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Datasheet-Smartsignage
Fanless Embedded Box PC with Intel® Celeron® SmartSignage 4-core Processor J1900 EBC-3311 Features Fanless digital signage solution Cableless design Low power consumption 1 x USB 3.0 Line-out 1 x USB 2.0 2 x RJ-45 VGA DC INPUT 12V On board Intel® Celeron® 4-core Processor EBC-3311B High definition video output J1900 (Bay Trail) Supports DDR3L SO-DIMM 1333 max. up to 8GB 1 x High definition video output & 1 VGA or 2 x High definition video output 1 x USB 3.0 Line-out 1 x USB 2.0 2 x RJ-45 DC INPUT 12V Front Side 1 mSATA supported High definition video output Supports VESA mount Rear Side Power Switch Applications Digital Signage Kiosk Engine POS PC IoT Gateway Specifications Image format Jpeg, tiff, png, (anim) gif, bmp System Optional for 802.11 b/g/n CPU Intel® Celeron® 4-core Processor J1900 WiFi (Bay Trail) Expansion Slot 1 x full-size Mini card Chipset SoC integrated (for mSATA) System Memory 1 x DDR3L 1333 max up to 8GB 1 x half-size PCI Express Mini card Storage 1 x mSATA supported for optional WiFi module Watchdog Timer 255 levels, 1-255 sec. Power Supply 12V DC-in I/O 1 x USB 2.0 , 1 x USB 3.0 2 x 10/100/1000Mbps Ethernet Dimensions (W x D x H) 170 x 120 x 40 mm 1 x power on/off button 6.69 x 4.72 x 1.57” 1 x Audio (Line-out) Packing Dimension 320 x 205 x 65 mm Video I/O EBC-3311 EBC-3311B (W x D x H) 12.59 x 8.07 x 2.55” 1 x High 2 x High definition Weight (net/gross) 0.7kg(1.5lb)/1.2kg(2.61b) definition video output video output Environmental 1 x VGA Operation Temperature 0°C – +40°C,(32°F – 104°F) Video MPEG-4, MPEG-2, MPEG-1, H.264, -
Dynamic Resource Management of Network-On-Chip Platforms for Multi-Stream Video Processing
DYNAMIC RESOURCE MANAGEMENT OF NETWORK-ON-CHIP PLATFORMS FOR MULTI-STREAM VIDEO PROCESSING Hashan Roshantha Mendis Doctor of Engineering University of York Computer Science March 2017 2 Abstract This thesis considers resource management in the context of parallel multiple video stream de- coding, on multicore/many-core platforms. Such platforms have tens or hundreds of on-chip processing elements which are connected via a Network-on-Chip (NoC). Inefficient task allo- cation configurations can negatively affect the communication cost and resource contention in the platform, leading to predictability and performance issues. Efficient resource management for large-scale complex workloads is considered a challenging research problem; especially when applications such as video streaming and decoding have dynamic and unpredictable workload characteristics. For these type of applications, runtime heuristic-based task mapping techniques are required. As the application and platform size increase, decentralised resource management techniques are more desirable to overcome the reliability and performance bot- tlenecks in centralised management. In this work, several heuristic-based runtime resource management techniques, targeting real-time video decoding workloads are proposed. Firstly, two admission control approaches are proposed; one fully deterministic and highly predictable; the other is heuristic-based, which balances predictability and performance. Secondly, a pair of runtime task mapping schemes are presented, which make use of limited known application properties, communication cost and blocking-aware heuristics. Combined with the proposed deterministic admission con- troller, these techniques can provide strict timing guarantees for hard real-time streams whilst improving resource usage. The third contribution in this thesis is a distributed, bio-inspired, low-overhead, task re-allocation technique, which is used to further improve the timeliness and workload distribution of admitted soft real-time streams. -
Chapter 3 Image Data Representations
Chapter 3 Image Data Representations 1 IT342 Fundamentals of Multimedia, Chapter 3 Outline • Image data types: • Binary image (1-bit image) • Gray-level image (8-bit image) • Color image (8-bit and 24-bit images) • Image file formats: • GIF, JPEG, PNG, TIFF, EXIF 2 IT342 Fundamentals of Multimedia, Chapter 3 Graphics and Image Data Types • The number of file formats used in multimedia continues to proliferate. For example, Table 3.1 shows a list of some file formats used in the popular product Macromedia Director. Table 3.1: Macromedia Director File Formats File Import File Export Native Image Palette Sound Video Anim. Image Video .BMP, .DIB, .PAL .AIFF .AVI .DIR .BMP .AVI .DIR .GIF, .JPG, .ACT .AU .MOV .FLA .MOV .DXR .PICT, .PNG, .MP3 .FLC .EXE .PNT, .PSD, .WAV .FLI .TGA, .TIFF, .GIF .WMF .PPT 3 IT342 Fundamentals of Multimedia, Chapter 3 1-bit Image - binary image • Each pixel is stored as a single bit (0 or 1), so also referred to as binary image. • Such an image is also called a 1-bit monochrome image since it contains no color. It is satisfactory for pictures containing only simple graphics and text. • A 640X480 monochrome image requires 38.4 kilobytes of storage (= 640x480 / (8x1000)). 4 IT342 Fundamentals of Multimedia, Chapter 3 8-bit Gray-level Images • Each pixel has a gray-value between 0 and 255. Each pixel is represented by a single byte; e.g., a dark pixel might have a value of 10, and a bright one might be 230. • Bitmap: The two-dimensional array of pixel values that represents the graphics/image data. -
V1.0 PDF Manual
Anim8or® User Guide Version 1.00 29-May-17 R. Steven Glanville © 1999 - 2017 R. Steven Glanville. All rights reserved. http://www.anim8or.com Table Of Contents Introduction 9 What's New in v1.0 10 User Interface 10 Modeling 10 Animation 11 Basics 12 Mouse Usage 12 Keyboard Shortcuts 12 Undo and Redo 12 Tool Tips 13 Toolbars and Menus 13 Common Button Meanings 13 Top Toolbar 15 Arc Rotate 16 Editing Widgets 16 Grid Control 17 Material Editor 17 Anim8or Object Libraries 18 Visual Quality 18 OpenGL Workspace 19 File Output 20 User Attributes 20 Printing 20 Auto Save 20 Configuration 21 Version 1.00 29-May-17 2 © 1999 - 2017 R. Steven Glanville Table Of Contents User Interface Configuration 22 Object Editor - Basics & Object/Edit Mode 24 Object/Edit Tools 25 Basic Objects 25 Mesh vs. Parametric Components 27 Object Materials 28 Plug-in Shapes 28 Splines 29 True Type Fonts 29 Extrusion 30 Lathing 31 Modifiers 32 Mirror Image 33 Morph Targets 34 Continuously Mirrored Meshes 35 Reference Image 35 Object Editor - Object/Point Mode 37 Object/Point Operations 37 Point Editing 37 Edge Editing 38 Face Editing 39 Applying Multiple Materials 39 A Note on Selecting Faces 40 Adding Points and Edges 40 Adding Faces 41 Connecting Meshes 41 Merging Points 42 Version 1.00 29-May-17 3 © 1999 - 2017 R. Steven Glanville Table Of Contents Connecting Meshes (2) 42 Connecting Meshes (3) 42 Point and Line Parameters 43 Face Extrusion and Manipulation Tools 43 Topographical Knife 46 Face Editing Commands 47 Miscellaneous Commands 49 Selection Commands 49 Editing Commands 49 Figure Editor 51 Figure Basics 52 Figure/Edit Operations 52 Visibility 54 Building a Skeleton 55 Flexible Joints 56 Adding Body Parts 57 Skinning 57 Influence Volumes 58 Skinning Weights 59 Sequence Editor 61 Time Track 61 Scrubber Bar 62 Sequence Basics 62 Edit Operations 63 Visibility Options 63 Animate Button 64 What is a Key? 64 Version 1.00 29-May-17 4 © 1999 - 2017 R. -
R-Photo User's Manual
User's Manual © R-Tools Technology Inc 2020. All rights reserved. www.r-tt.com © R-tools Technology Inc 2020. All rights reserved. No part of this User's Manual may be copied, altered, or transferred to, any other media without written, explicit consent from R-tools Technology Inc.. All brand or product names appearing herein are trademarks or registered trademarks of their respective holders. R-tools Technology Inc. has developed this User's Manual to the best of its knowledge, but does not guarantee that the program will fulfill all the desires of the user. No warranty is made in regard to specifications or features. R-tools Technology Inc. retains the right to make alterations to the content of this Manual without the obligation to inform third parties. Contents I Table of Contents I Start 1 II Quick Start Guide in 3 Steps 1 1 Step 1. Di.s..k.. .S..e..l.e..c..t.i.o..n.. .............................................................................................................. 1 2 Step 2. Fi.l.e..s.. .M..a..r..k.i.n..g.. ................................................................................................................ 4 3 Step 3. Re..c..o..v..e..r.y.. ...................................................................................................................... 6 III Features 9 1 File Sorti.n..g.. .............................................................................................................................. 9 2 File Sea.r.c..h.. ............................................................................................................................ -
3D Graphics for Virtual Desktops Smackdown
3D Graphics for Virtual Desktops Smackdown 3D Graphics for Virtual Desktops Smackdown Author(s): Shawn Bass, Benny Tritsch and Ruben Spruijt Version: 1.11 Date: May 2014 Page i CONTENTS 1. Introduction ........................................................................ 1 1.1 Objectives .......................................................................... 1 1.2 Intended Audience .............................................................. 1 1.3 Vendor Involvement ............................................................ 2 1.4 Feedback ............................................................................ 2 1.5 Contact .............................................................................. 2 2. About ................................................................................. 4 2.1 About PQR .......................................................................... 4 2.2 Acknowledgements ............................................................. 4 3. Team Remoting Graphics Experts - TeamRGE ....................... 6 4. Quotes ............................................................................... 7 5. Tomorrow’s Workspace ....................................................... 9 5.1 Vendor Matrix, who delivers what ...................................... 18 6. Desktop Virtualization 101 ................................................. 24 6.1 Server Hosted Desktop Virtualization directions ................... 24 6.2 VDcry?! ........................................................................... -
Digital Recording of Performing Arts: Formats and Conversion
detailed approach also when the transfer of rights forms part of an employment contract between the producer of Digital recording of performing the recording and the live crew. arts: formats and conversion • Since the area of activity most probably qualifies as Stijn Notebaert, Jan De Cock, Sam Coppens, Erik Mannens, part of the ‘cultural sector’, separate remuneration for Rik Van de Walle (IBBT-MMLab-UGent) each method of exploitation should be stipulated in the Marc Jacobs, Joeri Barbarien, Peter Schelkens (IBBT-ETRO-VUB) contract. If no separate remuneration system has been set up, right holders might at any time invoke the legal default mechanism. This default mechanism grants a proportionate part of the gross revenue linked to a specific method of exploitation to the right holders. The producer In today’s digital era, the cultural sector is confronted with a may also be obliged to provide an annual overview of the growing demand for making digital recordings – audio, video and gross revenue per way of exploitation. This clause is crucial still images – of stage performances available over a multitude of in order to avoid unforeseen financial and administrative channels, including digital television and the internet. Essentially, burdens in a later phase. this can be accomplished in two different ways. A single entity can act as a content aggregator, collecting digital recordings from • Determine geographical scope and, if necessary, the several cultural partners and making this content available to duration of the transfer for each way of exploitation. content distributors or each individual partner can distribute its own • Include future methods of exploitation in the contract. -
Designing and Developing a Model for Converting Image Formats Using Java API for Comparative Study of Different Image Formats
International Journal of Scientific and Research Publications, Volume 4, Issue 7, July 2014 1 ISSN 2250-3153 Designing and developing a model for converting image formats using Java API for comparative study of different image formats Apurv Kantilal Pandya*, Dr. CK Kumbharana** * Research Scholar, Department of Computer Science, Saurashtra University, Rajkot. Gujarat, INDIA. Email: [email protected] ** Head, Department of Computer Science, Saurashtra University, Rajkot. Gujarat, INDIA. Email: [email protected] Abstract- Image is one of the most important techniques to Different requirement of compression in different area of image represent data very efficiently and effectively utilized since has produced various compression algorithms or image file ancient times. But to represent data in image format has number formats with time. These formats includes [2] ANI, ANIM, of problems. One of the major issues among all these problems is APNG, ART, BMP, BSAVE, CAL, CIN, CPC, CPT, DPX, size of image. The size of image varies from equipment to ECW, EXR, FITS, FLIC, FPX, GIF, HDRi, HEVC, ICER, equipment i.e. change in the camera and lens puts tremendous ICNS, ICO, ICS, ILBM, JBIG, JBIG2, JNG, JPEG, JPEG 2000, effect on the size of image. High speed growth in network and JPEG-LS, JPEG XR, MNG, MIFF, PAM, PCX, PGF, PICtor, communication technology has boosted the usage of image PNG, PSD, PSP, QTVR, RAS, BE, JPEG-HDR, Logluv TIFF, drastically and transfer of high quality image from one point to SGI, TGA, TIFF, WBMP, WebP, XBM, XCF, XPM, XWD. another point is the requirement of the time, hence image Above mentioned formats can be used to store different kind of compression has remained the consistent need of the domain. -
Learning Actionscript 2.0 in Flash
LEARNING ACTIONSCRIPT ™ 2.0 IN FLASH® © 2007 Adobe Systems Incorporated. All rights reserved. Learning ActionScript 2.0 in Adobe® Flash® If this guide is distributed with software that includes an end user agreement, this guide, as well as the software described in it, is furnished under license and may be used or copied only in accordance with the terms of such license. Except as permitted by any such license, no part of this guide may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, recording, or otherwise, without the prior written permission of Adobe Systems Incorporated. Please note that the content in this guide is protected under copyright law even if it is not distributed with software that includes an end user license agreement. The content of this guide is furnished for informational use only, is subject to change without notice, and should not be construed as a commitment by Adobe Systems Incorporated. Adobe Systems Incorporated assumes no responsibility or liability for any errors or inaccuracies that may appear in the informational content contained in this guide. Please remember that existing artwork or images that you may want to include in your project may be protected under copyright law. The unauthorized incorporation of such material into your new work could be a violation of the rights of the copyright owner. Please be sure to obtain any permission required from the copyright owner. Any references to company names in sample templates are for demonstration purposes only and are not intended to refer to any actual organization. -
Investigation of Scalable Vector Graphics As a Cover Medium For
AN INVESTIGATION OF SCALABLE VECTOR GRAPHICS AS A COVER MEDIUM FOR STEGANOGRAPHY By Gerard J. Hungerman Submitted to the Faculty of the College of Arts and Sciences of American University in Partial Fulfillment, of the Requirements for the Degree of M aster of Science In Computer Science Chair: Dr. Michael Gray Dr. Angela Wu ^ i I Dr. Dean McCullough Dean of the College of Arts and Sciences Date 2006 American University Washington, D.C. 20016 AMERICAN UNIVERSITY LIBRARY Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 1439943 INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. ® UMI UMI Microform 1439943 Copyright 2007 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. AN INVESTIGATION OF SCALABLE VECTOR GRAPHICS AS A COVER MEDIUM FOR STEGANOGRAPHY BY Gerard J. Hungerman ABSTRACT Cryptography is normally used when security is required in Internet communications, even though its use makes obvious to outside observers that communications are sensitive. -
Zajy\CZKOWSKI Grzegorz, JAROSZ Bartosz
OVERVIEW OF IMAGE FORMATS SUITABLE FOR PRESENTATION OF ART ON THE WWW ZAJy\CZKOWSKI Grzegorz, JAROSZ Bartosz, WOJCIECHOWSKI Konrad, SMOtKA Bogdan, Silesian Technical University of Gliwice Department of Computer Science Akademicka 16, 44-101 Gliwice Email: bsmolka(a).peach.ia.oolsl. qliwice.pl NAtECKAAnna, MAtECKA Agnieszka SYNOWIEC Pawet, KROL Bogdan School of Arts Katowice An important aspect of image processing is the enormous amount of data which has to be handled when transmitting digital images. The efficient transmission of images is extremally important as the image data transfer takes up over 90 percent of the volume on the Internet. In this aspect computer data compression is a powerfull technology which is playing a vital role in the Information Age. The compression of information can be devided into lossles and lossy techniques. In some cases such as text or financial data transfer only the losless algoritms can be applied. However when transmitting or storing digital images or music data, the application of losssy techniques is aimost invisible to the user, but enables a drastic reduction of the data volume. In this article we present some of the compression techniques which can be used when transmitting or storing digital images. All the formats we were able to gather are accompanied by a short description and an Internet link, which can be used when detailed information is needed. Our intention is to find the optimal compression format for presenting artistic images over the Internet. The first step of our project is the cataloging of the existing formats and evaluating their efficiency when transmitting data containing artistic features. -
With Blender 3D & an Illustration Program
Page 1 Fundamentals Of Paper Model Design With Blender 3D & An Illustration Program By Angel David Guzmán – PixelOz 1.0 Edition © Publishing Page 2 This book is a free gift to the public courtesy of: Mi Casa Publishing © 13 Street T-5 Villa Linares Vega Alta, Puerto Rico 00692 © 2010 PixelOz Designs, Angel David Guzman – PixelOz All Rights Reserved Page 3 COPYRIGHT This document, this e-book “Fundamentals Of Paper Model Design With Blender 3D & An Illustration Program” is Copyright ©2010 of PixelOz Designs and Angel David Guzmán – PixelOz. All Rights Reserved. This e-book may not be altered in any way. You may not reproduce this document either partially or as a whole, except as outlined below. Under “NO” circumstance this document may be sold, auctioned or rented in any way so under “NO” circumstance can you profit by the sale, rental or distribution of this e-book without permission from the author. Credit & Copyright to PixelOz Designs and Angel David Guzmán must remain in all distribution, in any format. You may distribute this e-book (in unlimited quantity) in its original PDF format, or as a printed booklet provided this e-book is not altered in any way. Content, layout, information and links must remain in the document in their original format. You may make this e-book available for download on your website free of charge via a link to the e-book on the addresses already given in the book itself, or by placing the e-book on your own server, and linking to the unaltered file on your server.