Digital Video Processing
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PDF/A for Scanned Documents
Webinar www.pdfa.org PDF/A for Scanned Documents Paper Becomes Digital Mark McKinney, LuraTech, Inc., President Armin Ortmann, LuraTech, CTO Mark McKinney President, LuraTech, Inc. © 2009 PDF/A Competence Center, www.pdfa.org Existing Solutions for Scanned Documents www.pdfa.org Black & White: TIFF G4 Color: Mostly JPEG, but sometimes PNG, BMP and other raster graphics formats Often special version formats like “JPEG in TIFF” Disadvantages: Several formats already for scanned documents Even more formats for born digital documents Loss of information, e.g. with TIFF G4 Bad image quality and huge file size, e.g. with JPEG No standardized metadata spread over all formats Not full text searchable (OCR) inside of files Black/White: Color: - TIFF FAX G4 - TIFF - TIFF LZW Mark McKinney - JPEG President, LuraTech, Inc. - PDF 2 Existing Solutions for Scanned Documents www.pdfa.org Bad image quality vs. file size TIFF/BMP JPEG TIFF G4 23.8 MB 180 kB 60 kB Mark McKinney President, LuraTech, Inc. 3 Alternative Solution: PDF www.pdfa.org PDF is already widely used to: Unify file formats Image à PDF “Office” Documents à PDF Other sources à PDF Create full-text searchable files Apply modern compression technology (e.g. the JPEG2000 file formats family) Harmonize metadata Conclusion: PDF avoids the disadvantages of the legacy formats “So if you are already using PDF as archival Mark McKinney format, why not use PDF/A with its many President, LuraTech, Inc. advantages?” 4 PDF/A www.pdfa.org What is PDF/A? • ISO 19005-1, Document Management • Electronic document file format for long-term preservation Goals of PDF/A: • Maintain static visual representation of documents • Consistent handing of Metadata • Option to maintain structure and semantic meaning of content • Transparency to guarantee access • Limit the number of restrictions Mark McKinney President, LuraTech, Inc. -
Digital TV Framework High Performance Transcoder & Player Frameworks for Awesome Rear Seat Entertainment
SOLUTION BRIEF In-Car Digital TV Framework High performance transcoder & player frameworks for awesome rear seat entertainment INTRODUCTION Ittiam offers a complete Digital TV Framework that brings media encapsulated in the latest Digital TV broadcast standards to the automotive dashboard and rear seat. Our solution takes input from the TV tuner including video, audio, subtitle, EPG, and Teletext, and transcodes iton the automotive head unit for display by the Rear Seat Entertainment (RSE) units. By connecting several software components including audio/video decoding, encoding and post processing, and control inputs, our transcoder and player frameworks deliver SUMMARY high performance audio and video playback. PRODUCT Transcoder framework that runs on Head Unit OVERVIEW OF FEATURES Player framework that runs on RSE unit Supports a wide range of terrestrial broadcast standards – DVB-T / DVB-T2, SBTVD, T-DMB, ISDBT and ISDB-T 1seg HIGHLIGHTS Transcoder Input is a MPEG-2 TS stream; and output is an MPEG-2 TS stream containing H.264 Supports an array of terrestrial video @ 720p30 and AAC audio broadcast standards Split HEVC decoder (ARM + EVE) . Supports MPEG-2, H.264 / SL-H264, H.265 input video formats . on TI Jacinto6 platform Supports MPEG 1/2 Layer I, MPEG-1/2 Layer II, MP3, AAC / HE-AAC/ SL-AAC, BSAC, MPEG Supports video overlay and Surround, Dolby AC3 and Dolby EAC3 input audio formats . Supports dynamic switching between 1-seg and 12-seg ISDB-T streams blending Free from any open source code Includes audio post-processing (down mix, -
Lec16, 3D Technologies, V1.00 Printfriendly.Pdf
Course Presentation Multimedia Systems 3D Technologies Mahdi Amiri May 2012 Sharif University of Technology Binocular Vision (Two Eyes) Advantages A spare eye in case one is damaged. A wider field of view (FOV). Maximum horizontal FOV of humans: ~200º (with two eyes) One binocular FOV (seen by both eyes): ~120º Two uniocular FOV (seen by only one eye): ~40º Binocular summation: The ability to detect faint objects is enhanced (neural summation). Perception of depth. Page 1 Multimedia Systems, Mahdi Amiri, 3D Technologies Depth Perception Cyclopean Image Cyclopean image is a single mental image of a scene created by the brain by combining two images received from the two eyes. The mythical Cyclops with a single eye Page 2 Multimedia Systems, Mahdi Amiri, 3D Technologies Depth Perception Cues (Cont.) Accommodation of the eyeball (eyeball focus) Focus by changing the curvature of the lens. Interposition Occlusion of one object by another Occlusion Page 3 Multimedia Systems, Mahdi Amiri, 3D Technologies Depth Perception Cues (Cont.) Linear perspective (convergence of parallel edges) Parallel lines such as railway lines converge with increasing distance. Page 4 Multimedia Systems, Mahdi Amiri, 3D Technologies Depth Perception Cues (Cont.) Familiar size and Relative size subtended visual angle of an object of known size A retinal image of a small car is also interpreted as a distant car. Page 5 Multimedia Systems, Mahdi Amiri, 3D Technologies Depth Perception Cues (Cont.) Aerial Perspective Vertical position (objects higher in the scene generally tend to be perceived as further away) Haze, desaturation, and a shift to bluishness Hight Shift to bluishness Haze Page 6 Multimedia Systems, Mahdi Amiri, 3D Technologies Depth Perception Cues (Cont.) Light and Shade Shadow Page 7 Multimedia Systems, Mahdi Amiri, 3D Technologies Depth Perception Cues (Cont.) Change in size of textured pattern detail. -
Chapter 9 Image Compression Standards
Fundamentals of Multimedia, Chapter 9 Chapter 9 Image Compression Standards 9.1 The JPEG Standard 9.2 The JPEG2000 Standard 9.3 The JPEG-LS Standard 9.4 Bi-level Image Compression Standards 9.5 Further Exploration 1 Li & Drew c Prentice Hall 2003 ! Fundamentals of Multimedia, Chapter 9 9.1 The JPEG Standard JPEG is an image compression standard that was developed • by the “Joint Photographic Experts Group”. JPEG was for- mally accepted as an international standard in 1992. JPEG is a lossy image compression method. It employs a • transform coding method using the DCT (Discrete Cosine Transform). An image is a function of i and j (or conventionally x and y) • in the spatial domain. The 2D DCT is used as one step in JPEG in order to yield a frequency response which is a function F (u, v) in the spatial frequency domain, indexed by two integers u and v. 2 Li & Drew c Prentice Hall 2003 ! Fundamentals of Multimedia, Chapter 9 Observations for JPEG Image Compression The effectiveness of the DCT transform coding method in • JPEG relies on 3 major observations: Observation 1: Useful image contents change relatively slowly across the image, i.e., it is unusual for intensity values to vary widely several times in a small area, for example, within an 8 8 × image block. much of the information in an image is repeated, hence “spa- • tial redundancy”. 3 Li & Drew c Prentice Hall 2003 ! Fundamentals of Multimedia, Chapter 9 Observations for JPEG Image Compression (cont’d) Observation 2: Psychophysical experiments suggest that hu- mans are much less likely to notice the loss of very high spatial frequency components than the loss of lower frequency compo- nents. -
Electronics Engineering
INTERNATIONAL JOURNAL OF ELECTRONICS ENGINEERING ISSN : 0973-7383 Volume 11 • Number 1 • 2019 Study of Different Image File formats for Raster images Prof. S. S. Thakare1, Prof. Dr. S. N. Kale2 1Assistant professor, GCOEA, Amravati, India, [email protected] 2Assistant professor, SGBAU,Amaravti,India, [email protected] Abstract: In the current digital world, the usage of images are very high. The development of multimedia and digital imaging requires very large disk space for storage and very long bandwidth of network for transmission. As these two are relatively expensive, Image compression is required to represent a digital image yielding compact representation of image without affecting its essential information with reducing transmission time. This paper attempts compression in some of the image representation formats and the experimental results for some image file format are also shown. Keywords: ImageFileFormats, JPEG, PNG, TIFF, BITMAP, GIF,CompressionTechniques,Compressed image processing. 1. INTRODUCTION Digital images generally occupy a large amount of storage space and therefore take longer time to transmit and download (Sayood 2012;Salomonetal 2010;Miano 1999). To reduce this time image compression is necessary. Image compression is a technique used to identify internal data redundancy and then develop a compact representation that takes up less storage space than the original image size and the reverse process is called decompression (Javed 2016; Kia 1997). There are two types of image compression (Gonzalez and Woods 2009). 1. Lossy image compression 2. Lossless image compression In case of lossy compression techniques, it removes some part of data, so it is used when a perfect consistency with the original data is not necessary after decompression. -
PRACTICAL METHODS to VALIDATE ULTRA HD 4K CONTENT Sean Mccarthy, Ph.D
PRACTICAL METHODS TO VALIDATE ULTRA HD 4K CONTENT Sean McCarthy, Ph.D. ARRIS Abstract Yet now, before we hardly got used to HD, we are talking about Ultra HD (UHD) with at Ultra High Definition television is many least four times as many pixels as HD. In things: more pixels, more color, more addition to and along with UHD, we are contrast, and higher frame rates. Of these getting a brand new wave of television parameters, “more pixels” is much more viewing options. The Internet has become a mature commercially and Ultra HD 4k TVs rival of legacy managed television distribution are taking their place in peoples’ homes. Yet, pipes. Over-the-top (OTT) bandwidth is now Ultra HD content and service offerings are often large enough to support 4k UHD playing catch-up. We don’t yet have enough exploration. New compression technologies experience to know what good Ultra HD 4k such as HEVC are now available to make content is nor do we know how much better use of video distribution channels. And bandwidth to allocate to deliver great Ultra the television itself is no longer confined to HD experiences to consumers. In this paper, the home. Every tablet, notebook, PC, and we describe techniques and tools that could smartphone now has a part time job as a TV be used to validate the quality of screen; and more and more of those evolved- uncompressed and compressed Ultra HD 4k from-computer TVs have pixel density and content so that we can plan bandwidth resolution to rival dedicated TV displays. -
Video Processing and Its Applications: a Survey
International Journal of Emerging Trends & Technology in Computer Science (IJETTCS) Web Site: www.ijettcs.org Email: [email protected] Volume 6, Issue 4, July- August 2017 ISSN 2278-6856 Video Processing and its Applications: A survey Neetish Kumar1, Dr. Deepa Raj2 1Department of Computer Science, BBA University, Lucknow, India 2Department of Computer Science, BBA University, Lucknow, India Abstract of low quality video. The common cause of the degradation A video is considered as 3D/4D spatiotemporal intensity pattern, is a challenging problem because of the various reasons like i.e. a spatial intensity pattern that changes with time. In other low contrast, signal to noise ratio is usually very low etc. word, video is termed as image sequence, represented by a time The application of image processing and video processing sequence of still images. Digital video is an illustration of techniques is to the analyze the video sequences in traffic moving visual images in the form of encoded digital data. flow, traffic data collection and road traffic monitoring. Digital video standards are required for exchanging of digital Various methods are present including the inductive loop, video among different products, devices and applications. the sonar and microwave detectors has their own Pros and Fundamental consumer applications for digital video comprise Cons. Video sensors are relatively cost effective installation digital TV broadcasts, video playback from DVD, digital with little traffic interruption during maintenance. cinema, as well as videoconferencing and video streaming over Furthermore, they administer wide area monitoring the Internet. In this paper, various literatures related to the granting analysis of traffic flows and turning movements, video processing are exploited and analysis of the various speed measurement, multiple point vehicle counts, vehicle aspects like compression, enhancement of video are performed. -
Audiovisual Spatial Congruence, and Applications to 3D Sound and Stereoscopic Video
Audiovisual spatial congruence, and applications to 3D sound and stereoscopic video. C´edricR. Andr´e Department of Electrical Engineering and Computer Science Faculty of Applied Sciences University of Li`ege,Belgium Thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy (PhD) in Engineering Sciences December 2013 This page intentionally left blank. ©University of Li`ege,Belgium This page intentionally left blank. Abstract While 3D cinema is becoming increasingly established, little effort has fo- cused on the general problem of producing a 3D sound scene spatially coher- ent with the visual content of a stereoscopic-3D (s-3D) movie. The percep- tual relevance of such spatial audiovisual coherence is of significant interest. In this thesis, we investigate the possibility of adding spatially accurate sound rendering to regular s-3D cinema. Our goal is to provide a perceptually matched sound source at the position of every object producing sound in the visual scene. We examine and contribute to the understanding of the usefulness and the feasibility of this combination. By usefulness, we mean that the technology should positively contribute to the experience, and in particular to the storytelling. In order to carry out experiments proving the usefulness, it is necessary to have an appropriate s-3D movie and its corresponding 3D audio soundtrack. We first present the procedure followed to obtain this joint 3D video and audio content from an existing animated s-3D movie, problems encountered, and some of the solutions employed. Second, as s-3D cinema aims at providing the spectator with a strong impression of being part of the movie (sense of presence), we investigate the impact of the spatial rendering quality of the soundtrack on the reported sense of presence. -
WFM7200 Multiformat Multistandard Waveform Monitor
Multiformat, multistandard waveform monitor WFM7200 Datasheet Comprehensive audio monitoring (Option AD or DPE) Up to 16-channel audio monitoring for embedded audio Multichannel Surround Sound 1 display and flexible Lissajous display with audio level readouts Audio Loudness monitoring to ITU-R BS.1770-3 with audio trigger start/stop functions via GPI (Option AD or DPE) Support for analog, digital, and embedded audio (Option AD) Dolby Digital (AC-3), Dolby Digital Plus, and Dolby E (Option DPE) Comprehensive Dolby metadata decode and display (Option DPE) Dolby E Guard Band meter with user-defined limits (Option DPE) Unmatched display versatility FlexVu™, the most flexible four-tile display, suited for various application needs to increase productivity Patented Diamond and Arrowhead displays for gamut This video/audio/data monitor and analyzer all-in-one platform provides monitoring flexible options and field installable upgrades to monitor a diverse variety of Patented Timing and Lightning displays video and audio formats. Support for video formats includes 3G-SDI, Dual New patented Spearhead display and Luma Qualified Vector Link, HD-SDI and composite analog. Support for audio formats includes (LQV™) display facilitate precise color adjustment for post- Dolby E, Dolby Digital Plus, Dolby Digital, AES/EBU, embedded audio and production applications (Option PROD) analog audio. Stereoscopic 3D video displays for camera alignment and production/ Option GEN provides a simple test signal generator output that creates post-production applications -
American Broadcasting Company from Wikipedia, the Free Encyclopedia Jump To: Navigation, Search for the Australian TV Network, See Australian Broadcasting Corporation
Scholarship applications are invited for Wiki Conference India being held from 18- <="" 20 November, 2011 in Mumbai. Apply here. Last date for application is August 15, > 2011. American Broadcasting Company From Wikipedia, the free encyclopedia Jump to: navigation, search For the Australian TV network, see Australian Broadcasting Corporation. For the Philippine TV network, see Associated Broadcasting Company. For the former British ITV contractor, see Associated British Corporation. American Broadcasting Company (ABC) Radio Network Type Television Network "America's Branding Broadcasting Company" Country United States Availability National Slogan Start Here Owner Independent (divested from NBC, 1943–1953) United Paramount Theatres (1953– 1965) Independent (1965–1985) Capital Cities Communications (1985–1996) The Walt Disney Company (1997– present) Edward Noble Robert Iger Anne Sweeney Key people David Westin Paul Lee George Bodenheimer October 12, 1943 (Radio) Launch date April 19, 1948 (Television) Former NBC Blue names Network Picture 480i (16:9 SDTV) format 720p (HDTV) Official abc.go.com Website The American Broadcasting Company (ABC) is an American commercial broadcasting television network. Created in 1943 from the former NBC Blue radio network, ABC is owned by The Walt Disney Company and is part of Disney-ABC Television Group. Its first broadcast on television was in 1948. As one of the Big Three television networks, its programming has contributed to American popular culture. Corporate headquarters is in the Upper West Side of Manhattan in New York City,[1] while programming offices are in Burbank, California adjacent to the Walt Disney Studios and the corporate headquarters of The Walt Disney Company. The formal name of the operation is American Broadcasting Companies, Inc., and that name appears on copyright notices for its in-house network productions and on all official documents of the company, including paychecks and contracts. -
The AI Turbo S2 Does Everything the Super Buddy 29
Comparison of Satellite ID Meters manufactured by Applied Instruments The AI Turbo S2 does everything the Super Buddy 29™ does, and more! • Much stronger, longer lasting, and easier to replace battery • Faster signal locking including DVB-S2 signals • Faster start-up, downloads, and proof of performance scans Which Applied meter is right for you? If your primary work is: • DIRECTV, the AI Turbo S2 is the best choice • Dish Network, Bell TV, Shaw Direct, the Super Buddy is a fine choice (although the AI Turbo S2 has a better battery) • Commercial Ku, C band, VSAT, broadcasting, teleport, or headends, the AI Turbo S2 is the best choice SUPER BUDDY™ Super Buddy 29™ AI TURBO S2 FEATURES Satellite ID verification YES YES YES Auto scan satellite ID YES YES YES Field Guide database of all regional transponders YES YES YES Manual tune to custom transponders YES YES YES Audible tone for signal lock or peak YES YES YES Azimuth/elevation/skew calculations YES YES YES U.S. zipcode lookup of lat/long YES YES YES Canadian postal code lookup of lat/long YES YES YES Zipcode lookup of 1st Gen WildBlue spot beams YES YES YES Dish Network limit scan thresholds YES YES YES Frequency Range 950-2150 MHz 950-2150 MHz 950-2150 MHz, 250-750 MHz BATTERY Type NiMH NiMH Li Ion Voltage (nominal) 7.2 V 7.2 V 11.1 V Rating 3600 mAh 3600 mAh 4400 mAh Capacity (Watt hours) 25.92 W-hr 25.92 W-hr 48.84 W-hr Universal AC charger (100VAC to 240VAC) YES YES YES 12VDC vehicle adapter YES YES YES Quick charge YES YES YES Easily replaceable YES Operates while charging YES YES -
Camera Basics, Principles and Techniques –MCD 401 VU Topic No
Camera Basics, Principles and techniques –MCD 401 VU Topic no. 76 Film & Video Conversion Television standards conversion is the process of changing one type of TV system to another. The most common is from NTSC to PAL or the other way around. This is done so TV programs in one nation may be viewed in a nation with a different standard. The TV video is fed through a video standards converter that changes the video to a different video system. Converting between a different numbers of pixels and different frame rates in video pictures is a complex technical problem. However, the international exchange of TV programming makes standards conversion necessary and in many cases mandatory. Vastly different TV systems emerged for political and technical reasons – and it is only luck that makes video programming from one nation compatible with another. History The first known case of TV systems conversion probably was in Europe a few years after World War II – mainly with the RTF (France) and the BBC (UK) trying to exchange their441 line and 405 line programming. The problem got worse with the introduction of PAL, SECAM (both 625 lines), and the French 819 line service. Until the 1980s, standards conversion was so difficult that 24 frame/s 16 mm or 35 mm film was the preferred medium of programming interchange. Overview Perhaps the most technically challenging conversion to make is the PAL to NTSC. PAL is 625 lines at 50 fields/s NTSC is 525 lines at 59.94 fields/s (60,000/1,001 fields/s) The two TV standards are for all practical purposes, temporally and spatially incompatible with each other.