Transcoding
Also known as: re-encoding, video conversion, converting
Decoding a video and encoding it again in a different codec, resolution or bitrate. It changes compatibility and size, but every pass can lose quality.
Updated
What it means
Transcoding means taking a compressed video, decompressing it, and compressing it again with different settings. You might convert HEVC to H.264 for compatibility, turn a camera file into ProRes for smoother editing, shrink a 4K clip to 1080p for sharing, or lower the Bitrate to save space.
It is different from remuxing, which only moves the existing compressed streams into a new container without touching the pictures. Transcoding always rebuilds the video, so it takes processing time and, for lossy codecs, discards some detail with each pass.
Every export from an editing app is technically a transcode of the original footage.
How it works in practice
Editors transcode for three main reasons: compatibility, when a device or app cannot play the original codec; performance, when long Long GOP HEVC files stutter on the timeline; and delivery, when a platform or client needs a specific format. Hardware encoders in modern laptops make H.264 and HEVC transcodes fast.
A typical action camera workflow is to keep the originals, create lightweight proxies or ProRes copies for editing, and export the final cut once from the original files. That keeps quality high while keeping the edit smooth.
Batch tools can transcode a whole trip overnight, which is handy before a long editing session.
What to watch out for
Repeated lossy transcodes stack damage. Converting a clip in a phone app, then in a desktop tool, then exporting again from an editor, can leave smeared detail and artifacts that were not in the original. Go back to the camera file whenever possible.
Low bitrate settings are the main cause of bad results. Transcoding to save space at a bitrate far below the original produces visibly worse footage, especially in fast motion, water and foliage.
Transcoding can also drop metadata such as rotation flags, color tags and gyro data. Check that the output plays correctly and keep the originals until the project is finished.
How RawClip handles it
RawClip accepts H.264 and H.265 in MP4 or MOV straight from the camera, so most footage needs no transcoding. Only convert clips in other codecs, such as ProRes or AV1, and upload the originals otherwise for the best highlight.