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Avid® EDL Manager User's Guide
Avid® EDL Manager User’s Guide ™ make manage move | media Avid ® Legal Notices 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. Media Composer Family, including Media Composer, Avid Xpress, Symphony Avid products or portions thereof are protected by one or more of the following United States Patents: 4,970,663; 5,267,351; 5,309,528; 5,355,450; 5,396,594; 5,440,348; 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; 6,134,607; 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; 7,081,900; 7,103,231; 7,266,241; 7,280,117; RE40,107; D392,269; D396,853; D398,912. -
Multimedia Systems DCAP303
Multimedia Systems DCAP303 MULTIMEDIA SYSTEMS Copyright © 2013 Rajneesh Agrawal All rights reserved Produced & Printed by EXCEL BOOKS PRIVATE LIMITED A-45, Naraina, Phase-I, New Delhi-110028 for Lovely Professional University Phagwara CONTENTS Unit 1: Multimedia 1 Unit 2: Text 15 Unit 3: Sound 38 Unit 4: Image 60 Unit 5: Video 102 Unit 6: Hardware 130 Unit 7: Multimedia Software Tools 165 Unit 8: Fundamental of Animations 178 Unit 9: Working with Animation 197 Unit 10: 3D Modelling and Animation Tools 213 Unit 11: Compression 233 Unit 12: Image Format 247 Unit 13: Multimedia Tools for WWW 266 Unit 14: Designing for World Wide Web 279 SYLLABUS Multimedia Systems Objectives: To impart the skills needed to develop multimedia applications. Students will learn: z how to combine different media on a web application, z various audio and video formats, z multimedia software tools that helps in developing multimedia application. Sr. No. Topics 1. Multimedia: Meaning and its usage, Stages of a Multimedia Project & Multimedia Skills required in a team 2. Text: Fonts & Faces, Using Text in Multimedia, Font Editing & Design Tools, Hypermedia & Hypertext. 3. Sound: Multimedia System Sounds, Digital Audio, MIDI Audio, Audio File Formats, MIDI vs Digital Audio, Audio CD Playback. Audio Recording. Voice Recognition & Response. 4. Images: Still Images – Bitmaps, Vector Drawing, 3D Drawing & rendering, Natural Light & Colors, Computerized Colors, Color Palletes, Image File Formats, Macintosh & Windows Formats, Cross – Platform format. 5. Animation: Principle of Animations. Animation Techniques, Animation File Formats. 6. Video: How Video Works, Broadcast Video Standards: NTSC, PAL, SECAM, ATSC DTV, Analog Video, Digital Video, Digital Video Standards – ATSC, DVB, ISDB, Video recording & Shooting Videos, Video Editing, Optimizing Video files for CD-ROM, Digital display standards. -
T€Ah N€Ujr Videotape Editing and Program Assembly No
T€aH n€ujr Videotape Editing and Program Assembly no. 8 in a series of 10 by rodger j. ross When the Ampex video recording system the start a portion of the original recording The next step was the development of was announced in 1956, almost at once containing the first scene is dubbed onto programmed editing with frame accuracy. users began insisting on the need for the master tape. The next scene is then This was accomplished automatically by editing facilities. At the time, the best located in the original recordings and means of tone bursts recorded in the cue suggestion Ampex engineers could offer cued up on the playback machine. (In the track of the videotape. This development was to cut the videotapes with a razor early days of electronic editing the practice offered the very great advantage that an blade and join the two ends together with was adopted of putting cue marks on the edit could be previewed (simulated) — a piece of sticky tape. But it was not long tapes with a felt pen to indicate the splice and if necessary adjusted — before actually before much more sophisticated splicing point between scenes.) The two machines making the edit on the master program and editing methods were devised. are then started, both in the playback tape. A Canadian, Norman Bounsall, who mode, and at the point indicated by the With this method of program assembly went from the National Film Board in cue marks, the machine carrying the tone bursts are recorded in the cue track Montreal to work at the Ampex Corp. -
James N. Porter Papers
http://oac.cdlib.org/findaid/ark:/13030/c83r0zd0 No online items Guide to the James N. Porter papers Finding aid prepared by Bo Doub, Kim Hayden and Sara Chabino Lott Processing of this collection was made possible through generous funding from The Andrew W. Mellon Foundation, administered through the Council on Library and Information Resources' Cataloging Hidden Special Collections and Archives grant. Computer History Museum 1401 N. Shoreline Blvd. Mountain View, CA, 94043 (650) 810-1010 [email protected] Dec. 2015 Guide to the James N. Porter X6504.2012 1 papers Title: James N. Porter papers Identifier/Call Number: X6504.2012 Contributing Institution: Computer History Museum Language of Material: English Physical Description: 139.21 Linear feet,111 record cartons, 4 manuscript boxes Date (bulk): Bulk, 1970-2003 Date (inclusive): 1956-2010 Abstract: The James N. Porter papers document Porter’s career in the disk drive and data storage industries, particularly his role as the founder and president of DISK/TREND, which published annual market study reports on the disk drive and data storage industry. Material dates from 1956 to 2010, with the bulk of material from 1970 to 2003. The majority of material in the collection consists of DISK/TREND’s profiles on companies active in the disk drive industry. A smaller portion of the collection contains material related to data storage industry conferences, including IDEMA’s DISKCON and DataStorage, two conferences Porter co-founded; storage industry market studies; Porter’s research files on various types of data storage technologies; records from his employment and consulting work outside of DISK/TREND; and unprocessed audiovisual material. -
Guide to the James N. Porter Papers
Guide to the James N. Porter papers Creator: James N. Porter Dates: 1956-2010, bulk 1970-2003 Extent: 139.21 linear feet, 111 record cartons, 4 manuscript boxes Collection number: X6504.2012 Catalog number: 102733956 Collection processed by: Bo Doub and Kim Hayden, 2015 Finding aid prepared by: Bo Doub, Kim Hayden, and Sara Chabino Lott, 2015 Sponsor: Processing of this collection was made possible through generous funding from The Andrew W. Mellon Foundation, administered through the Council on Library and Information Resources' Cataloging Hidden Special Collections and Archives grant. Abstract The James N. Porter papers document Porter’s career in the disk drive and data storage industries, particularly his role as the founder and president of DISK/TREND, which published annual market study reports on the disk drive and data storage industry. Material dates from 1956 to 2010, with the bulk of material from 1970 to 2003. The majority of material in the collection consists of DISK/TREND’s profiles on companies active in the disk drive industry. A smaller portion of the collection contains material related to data storage industry conferences, including IDEMA’s DISKCON and DataStorage, two conferences Porter co-founded; storage industry market studies; Porter’s research files on various types of data storage technologies; records from his employment and consulting work outside of DISK/TREND; and unprocessed audiovisual material. James N. Porter papers X6504.2012 Administrative Information Access Restrictions The collection is open for research. Publication Rights The Computer History Museum (CHM) can only claim physical ownership of the collection. Copyright restrictions may apply and users are responsible for satisfying any claims of the copyright holder. -
Digital Democracy
Rhode Island College Digital Commons @ RIC Master's Theses, Dissertations, Graduate Master's Theses, Dissertations, Graduate Research and Major Papers Overview Research and Major Papers 5-2008 Digital Democracy Kathryn Larsen Rhode Island College Follow this and additional works at: https://digitalcommons.ric.edu/etd Part of the American Film Studies Commons, Broadcast and Video Studies Commons, Communication Technology and New Media Commons, Film and Media Studies Commons, and the Mass Communication Commons Recommended Citation Larsen, Kathryn, "Digital Democracy" (2008). Master's Theses, Dissertations, Graduate Research and Major Papers Overview. 23. https://digitalcommons.ric.edu/etd/23 This Thesis is brought to you for free and open access by the Master's Theses, Dissertations, Graduate Research and Major Papers at Digital Commons @ RIC. It has been accepted for inclusion in Master's Theses, Dissertations, Graduate Research and Major Papers Overview by an authorized administrator of Digital Commons @ RIC. For more information, please contact [email protected]. DIGITAL DEMOCRACY: HAS NEW DIGITAL TECHNOLOGY ALTERED THE AVAILABILITY OF INDEPENDENT DOCUMENTARIES TO PBS STATIONS? By Kathryn Larsen A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts with a concentration in Media Studies The School of Arts and Sciences Rhode Island College May 2008 Abstract The mission of public television clearly states that its primary goal is to fulfill the needs of the community. One way to achieve this goal is by providing programming that encourages a dialogue and local participation. Has the accessibility of more affordable digital production equipment and desktop video editing systems democratized the quantity and quality of independent documentaries submitted to PBS (Public Broadcasting Service) stations for broadcast? This question was examined from three perspectives: 1) the PBS station, 2) the independent filmmaker, and 3) the public television program distributor. -
EDL Manager User's Guide
Avid® EDL Manager UserÕs Guide a Copyright and Disclaimer Information in this document is subject to change without notice and does not represent a commitment on the part of Avid Technol- ogy, Inc. The software described in this document is furnished under a license agreement. The software may not be reverse assem- bled and may be used or copied only in accordance with the terms of the agreement. It is against the law to copy the software on any medium except as specifically allowed in the license agreement. Portions of the system described in this document are protected under the U.S. patent laws, and may be covered by patent numbers 5,355,450; 5,309,528; 5,267,351; 5,045,940; 4,970,663; 5,396,594; 5,440,348; 5,452,378; 5,467,288; 5,077,604; 5,513,375; and Des. 352,278. No part of this document may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, for any purpose without the express written permission of Avid Technology, Inc. © Copyright Avid Technology, Inc. March 1997. All rights reserved. The following disclaimer is required by Apple Computer, Inc. APPLE COMPUTER, INC. MAKES NO WARRANTIES WHATSOEVER, EITHER EXPRESS OR IMPLIED, REGARDING THIS PRODUCT, INCLUDING WARRANTIES WITH RESPECT TO ITS MERCHANTABILITY OR ITS FITNESS FOR ANY PARTICULAR PURPOSE. THE EXCLUSION OF IMPLIED WARRANTIES IS NOT PERMITTED BY SOME STATES. THE ABOVE EXCLUSION MAY NOT APPLY TO YOU. THIS WARRANTY PROVIDES YOU WITH SPECIFIC LEGAL RIGHTS. THERE MAY BE OTHER RIGHTS THAT YOU MAY HAVE WHICH VARY FROM STATE TO STATE. -
Bachelorarbeit
BACHELORARBEIT Herr Artur Kulaszewski Entwicklung von non-linearen Schnittsystemen anhand des Beispiels Apple Final Cut Pro X 2013 Fakultät Medien BACHELORARBEIT Entwicklung von non-linearen Schnittsystemen anhand des Beispiels Apple Final Cut Pro X Autor: Herr Artur Kulaszewski Studiengang: Regie Seminargruppe: FF07w2-B Erstprüfer: Prof. Dr. Detlef Gwosc Zweitprüfer: Thomas Reinecke Einreichung: Hamburg, 22.11.2013 Faculty of Media BACHELOR THESIS Development of non-linear editing systems by the example of Apple Final Cut Pro X author: Mr. Artur Kulaszewski course of studies: Direction seminar group: FF07w2-B first examiner: Prof. Dr. Detlef Gwosc second examiner: Thomas Reinecke submission: Hamburg, 22.11.2013 IV Bibliografische Angaben: Kulaszewski, Artur: Entwicklung von non-liearen Schnittsystemen anhand des Beispiels Apple Final Cut Pro X Development of non-linear editing systems by the example of Apple Final Cut Pro 2013 - 59 Seiten Mittweida, Hochschule Mittweida (FH), University of Applied Sciences, Fakultät Medien, Bachelorarbeit, 2013 Abstract Gegenstand dieser Bachelorarbeit ist die Entwicklung nichtlinearer computergestützter Schnittsysteme für die Bearbeitung von digitalen Videodateien mit besonderem Augenmerk auf Final Cut Pro X der Firma Apple. Ziel dieser Arbeit ist es heraus zu finden, in wie weit die Markteinführung von Final Cut Pro X einen Fortschritt im Umgang mit nichtlinearen Schnittsystemen bedeutet. Der Aufbau verschafft einen Überblick über technische Entwicklungen seit Entstehung des Filmschnitts. Ersichtlich