Quicktime VR, a Virtual Reality Extension to Apple Computer's Quicktime Digital Multimedia 1.2 Branching Movies Framework
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Music 422 Project Report
Music 422 Project Report Jatin Chowdhury, Arda Sahiner, and Abhipray Sahoo October 10, 2020 1 Introduction We present an audio coder that seeks to improve upon traditional coding methods by implementing block switching, spectral band replication, and gain-shape quantization. Block switching improves on coding of transient sounds. Spectral band replication exploits low sensitivity of human hearing towards high frequencies. It fills in any missing coded high frequency content with information from the low frequencies. We chose to do gain-shape quantization in order to explicitly code the energy of each band, preserving the perceptually important spectral envelope more accurately. 2 Implementation 2.1 Block Switching Block switching, as introduced by Edler [1], allows the audio coder to adaptively change the size of the block being coded. Modern audio coders typically encode frequency lines obtained using the Modified Discrete Cosine Transform (MDCT). Using longer blocks for the MDCT allows forbet- ter spectral resolution, while shorter blocks have better time resolution, due to the time-frequency trade-off known as the Fourier uncertainty principle [2]. Due to their poor time resolution, using long MDCT blocks for an audio coder can result in “pre-echo” when the coder encodes transient sounds. Block switching allows the coder to use long MDCT blocks for normal signals being encoded and use shorter blocks for transient parts of the signal. In our coder, we implement the block switching algorithm introduced in [1]. This algorithm consists of four types of block windows: long, short, start, and stop. Long and short block windows are simple sine windows, as defined in [3]: (( ) ) 1 π w[n] = sin n + (1) 2 N where N is the length of the block. -
(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. -
5Lesson 5: Multimedia on the Web
5Lesson 5: Multimedia on the Web Objectives By the end of this lesson, you will be able to: 1.5.7: Download and store files using a Web browser. 1.5.10: Install and upgrade common plug-ins, add-ons and viewers (e.g., Adobe Reader, Adobe Flash Player, Microsoft Silverlight, Windows Media Player, Apple QuickTime) and identify their common file name extensions. 1.5.11: Use document and multimedia file formats, including PDF, PNG, RTF, PostScript (PS), AVI, MPEG, MP3, MP4, Ogg. Convert between file formats when appropriate. 5-2 Internet Business Associate Pre-Assessment Questions 1. Briefly describe C++. 2. Which statement about vector graphics is true? a. Vector graphics are saved as sequences of vector statements. b. Vector graphics have much larger file sizes than raster graphics. c. Vector graphics are pixel-based. d. GIFs and JPGs are vector graphics. 3. Name at least two examples of browser plug-ins. © 2014 Certification Partners, LLC. — All Rights Reserved. Version 2.1 Lesson 5: Multimedia on the Web 5-3 Introduction to Multimedia on the Web NOTE: Multimedia on the Web has expanded rapidly as broadband connections have allowed Multimedia use on users to connect at faster speeds. Almost all Web sites, including corporate sites, feature the Web has been hindered by multimedia content and interactive objects. For instance, employee orientation sessions, bandwidth audio and video memos, and training materials are often placed on the Internet or limitations. Until all Internet users have corporate intranets. high-speed connections Nearly all network-connected devices, such as PCs, tablets, smartphones and smart TVs, (broadband or can view online interactive multimedia. -
Tele-Immersive Display with Live-Streamed Video
Tele-Immersive Display with Live-Streamed Video TANG Wai-Kwan A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Philosophy in Computer Science and Engineering ©The Chinese University of Hong Kong July, 2001 The Chinese University of Hong Kong holds the copyright of this thesis. Any person(s) intending to use a part or the whole of the materials in this thesis in a proposed publication must seek copyright release from the Dean of the Graduate School. 趣i rw^書群 言一 0 哪一:⑶ M v?^ nMU .V、 w 梦 - 5 一 二 Tele-Immersive Display with Live-Streamed Video submitted by TANG Wai-Kwan for the degree of Master of Philosophy at The Chinese University of Hong Kong Abstract Tele-immersion is a rapidly growing technology which allows geographically separated users to collaborate in a shared virtual environment. Video systems in those tele-immersion applications, however, usually suffer from a limited field-of-view. To capture wide field-of-view video, specially designed video systems are required. In this thesis, we present the techniques for the real-time construction of live panoramic video from multiple live video streams obtained by normal CCD video cameras. A system framework for tele-immersive applications is designed. In our approach, we first obtain sample video frames from the video cameras. Using techniques of generating image mosaic, the video frames are combined together to form a large field of view image. We obtain a list of triangles with texture coordinates. In the running time, the live video streams are used as texture map which are rendered into a live panoramic video stream. -
Innovative Digital Projects
Chapter 3 Innovative Digital Projects The Library of Congress, Digital Collections & and the Revealing of America exhibit uses Flash. In Programs this particular Lewis & Clark exhibit, the user is given a www.loc.gov/library/libarch-digital.html virtual tour of the Lewis & Clark exhibit gallery currently on display at the Library of Congress. The Library of Congress, Global Gateway: There are multiple resources available for teachers, World Culture & Resources educators, researchers, publishers, librarians, families, http://international.loc.gov/intldl/intldlhome.html and disabled persons to access, use, and teach with these The American Memory Project digitized resources. This is a wonderful Web site/portal http://memory.loc.gov/ammem/help/view.html for experimentation, exploration, and learning. The American Memory Project Listing DigiCULT http://memory.loc.gov/ammem www.digicult.info/pages Library of Congress Digital Exhibits DigiCULT Newsletters www.loc.gov/exhibits www.digicult.info/pages/newsletter.php Rivers, Edens, Empires: Lewis & Clark and the DigiCULT Technology Watch Reports Revealing of America www.digicult.info/pages/techwatch.php www.loc.gov/exhibits/lewisandclark/virtualtour July – August 2005 – August July DigiCULT Thematic Issues The Library of Congress, Digital Collections & www.digicult.info/pages/themiss.php Programs Web site features many of the digital collections and exhibits of The Library of Congress. Many of them are DigiCULT’s mission is to benefi t the cultural basic digitization projects, but there are a few that meet heritage sector, particularly in Europe, by assessing and the criteria set for this book. monitoring emerging and existing technologies to help The American Memory Project has a number of optimize the development, preservation, and access to collections that feature audio, maps, and video (the main Europe’s cultural and scientifi c heritage, especially within page provides information about downloading free plug- the emerging digital cultural economy. -
Megaplus Conversion Lenses for Digital Cameras
Section2 PHOTO - VIDEO - PRO AUDIO Accessories LCD Accessories .......................244-245 Batteries.....................................246-249 Camera Brackets ......................250-253 Flashes........................................253-259 Accessory Lenses .....................260-265 VR Tools.....................................266-271 Digital Media & Peripherals ..272-279 Portable Media Storage ..........280-285 Digital Picture Frames....................286 Imaging Systems ..............................287 Tripods and Heads ..................288-301 Camera Cases............................302-321 Underwater Equipment ..........322-327 PHOTOGRAPHIC SOLUTIONS DIGITAL CAMERA CLEANING PRODUCTS Sensor Swab — Digital Imaging Chip Cleaner HAKUBA Sensor Swabs are designed for cleaning the CLEANING PRODUCTS imaging sensor (CMOS or CCD) on SLR digital cameras and other delicate or hard to reach optical and imaging sur- faces. Clean room manufactured KMC-05 and sealed, these swabs are the ultimate Lens Cleaning Kit in purity. Recommended by Kodak and Fuji (when Includes: Lens tissue (30 used with Eclipse Lens Cleaner) for cleaning the DSC Pro 14n pcs.), Cleaning Solution 30 cc and FinePix S1/S2 Pro. #HALCK .........................3.95 Sensor Swabs for Digital SLR Cameras: 12-Pack (PHSS12) ........45.95 KA-11 Lens Cleaning Set Includes a Blower Brush,Cleaning Solution 30cc, Lens ECLIPSE Tissue Cleaning Cloth. CAMERA ACCESSORIES #HALCS ...................................................................................4.95 ECLIPSE lens cleaner is the highest purity lens cleaner available. It dries as quickly as it can LCDCK-BL Digital Cleaning Kit be applied leaving absolutely no residue. For cleaing LCD screens and other optical surfaces. ECLIPSE is the recommended optical glass Includes dual function cleaning tool that has a lens brush on one side and a cleaning chamois on the other, cleaner for THK USA, the US distributor for cleaning solution and five replacement chamois with one 244 Hoya filters and Tokina lenses. -
Inside Quicktime: Interactive Movies
Inside QuickTime The QuickTime Technical Reference Library Interactive Movies October 2002 Apple Computer, Inc. Java and all Java-based trademarks © 2001 Apple Computer, Inc. are trademarks of Sun Microsystems, All rights reserved. Inc. in the U.S. and other countries. No part of this publication may be Simultaneously published in the reproduced, stored in a retrieval United States and Canada system, or transmitted, in any form or Even though Apple has reviewed this by any means, mechanical, electronic, manual, APPLE MAKES NO photocopying, recording, or WARRANTY OR REPRESENTATION, otherwise, without prior written EITHER EXPRESS OR IMPLIED, WITH permission of Apple Computer, Inc., RESPECT TO THIS MANUAL, ITS with the following exceptions: Any QUALITY, ACCURACY, person is hereby authorized to store MERCHANTABILITY, OR FITNESS documentation on a single computer FOR A PARTICULAR PURPOSE. AS A for personal use only and to print RESULT, THIS MANUAL IS SOLD “AS copies of documentation for personal IS,” AND YOU, THE PURCHASER, ARE use provided that the documentation ASSUMING THE ENTIRE RISK AS TO contains Apple’s copyright notice. ITS QUALITY AND ACCURACY. The Apple logo is a trademark of IN NO EVENT WILL APPLE BE LIABLE Apple Computer, Inc. FOR DIRECT, INDIRECT, SPECIAL, Use of the “keyboard” Apple logo INCIDENTAL, OR CONSEQUENTIAL (Option-Shift-K) for commercial DAMAGES RESULTING FROM ANY purposes without the prior written DEFECT OR INACCURACY IN THIS consent of Apple may constitute MANUAL, even if advised of the trademark infringement and unfair possibility of such damages. competition in violation of federal and state laws. THE WARRANTY AND REMEDIES SET FORTH ABOVE ARE EXCLUSIVE AND No licenses, express or implied, are IN LIEU OF ALL OTHERS, ORAL OR granted with respect to any of the WRITTEN, EXPRESS OR IMPLIED. -
Center for Signal Processing
21 3. LOSSLESS/LOSSY COMPRESSION Overview of Lossless Compression: It is also known as: • Noiseless coding • Lossless coding • Invertible coding • Entropy coding • Data compaction codes. They can perfectly recover original data (if no storage or transmission bit errors, i.e., noiseless channel). 1. They normally have variable length binary codewords to produce variable numbers of bits per symbol. 2. Only works for digital sources. Properties of Variable rate (length) systems: • They can more efficiently trade off quality/distortion (noise) and rate. • They are generally more complex and costly to build. • They require buffering to match fixed-rate transmission system requirements. • They tend to suffer catastrophic transmission error propagation; in other words, once in error then the error grows quickly. 3. But they can provide produce superior rate/distortion (noise) trade-off. For instance, in image compression we can use more bits for edges, fewer for flat areas. Similarly, more bits can be assigned for plosives, fewer for vowels in speech compression. General idea: Code highly probable symbols into short binary sequences, low probability symbols into long binary sequences, so that average is minimized. Most famous examples: • Morse code: Consider dots and dashes as binary levels “0” and “1”. Assign codeword length inversely proportional to letter relative frequencies. In other words, most frequent letter (message) is assigned the smallest number of bits, whereas the least likely message has the longest codeword, such as “e” and “”z” in English alphabet. Total number of bits per second would much less than if we have used fixed-rate ASCII representation for alphanumerical data. • Huffman code 1952, employed in UNIX compact utility and many standards, known to be optimal under specific constraints. -
Course Notes
Siggraph ‘97 Stereo Computer Graphics for Virtual Reality Course Notes Lou Harrison David McAllister Martin Dulberg Multimedia Lab Department of Computer Science North Carolina State University ACM SIGGRAPH '97 Stereoscopic Computer Graphics for Virtual Reality David McAllister Lou Harrison Martin Dulberg MULTIMEDIA LAB COMPUTER SCIENCE DEPARTMENT NORTH CAROLINA STATE UNIVERSITY http://www.multimedia.ncsu.edu Multimedia Lab @ NC State Welcome & Overview • Introduction to depth perception & stereo graphics terminology • Methods to generate stereoscopic images • Stereo input/output techniques including head mounted displays • Algorithms in stereoscopic computer graphics Multimedia Lab @ NC State Speaker Biographies: David F. McAllister received his BS in mathematics from the University of North Carolina at Chapel Hill in 1963. Following service in the military, he attended Purdue University, where he received his MS in mathematics in 1967. He received his Ph. D. in Computer Science in 1972 from the University of North Carolina at Chapel Hill. Dr. McAllister is a professor in the Department of Computer Science at North Carolina State University. He has published many papers in the areas of 3D technology and computer graphics and has given several courses in these areas at SPIE, SPSE, Visualization and SIGGRAPH. He is the editor of a book on Stereo Computer Graphics published by Princeton University Press. Lou Harrison received his BS in Computer Science from North Carolina State University in 1987 and his MS in Computer Science, also from NCSU, in 1990. Mr. Harrison has taught courses in Operating Systems and Computer Graphics at NCSU and is currently Manager of Operations for the Department of Computer Science at NCSU while pursuing his Ph. -
Coding and Compression
Chapter 3 Multimedia Systems Technology: Co ding and Compression 3.1 Intro duction In multimedia system design, storage and transport of information play a sig- ni cant role. Multimedia information is inherently voluminous and therefore requires very high storage capacity and very high bandwidth transmission capacity.For instance, the storage for a video frame with 640 480 pixel resolution is 7.3728 million bits, if we assume that 24 bits are used to en- co de the luminance and chrominance comp onents of each pixel. Assuming a frame rate of 30 frames p er second, the entire 7.3728 million bits should b e transferred in 33.3 milliseconds, which is equivalent to a bandwidth of 221.184 million bits p er second. That is, the transp ort of such large number of bits of information and in such a short time requires high bandwidth. Thereare two approaches that arepossible - one to develop technologies to provide higher bandwidth of the order of Gigabits per second or more and the other to nd ways and means by which the number of bits to betransferred can be reduced, without compromising the information content. It amounts to saying that we need a transformation of a string of characters in some representation such as ASCI I into a new string e.g., of bits that contains the same information but whose length must b e as small as p ossible; i.e., data compression. Data compression is often referred to as co ding, whereas co ding is a general term encompassing any sp ecial representation of data that achieves a given goal. -
Interactive, Internet Delivery of Visualization Via Structured, Prerendered Multiresolution Imagery Jerry Chen, Ilmi Yoon, Member, IEEE and E
1 Interactive, Internet Delivery of Visualization via Structured, Prerendered Multiresolution Imagery Jerry Chen, Ilmi Yoon, Member, IEEE and E. Wes Bethel, Member, IEEE Abstract— users. This new approach is appropriate for many, but We present a novel approach for latency-tolerant deliv- not all, visualization and graphics use modalities. In ery of visualization and rendering results where client- particular, it provides what appears to the consumer to side frame rate display performance is independent of be an interactive data exploration experience in the form source dataset size, image size, visualization technique or of semi-constrained navigation through visualization or rendering complexity. Our approach delivers pre-rendered, multiresolution images to a remote user as they navigate rendering parameter space but without the cost associ- through different viewpoints, visualization parameters or ated with learning how to execute or use a potentially rendering parameters. We employ demand-driven tiled, complex application on a remote computing platform. It multiresolution image streaming and prefetching to ef- is a general purpose solution that is widely applicable ficiently utilize available bandwidth while providing the to any application that produces visual output. It offers maximum resolution a user can perceive from a given capabilities that overcome limitations of previous similar viewpoint. Since image data is the only input to our system, approaches making it suitable for use in delivering our approach is generally applicable to all visualization an interactive visual data exploration experience to a and graphics rendering applications capable of generating potentially large body of consumers. image files in an ordered fashion. In our implementation, a normal web server provides on-demand images to a A. -
Experiment 7 IMAGE COMPRESSION I Introduction
Experiment 7 IMAGE COMPRESSION I Introduction A digital image obtained by sampling and quantizing a continuous tone picture requires an enormous storage. For instance, a 24 bit color image with 512x512 pixels will occupy 768 Kbyte storage on a disk, and a picture twice of this size will not fit in a single floppy disk. To transmit such an image over a 28.8 Kbps modem would take almost 4 minutes. The purpose for image compression is to reduce the amount of data required for representing sampled digital images and therefore reduce the cost for storage and transmission. Image compression plays a key role in many important applications, including image database, image communications, remote sensing (the use of satellite imagery for weather and other earth-resource applications), document and medical imaging, facsimile transmission (FAX), and the control of remotely piloted vehicles in military, space, and hazardous waste control applications. In short, an ever-expanding number of applications depend on the efficient manipulation, storage, and transmission of binary, gray-scale, or color images. An important development in image compression is the establishment of the JPEG standard for compression of color pictures. Using the JPEG method, a 24 bit/pixel color images can be reduced to between 1 to 2 bits/pixel, without obvious visual artifacts. Such reduction makes it possible to store and transmit digital imagery with reasonable cost. It also makes it possible to download a color photograph almost in an instant, making electronic publishing/advertising on the Web a reality. Prior to this event, G3 and G4 standards have been developed for compression of facsimile documents, reducing the time for transmitting one page of text from about 6 minutes to 1 minute.