Avid Xpress Pro HD User's Guide Supplement
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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 -
Avid Xpress® Pro Version 5.7.2 Readme
a Avid Xpress® Pro Version 5.7.2 ReadMe Revision History Date Revised Changes Made June 21, 2007 Included additional information in the Fixed in 5.7.2 section. June 19, 2007 Included additional information in the Fixed in 5.7.2 section. IMPORTANT: Avid periodically makes software updates and Customer Patch Releases (CPR) available for download on Avid.com at the following location: www.avid.com/support/downloadcenter/index.asp Please check the above site regularly for information on available downloads for your product. Important Information Avid® recommends that you read all the information in this ReadMe file thoroughly before installing or using any new software release. This document describes compatibility issues with previous releases, hardware and software requirements, software installation instructions, and summary information on system and memory requirements. This document also lists hardware and software limitations. Latest ReadMe Information might be added even after this ReadMe is complete. For the most up-to-date ReadMe, check the Knowledge Base at http://www.avid.com/readme. Latest Drive Striping Tables To find the latest striping tables: 1. Access the Knowledge Base at www.avid.com/onlinesupport/. 2. Type “striping tables” in the Search Knowledge Base text box. 3. Click Search. 4. Select the table appropriate for your product. 2 Contents Changes in 5.7.2 . 6 Fixed in 5.7.2. 6 New Features in Avid Xpress Pro v5.7 . 10 Adding Text to Multiple Clips . 11 Requirements . 12 Avid Xpress Pro - Macintosh . 12 Avid Xpress Pro - Windows . 12 Macintosh OS X Support. 13 QuickTime Support . 13 Shared Storage Support . -
Installation and Operation Guide
www.aja.com Published: 10/31/11 Installation and Operation Guide 1 Because it matters. 1 ii Trademarks AJA®, KONA®, Ki Pro®, KUMO®, and XENA® and are registered trademarks of AJA Video, Inc, Io Express™, Io HD™, Io™, and Because It Matters™ are trademarks of AJA Video, Inc. Apple, the Apple logo, AppleShare, AppleTalk, FireWire, iPod, iPod Touch, Mac, and Macintosh are registered trademarks of Apple Computer, Inc. Final Cut Pro, QuickTime and the QuickTime Logo are trademarks of Apple Computer, Inc. All other trademarks are the property of their respective holders. Notice Copyright © 2011 AJA Video, Inc. All rights reserved. All information in this manual is subject to change without notice. No part of the document may be reproduced or transmitted in any form, or by any means, electronic or mechanical, including photocopying or recording, without the express written permission of AJA Inc. Contacting Support To contact AJA Video for sales or support, use any of the following methods: Telephone: 800.251.4224 or 530.271.3190 Fax: 530.274.9442 Web: http://www.aja.com Support Email: [email protected] Sales Email: [email protected] FCC Emission Information This equipment has been tested and found to comply with the limits for a Class A digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference when the equipment is operated in a commercial environment. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instruction manual, may cause harmful interference to radio communications. -
2K Overview Understanding 2K Workflows in Today’S Post-Production Evironments
Whitepaper Author: Jon Thorn, Product Manager, Mac Desktop Products Thad Huston, Product Manager, Windows Desktop Products —AJA Video Systems 2K Overview Understanding 2K Workflows in Today’s Post-production Evironments The Image Size of 2K: Traditional Cinema and Digital Cinema 2K is a term, like SD and HD, used in today’s post-production environment to describe a particular image size and quality of data. 2K data ex- ceeds our pre-existing television broadcast standards for both SD and HD and is therefore most commonly associated with traditional cinema and the emerging digital cinema initiative. When working with data for eventual cinematic projection, FX work or digital intermediate purposes, 2K is usually defined as 2048x1556 pixels. This size represents the “full” size of the 35mm film between the sprockets. Therefore the result, 2048x1556 pixels, appears as a 4x3 image when compared to an HD image which is typically 16x9. In 2K, other image sizes can be derived from this 2048x1556 source by taking a cropped por- tion of the image for use. For a traditional cinematic projection scenario, the final delivery of this 2048x1556 data is onto 35mm film. The film undergoes photochemical and mechanical processes before the image reaches the screen. The other common size attributed to 2K is 2048x1080; this is the standard to which digital cinema currently adheres. Most digital cinema projec- tors have this 2048x1080 image size as a supported resolution and in many cases, as a maximum resolution. Here the data at 2048x1080 need not undergo a photochemical process; it can stay data for its path to projection. -
The Essential Reference Guide for Filmmakers
THE ESSENTIAL REFERENCE GUIDE FOR FILMMAKERS IDEAS AND TECHNOLOGY IDEAS AND TECHNOLOGY AN INTRODUCTION TO THE ESSENTIAL REFERENCE GUIDE FOR FILMMAKERS Good films—those that e1ectively communicate the desired message—are the result of an almost magical blend of ideas and technological ingredients. And with an understanding of the tools and techniques available to the filmmaker, you can truly realize your vision. The “idea” ingredient is well documented, for beginner and professional alike. Books covering virtually all aspects of the aesthetics and mechanics of filmmaking abound—how to choose an appropriate film style, the importance of sound, how to write an e1ective film script, the basic elements of visual continuity, etc. Although equally important, becoming fluent with the technological aspects of filmmaking can be intimidating. With that in mind, we have produced this book, The Essential Reference Guide for Filmmakers. In it you will find technical information—about light meters, cameras, light, film selection, postproduction, and workflows—in an easy-to-read- and-apply format. Ours is a business that’s more than 100 years old, and from the beginning, Kodak has recognized that cinema is a form of artistic expression. Today’s cinematographers have at their disposal a variety of tools to assist them in manipulating and fine-tuning their images. And with all the changes taking place in film, digital, and hybrid technologies, you are involved with the entertainment industry at one of its most dynamic times. As you enter the exciting world of cinematography, remember that Kodak is an absolute treasure trove of information, and we are here to assist you in your journey. -
2K Overview Understanding 2K Workflows in Today’S Post-Production Evironments
Whitepaper Author: Jon Thorn, Product Manager, Mac Desktop Products—AJA Video Systems 2K Overview Understanding 2K Workflows in Today’s Post-production Evironments The Image Size of 2K: Traditional Cinema and Digital Cinema 2K is a term, like SD and HD, used in today’s post-production environment to describe a particular image size and quality of data. 2K data exceeds our pre-existing television broadcast standards for both SD and HD and is therefore most commonly associated with traditional cinema and the emerging digital cinema initiative. When working with data for eventual cinematic projection, FX work or digital intermediate purposes, 2K is usually defined as 2048x1556 pixels. This size represents the “full” size of the 35mm film between the sprockets. Therefore the result, 2048x1556 pixels, appears as a 4x3 image when compared to an HD image which is typically 16x9. In 2K, other image sizes can be derived from this 2048x1556 source by taking a cropped portion of the image for use. For a traditional cinematic projection scenario, the final delivery of this 2048x1556 data is onto 35mm film. The film undergoes photochemical and mechanical processes before the image reaches the screen. The other common size attributed to 2K is 2048x1080; this is the standard to which digital cinema currently adheres. Most digital cinema projectors have this 2048x1080 image size as a supported resolution and in many cases, as a maximum resolution. Here the data at 2048x1080 need not undergo a photochemical process; it can stay data for its path to projection. So the first obvious advantage of working with 2K images as opposed to HD is the size of the image that can be generated, manipulated, and ultimately projected. -
University of California Digital Reformatting Guidelines (UCDRG) Is an Update to the 2011 CDL Digital File Format Recommendations: Master Production Files (CDL DFFR)
UNIVERSITY OF CALIFORNIA LIBRARIES DIGITAL REFORMATTING GUIDELINES March 2020 Authors Stefan Elnabli (UCSD); Paul Fogel (CDL); Eric Milenkiewicz (UCR); Susan Chesley Perry (UCSC); Chrissy Rissmeyer (UCSB); Hannah Tashjian (UCB) This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License 1 UC Digital Reformatting Guidelines March 2020 UNIVERSITY OF CALIFORNIA LIBRARIES DIGITAL REFORMATTING GUIDELINES MARCH 2020 The University of California Digital Reformatting Guidelines (UCDRG) is an update to the 2011 CDL Digital File Format Recommendations: Master Production Files (CDL DFFR). It is designed only to be a reference point and recommendation for preservation-level digital reformatting of the major object types: text, image, audio, video, and motion picture film. The guidelines focus on preservation file formats suitable for long-term digital storage. Intended for reference by UC institutions that are involved in digitizing analog content or preparing born digital media for preservation, this document is based on published standards that are referenced throughout the document and attributed where reproduced. About This Document The UCDRG’s intended audience is all UC campuses and campus groups. This document is not intended to address all administrative and technical issues surrounding the creation or management of digital files and resources. In this document, see “Digital Reformatting File Specifications” for preservation file format recommendations. Noteworthy considerations such as Quality Assurance and Quality Control, Metadata, and Accessibility are addressed in discussion form with pointers to relevant guidelines, but these topics are not the primary focus of this document. The guidelines are largely based on these general characteristics: • Non-proprietary • Open, documented standards • In common usage by the research community • Standard character encodings (e.g. -
Tipos De Ficheros Soportados
Tipos de ficheros soportados File Type Support Description EXIF IPTC XMP ICC1 Other 3FR R Hasselblad RAW (TIFF-based) R R R R - 3G2, 3GP2 R/W R/W2 R/W2 R/W/C - R/W QuickTime3 3rd Gen. Partnership Project 2 a/v (QuickTime-based) 3GP, 3GPP R/W R/W2 R/W2 R/W/C - R/W QuickTime3 3rd Gen. Partnership Project a/v (QuickTime-based) - - - - AA R Audible Audiobook R Audible AAX R/W R/W2 R/W2 R/W/C - R/W QuickTime3 Audible Enhanced Audiobook (QuickTime-based) ACR R - - - - R DICOM American College of Radiology ACR-NEMA (DICOM-like) R - - - - R Font Adobe [Composite/Multiple Master] AFM, ACFM, AMFM Font Metrics AI, AIT R/W R/W/C4 R/W/C4 R/W/C R/W/C4 Adobe Illustrator [Template] (PS or PDF) R/W/C PDF PostScript, R Photoshop AIFF, AIF, AIFC R - - - - R AIFF ID3 Audio Interchange File Format [Compressed] - - - - APE R Monkey’s Audio R APE ID3 ARW R/W Sony Alpha RAW (TIFF-based) R/W/C R/W/C R/W/C R/W/C R/W Sony SonyIDC ASF R - - R - R ASF Microsoft Advanced Systems Format AVI R/W R/W R/W R/W R/W R RIFF Audio Video Interleaved (RIFF- based) Tipos de ficheros soportados BMP, DIB R - - - - R BMP Windows BitMaP / Device Independent Bitmap BTF R R R R R - BigTIFF (64-bit Tagged Image File Format) CHM R - - - - R EXE Microsoft Compiled HTML format COS R - - - - R XML Capture One Settings (XML- based) CR2 R/W Canon RAW 2 (TIFF-based) R/W/C R/W/C R/W/C R/W/C R/W/C CanonVRD, R/W Canon CRW, CIFF R/W - - R/W/C - Canon RAW Camera Image File R/W/C CanonVRD, Format (CRW spec.) R/W CanonRaw CS1 R/W Sinar CaptureShop 1-shot RAW R/W/C R/W/C R/W/C R/W/C R Photoshop (PSD-based) -
The Political Life and Times of Governor Pat M. Neff Of
PORTRAIT OF A SOUTHERN PROGRESSIVE: THE POLITICAL LIFE AND TIMES OF GOVERNOR PAT M. NEFF OF TEXAS, 1871-1952 Mark Stanley, B.S., M.A. Dissertation Prepared for the Degree of DOCTOR OF PHILOSOPHY UNIVERSITY OF NORTH TEXAS May 2011 APPROVED: Richard B. McCaslin, Major Professor and Chair of the Department of History Elizabeth Hayes Turner, Committee Member Roberto Calderón, Committee Member Aaron Navarro, Committee Member John Todd, Committee Member James D. Meernik, Acting Dean of the Toulouse Graduate School Stanley, Mark. Portrait of a Southern Progressive: The Political Life and Times of Governor Pat M. Neff of Texas, 1871-1952. Doctor of Philosophy (History), May 2011, 361 pp., references, 150 titles. Pat M. Neff was a product of his political place and time. Born in Texas in 1871, during Reconstruction, he matured and prospered while his native state did the same as it transitioned from Old South to New South. Neff spent most of his life in Waco, a town that combined New South Progressivism with religious conservatism. This duality was reflected in Neff’s own personality. On moral or religious issues, he was conservative. On economic and social issues, he was Progressive. He thus was a typical Southern Progressive who de-emphasized social and political change in favor of economic development. For instance, as governor from 1921 to 1925, his work to develop and conserve Texas’ water resources brought urbanization and industrialization that made the New South a reality in the state. Neff was a devout Baptist which influenced his politics and philosophy. He was president of Baylor University, a Baptist institution, for fifteen years after leaving the governor s office and he led the Southern Baptist Convention (SBC) in the 1940s. -
Avid Symphony Input and Output Guide • Part 0130–05443–01• February 2003 Contents
Avid® Symphony™ Input and Output Guide ™ make manage move | media Avid ® Copyright and Disclaimer Product specifications are subject to change without notice and do not represent a commitment on the part of Avid Technology, Inc. The software described in this document is furnished under a license agreement. You can obtain a copy of that license by visiting Avid's Web site at www.avid.com. The terms of that license are also available in the product in the same directory as the software. The software may not be reverse assembled and may be used or copied only in accordance with the terms of the license agreement. It is against the law to copy the software on any medium except as specifically allowed in the license agreement. Avid products or portions thereof are protected by one or more of the following United States patents: 4,746,994; 4,970,663; 5,045,940; 5,267,351; 5,309,528; 5,355,450; 5,396,594; 5,440,348; 5,452,378; 5,467,288; 5,513,375; 5,528,310; 5,557,423; 5,568,275; 5,577,190; 5,584,006; 5,640,601; 5,644,364; 5,654,737; 5,715,018; 5,724,605; 5,726,717; 5,729,673; 5,745,637; 5,752,029; 5,754,851; 5,799,150; 5,812,216; 5,852,435; 5,883,670; 5,905,841; 5,929,836; 5,929,942; 5,930,445; 5,946,445; 5,987,501; 5,995,115; 6,016,152; 6,018,337; 6,023,531; 6,035,367; 6,038,573; 6,058,236; 6,061,758; 6,091,778; 6,105,083; 6,118,444; 6,128,001; 6,130,676; 6,134,607; 6,137,919; 6,141,007; 6,141,691; 6,157,929; 6,198,477; 6,201,531; 6,211,869; 6,223,211; 6,239,815; 6,249,280; 6,269,195; 6,301,105; 6,317,158; 6,317,515; 6,327,253; 6,330,369; 6,351,557; 6,353,862; 6,357,047; 6,392,710; 6,404,435; 6,407,775; 6,417,891; 6,426,778; D396,853; D398,912. -
Avid Xpress Pro Advanced Effects Guide • Part 0130-07616-01• June 2006
Avid Xpress® Pro Advanced Effects Guide ™ make manage move | media Avid ® Copyright and Disclaimer Product specifications are subject to change without notice and do not represent a commitment on the part of Avid Technology, Inc. The software described in this document is furnished under a license agreement. You can obtain a copy of that license by visiting Avid's Web site at www.avid.com. The terms of that license are also available in the product in the same directory as the software. The software may not be reverse assembled and may be used or copied only in accordance with the terms of the license agreement. It is against the law to copy the software on any medium except as specifically allowed in the license agreement. Avid products or portions thereof are protected by one or more of the following United States Patents: 4,746,994; 4,970,663; 5,045,940; 5,267,351; 5,309,528; 5,355,450; 5,396,594; 5,440,348; 5,452,378; 5,467,288; 5,513,375; 5,528,310; 5,557,423; 5,568,275; 5,577,190; 5,584,006; 5,640,601; 5,644,364; 5,654,737; 5,715,018; 5,724,605; 5,726,717; 5,729,673; 5,745,637; 5,752,029; 5,754,851; 5,799,150; 5,812,216; 5,852,435; 5,584,006; 5,905,841; 5,929,836; 5,930,445; 5,946,445; 5,987,501; 6,016,152; 6,018,337; 6,023,531; 6,058,236; 6,061,758; 6,091,778; 6,105,083; 6,118,444; 6,128,001; 6,134,607; 6,137,919; 6,141,691; 6,198,477; 6,201,531; 6,223,211; 6,249,280; 6,269,195; 6,317,158; 6,317,515; 6,330,369; 6,351,557; 6,353,862; 6,357,047; 6,392,710; 6,404,435; 6,407,775; 6,417,891; 6,426,778; 6,477,271; 6,489,969; 6,512,522; 6,532,043; 6,546,190; 6,552,731; 6,553,142; 6,570,624; 6,571,255; 6,583,824; 6,618,547; 6,636,869; 6,665,450; 6,678,461; 6,687,407; 6,704,445; 6,747,705; 6,763,134; 6,766,063; 6,791,556; 6,810,157; 6,813,622; 6,847,373; 6,871,003; 6,871,161; 6,901,211; 6,907,191; 6,928,187; 6,933,948; 6,961,801; 7,043,058; D392,269; D396,853; D398,912. -
Avid Xpress Pro Features What’S New
Avid Xpress Pro System Requirements Avid Xpress Pro System Requirements Will Avid Xpress Pro work on my machine? If your system does not meet minimum system specifications it may not work. If your system does meet minimum system specifications, but is not on the qualified list, it has a good chance of working, but there can be reasons outside of this spec that cause problems. By using a system that has not been Avid Qualified you are at risk that you will not be able to receive proper customer support from Avid reps due to conflicts that are outside the scope of certified Avid support coverage. This includes all newer systems not yet tested, audio and video cards and other related peripherals. To minimize your risk of hardware/software conflicts it is recommended that you use an Avid certified system. Keep in mind there is a difference between running "minimum specifications" and running a qualified system. Your performance may vary depending on your configuration. If you are looking for specific performance and quality, we suggest buying a qualified system or a qualified turnkey system from an Avid Authorized integrator. Qualified workstations and notebooks Qualified workstations PC Mac Qualified Notebooks PC Mac Minimum System Specifications PC Windows XP Professional with Service Pack 2 QuickTime 7.1.3; Windows Media Player 10 (with version 9.5 codecs) 1 GB system memory minimum, 2 GB recommended for HD or high-stream count SD projects One of the following processors: (minimum speed listed) Xeon 2.4 Ghz (single or dual core) Intel Core