DOCSLIB.ORG

User Manual Contents

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
User Manual Contents Register your product and get support at 8209 www.philips.com/welcome 48PFS8209 48PFS8209 55PFS8209 55PFS8209 User Manual Contents 6.7 Batteries 28 1 TV Tour 4 6.8 Cleaning 28 1.1 Android TV 4 1.2 Apps 4 7 Gesture Control 30 1.3 Movies and Missed Shows 4 7.1 About Gesture Control 30 1.4 Social Networks 4 7.2 Camera 30 1.5 Pause TV and Recordings 4 7.3 Hand Gestures 30 1.6 Gaming 4 7.4 Gesture Overview 30 1.7 Skype 4 7.5 Tips 30 1.8 3D 5 1.9 Smartphones and Tablets 5 8 Home Menu 32 8.1 Open the Home Menu 32 2 Setting Up 6 8.2 Overview 32 2.1 Read Safety 6 8.3 Notifications 32 2.2 TV Stand and Wall Mounting 6 8.4 Search 32 2.3 Tips on Placement 6 2.4 Power Cable 6 9 Now on TV 33 2.5 Antenna Cable 6 9.1 About Now on TV 33 2.6 Satellite Dish 7 9.2 What You Need 33 9.3 Using Now on TV 33 3 Network 8 3.1 Connect to Network 8 10 Apps 34 3.2 Network Settings 9 10.1 About Apps 34 3.3 Network Devices 10 10.2 Install an App 34 3.4 File Sharing 10 10.3 Start an App 34 10.4 Chrome™ 34 4 Connections 11 10.5 App Lock 34 4.1 Tips on Connections 11 10.6 Widgets 35 4.2 EasyLink HDMI CEC 12 10.7 Remove Apps and Widgets 35 4.3 CI+ CAM with Smart Card 13 10.8 Clear Internet Memory 35 4.4 Set-Top Box - STB 14 10.9 Android Settings 35 4.5 Satellite Receiver 14 10.10 Terms of Use - Apps 36 4.6 Home Theatre System - HTS 15 4.7 Blu-ray Disc Player 16 11 Video on Demand 37 4.8 DVD Player 16 11.1 About Video on Demand 37 4.9 Game Console 17 11.2 Rent a Movie 37 4.10 Gamepad 17 11.3 Streaming 37 4.11 USB Hard Drive 18 12 TV on Demand 38 4.12 USB Keyboard or Mouse 18 4.13 USB Flash Drive 19 12.1 About TV on Demand 38 4.14 Photo Camera 19 12.2 Request a Programme 38 4.15 Camcorder 20 13 Channels 39 4.16 Computer 20 13.1 Watching Channels 39 4.17 Headphones 21 13.2 TV Guide 45 4.18 Wireless Speakers 21 14 Sources 47 5 Switching On and Off 22 14.1 Switch to a device 47 5.1 On, Standby or Off 22 14.2 Device Detection 47 5.2 Philips Logo Brightness 22 14.3 One Touch Play 47 5.3 Keys on TV 22 5.4 Sleep Timer 22 15 3D 48 5.5 Switch Off Timer 22 15.1 What You Need 48 6 Remote Control 24 15.2 The 3D Glasses 48 15.3 Watch 3D 50 6.1 Key overview 24 15.4 Optimal 3D Viewing 50 6.2 Pointer 25 15.5 Care of the 3D Glasses 50 6.3 Voice 26 15.6 Health Warning 50 6.4 Keyboard 26 6.5 Link up with the TV 28 16 Multi View 52 6.6 IR Sensor 28 16.1 About Multi View 52 2 16.2 The Task Bar 52 26.4 Open Source License 87 16.3 Watch Two TV Channels 52 26.5 Announcements 107 16.4 Swap Screens 52 16.5 Text and TV 52 27 Specifications 108 27.1 Environmental 108 17 Games 53 27.2 Power 108 17.1 What You Need 53 27.3 Operating System 108 17.2 Game Settings 53 27.4 Reception 108 17.3 Play a Game 53 27.5 Display 109 17.4 Gamepads 53 27.6 Dimensions and Weights 109 17.5 Split Screen Gaming 53 27.7 Connectivity 109 27.8 Sound 110 18 Videos, Photos and Music 55 27.9 Multimedia 110 18.1 From a USB Connection 55 18.2 From a Computer or NAS 55 28 Support 111 18.3 From a Mobile Device 55 28.1 Register 111 18.4 Videos 56 28.2 Troubleshooting 111 18.5 Photos 56 28.3 Help 112 18.6 Music 57 28.4 Online Help 112 28.5 Repair 113 19 Pause TV 58 19.1 What You Need 58 29 Safety and Care 114 19.2 Pause a Programme 58 29.1 Safety 114 29.2 Screen Care 115 20 Recording 59 20.1 What You Need 59 30 Terms of Use, Copyrights and Licenses 116 20.2 Record a Programme 59 30.1 Terms of Use - TV 116 20.3 Watch a Recording 60 30.2 Copyrights and Licences 116 21 Skype 61 Index 118 21.1 About Skype 61 21.2 What you need 61 21.3 Start with Skype 61 21.4 Skype Menu 61 21.5 People 62 21.6 Calling on Skype 63 21.7 Skype Credit 64 21.8 Skype settings 64 21.9 Back to TV 65 21.10 Sign out 65 22 Multi Room 66 22.1 About Multi Room 66 22.2 What You Need 66 22.3 Using Multi Room 66 23 Share This… 67 24 Philips TV Remote App 68 25 Setup 69 25.1 Quick Settings 69 25.2 Picture 69 25.3 Sound 72 25.4 Ambilight 75 25.5 General Settings 77 25.6 Eco Settings 78 25.7 Accessibility 79 25.8 Network 80 25.9 Installation Antenna/Cable 80 25.10 Installation Satellite 83 26 Software 87 26.1 Update Software 87 26.2 Software Version 87 26.3 Open Source Software 87 3 1 * Depending on the video streaming service of the selected video store. TV Tour 1.4 1.1 Android TV Social Networks No need to get up to check your friend's messages on your This Philips TV is powered by Android™. computer. As on your smartphone or tablet, your new TV has the most On this TV you get the messages from your social network on practical Apps for every bit of TV entertainement you can think your TV screen. You can send a return message from your of. Watch TV channels, play online games, call a friend on Skype couch. You can find the Twitter App on the Home menu tab or simply speak and ask the TV to find your favourite song on Apps. the Internet. For more information, press Keywords and look up Apps. With the Philips TV Remote App on your smartphone or tablet, you have your TV channels at your fingertips. Send a photo to the large TV screen or follow your favourite cooking show on 1.5 your tablet in the kitchen. From now on your TV is part of your mobile household. Pause TV and Recordings Connect the TV to your home network and the Internet. If you connect a USB Hard Drive, you can pause and record a Android, Google Play and other marks are trademarks of broadcast from a digital TV channel. Google Inc. The Android robot is reproduced or modified from work created and shared by Google and used according to Pause your TV and answer that urgent phone call or simply take terms described in the Creative Commons 3.0 Attribution a break during a sports match, while the TV stores the broadcast License. on the USB Hard Drive. You can watch it again later. With a USB Hard Drive connected, you can also record digital http://creativecommons.org/licenses/by/3.0/legalcode broadcasts. You can record while you are watching a programme or schedule a recording of an upcoming programme. 1.2 For more information, press Keywords and look up Pause Apps TV or Recording. To get you started, some practical Apps are pre-installed on your TV. 1.6 The Apps pages show the collection of Apps (Applications) on Gaming your TV. Like Apps on your smartphone or tablet, the Apps on your TV offer specific functions for an enriched TV experience. This TV is your big screen for gaming. Big enough for two. Apps like YouTube, Twitter, TV games or weather forecasts (a.o.). Or start an Internet Browser App, like Google Chrome, to You can play a game from a connected Game Console, a game surf the Internet. from an installed App or simply an online game on a website. You can set the TV to the ideal settings for gaming, to For more information, press Keywords and look up Apps. allow quick and responsive action. If you play a multi-player game with split screens, you can set the TV to show each screen as a full screen simultaneously. Each player can focus on his own 1.3 game to play. Movies and Missed Shows For more information, press Keywords and look up Gaming. To get a rental video, you don't need to leave the house. 1.7 Open Video on Demand and get that latest movie streamed to your TV directly. Open the video store App, create your Skype personal account, select the movie and press play. No fuss with downloading*. With Skype™ on your TV, you can create and share memories Video on Demand is available in selected countries. right from your living room, even when you’re apart. So there’s no more huddling ‘round the computer or missing an out-of- For more information, press Keywords and look up Video shot moment.
Load more

Recommended publications
  • International Organisation for Standardisation Organisation Internationale De Normalisation Iso/Iec Jtc1/Sc29/Wg11 Coding of Moving Pictures and Audio
    INTERNATIONAL ORGANISATION FOR STANDARDISATION ORGANISATION INTERNATIONALE DE NORMALISATION ISO/IEC JTC1/SC29/WG11 CODING OF MOVING PICTURES AND AUDIO ISO/IEC JTC1/SC29/WG11 MPEG98/N2425 Atlantic City - October 1998 Source: Audio and Test subgroup Status: Approved Title: MPEG-4 Audio verification test results: Audio on Internet Authors: Eric Scheirer, Sang-Wook Kim, Martin Dietz Table of Contents 1. Introduction.....................................................................................................................................2 2. Test motivation................................................................................................................................2 3. Codecs under Test ...........................................................................................................................3 4. Test Material...................................................................................................................................5 5. Test methodology ............................................................................................................................7 6. Test stimuli .....................................................................................................................................7 7. Test sessions ...................................................................................................................................8 8. Data Analysis..................................................................................................................................8
    [Show full text]
  • What Is Ogg Vorbis?
    Ogg Vorbis Audio Compression Format Norat Rossello Castilla 5/18/2005 Ogg Vorbis 1 What is Ogg Vorbis? z Audio compression format z Comparable to MP3, VQF, AAC, TwinVQ z Free, open and unpatented z Broadcasting, radio station and television by internet ( = Streaming) 5/18/2005 Ogg Vorbis 2 1 About the name… z Ogg = name of Xiph.org container format for audio, video and metadata z Vorbis = name of specific audio compression scheme designed to be contained in Ogg FOR MORE INFO... https://www.xiph.org 5/18/2005 Ogg Vorbis 3 Some comercial characteristics z The official mime type was approved in February 2003 z Posible to encode all music or audio content in Vorbis z Designed to not be proprietary or patented audio format z Patent and licensed-free z Specification in public domain 5/18/2005 Ogg Vorbis 4 2 Audio Compression z Two classes of compression algorithms: - Lossless - Lossy FOR MORE INFO... http://www.firstpr.com.au/audiocomp 5/18/2005 Ogg Vorbis 5 Lossless algorithms z Produce compressed data that can be decoded to output that is identical to the original. z Zip, FLAC for audio 5/18/2005 Ogg Vorbis 6 3 Lossy algorithms z Discard data in order to compress it better than would normally be possible z VORBIS, MP3, JPEG z Throw away parts of the audio waveform that are irrelevant. 5/18/2005 Ogg Vorbis 7 Ogg Vorbis - Compression Factors z Vorbis is an audio codec that generates 16 bit samples at 16KHz to 48KHz, providing variable bit rates from 16 to 128 Kbps per channel FOR MORE INFO..
    [Show full text]
  • Overview of the MPEG 4 Standard
    ).4%2.!4)/.!,/2'!.)3!4)/.&/234!.$!2$)3!4)/. /2'!.)3!4)/.).4%2.!4)/.!,%$%./2-!,)3!4)/. )3/)%#*4#3#7' #/$).'/&-/6).'0)#452%3!.$!5$)/ )3/)%#*4#3#7'. $ECEMBER-AUI 3OURCE 7'-0%' 3TATUS &INAL 4ITLE -0%' /VERVIEW -AUI6ERSION %DITOR 2OB+OENEN /VERVIEWOFTHE-0%' 3TANDARD %XECUTIVE/VERVIEW MPEG-4 is an ISO/IEC standard developed by MPEG (Moving Picture Experts Group), the committee that also developed the Emmy Award winning standards known as MPEG-1 and MPEG-2. These standards made interactive video on CD-ROM and Digital Television possible. MPEG-4 is the result of another international effort involving hundreds of researchers and engineers from all over the world. MPEG-4, whose formal ISO/IEC designation is ISO/IEC 14496, was finalized in October 1998 and became an International Standard in the first months of 1999. The fully backward compatible extensions under the title of MPEG-4 Version 2 were frozen at the end of 1999, to acquire the formal International Standard Status early 2000. Some work, on extensions in specific domains, is still in progress. MPEG-4 builds on the proven success of three fields: • Digital television; • Interactive graphics applications (synthetic content) ; • Interactive multimedia (World Wide Web, distribution of and access to content) MPEG-4 provides the standardized technological elements enabling the integration of the production, distribution and content access paradigms of the three fields. More information about MPEG-4 can be found at MPEG’s home page (case sensitive): http://www.cselt.it/mpeg . This web page contains links to a wealth of information about MPEG, including much about MPEG-4, many publicly available documents, several lists of ‘Frequently Asked Questions’ and links to other MPEG-4 web pages.
    [Show full text]
  • Input Formats & Codecs
    Input Formats & Codecs Pivotshare offers upload support to over 99.9% of codecs and container formats. Please note that video container formats are independent codec support. Input Video Container Formats (Independent of codec) 3GP/3GP2 ASF (Windows Media) AVI DNxHD (SMPTE VC-3) DV video Flash Video Matroska MOV (Quicktime) MP4 MPEG-2 TS, MPEG-2 PS, MPEG-1 Ogg PCM VOB (Video Object) WebM Many more... Unsupported Video Codecs Apple Intermediate ProRes 4444 (ProRes 422 Supported) HDV 720p60 Go2Meeting3 (G2M3) Go2Meeting4 (G2M4) ER AAC LD (Error Resiliant, Low-Delay variant of AAC) REDCODE Supported Video Codecs 3ivx 4X Movie Alaris VideoGramPiX Alparysoft lossless codec American Laser Games MM Video AMV Video Apple QuickDraw ASUS V1 ASUS V2 ATI VCR-2 ATI VCR1 Auravision AURA Auravision Aura 2 Autodesk Animator Flic video Autodesk RLE Avid Meridien Uncompressed AVImszh AVIzlib AVS (Audio Video Standard) video Beam Software VB Bethesda VID video Bink video Blackmagic 10-bit Broadway MPEG Capture Codec Brooktree 411 codec Brute Force & Ignorance CamStudio Camtasia Screen Codec Canopus HQ Codec Canopus Lossless Codec CD Graphics video Chinese AVS video (AVS1-P2, JiZhun profile) Cinepak Cirrus Logic AccuPak Creative Labs Video Blaster Webcam Creative YUV (CYUV) Delphine Software International CIN video Deluxe Paint Animation DivX ;-) (MPEG-4) DNxHD (VC3) DV (Digital Video) Feeble Files/ScummVM DXA FFmpeg video codec #1 Flash Screen Video Flash Video (FLV) / Sorenson Spark / Sorenson H.263 Forward Uncompressed Video Codec fox motion video FRAPS:
    [Show full text]
  • 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
    [Show full text]
  • Structural Analysis of Low Latency Audio Coding Schemes
    Structural analysis of low latency audio coding schemes Manfred Lutzky, Markus Schnell, Markus Schmidt and Ralf Geiger Fraunhofer Institute for Integrated Circuits IIS, Am Wolfsmantel 33, 91058 Erlangen, Germany Correspondence should be addressed to: [email protected] ABSTRACT Low latency audio coding gains increasing importance among upcoming high quality communication applications like video conferencing and VoIP. This paper provides a comparison of two low latency audio codecs suitable for these tasks: MPEG-4 ER AAC-LD and ITU-T G.722.1 Annex C. Despite their similar coding strategies, both codecs show significant differences with respect to used tools and coding performance. A comparison of the coding tools is provided and the influence on different signal classes is discussed. Highly sophisticated audio codecs are necessary for 1. INTRODUCTION encoding audio data at low bit-rates and to achieve natural sound quality which helps to improve the Current VoIP and video conferencing systems are based intelligibility in difficult environments such as on the usage of no longer up-to-date telephone codecs, understanding fast and inarticulate speakers in a foreign e.g. ITU-T G.711, and low bitrate speech codecs, e.g. language. Application scenarios nowadays no longer ITU-T G.728. Unfortunately, these codecs do not make include only pure speech transmission, but also the the most of the available transmission bandwidth. necessity of a transmission channel for music, e.g. for a Whereas telephone codecs prove to be too expensive multimedia business presentation broadcast over a video with respect to bandwidth, speech codecs are not able to conferencing system.
    [Show full text]
  • International Organisation for Standardisation Organisation Internationale De Normalisation Iso/Iec Jtc1/Sc29/Wg11 Coding of Moving Pictures and Audio
    INTERNATIONAL ORGANISATION FOR STANDARDISATION ORGANISATION INTERNATIONALE DE NORMALISATION ISO/IEC JTC1/SC29/WG11 CODING OF MOVING PICTURES AND AUDIO ISO/IEC JTC1/SC29/WG11 N4668 March 2002 Source: WG11 (MPEG) Status: Final Title: MPEG-4 Overview - (V.21 – Jeju Version) Editor: Rob Koenen ([email protected]) All comments, corrections, suggestions and additions to this document are welcome, and should be send to both the editor and the chairman of MPEG’s Requirements Group: Fernando Pereira, [email protected] MPEG-4 Overview © MPEG 1999-2002 – unlimited reproduction permitted if not modified 1 Overview of the MPEG-4 Standard Executive Overview MPEG-4 is an ISO/IEC standard developed by MPEG (Moving Picture Experts Group), the committee that also developed the Emmy Award winning standards known as MPEG-1 and MPEG-2. These standards made interactive video on CD-ROM, DVD and Digital Television possible. MPEG-4 is the result of another international effort involving hundreds of researchers and engineers from all over the world. MPEG-4, with formal as its ISO/IEC designation ’ISO/IEC 14496’, was finalized in October 1998 and became an International Standard in the first months of 1999. The fully backward compatible extensions under the title of MPEG-4 Version 2 were frozen at the end of 1999, to acquire the formal International Standard Status early in 2000. Several extensions were added since and work on some specific work-items work is still in progress. MPEG-4 builds on the proven success of three fields: • Digital television; • Interactive graphics applications (synthetic content); • Interactive multimedia (World Wide Web, distribution of and access to content) MPEG-4 provides the standardized technological elements enabling the integration of the production, distribution and content access paradigms of the three fields.
    [Show full text]
  • What Will We Be Talking About? Audio Coding Some Familiar Coders
    What Will We Be Talking About? Perceptual Audio Coding: An Overview • Overview of Perceptual Audio Coding • Examples of Audio Coder Designs Marina Bosi • Sound Examples T18 Tutorial Audio Compression 121st AES Convention October 7, 2006 1 © 2004-6 Marina Bosi-All rights reserved 2 Audio Coding • In general, an audio coder (or codec) is an apparatus Some Familiar Coders whose input is an audio signal and whose output is an audio signal which is perceptually identical (or at least •Portable Devices, MP3 files, AAC: MPEG Layer III, AAC very close) to the (somewhat delayed) input signal •DVDs: Dolby Digital (AC-3) or DTS •Digital Radio (DAB): MPEG Layer II (MUSICAM), MPEG AAC •Digital Television (HDTV, DVB): Dolby Digital (AC-3), EncodeEncode [10010101]or [10010101] DecodeDecode MPEG Layer II, HE AAC •Electronic Distribution of Music (EMD): MPEG Layer III (MP3), AAC, WMA •3rd Generation Mobile (3GPP): MPEG HE AAC © 2004-6 Marina Bosi-All rights reserved 3 © 2004-6 Marina Bosi-All rights reserved 4 Evolution of Data Rates for Good Sound Quality for Stereo Signals Two Key Ideas • 1992 256 kb/s MPEG Layer II • 1993 192 kb/s MPEG Layer III • In perceptual audio coding, two key ideas in the audio • 1994 128-192 kb/s MPEG MP3 signals representation are: – removal of Redundancy • 1995 384-448 kb/s per 5.1 signal AC-3 • 1997 96-128 kb/s MPEG-2 AAC – removal of Irrelevancy • 2000 64-96 kb/s MPEG-4 AAC • 2001 48-64 kb/s AAC+ (HE AAC) • 2004 24-48 AAC+ PS • 2006 64 kb/s per 5.1 signal MPEG Surround © 2004-6 Marina Bosi-All rights reserved 5 © 2004-6 Marina Bosi-All rights reserved 6 Redundancy “Redundant adj 1.
    [Show full text]
  • Turbo-Detected Unequal Protection Audio and Speech Transceivers Using Serially Concantenated Convolutional Codes, Trellis Coded
    Turbo-Detected Unequal Protection Audio and Speech Transceivers Using Serially Concantenated Convolutional Codes, Trellis Coded Modulation and Space-Time Trellis Coding N. S. Othman, S. X. Ng and L. Hanzo School of ECS, University of Southampton, SO17 1BJ, UK. Tel: +44-23-8059 3125, Fax: +44-23-8059 4508 Email: {nso01r,sxn,lh}@ecs.soton.ac.uk, http://www-mobile.ecs.soton.ac.uk Abstract – The MPEG-4 TwinVQ audio codec and the AMR- to the increased naturalness, presence and comfort, whilst the higher- WB speech codec are investigated in the context of a jointly opti- frequency extension spanning from 3400 to 7000 Hz provides a bet- mised turbo transceiver capable of providing unequal error pro- ter fricative differentiation and therefore a higher intelligibility. A tection. The transceiver advocated consists of serially concate- bandwidth of 50 to 7000 Hz not only improves the intelligibility and nated Space-Time Trellis Coding (STTC), Trellis Coded Modula- naturalness of speech, but also adds an impression of transparent com- tion (TCM) and two different-rate Non-Systematic Convolutional munication and eases speaker recognition. The Adaptive Multi-Rate codes (NSCs) used for unequal error protection. A benchmarker Wideband (AMR-WB) voice codec has become a 3GPP standard, scheme combining STTC and a single-class protection NSC is which provides a superior speech quality [4]. used for comparison with the proposed scheme. The audio and For the sake of supporting high-quality multimedia services over speech performance of both schemes is evaluated, when commu- wireless communication channels requires the development of tech- nicating over uncorrelated Rayleigh fading channels.
    [Show full text]
  • Supported Codecs and Formats Codecs
    Supported Codecs and Formats Codecs: D..... = Decoding supported .E.... = Encoding supported ..V... = Video codec ..A... = Audio codec ..S... = Subtitle codec ...I.. = Intra frame-only codec ....L. = Lossy compression .....S = Lossless compression ------- D.VI.. 012v Uncompressed 4:2:2 10-bit D.V.L. 4xm 4X Movie D.VI.S 8bps QuickTime 8BPS video .EVIL. a64_multi Multicolor charset for Commodore 64 (encoders: a64multi ) .EVIL. a64_multi5 Multicolor charset for Commodore 64, extended with 5th color (colram) (encoders: a64multi5 ) D.V..S aasc Autodesk RLE D.VIL. aic Apple Intermediate Codec DEVIL. amv AMV Video D.V.L. anm Deluxe Paint Animation D.V.L. ansi ASCII/ANSI art DEVIL. asv1 ASUS V1 DEVIL. asv2 ASUS V2 D.VIL. aura Auravision AURA D.VIL. aura2 Auravision Aura 2 D.V... avrn Avid AVI Codec DEVI.. avrp Avid 1:1 10-bit RGB Packer D.V.L. avs AVS (Audio Video Standard) video DEVI.. avui Avid Meridien Uncompressed DEVI.. ayuv Uncompressed packed MS 4:4:4:4 D.V.L. bethsoftvid Bethesda VID video D.V.L. bfi Brute Force & Ignorance D.V.L. binkvideo Bink video D.VI.. bintext Binary text DEVI.S bmp BMP (Windows and OS/2 bitmap) D.V..S bmv_video Discworld II BMV video D.VI.S brender_pix BRender PIX image D.V.L. c93 Interplay C93 D.V.L. cavs Chinese AVS (Audio Video Standard) (AVS1-P2, JiZhun profile) D.V.L. cdgraphics CD Graphics video D.VIL. cdxl Commodore CDXL video D.V.L. cinepak Cinepak DEVIL. cljr Cirrus Logic AccuPak D.VI.S cllc Canopus Lossless Codec D.V.L.
    [Show full text]
  • Video Encoding with Open Source Tools
    Video Encoding with Open Source Tools Steffen Bauer, 26/1/2010 LUG Linux User Group Frankfurt am Main Overview Basic concepts of video compression Video formats and codecs How to do it with Open Source and Linux 1. Basic concepts of video compression Characteristics of video streams Framerate Number of still pictures per unit of time of video; up to 120 frames/s for professional equipment. PAL video specifies 25 frames/s. Interlacing / Progressive Video Interlaced: Lines of one frame are drawn alternatively in two half-frames Progressive: All lines of one frame are drawn in sequence Resolution Size of a video image (measured in pixels for digital video) 768/720×576 for PAL resolution Up to 1920×1080p for HDTV resolution Aspect Ratio Dimensions of the video screen; ratio between width and height. Pixels used in digital video can have non-square aspect ratios! Usual ratios are 4:3 (traditional TV) and 16:9 (anamorphic widescreen) Why video encoding? Example: 52 seconds of DVD PAL movie (16:9, 720x576p, 25 fps, progressive scan) Compression Video codec Raw Size factor Comment 1300 single frames, MotionTarga, Raw frames 1.1 GB - uncompressed HUFFYUV 459 MB 2.2 / 55% Lossless compression MJPEG 60 MB 20 / 95% Motion JPEG; lossy; intraframe only lavc MPEG-2 24 MB 50 / 98% Standard DVD quality X.264 MPEG-4 5.3 MB 200 / 99.5% High efficient video codec AVC Basic principles of multimedia encoding Video compression Lossy compression Lossless (irreversible; (reversible; using shortcomings statistical encoding) in human perception) Intraframe encoding
    [Show full text]
  • Download Music Material Online
    An Investigation into Tools and Protocols For Commercial Audio Web-site Creation S’busiso Simon Ndinga An Investigation into Tools and Protocols For Commercial Audio Web-site Creation Submitted in fulfillment of the requirements of Master of Science By S’busiso Simon Ndinga Computer Science Department Rhodes University Grahamstown 6140 South Africa January 2000 Abstract This thesis presents a feasibility study of a Web-based digital music library and purchasing system. It investigates the current status of the enabling technologies for developing such a system. An analysis of various Internet audio codecs, streaming audio protocols, Internet credit card payment security methods, and ways for accessing remote Web databases is presented. The objective of the analysis is to determine the viability and the economic benefits of using these technologies when developing systems that facilitate music distribution over the Internet. A prototype of a distributed digital music library and purchasing system named WAPS (for Web- based Audio Purchasing System) was developed and implemented in the Java programming language. In this thesis both the physical and the logical component elements of WAPS are explored in depth so as to provide an insight into the inherent problems of creating such a system, as well as the overriding benefits derived from the creation of such a system. Acknowledgements I would like to thank Prof. Richard Foss, my supervisor, for his continued effort and support over the duration of my degree. Many thanks also go to the members of the Rhodes University Computer Science Department for their support. I would also like to thank Prof. Radlof, for her support during the statistical analysis of the subjective audio listening tests.
    [Show full text]