples include H.264, FFV1 and ProRes. Different codecs have different characteristics for compression, editing, storage and playback.
Encoding settings
Resolution, frame rate, bitrate, chroma sampling and bit depth also affect the result. Two files with the same extension may have very different image quality and file sizes.
Which format should you choose?
| Purpose | Formats to consider | Important considerations |
|---|---|---|
| Long-term preservation workflow | FFV1 or another agreed preservation master format | Define the specification, metadata, quality control, storage and file validation requirements for the project. No single extension guarantees archival suitability. |
| Professional editing and post-production | ProRes 422 HQ, ProRes 422 or Avid DNxHD | Check the receiving editor's software, resolution, frame rate and codec profile requirements. |
| General viewing and sharing | MP4 with H.264 | Offers broad compatibility and practical file sizes, with quality dependent on the encoding settings. |
| Film or frame-based workflow | DPX image sequence, where specified | Plan for sequence management, synchronised sound, storage and the target post-production workflow. |
| Browser-based access | MP4/H.264 or WebM, as appropriate | Choose based on the target platform, playback support, file size and access needs. |
Video digitisation at Oxford Duplication Centre
We digitise professional and legacy video tape collections and can discuss output requirements for preservation, research, editing and access. Depending on the source and project specification, output options include uncompressed 10-bit AVI, FFV1, ProRes 422 HQ, ProRes 422, Avid DNxHD, AVI, MOV and H.264/MP4.
We also work with audio-visual collections where synchronised sound, careful handling and a consistent delivery specification are important. Final formats and settings should be agreed before work begins, particularly for broadcast, heritage and archival collections.
Not sure which video format you need?
Tell us about your source tapes, how the files will be used and any technical specification supplied by your archive, broadcaster or post-production team. We can help you discuss suitable master and access deliverables.