Wav File Format
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Supported File Types
MyFax Supported File Formats Document Type Versions Extensions Adobe Portable Document Format (PDF) All Versions PDF Adobe Postscript All Versions PS Adobe Photoshop v. 3.0 and above PSD Amiga Interchange File Format (IFF) Raster Bitmap only IFF CAD Drawing Exchange Format (DXF) All AutoCad compatible versions DXF Comma Separated Values Format All Versions CSV Compuserve Graphics Interchange Format GIF87a, GIF89a GIF Corel Presentations Slide Show v. 96 and above SHW Corel Word Perfect v. 5.x. 6, 7, 8, 9 WPD, WP5, WP6 Encapsulated Postscript All Versions EPS Hypertext Markup Language HTML only with base href tag required HTML, HTM JPEG Joint Photography Experts Group All Versions JPG, JPEG Lotus 1-2-3 v. 2, 3, 4, 5, 96, 97, 9.x 123, WK1, WK3, WK4 Lotus Word Pro v. 96, 97, 9.x LWP Microsoft Excel v. 5, 95, 97, 2000, 2003, 2007 XLS, XLSX Microsoft PowerPoint v. 4 and above PPT, PPTX Microsoft Publisher v. 98, 2000, 2002, 2003, 2007 PUB Microsoft Windows Write All Versions WRI Microsoft Word Win: v. 97, 2000, 2003, 2007 Mac: v. 4, 5.x, 95, 98 DOC, DOCX Microsoft Word Template Win: v. 97, 2000, 2003, 2007 Mac: v. 4, 5.x, 95, 98 DOT, DOTX Microsoft Works Word Processor v. 4.x, 5, 6, 7, 8.x, 9 WPS OpenDocument Drawing All Versions ODG OpenDocument Presentation All Versions ODP OpenDocument Spreadsheet All Versions ODS OpenDocument Text All Versions ODT PC Paintbrush Graphics (PCX) All Versions PCX Plain Text All Versions TXT, DOC, LOG, ERR, C, CPP, H Portable Network Graphics (PNG) All Versions PNG Quattro Pro v. -
XMP SPECIFICATION PART 3 STORAGE in FILES Copyright © 2016 Adobe Systems Incorporated
XMP SPECIFICATION PART 3 STORAGE IN FILES Copyright © 2016 Adobe Systems Incorporated. All rights reserved. Adobe XMP Specification Part 3: Storage in Files NOTICE: All information contained herein is the property of Adobe Systems Incorporated. No part of this publication (whether in hardcopy or electronic form) may be reproduced or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written consent of Adobe Systems Incorporated. Adobe, the Adobe logo, Acrobat, Acrobat Distiller, Flash, FrameMaker, InDesign, Illustrator, Photoshop, PostScript, and the XMP logo are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. MS-DOS, Windows, and Windows NT are either registered trademarks or trademarks of Microsoft Corporation in the United States and/or other countries. Apple, Macintosh, Mac OS and QuickTime are trademarks of Apple Computer, Inc., registered in the United States and other countries. UNIX is a trademark in the United States and other countries, licensed exclusively through X/Open Company, Ltd. All other trademarks are the property of their respective owners. This publication and the information herein is furnished AS IS, 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, makes no warranty of any kind (express, implied, or statutory) with respect to this publication, and expressly disclaims any and all warranties of merchantability, fitness for particular purposes, and noninfringement of third party rights. Contents 1 Embedding XMP metadata in application files . -
(A/V Codecs) REDCODE RAW (.R3D) ARRIRAW
What is a Codec? Codec is a portmanteau of either "Compressor-Decompressor" or "Coder-Decoder," which describes a device or program capable of performing transformations on a data stream or signal. Codecs encode a stream or signal for transmission, storage or encryption and decode it for viewing or editing. Codecs are often used in videoconferencing and streaming media solutions. A video codec converts analog video signals from a video camera into digital signals for transmission. It then converts the digital signals back to analog for display. An audio codec converts analog audio signals from a microphone into digital signals for transmission. It then converts the digital signals back to analog for playing. The raw encoded form of audio and video data is often called essence, to distinguish it from the metadata information that together make up the information content of the stream and any "wrapper" data that is then added to aid access to or improve the robustness of the stream. Most codecs are lossy, in order to get a reasonably small file size. There are lossless codecs as well, but for most purposes the almost imperceptible increase in quality is not worth the considerable increase in data size. The main exception is if the data will undergo more processing in the future, in which case the repeated lossy encoding would damage the eventual quality too much. Many multimedia data streams need to contain both audio and video data, and often some form of metadata that permits synchronization of the audio and video. Each of these three streams may be handled by different programs, processes, or hardware; but for the multimedia data stream to be useful in stored or transmitted form, they must be encapsulated together in a container format. -
Game Audio Via Openal
Game Audio via OpenAL Summary In the Graphics For Games module, you learnt how to use OpenGL to create complex graphical scenes, improving your programming skills along the way, and learning about data structures such as scene graphs. In this workshop, you'll see how to add sounds to your game worlds using the OpenAL sound library. New Concepts Sound in games, OpenAL, PCM audio, binary file formats, FourCC codes, WAV files, limited resource management Introduction Audio has played an important part in gaming almost as long as there have been games to play - even Pong back in 1972 had simple sound effects. We've moved a long way from then; the 80s brought dedicated audio hardware such as the Commodore 64's SID chip that could play 3 simultaneous syn- thesised sounds, and later the Amiga brought the ability to play audio samples to the home gaming market. In modern gaming hardware, we can expect to hear many simultaneous sounds and music tracks, often in surround sound. Game developers now employ dedicated sound engineers that will carefully adjust the sounds in each game release to create an immersive aural experience - making sure that each individual sound is uniquely identifiable and correctly equalised, and that every music track suits the situation they will be played in. At the heart of a game's audio experience is the code that plays back the game sounds, and cal- culates which speakers they should use - the sound system. Although we can't hope to compete with the complex sound systems of AAA games, we should still be able to make a robust, simple system for the addition of sound in our 3D games, and that's what this workshop will assist you in creating. -
Codec Is a Portmanteau of Either
What is a Codec? Codec is a portmanteau of either "Compressor-Decompressor" or "Coder-Decoder," which describes a device or program capable of performing transformations on a data stream or signal. Codecs encode a stream or signal for transmission, storage or encryption and decode it for viewing or editing. Codecs are often used in videoconferencing and streaming media solutions. A video codec converts analog video signals from a video camera into digital signals for transmission. It then converts the digital signals back to analog for display. An audio codec converts analog audio signals from a microphone into digital signals for transmission. It then converts the digital signals back to analog for playing. The raw encoded form of audio and video data is often called essence, to distinguish it from the metadata information that together make up the information content of the stream and any "wrapper" data that is then added to aid access to or improve the robustness of the stream. Most codecs are lossy, in order to get a reasonably small file size. There are lossless codecs as well, but for most purposes the almost imperceptible increase in quality is not worth the considerable increase in data size. The main exception is if the data will undergo more processing in the future, in which case the repeated lossy encoding would damage the eventual quality too much. Many multimedia data streams need to contain both audio and video data, and often some form of metadata that permits synchronization of the audio and video. Each of these three streams may be handled by different programs, processes, or hardware; but for the multimedia data stream to be useful in stored or transmitted form, they must be encapsulated together in a container format. -
Submitting Electronic Evidentiary Material in Western Australian Courts
Submitting Electronic Evidentiary Material in Western Australian Courts Document Revision History Revision Date Version Summary of Changes October 2007 1 Preliminary Draft December 2007 2 Incorporates feedback from Electronic Evidentiary Standards Workshop February 2008 3 Amendments following feedback from Paul Smith, Martin Jackson and Chris Penwald. June 2008 4 Amendments by Courts Technology Group July 2008 5 Amendments from feedback August 2008 6 Courtroom Status Update February 2010 7 Address details and Courtroom Status Update May 2013 8 Status Update November 2013 9 Status & Location Update February 2017 10 Incorporates range of new formats and adjustment to process December 2019 11 Updates to CCTV Players, Court Location Courtroom Types and Microsoft Office versions. Page 1 of 15 SUBMITTING ELECTRONIC EVIDENTIARY MATERIAL IN WESTERN AUSTRALIAN COURTS 1. INTRODUCTION ..................................................................................3 1.1. Non-Compliance with Standards ................................................................ 3 1.2. Court Locations ...................................................................................... 3 1.3. Courtroom Types .................................................................................... 3 1.3.1. Type A & B ........................................................................................ 3 1.3.2. Type C .............................................................................................. 3 1.4. Contacting DoJ Courts in Relation to Electronic -
FLV File Format
Video File Format Specification Version 10 Copyright © 2008 Adobe Systems Incorporated. All rights reserved. This manual may not be copied, photocopied, reproduced, translated, or converted to any electronic or machine-readable form in whole or in part without written approval from Adobe Systems Incorporated. Notwithstanding the foregoing, a person obtaining an electronic version of this manual from Adobe may print out one copy of this manual provided that no part of this manual may be printed out, reproduced, distributed, resold, or transmitted for any other purposes, including, without limitation, commercial purposes, such as selling copies of this documentation or providing paid-for support services. Trademarks Adobe, ActionScript, Flash, Flash Media Server, XMP, and Flash Player are either registered trademarks or trademarks of Adobe Systems Incorporated and may be registered in the United States or in other jurisdictions including internationally. Other product names, logos, designs, titles, words, or phrases mentioned within this publication may be trademarks, service marks, or trade names of Adobe Systems Incorporated or other entities and may be registered in certain jurisdictions including internationally. No right or license is granted to any Adobe trademark. Third-Party Information This guide contains links to third-party websites that are not under the control of Adobe Systems Incorporated, and Adobe Systems Incorporated is not responsible for the content on any linked site. If you access a third-party website mentioned in this guide, then you do so at your own risk. Adobe Systems Incorporated provides these links only as a convenience, and the inclusion of the link does not imply that Adobe Systems Incorporated endorses or accepts any responsibility for the content on those third- party sites. -
Which Image Format
CASE STUDY Which Image Format PNG PNG (Portable Network Graphics), an extensible file format for the lossless, portable, well-compressed storage of raster images. PNG provides a patent-free replacement for GIF and can also replace many common uses of TIFF. Indexed-color, gray scale, and true color images are supported, plus an optional alpha channel. Sample depths range from 1 to 16 bits. However, the format is not widely supported in common image programs. AVI AVI stands for Audio Video Interleave and is currently the most common file format for storing audio/video data on the PC. AVI’s are 8-bit per image plane. This file format conforms to the Microsoft Windows Resource Interchange File Format (RIFF) specification, which makes it convenient for sharing the image sequence between computers. AVI files (which typically end in the .avi extension) require a specific player that supports. RAW A RAW image format contains minimally processed data from the image sensor. RAW literally means unprocessed or uncooked. RAW images must be processed and converted to RGB format if it is a color image. Photron however, does not limit RAW as a unprocessed image. The “Bayer” check box must be selected to save the RAW image as an unprocessed image. RAW images have 8-bits per image plane. RAWW A RAWW image format contains minimally processed data from the image sensor. RAWW images must be processed and converted to RGB format if it is a color image. Photron however, does not limit RAWW as a unprocessed image. The “Bayer” check box must be selected to save the RAWW image as an unprocessed image. -
Audio File Types for Preservation and Access
AUDIO FILE TYPES FOR PRESERVATION AND ACCESS INTRODUCTION This resource guide identifies and compares audio file formats commonly used for preservation masters and access copies for both born digital and digitized materials. There are a wide range of audio file formats available, each with their own uses, considerations, and best practices. For more information about technical details see the glossary and additional resources linked at the end of this resource guide. For more information about audio files, view related items connected to this resource on the Sustainable Heritage Network in the “Audio Recordings” category. AUDIO FILE FORMATS FOR PRESERVATION MASTERS Lossless files (either uncompressed, or using lossless compression) are best used for preservation masters as they have the highest audio quality and fidelity, however, they produce the largest file sizes. Preservation Masters are generally not edited, or are minimally edited because their purpose is to serve as the most faithful copy of the original recording possible. WAV (Waveform Audio File Format) ● Uncompressed ● Proprietary (IBM), but very widely used ● Accessible on all operating systems and most audio software ● A variant called BWF (Broadcast Wave File Format) allows embedding of additional metadata sustainableheritagenetwork.org | [email protected] Center for Digital Scholarship and Curation | cdsc.libraries.wsu.edu Resource updated 3/14/2018 FLAC (Free Lossless Audio Codec) ● Compressed (lossless) ● Open format ● Accessible on all operating -
Forcepoint DLP Supported File Formats and Size Limits
Forcepoint DLP Supported File Formats and Size Limits Supported File Formats and Size Limits | Forcepoint DLP | v8.8.1 This article provides a list of the file formats that can be analyzed by Forcepoint DLP, file formats from which content and meta data can be extracted, and the file size limits for network, endpoint, and discovery functions. See: ● Supported File Formats ● File Size Limits © 2021 Forcepoint LLC Supported File Formats Supported File Formats and Size Limits | Forcepoint DLP | v8.8.1 The following tables lists the file formats supported by Forcepoint DLP. File formats are in alphabetical order by format group. ● Archive For mats, page 3 ● Backup Formats, page 7 ● Business Intelligence (BI) and Analysis Formats, page 8 ● Computer-Aided Design Formats, page 9 ● Cryptography Formats, page 12 ● Database Formats, page 14 ● Desktop publishing formats, page 16 ● eBook/Audio book formats, page 17 ● Executable formats, page 18 ● Font formats, page 20 ● Graphics formats - general, page 21 ● Graphics formats - vector graphics, page 26 ● Library formats, page 29 ● Log formats, page 30 ● Mail formats, page 31 ● Multimedia formats, page 32 ● Object formats, page 37 ● Presentation formats, page 38 ● Project management formats, page 40 ● Spreadsheet formats, page 41 ● Text and markup formats, page 43 ● Word processing formats, page 45 ● Miscellaneous formats, page 53 Supported file formats are added and updated frequently. Key to support tables Symbol Description Y The format is supported N The format is not supported P Partial metadata -
Creating and Archiving Born Digital Video
Federal Agencies Digitization Guidelines Initiative Creating and Archiving Born Digital Video Part III. High Level Recommended Practices December 2, 2014 The FADGI Audio-Visual Working Group http://www.digitizationguidelines.govaudio-visual/ Creating and Archiving Born Digital Video III: High Level Recommended Practices By the Federal Agencies Digitization Guidelines Initiative Audio-Visual Working Group http://www.digitizationguidelines.gov/audio-visual/ Version 1.1, December 2, 2014 TABLE OF CONTENTS Introduction .............................................................................................................................................................. 4 What is this Document? .......................................................................................................................................... 4 Key to Case History References .............................................................................................................................. 4 Understanding the Recommended Practices .......................................................................................................... 4 Part 1. Advice for File Creators .............................................................................................................................. 6 Plan for High Quality Video Files and Metadata ................................................................................................... 6 RP 1.1 Select a camera and other recording equipment with the capability to capture at high quality -
Video Quality Measurement for 3G Handset
University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2007 Video Quality Measurement for 3G Handset Zeeshan http://hdl.handle.net/10026.2/509 University of Plymouth All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. Video Quality Measurement for 3G Handset by Zeeshan Dissertation submitted in partial fulfilment of the requirements for the award of Master of Research in Communications Engineering and Signal Processing in School of Computing, Communication and Electronics University of Plymouth January 2007 Supervisors Professor Emmanuel C. Ifeachor Dr. Lingfen Sun Mr. Zhuoqun Li © Zeeshan 2007 University of Plymouth Library Item no. „ . ^ „ Declaration This is to certify that the candidate, Mr. Zeeshan, carried out the work submitted herewith Candidate's Signature: Mr. Zeeshan KJ(. 'X&_.XJ<t^ Date: 25/01/2007 Supervisor's Signature: Dr. Lingfen Sun /^i^-^^^^f^ » P^^^. 25/01/2007 Second Supervisor's Signature: Mr. Zhuoqun Li / Date: 25/01/2007 Copyright & Legal Notice This copy of the dissertation has been supplied on the condition that anyone who consults it is understood to recognize that its copyright rests with its author and that no part of this dissertation and information derived from it may be published without the author's prior written consent.