JPEG 2000 for Video Archiving
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
ITU-T Rec. T.800 (08/2002) Information Technology
INTERNATIONAL TELECOMMUNICATION UNION ITU-T T.800 TELECOMMUNICATION (08/2002) STANDARDIZATION SECTOR OF ITU SERIES T: TERMINALS FOR TELEMATIC SERVICES Information technology – JPEG 2000 image coding system: Core coding system ITU-T Recommendation T.800 INTERNATIONAL STANDARD ISO/IEC 15444-1 ITU-T RECOMMENDATION T.800 Information technology – JPEG 2000 image coding system: Core coding system Summary This Recommendation | International Standard defines a set of lossless (bit-preserving) and lossy compression methods for coding bi-level, continuous-tone grey-scale, palletized color, or continuous-tone colour digital still images. This Recommendation | International Standard: – specifies decoding processes for converting compressed image data to reconstructed image data; – specifies a codestream syntax containing information for interpreting the compressed image data; – specifies a file format; – provides guidance on encoding processes for converting source image data to compressed image data; – provides guidance on how to implement these processes in practice. Source ITU-T Recommendation T.800 was prepared by ITU-T Study Group 16 (2001-2004) and approved on 29 August 2002. An identical text is also published as ISO/IEC 15444-1. ITU-T Rec. T.800 (08/2002 E) i FOREWORD The International Telecommunication Union (ITU) is the United Nations specialized agency in the field of telecommunications. The ITU Telecommunication Standardization Sector (ITU-T) is a permanent organ of ITU. ITU-T is responsible for studying technical, operating and tariff questions and issuing Recommendations on them with a view to standardizing telecommunications on a worldwide basis. The World Telecommunication Standardization Assembly (WTSA), which meets every four years, establishes the topics for study by the ITU-T study groups which, in turn, produce Recommendations on these topics. -
ARCHIVE ONLY: DCI Digital Cinema System Specification, Version 1.2
Digital Cinema Initiatives, LLC Digital Cinema System Specification Version 1.2 March 07, 2008 Approval March 07, 2008 Digital Cinema Initiatives, LLC, Member Representatives Committee Copyright © 2005-2008 Digital Cinema Initiatives, LLC DCI Digital Cinema System Specification v.1.2 Page 1 NOTICE Digital Cinema Initiatives, LLC (DCI) is the author and creator of this specification for the purpose of copyright and other laws in all countries throughout the world. The DCI copyright notice must be included in all reproductions, whether in whole or in part, and may not be deleted or attributed to others. DCI hereby grants to its members and their suppliers a limited license to reproduce this specification for their own use, provided it is not sold. Others should obtain permission to reproduce this specification from Digital Cinema Initiatives, LLC. This document is a specification developed and adopted by Digital Cinema Initiatives, LLC. This document may be revised by DCI. It is intended solely as a guide for companies interested in developing products, which can be compatible with other products, developed using this document. Each DCI member company shall decide independently the extent to which it will utilize, or require adherence to, these specifications. DCI shall not be liable for any exemplary, incidental, proximate or consequential damages or expenses arising from the use of this document. This document defines only one approach to compatibility, and other approaches may be available to the industry. This document is an authorized and approved publication of DCI. Only DCI has the right and authority to revise or change the material contained in this document, and any revisions by any party other than DCI are unauthorized and prohibited. -
CP750 Digital Cinema Processor the Latest in Sound Processing—From Dolby Digital Cinema
CP750 Digital Cinema Processor The Latest in Sound Processing—from Dolby Digital Cinema The CP750 is Dolby’s latest cinema processor specifically designed to work within the new digital cinema environment. The CP750 receives and processes audio from multiple digital audio sources and can be monitored and controlled from anywhere in the network. Plus, Dolby reliability ensures a great moviegoing experience every time. The Dolby® CP750 provides easy-to- The CP750 integrates with Dolby operate audio control in digital cinema Show Manager software, enabling it environments equipped with the latest to process digital input selection and technology while integrating seamlessly volume cues within a show, real-time with existing technologies. The CP750 volume control from any Dolby Show supports the innovative Dolby Surround Manager client, and ASCII commands 7.1 premium surround sound format, from third-party controllers. Moreover, and will receive and process audio Dolby Surround 7.1 (D-cinema audio), from multiple digital audio sources, 5.1 digital PCM (D-cinema audio), Dolby including a digital cinema server, Digital Surround EX™ (bitstream), Dolby preshow servers, and alternative content Digital (bitstream), Dolby Pro Logic® II, sources. The CP750 is NOC (network and Dolby Pro Logic decoding are all operations center) ready and can be included to deliver the best in surround monitored and controlled anywhere on sound from all content sources. the network for status and function. CP750 Digital Cinema Processor Audio Inputs Other Inputs/Outputs -
Dolby Surround 7.1 for Theatres
Dolby Surround 7.1 Technical Information for Theatres Dolby® has partnered with Walt Disney Pictures and Pixar Animation Studios to deliver Toy Story 3 in Dolby Surround 7.1 audio format to suitably equipped 3D cinemas in selected countries. Dolby Surround 7.1 is a new audio format for cinema, supported in Dolby CP650 and CP750 Digital Cinema Processors, that increases the number of discrete surround channels to add more definition to the existing 5.1 surround array. This document provides an overview of the Dolby Surround 7.1 format, and the effect that it may have on theatre equipment and content. Full technical details of cabling requirements and software versions are provided in appropriate Dolby field bulletins. Table 1 lists the channel names and abbreviations used in this document. Table 1 Channel Abbreviations Channel Name Abbreviation Left L Center C Right R Left Surround Ls Right Surround Rs Low‐Frequency Effects LFE Back Surround Left Bsl Back Surround Right Bsr Hearing Impaired HI Visually Impaired‐Narrative (Audio VI‐N Description) 1 Theatre Channel Configuration Two new discrete channels are added in the theatre, Back Surround Left (Bsl) and Back Surround Right (Bsr) as shown in Figure 1. Use of these additional surround channels provides greater flexibility in audio placement to tie in with 3D visuals, and can also enhance the surround definition with 2D content. Dolby and the double-D symbol are registered trademarks of Dolby Dolby Laboratories, Inc. Laboratories. Surround EX is a trademark of Dolby Laboratories. 100 Potrero Avenue © 2010 Dolby Laboratories. All rights reserved. S10/22805 San Francisco, CA 94103-4813 USA 415-558-0200 415-645-4175 dolby.com Dolby Surround 7.1 Technical Information for Theatres 2 Figure 1 Dolby Surround 7.1 (Surround Channel Layout) Existing theatres that are wired for Dolby Digital Surround EX™ will already have the appropriate wiring and amplification for these channels. -
Paramount Theatre Sherry Lansing Theatre Screening Room #5 Marathon Theatre Gower Theatre
PARAMOUNT THEATRE SHERRY LANSING THEATRE SCREENING ROOM #5 MARATHON THEATRE GOWER THEATRE ith rooms that seat from 33 to 516 people, The Studios at Paramount has a screening room to accommodate an intimate screening with your production team, a full premiere gala, or anything in between. We also offer a complete range of projection and audio equipment to handle any feature, including 2K, 4K DLP projection in 2D and 3D, as well as 35mm and 70mm film projection. On top of that, all our theaters are staffed with skilled projectionists and exceptional engineering teams, to give you a perfect presentation every time. 2 PARAMOUNT THEATRE CUTTING-EDGE FEATURES, LAVISH DESIGN, PERFECT FOR PREMIERES FEATURES • VIP Green Room • Multimedia Capabilities • Huge Rotunda Lobby • Performance Stage in front of Screen • Reception Area • Ample Parking and Valet Service SPECIFICATIONS • 4K – Barco DP4K-60L • 2K – Christie CP2230 • 35mm and 70mm Norelco AA II Film Projection • Dolby Surround 7.1 • 16-Channel Mackie Mixer 1604-VLZ4 • Screen: 51’ x 24’ - Stewart White Ultra Matt 150-SP CAPACITY • Seats 516 DIGITAL CINEMA PROJECTION • DCP - Barco Alchemy ICMP • DCP – Doremi DCP-2K4 • XpanD Active 3D System • Barco Passive 3D System • Avid Media Composer • HDCAM SR and D5 • Blu-ray and DVD • 8 Sennheiser Wireless Microphones – Hand-held and Lavalier • 10 Clear-Com Tempest 2400 RF PL • PIX ADDITIONAL SERVICES AVAILABLE • Catering • Event Planning POST PRODUCTION SERVICES 10 • SecurityScreening Rooms 3 SCREENING ROOMS SHERRY LANSING THEATRE THE ULTIMATE REFERENCE -
Digital Cinema System Specification Version 1.3
Digital Cinema System Specification Version 1.3 Approved 27 June 2018 Digital Cinema Initiatives, LLC, Member Representatives Committee Copyright © 2005-2018 Digital Cinema Initiatives, LLC DCI Digital Cinema System Specification v. 1.3 Page | 1 NOTICE Digital Cinema Initiatives, LLC (DCI) is the author and creator of this specification for the purpose of copyright and other laws in all countries throughout the world. The DCI copyright notice must be included in all reproductions, whether in whole or in part, and may not be deleted or attributed to others. DCI hereby grants to its members and their suppliers a limited license to reproduce this specification for their own use, provided it is not sold. Others should obtain permission to reproduce this specification from Digital Cinema Initiatives, LLC. This document is a specification developed and adopted by Digital Cinema Initiatives, LLC. This document may be revised by DCI. It is intended solely as a guide for companies interested in developing products, which can be compatible with other products, developed using this document. Each DCI member company shall decide independently the extent to which it will utilize, or require adherence to, these specifications. DCI shall not be liable for any exemplary, incidental, proximate or consequential damages or expenses arising from the use of this document. This document defines only one approach to compatibility, and other approaches may be available to the industry. This document is an authorized and approved publication of DCI. Only DCI has the right and authority to revise or change the material contained in this document, and any revisions by any party other than DCI are unauthorized and prohibited. -
JPEG and JPEG 2000
JPEG and JPEG 2000 Past, present, and future Richard Clark Elysium Ltd, Crowborough, UK [email protected] Planned presentation Brief introduction JPEG – 25 years of standards… Shortfalls and issues Why JPEG 2000? JPEG 2000 – imaging architecture JPEG 2000 – what it is (should be!) Current activities New and continuing work… +44 1892 667411 - [email protected] Introductions Richard Clark – Working in technical standardisation since early 70’s – Fax, email, character coding (8859-1 is basis of HTML), image coding, multimedia – Elysium, set up in ’91 as SME innovator on the Web – Currently looks after JPEG web site, historical archive, some PR, some standards as editor (extensions to JPEG, JPEG-LS, MIME type RFC and software reference for JPEG 2000), HD Photo in JPEG, and the UK MPEG and JPEG committees – Plus some work that is actually funded……. +44 1892 667411 - [email protected] Elysium in Europe ACTS project – SPEAR – advanced JPEG tools ESPRIT project – Eurostill – consensus building on JPEG 2000 IST – Migrator 2000 – tool migration and feature exploitation of JPEG 2000 – 2KAN – JPEG 2000 advanced networking Plus some other involvement through CEN in cultural heritage and medical imaging, Interreg and others +44 1892 667411 - [email protected] 25 years of standards JPEG – Joint Photographic Experts Group, joint venture between ISO and CCITT (now ITU-T) Evolved from photo-videotex, character coding First meeting March 83 – JPEG proper started in July 86. 42nd meeting in Lausanne, next week… Attendance through national -
File Format Guidelines for Management and Long-Term Retention of Electronic Records
FILE FORMAT GUIDELINES FOR MANAGEMENT AND LONG-TERM RETENTION OF ELECTRONIC RECORDS 9/10/2012 State Archives of North Carolina File Format Guidelines for Management and Long-Term Retention of Electronic records Table of Contents 1. GUIDELINES AND RECOMMENDATIONS .................................................................................. 3 2. DESCRIPTION OF FORMATS RECOMMENDED FOR LONG-TERM RETENTION ......................... 7 2.1 Word Processing Documents ...................................................................................................................... 7 2.1.1 PDF/A-1a (.pdf) (ISO 19005-1 compliant PDF/A) ........................................................................ 7 2.1.2 OpenDocument Text (.odt) ................................................................................................................... 3 2.1.3 Special Note on Google Docs™ .......................................................................................................... 4 2.2 Plain Text Documents ................................................................................................................................... 5 2.2.1 Plain Text (.txt) US-ASCII or UTF-8 encoding ................................................................................... 6 2.2.2 Comma-separated file (.csv) US-ASCII or UTF-8 encoding ........................................................... 7 2.2.3 Tab-delimited file (.txt) US-ASCII or UTF-8 encoding .................................................................... 8 2.3 -
DICOM PS3.5 2021C
PS3.5 DICOM PS3.5 2021d - Data Structures and Encoding Page 2 PS3.5: DICOM PS3.5 2021d - Data Structures and Encoding Copyright © 2021 NEMA A DICOM® publication - Standard - DICOM PS3.5 2021d - Data Structures and Encoding Page 3 Table of Contents Notice and Disclaimer ........................................................................................................................................... 13 Foreword ............................................................................................................................................................ 15 1. Scope and Field of Application ............................................................................................................................. 17 2. Normative References ....................................................................................................................................... 19 3. Definitions ....................................................................................................................................................... 23 4. Symbols and Abbreviations ................................................................................................................................. 27 5. Conventions ..................................................................................................................................................... 29 6. Value Encoding ............................................................................................................................................... -
The Essentials of Video Transcoding Enabling Acquisition, Interoperability, and Distribution in Digital Media
Telestream Whitepaper The Essentials of Video Transcoding Enabling Acquisition, Interoperability, and Distribution in Digital Media The intent of this paper is to Contents provide an overview of the Introduction Page 1 transcoding basics you’ll need to Digital media formats Page 2 know in order to make informed The essence of compression Page 3 decisions about implementing The right tool for the job Page 4 transcoding in your workflow. That Bridging the gaps Page 5 involves explaining the elements of (media exchange between diverse systems) the various types of digital media Transcoding workflows Page 6 files used for different purposes, Conclusion Page 7 how transcoding works upon those elements, what challenges might arise in moving from one Introduction format to another, and what It’s been more than three decades now since digital media emerged from the workflows might be most effective lab into real-world applications, igniting a communications revolution that for transcoding in various common continues to play out today. First up was the Compact Disc, featuring situations. compression-free LPCM digital audio that was designed to fully reconstruct the source at playback. With digital video, on the other hand, it was clear from the outset that most recording, storage, and playback situations wouldn’t have the data capacity required to describe a series of images with complete accuracy. And so the race was on to develop compression/decompression algorithms (codecs) that could adequately capture a video source while requiring as little data bandwidth as possible. 1 Telestream Whitepaper The good news is that astonishing progress has been Transcoding bypasses this tedious, inefficient scenario. -
Conversion of MP3 to AAC in the Compressed Domain
Conversion of MP3 to AAC in the Compressed Domain Koichi Takagi Satoshi Miyaji Shigeyuki Sakazawa Yasuhiro Takishima KDDI R&D Labs. Inc. Fujimino-shi, Saitama 356-8502 Japan Abstract— In this paper, we propose an efficient algorithm transcoding, even in transcoding for bit rate conversion where the for conversion of an MP3 stream into AAC. Generally, this kind encoding method is not changed. of conversion, transcoding, requires full decoding and re- Therefore, in this paper, we propose a novel algorithm for encoding. However, the re-encoding based transcoding process conversion of MP3 to AAC in the compressed data domain with may result in degradation of quality and take longer than the least quality degradation. We analyzed the encoding parameters encoding from a PCM signal. This paper proposes a method to of MP3 and AAC, which consists of side information, scale factors, inherit the frame structure and quantization scale from MP3 to and MDCT coefficients, and then tried to figure out the differences AAC. This enables a reduction in the iteration process, which and similarities. Consequently, we realized faster conversion of requires the most time in the AAC encoding process, without MP3 to AAC compared with the simple transcoding technique. incurring degradation in quality. Experimental results show that the proposed method can perform bitstream domain transcoding This paper is organized as follows. Section II provides an at high speed while maintaining a high level of audio quality. overview of the related techniques and outlines the proposed method. In Section III, performance of the proposed algorithm is Keywords—MP3; AAC; Transcoding; Audio conversion; Scale compared with the existing transcoding technique. -
Dvd Digital Cinema System Systema Dvd Digital Cinema Sistema De Cinema De Dvd Digital Th-A9
DVD DIGITAL CINEMA SYSTEM SYSTEMA DVD DIGITAL CINEMA SISTEMA DE CINEMA DE DVD DIGITAL TH-A9 Consists of XV-THA9, SP-PWA9, SP-XCA9, and SP-XSA9 Consta de XV-THA9, SP-PWA9, SP-XCA9, y SP-XSA9 Consiste em XV-THA9, SP-PWA9, SP-XCA9, e SP-XSA9 STANDBY/ON TV/CATV/DBS AUDIO VCR AUX FM/AM DVD TITLE SUBTITLE DECODE AUDIO ZOOM DIGEST TIME DISPLAY RETURN ANGLE CHOICE SOUND CONTROL SUBWOOFER EFFECT VCR CENTER TEST TV REAR-L SLEEP REAR-R SETTING TV RETURN FM MODE 100+ AUDIO/ PLAY TV/VCR MODE CAT/DBS ENTER SP-XSA9 SP-XCA9 SP-XSA9 THEATER DSP POSITION MODE TV VOLCHANNEL VOLUME TV/VIDEO MUTING B.SEARCH F.SEARCH /REW PLAY FF DOWN TUNING UP REC STOP PAUSE MEMORY STROBE DVD MENU RM-STHA9U DVD CINEMA SYSTEM SP-PWA9 XV-THA9 INSTRUCTIONS For Customer Use: INSTRUCCIONES Enter below the Model No. and Serial No. which are located either on the rear, INSTRUÇÕES bottom or side of the cabinet. Retain this information for future reference. Model No. Serial No. LVT0562-010A [ UW ] Warnings, Cautions and Others Avisos, Precauciones y otras notas Advertêcias, precauções e outras notas Caution - button! CAUTION Disconnect the XV-THA9 and SP-PWA9 main plugs to To reduce the risk of electrical shocks, fire, etc.: shut the power off completely. The button on the 1. Do not remove screws, covers or cabinet. XV-THA9 in any position do not disconnect the mains 2. Do not expose this appliance to rain or moisture. line. The power can be remote controlled.