Impact of Video File Format on Quality of Experience (Qoe) of Multimedia Content
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'DIY' Digital Preservation for Audio Identify · Appraise · Organise · Preserve · Access Plan + Housekeeping
'DIY' Digital Preservation for Audio Identify · Appraise · Organise · Preserve · Access Plan + housekeeping Part 1 (10:00am-10:50am) Part 2 (11:00am-11:45am) 10:00am-10:10am Intros and housekeeping 10:50am-11:00am [10-minute comfort break] 10:10am-10:30am Digital Preservation for audio 11:00am-11:15am Organise (Migrate) What material do you care 11:15am-11:45am Store, Maintain, Access about and hope to keep?_ Discussion & Questions 10:30am-10:50am Locate, Appraise, Identify What kind of files are you working with?_ Feel free to Using Zoom swap to ‘Grid View’ when slides are not in use, to gage ‘the room’. Please use the chat Please keep function to your mic on ask questions ‘mute’ when while slides not speaking. are in use. Who are we? • Bridging the Digital Gap traineeship scheme • UK National Archives (National Lottery Heritage Fund) • bringing ‘digital’ skills into the archives sector Why are we doing these workshops? • agitate the cultural record to reflect lived experience • embrace tools that support historical self-determination among non- specialists • raise awareness, share skills, share knowledge What is digital preservation? • digital material is vulnerable in different ways to analog material • digital preservation = “a series of managed activities undertaken to ensure continued access to digital materials for as long as necessary.” Audio practices and technological dependency Image credit: Tarje Sælen Lavik Image credit: Don Shall Image credit: Mk2010 Image credit: Stahlkocher Image credit: JuneAugust Digital preservation and ‘born-digital’ audio Bitstream File(s) Digital Content Rendered Content • codecs (e.g. LPCM) • formats and containers (e.g. -
A Forensic Database for Digital Audio, Video, and Image Media
THE “DENVER MULTIMEDIA DATABASE”: A FORENSIC DATABASE FOR DIGITAL AUDIO, VIDEO, AND IMAGE MEDIA by CRAIG ANDREW JANSON B.A., University of Richmond, 1997 A thesis submitted to the Faculty of the Graduate School of the University of Colorado Denver in partial fulfillment of the requirements for the degree of Master of Science Recording Arts Program 2019 This thesis for the Master of Science degree by Craig Andrew Janson has been approved for the Recording Arts Program by Catalin Grigoras, Chair Jeff M. Smith Cole Whitecotton Date: May 18, 2019 ii Janson, Craig Andrew (M.S., Recording Arts Program) The “Denver Multimedia Database”: A Forensic Database for Digital Audio, Video, and Image Media Thesis directed by Associate Professor Catalin Grigoras ABSTRACT To date, there have been multiple databases developed for use in many forensic disciplines. There are very large and well-known databases like CODIS (DNA), IAFIS (fingerprints), and IBIS (ballistics). There are databases for paint, shoeprint, glass, and even ink; all of which catalog and maintain information on all the variations of their specific subject matter. Somewhat recently there was introduced the “Dresden Image Database” which is designed to provide a digital image database for forensic study and contains images that are generic in nature, royalty free, and created specifically for this database. However, a central repository is needed for the collection and study of digital audios, videos, and images. This kind of database would permit researchers, students, and investigators to explore the data from various media and various sources, compare an unknown with knowns with the possibility of discovering the likely source of the unknown. -
Microsoft Powerpoint
Development of Multimedia WebApp on Tizen Platform 1. HTML Multimedia 2. Multimedia Playing with HTML5 Tags (1) HTML5 Video (2) HTML5 Audio (3) HTML Pulg-ins (4) HTML YouTube (5) Accessing Media Streams and Playing (6) Multimedia Contents Mgmt (7) Capturing Images 3. Multimedia Processing Web Device API Multimedia WepApp on Tizen - 1 - 1. HTML Multimedia • What is Multimedia ? − Multimedia comes in many different formats. It can be almost anything you can hear or see. − Examples : Pictures, music, sound, videos, records, films, animations, and more. − Web pages often contain multimedia elements of different types and formats. • Multimedia Formats − Multimedia elements (like sounds or videos) are stored in media files. − The most common way to discover the type of a file, is to look at the file extension. ⇔ When a browser sees the file extension .htm or .html, it will treat the file as an HTML file. ⇔ The .xml extension indicates an XML file, and the .css extension indicates a style sheet file. ⇔ Pictures are recognized by extensions like .gif, .png and .jpg. − Multimedia files also have their own formats and different extensions like: .swf, .wav, .mp3, .mp4, .mpg, .wmv, and .avi. Multimedia WepApp on Tizen - 2 - 2. Multimedia Playing with HTML5 Tags (1) HTML5 Video • Some of the popular video container formats include the following: Audio Video Interleave (.avi) Flash Video (.flv) MPEG 4 (.mp4) Matroska (.mkv) Ogg (.ogv) • Browser Support Multimedia WepApp on Tizen - 3 - • Common Video Format Format File Description .mpg MPEG. Developed by the Moving Pictures Expert Group. The first popular video format on the MPEG .mpeg web. -
© 2019 Jimi Jones
© 2019 Jimi Jones SO MANY STANDARDS, SO LITTLE TIME: A HISTORY AND ANALYSIS OF FOUR DIGITAL VIDEO STANDARDS BY JIMI JONES DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Library and Information Science in the Graduate College of the University of Illinois at Urbana-Champaign, 2019 Urbana, Illinois Doctoral Committee: Associate Professor Jerome McDonough, Chair Associate Professor Lori Kendall Assistant Professor Peter Darch Professor Howard Besser, New York University ABSTRACT This dissertation focuses on standards for digital video - the social aspects of their design and the sociotechnical forces that drive their development and adoption. This work is a history and analysis of how the MXF, JPEG 2000, FFV1 and Matroska standards have been adopted and/or adapted by libraries and archives of different sizes. Well-funded institutions often have the resources to develop tailor-made specifications for the digitization of their analog video objects. Digital video standards and specifications of this kind are often derived from the needs of the cinema production and television broadcast realms in the United States and may be unsuitable for smaller memory institutions that are resource-poor and/or lack staff with the knowledge to implement these technologies. This research seeks to provide insight into how moving image preservation professionals work with - and sometimes against - broadcast and film production industries in order to produce and/or implement standards governing video formats and encodings. This dissertation describes the transition of four digital video standards from niches to widespread use in libraries and archives. It also examines the effects these standards produce on cultural heritage video preservation by interviewing people who implement the standards as well as people who develop them. -
Realaudio and Realvideo Content Creation Guide
RealAudioâ and RealVideoâ Content Creation Guide Version 5.0 RealNetworks, Inc. Contents Contents Introduction......................................................................................................................... 1 Streaming and Real-Time Delivery................................................................................... 1 Performance Range .......................................................................................................... 1 Content Sources ............................................................................................................... 2 Web Page Creation and Publishing................................................................................... 2 Basic Steps to Adding Streaming Media to Your Web Site ............................................... 3 Using this Guide .............................................................................................................. 4 Overview ............................................................................................................................. 6 RealAudio and RealVideo Clips ....................................................................................... 6 Components of RealSystem 5.0 ........................................................................................ 6 RealAudio and RealVideo Files and Metafiles .................................................................. 8 Delivering a RealAudio or RealVideo Clip ...................................................................... -
(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. -
Compression for Great Video and Audio Master Tips and Common Sense
Compression for Great Video and Audio Master Tips and Common Sense 01_K81213_PRELIMS.indd i 10/24/2009 1:26:18 PM 01_K81213_PRELIMS.indd ii 10/24/2009 1:26:19 PM Compression for Great Video and Audio Master Tips and Common Sense Ben Waggoner AMSTERDAM • BOSTON • HEIDELBERG • LONDON NEW YORK • OXFORD • PARIS • SAN DIEGO SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier 01_K81213_PRELIMS.indd iii 10/24/2009 1:26:19 PM Focal Press is an imprint of Elsevier 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA Linacre House, Jordan Hill, Oxford OX2 8DP, UK © 2010 Elsevier Inc. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher. Details on how to seek permission, further information about the Publisher’s permissions policies and our arrangements with organizations such as the Copyright Clearance Center and the Copyright Licensing Agency, can be found at our website: www.elsevier.com/permissions . This book and the individual contributions contained in it are protected under copyright by the Publisher (other than as may be noted herein). Notices Knowledge and best practice in this fi eld are constantly changing. As new research and experience broaden our understanding, changes in research methods, professional practices, or medical treatment may become necessary. Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds, or experiments described herein. -
REALNETWORKS PRODUCTION GUIDE with Realone Player Last Update: 1 October 2002 Realnetworks, Inc
REALNETWORKS PRODUCTION GUIDE With RealOne Player Last Update: 1 October 2002 RealNetworks, Inc. PO Box 91123 Seattle, WA 98111-9223 U.S.A. http://www.real.com http://www.realnetworks.com ©2002 RealNetworks, Inc. All rights reserved. Information in this document is subject to change without notice. No part of this document may be reproduced or transmitted in any form or by any means, electronic or mechanical, for any purpose, without the express written permission of RealNetworks, Inc. Printed in the United States of America. Helix, The Helix Logo, RBN, the Real "bubble" (logo), Real Broadcast Network, RealAudio, Real.com, RealJukebox, RealMedia, RealNetworks, RealPlayer, RealOne, RealPresenter, RealSlideshow, RealSystem, RealText, RealVideo, SureStream, and Surreal.FX Design are trademarks or registered trademarks of RealNetworks, Inc. Other product and corporate names may be trademarks or registered trademarks of their respective companies. SUMMARY OF CONTENTS DOCUMENTATION RELEASE NOTE .......................................................................................1 INTRODUCTION.....................................................................................................................5 PART I: GETTING STARTED WITH STREAMING MEDIA 1 NEW FEATURES .........................................................................................................17 2 PRESENTATION PLANNING.......................................................................................27 PART II: PRODUCING CLIPS 3 AUDIO PRODUCTION ...............................................................................................59 -
Episode Engine User’S Guide
Note on License The accompanying Software is licensed and may not be distributed without writ- ten permission. Disclaimer The contents of this document are subject to revision without notice due to con- tinued progress in methodology, design, and manufacturing. Telestream shall have no liability for any error or damages of any kind resulting from the use of this doc- ument and/or software. The Software may contain errors and is not designed or intended for use in on-line facilities, aircraft navigation or communications systems, air traffic control, direct life support machines, or weapons systems (“High Risk Activities”) in which the failure of the Software would lead directly to death, personal injury or severe physical or environmental damage. You represent and warrant to Telestream that you will not use, distribute, or license the Software for High Risk Activities. Export Regulations. Software, including technical data, is subject to Swedish export control laws, and its associated regulations, and may be subject to export or import regulations in other countries. You agree to comply strictly with all such regulations and acknowledge that you have the responsibility to obtain licenses to export, re-export, or import Software. Copyright Statement ©Telestream, Inc, 2010 All rights reserved. No part of this document may be copied or distributed. This document is part of the software product and, as such, is part of the license agreement governing the software. So are any other parts of the software product, such as packaging and distribution media. The information in this document may be changed without prior notice and does not represent a commitment on the part of Telestream. -
Recommended File Formats for Long-Term Archiving and for Web Dissemination in Phaidra
Recommended file formats for long-term archiving and for web dissemination in Phaidra Edited by Gianluca Drago May 2019 License: https://creativecommons.org/licenses/by-nc-sa/4.0/ Premise This document is intended to provide an overview of the file formats to be used depending on two possible destinations of the digital document: long-term archiving uploading to Phaidra and subsequent web dissemination When the document uploaded to Phaidra is also the only saved file, the two destinations end up coinciding, but in general one will probably want to produce two different files, in two different formats, so as to meet the differences in requirements and use in the final destinations. In the following tables, the recommendations for long-term archiving are distinct from those for dissemination in Phaidra. There are no absolute criteria for choosing the file format. The choice is always dependent on different evaluations that the person who is carrying out the archiving will have to make on a case by case basis and will often result in a compromise between the best achievable quality and the limits imposed by the costs of production, processing and storage of files, as well as, for the preceding, by the opportunity of a conversion to a new format. 1 This choice is particularly significant from the perspective of long-term archiving, for which a quality that respects the authenticity and integrity of the original document and a format that guarantees long-term access to data are desirable. This document should be seen more as an aid to the reasoned choice of the person carrying out the archiving than as a list of guidelines to be followed to the letter. -
FFV1 Video Codec Specification
FFV1 Video Codec Specification by Michael Niedermayer [email protected] Contents 1 Introduction 2 2 Terms and Definitions 2 2.1 Terms ................................................. 2 2.2 Definitions ............................................... 2 3 Conventions 3 3.1 Arithmetic operators ......................................... 3 3.2 Assignment operators ........................................ 3 3.3 Comparison operators ........................................ 3 3.4 Order of operation precedence .................................... 4 3.5 Range ................................................. 4 3.6 Bitstream functions .......................................... 4 4 General Description 5 4.1 Border ................................................. 5 4.2 Median predictor ........................................... 5 4.3 Context ................................................ 5 4.4 Quantization ............................................. 5 4.5 Colorspace ............................................... 6 4.5.1 JPEG2000-RCT ....................................... 6 4.6 Coding of the sample difference ................................... 6 4.6.1 Range coding mode ..................................... 6 4.6.2 Huffman coding mode .................................... 9 5 Bitstream 10 5.1 Configuration Record ......................................... 10 5.1.1 In AVI File Format ...................................... 11 5.1.2 In ISO/IEC 14496-12 (MP4 File Format) ......................... 11 5.1.3 In NUT File Format .................................... -
Pragmatic Audiovisual Preservation
http://doi.org/10.7207/twr20-10 Pragmatic Audiovisual Preservation Ashley Blewer DPC Technology Watch Report October 2020 © Digital Preservation Coalition 2020 and Ashley Blewer 2020 ISSN: 2048-7916 DOI: http://doi.org/10.7207/twr20-10 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without prior permission in writing from the publisher. The moral rights of the author have been asserted. First published in Great Britain in 2020 by the Digital Preservation Coalition. Pragmatic Audiovisual Preservation Foreword The Digital Preservation Coalition (DPC) is an advocate and catalyst for digital preservation, ensuring our members can deliver resilient long-term access to digital content and services. It is a not-for- profit membership organization whose primary objective is to raise awareness of the importance of the preservation of digital material and the attendant strategic, cultural and technological issues. It supports its members through knowledge exchange, capacity building, assurance, advocacy and partnership. The DPC’s vision is to make our digital memory accessible tomorrow. The DPC Technology Watch Reports identify, delineate, monitor and address topics that have a major bearing on ensuring our collected digital memory will be for the future. They provide an advanced introduction in order to support those charged with ensuring a robust digital memory, and they are of general interest to a wide and international audience with interests in computing, information management, collections management and technology. The reports are commissioned after consultation among DPC members about shared priorities and challenges; they are commissioned from experts; and they are thoroughly scrutinized by peers before being released.