A&E's Technical Guides to All Things Audio and Video
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Download Media Player Codec Pack Version 4.1 Media Player Codec Pack
download media player codec pack version 4.1 Media Player Codec Pack. Description: In Microsoft Windows 10 it is not possible to set all file associations using an installer. Microsoft chose to block changes of file associations with the introduction of their Zune players. Third party codecs are also blocked in some instances, preventing some files from playing in the Zune players. A simple workaround for this problem is to switch playback of video and music files to Windows Media Player manually. In start menu click on the "Settings". In the "Windows Settings" window click on "System". On the "System" pane click on "Default apps". On the "Choose default applications" pane click on "Films & TV" under "Video Player". On the "Choose an application" pop up menu click on "Windows Media Player" to set Windows Media Player as the default player for video files. Footnote: The same method can be used to apply file associations for music, by simply clicking on "Groove Music" under "Media Player" instead of changing Video Player in step 4. Media Player Codec Pack Plus. Codec's Explained: A codec is a piece of software on either a device or computer capable of encoding and/or decoding video and/or audio data from files, streams and broadcasts. The word Codec is a portmanteau of ' co mpressor- dec ompressor' Compression types that you will be able to play include: x264 | x265 | h.265 | HEVC | 10bit x265 | 10bit x264 | AVCHD | AVC DivX | XviD | MP4 | MPEG4 | MPEG2 and many more. File types you will be able to play include: .bdmv | .evo | .hevc | .mkv | .avi | .flv | .webm | .mp4 | .m4v | .m4a | .ts | .ogm .ac3 | .dts | .alac | .flac | .ape | .aac | .ogg | .ofr | .mpc | .3gp and many more. -
An Examination of Otaku Masculinity in Japan
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`=&$II;AUCFWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWY& & (C\F<&AH&7A>?<>?=&WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWW_& & (C\F<=WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWa& & 2>?;A@ED?KA>WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWb& & 7BCI?<;&S]&/K=?A;KDCF&7A>?<c?WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWSQ& & 7BCI?<;&Q]&'?CPE&K>&?B<&:;<=<>?&+CGWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWQQ& & 7BCI?<;&Y]&3C=DEFK>K?G&K>&9CIC>]&'?CPE&C>@&4CFC;GJ<>WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWYS& & 7A>DFE=KA>WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWW^R& -
The Otaku Phenomenon : Pop Culture, Fandom, and Religiosity in Contemporary Japan
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 12-2017 The otaku phenomenon : pop culture, fandom, and religiosity in contemporary Japan. Kendra Nicole Sheehan University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Comparative Methodologies and Theories Commons, Japanese Studies Commons, and the Other Religion Commons Recommended Citation Sheehan, Kendra Nicole, "The otaku phenomenon : pop culture, fandom, and religiosity in contemporary Japan." (2017). Electronic Theses and Dissertations. Paper 2850. https://doi.org/10.18297/etd/2850 This Doctoral Dissertation is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. THE OTAKU PHENOMENON: POP CULTURE, FANDOM, AND RELIGIOSITY IN CONTEMPORARY JAPAN By Kendra Nicole Sheehan B.A., University of Louisville, 2010 M.A., University of Louisville, 2012 A Dissertation Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Humanities Department of Humanities University of Louisville Louisville, Kentucky December 2017 Copyright 2017 by Kendra Nicole Sheehan All rights reserved THE OTAKU PHENOMENON: POP CULTURE, FANDOM, AND RELIGIOSITY IN CONTEMPORARY JAPAN By Kendra Nicole Sheehan B.A., University of Louisville, 2010 M.A., University of Louisville, 2012 A Dissertation Approved on November 17, 2017 by the following Dissertation Committee: __________________________________ Dr. -
Mpc Downloaded Video Cannot Render the File Mpc Downloaded Video Cannot Render the File
mpc downloaded video cannot render the file Mpc downloaded video cannot render the file. Theme by Mishar DESIGN, modded by Team Kodi. Copyright © 2017 XBMC Foundation. Quick Links. Sponsors. About Kodi. Kodi is a free and open source media player application developed by the XBMC Foundation, a non-profit technology consortium. Kodi is available for multiple operating-systems and hardware platforms, featuring a 10-foot user interface for use with televisions and remote controls. It allows users to play and view most videos, music, podcasts, and other digital media files from local and network storage media and the internet. MPC Video Renderer 0.5.5.1732. The renderer can potentially work with any DirectShow player, but full support is available only in the MPC-BE (recommended version of MPC- BE is: 1.5.5 or newer). It is also recommended to have an SSE2-capable CPU, with Windows 7 (or newer) installed and at leaser a DirectX 9 video card. Starting with version 0.3.0 of MPC Video Renderer, it has been added support for XySubFilter. Changes to MPC Video Renderer 0.5.4 : - Fixed dithering when outputting 10-bit for DX11 mode. - Improved compatibility with CoreAVC Video Decoder. - Fixed frame rotation when using DXVA2 or D3D11 VP. - Optimization of processing when using only DXVA2 or D3D11 VP. — Full list of changes. Solved: AVI/MP4/MKV Cannot Render the File. Stuck with the "Cannot Render the File" error on your Media Player Classic? You'll find everything from why you're getting this error. And you will also learn to how to fix it in this post. -
Avisynth for Mac
Avisynth For Mac Avisynth For Mac 1 / 4 2 / 4 [4]AviSynth is built upon filters, which are much like DirectShow filters, but with a different binary interface. 1. avisynth 2. avisynth gui 3. avisynth mac [2] It is free software under GNU GPL license Scripting video editor[edit]AviSynth acts as a non-linear video editor controlled entirely by scripting (without a GUI).. Avisynth ffmpeg free download Universal Media Server Universal Media Server is a DLNA-compliant UPnP Media Server Universal Media Server supports all ma.. Filter capabilities include cropping, deinterlacing, inverse telecine, working with still images, doing basic color grading, reducing video noise, and many other things.. 6 1 Alpha (May 17, 2016; 4 years ago) [±]RepositoryWritten inC++Operating systemWindowsTypeLicenseGNU GPLWebsitewww. avisynth avisynth, avisynth linux, avisynth crop, avisynth plugins, avisynth trim, avisynth gui, avisynth 2.5, avisynth vhs effect, avisynth mac, avisynth 2.6 mt, avisynth deinterlace Free Web Software For Mac Technically, AviSynth constructs a filter graph (like MicrosoftGraphEdit but with added capabilities),[5] controlled by scripts written in the AviSynth scripting language.. More about AviSynth About the download, AviSynth is a program that requires less storage space than the average program in the section Video software.. Its functionality can be extended through the use of third- party filters known as plugins.. It’s also a great tutorial on how to make gifs in general, so if you’re not familiar with how to make gifs at all this is a great walkthrough before you continue on.. The program will play the video file 'myAvi avi' cropped down to its top-left 320 pixels by 240 pixels and blurred by a small amount. -
Otak-Who? Technoculture, Youth, Consumption, and Resistance
Lawrence Eng Research Seminar Methods in STS Spring, 2002 Otak-who? Technoculture, youth, consumption, and resistance. American representations of a Japanese youth subculture. Abstract The otaku are a youth subculture first characterized in Japan, but beyond that basic definition of the term, there have been numerous, often contradictory and routinely contested, ways the otaku have been represented by various segments of Japanese society over the course of the last 2 decades. The otaku in Japan (and abroad) have attracted non- Japanese attention as well, and the otaku have been studied, mimicked, ridiculed, romanticized, etc. by Americans who have become interested in this apparently fascinating Japanese (sub)cultural export. Influenced by Japanese conceptions of otaku as obsessed fans, technological fetishists, avid collectors, antisocial outcasts, and/or borderline psychopaths, but informed by American attitudes toward geek culture, hackers, cyberpunks, individualism, and lay expertise, representations of otaku by American observers of the culture have been equally varied (and contested) over the last decade. This paper will examine the various and changing representations of otaku culture by Americans, and attempt to unpack the context behind and the implications of those representations. Drawing upon themes uncovered in this critical discourse analysis, I will suggest a new way of defining otaku as 'reluctant insiders' engaged in the appropriation of technology and science as a means of cultural resistance. I will argue that their activities are informed by a particular otaku ethic that distinguishes them from other subcultures with similar motivations. Introduction My paper is divided into three parts. In Part 1, I ask: Why do we care about otaku, and how will we study them? In Part 2, I will critically analyze the various ways otaku have been represented since they were first characterized as a subculture in the early 80s. -
MPEG-7-Aligned Spatiotemporal Video Annotation and Scene
MPEG-7-Aligned Spatiotemporal Video Annotation and Scene Interpretation via an Ontological Framework for Intelligent Applications in Medical Image Sequence and Video Analysis by Leslie Frank Sikos Thesis Submitted to Flinders University for the degree of Doctor of Philosophy College of Science and Engineering 5 March 2018 Contents Preface ............................................................................................................................................ VI List of Figures .............................................................................................................................. VIII List of Tables .................................................................................................................................. IX List of Listings .................................................................................................................................. X Declaration .................................................................................................................................... XII Acknowledgements ..................................................................................................................... XIII Chapter 1 Introduction and Motivation ......................................................................................... 1 1.1 The Limitations of Video Metadata.............................................................................................. 1 1.2 The Limitations of Feature Descriptors: the Semantic Gap ..................................................... -
Super 8 Languages for Making Movies (Functional Pearl)
Super 8 Languages for Making Movies (Functional Pearl) LEIF ANDERSEN, STEPHEN CHANG, MATTHIAS FELLEISEN, PLT @ Northeastern University, United States of America The Racket doctrine tells developers to create languages (as libraries) to narrow the gap between the terminol- ogy of a problem domain and general programming constructs. This pearl illustrates this doctrine with the creation of a relatively simple domain-specific language for editing videos. To produce the video proceedings of a conference, for example, video professionals traditionally use łnon-linearž GUI editors to manually edit each talk, despite the repetitive nature of the process. As it turns out, the task of video editing naturally splits into a declarative phase and an imperative rendering phase at the end. Hence it is natural to create a functional-declarative language for the first phase, which reduces a lot of manual labor. The implementation of this user-facing DSL, dubbed Video, utilizes a second, internal DSL to implement the second phase, which is an interface to a general, low-level C library. Finally, we inject type checking into our Video language via another DSL that supports programming in the language of type formalisms. In short, the development of the video editing language cleanly demonstrates how the Racket doctrine naturally leads to the creation of language hierarchies, analogous to the hierarchies of modules found in conventional functional languages. CCS Concepts: • Software and its engineering Ñ Functional languages; Preprocessors; Macro lan- guages; Specification languages; Designing software; • Information systems Ñ Multimedia content cre- ation;• Applied computing Ñ Media arts;• Human-centered computing Ñ Graphical user interfaces; Additional Key Words and Phrases: Domain-Specific Language, Declarative Languages, Video Editing, Syntax Elaboration, Language Oriented Design, Movies, Integrated Development Environment ACM Reference Format: Leif Andersen, Stephen Chang, Matthias Felleisen. -
Authentic Video, Subtitle Modification, and Oral Fluency Christopher Mark Rozendaal Iowa State University
Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 2005 Fluency through Friends: authentic video, subtitle modification, and oral fluency Christopher Mark Rozendaal Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the Bilingual, Multilingual, and Multicultural Education Commons, English Language and Literature Commons, and the First and Second Language Acquisition Commons Recommended Citation Rozendaal, Christopher Mark, "Fluency through Friends: authentic video, subtitle modification, and oral fluency" (2005). Retrospective Theses and Dissertations. 14405. https://lib.dr.iastate.edu/rtd/14405 This Thesis is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Fluency through Friends: Authentic video, subtitle modification, and oral fluency by Christopher Mark Rozendaal A thesis submitted to the graduate faculty in partial fulfillment of the requirements for the degree of MASTER OF ARTS Major: Teaching English as a Second Language/Applied Linguistics Program ofStudy Committee: Volker Hegelheimer, Major Professor Denise Schmidt Roberta Vann Iowa State University Ames, Iowa 2005 Graduate College Iowa State University This is to certify that the master's thesis of Christopher Mark Rozendaal. has met the requirements of Iowa State University Signatures have been redacted for privacy Ill TABLE OF CONTENTS LIST OF TABLES iv CHAPTER 1. INTRODUCTION i CHAPTER 2. LITERATURE REVIEW 4 CHAPTER 3. THE CURRICULUM UNITS i6 CHAPTER 4. -
Description-Driven Media Resource Adaptation
Beschrijvingsgedreven aanpassing van mediabronnen Description-Driven Adaptation of Media Resources Wesley De Neve Promotor: prof. dr. ir. R. Van de Walle Proefschrift ingediend tot het behalen van de graad van Doctor in de Ingenieurswetenschappen: Computerwetenschappen Vakgroep Elektronica en Informatiesystemen Voorzitter: prof. dr. ir. J. Van Campenhout Faculteit Ingenieurswetenschappen Academiejaar 2006 - 2007 ISBN 978-90-8578-132-5 NUR 980, 986 Wettelijk depot: D/2007/10.500/6 Dankwoord Met het indienen van dit proefschrift sluit ik een periode van ruim vier jaar af. In deze tijdspanne heb ik de mogelijkheid gekregen om in een boeiend domein aan wetenschappelijk onderzoek te doen. Dit is dan ook een uitgelezen kans om de mensen te bedanken zonder wie dit werk niet mogelijk zou zijn geweest. In de eerste plaats wil ik mijn promotor, prof. dr. ir. Rik Van de Walle bedanken. Dankzij zijn onuitputtelijke inzet is het Multimedia Lab als onder- zoeksgroep uitgegroeid tot een gevestigde waarde op nationaal en internatio- naal vlak. Deze omgeving vormde voor mij dan ook het ideale kader voor het behalen van mijn doctoraat. Verder wil ik mijn promotor eveneens bedanken voor de kansen die hij mij geboden heeft om mijn onderzoek voor te stellen op verschillende internationale conferenties. Het bijwonen van deze conferenties heeft me als onderzoeker, maar ook als mens, enorm veel bijgebracht. Ook mijn vroegere (Boris Rogge, Sam Lerouge) en huidige collega’s van het Multimedia Lab wil ik uitgebreid bedanken. Het was voor mij erg aange- naam in een dergelijke open en vriendschappelijke omgeving te kunnen wer- ken. Een aantal collega’s hebben grote delen van dit proefschrift heel grondig nagelezen. -
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: -
Learning Virtualdub the Complete Guide to Capturing, Processing, and Encoding Digital Video
Learning VirtualDub The complete guide to capturing, processing, and encoding digital video Georgios Diamantopoulos Sohail Salehi John Buechler Birmingham - Mumbai Learning VirtualDub The complete guide to capturing, processing, and encoding digital video Copyright © 2005 Packt Publishing All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, without the prior written permission of the publisher, except in the case of brief quotations embedded in critical articles or reviews. Every effort has been made in the preparation of this book to ensure the accuracy of the information presented. However, the information contained in this book is sold without warranty, either express or implied. Neither the authors, Packt Publishing, nor its dealers or distributors will be held liable for any damages caused or alleged to be caused either directly or indirectly by this book. Packt Publishing has endeavored to provide trademark information about all the companies and products mentioned in this book by the appropriate use of capitals. However, Packt Publishing cannot guarantee the accuracy of this information. First edition: April 2005 Published by Packt Publishing Ltd. 32 Lincoln Road Olton Birmingham, B27 6PA, UK. ISBN 1-904811-35-3 www.packtpub.com Cover Design by www.visionwt.com Credits Authors Layout Georgios Diamantopoulos Paramita Chakrabarti Sohail Salehi John Buechler Indexer Ashutosh Pande Commissioning Editor David Barnes Proofreader Chris Smith Technical Editors Ashutosh Pande Cover Designer Paramita Chakrabarti Helen Wood About the Authors Georgios Diamantopoulos was born in February 1984. Born and raised in Corinth, Greece, his scientific inclination towards computers was evident in his teenage years and he pursued his dreams by moving to Birmingham, UK to study Computer Systems Engineering in 2001.