Transcoding is the direct digital-to-digital conversion of one encoding to another, such as for movie data files, audio files (e.g., MP3, WAV), or character encoding (e.g., UTF-8, ISO/IEC 8859). This is usually done in cases where a target device (or workflow) does not support the format or has limited storage capacity that mandates a reduced file size, or to convert incompatible or obsolete data to a better-supported or modern format. Transcoding is the direct digital-to-digital conversion of one encoding to another, such as for movie data files, audio files (e.g., MP3, WAV), or character encoding (e.g., UTF-8, ISO/IEC 8859). This is usually done in cases where a target device (or workflow) does not support the format or has limited storage capacity that mandates a reduced file size, or to convert incompatible or obsolete data to a better-supported or modern format. In the analog video world, transcoding can be performed just while files are being searched, as well as for presentation. For example, Cineon and DPX files have been widely used as a common format for digital cinema, but the data size of a two-hour movie is about 8 terabytes (TB). That large size can increase the cost and difficulty of handling movie files. However, transcoding into a JPEG2000 lossless format has better compression performance than other lossless coding technologies, and in many cases, JPEG2000 can compress images to half-size. Transcoding is commonly a lossy process, introducing generation loss; however, transcoding can be lossless if the output is either losslessly compressed or uncompressed. The process of transcoding into a lossy format introduces varying degrees of generation loss, while the transcoding from lossy to lossless or uncompressed is technically a lossless conversion because no information is lost; however, the process is irreversible and is more correctly known as destructive. The most popular definition of transcoding refers to a two-step process in which the original data/file is decoded to an intermediate uncompressed format (e.g., PCM for audio or YUV for video), which is then encoded into the target format. One may also re-encode data in the same format, for a number of reasons: One can also use formats with bitrate peeling, that allow one to easily lower the bitrate without re-encoding, but quality is often lower than a re-encode. For example, in Vorbis bitrate peeling as of 2008, the quality is inferior to re-encoding. The key drawback of transcoding in lossy formats is decreased quality. Compression artifacts are cumulative, so transcoding causes a progressive loss of quality with each successive generation, known as digital generation loss. For this reason, transcoding (in lossy formats) is generally discouraged unless unavoidable. For users wanting to be able to re-encode audio into any format, and for digital audio editing, it is best to retain a master copy in a lossless format (such as FLAC, ALAC, TTA, WavPack, and others) that take around half the storage space needed when compared to original uncompressed PCM formats (such as WAV, and AIFF), as lossless formats usually have the added benefit of having meta data options, which are either completely missing or very limited in PCM formats. These lossless formats can be transcoded to PCM formats or transcoded directly from one lossless format to another lossless format, without any loss in quality. They can be transcoded into a lossy format, but these copies will then not be able to be transcoded into another format of any kind (PCM, lossless, or lossy) without a subsequent loss of quality. For image editing users are advised to capture or save images in a raw or uncompressed format, and then edit a copy of that master version, only converting to lossy formats if smaller file sized images are needed for final distribution. As with audio, transcoding from lossy format to another format of any type will result in a loss of quality.