Modeling Crosscutting Services with UML Sequence Diagrams
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Synchronization Techniques for DOCSIS® Technology Specification
Data-Over-Cable Service Interface Specifications Mobile Applications Synchronization Techniques for DOCSIS® Technology Specification CM-SP-SYNC-I02-210407 ISSUED Notice This DOCSIS specification is the result of a cooperative effort undertaken at the direction of Cable Television Laboratories, Inc. for the benefit of the cable industry and its customers. You may download, copy, distribute, and reference the documents herein only for the purpose of developing products or services in accordance with such documents, and educational use. Except as granted by CableLabs® in a separate written license agreement, no license is granted to modify the documents herein (except via the Engineering Change process), or to use, copy, modify or distribute the documents for any other purpose. This document may contain references to other documents not owned or controlled by CableLabs. Use and understanding of this document may require access to such other documents. Designing, manufacturing, distributing, using, selling, or servicing products, or providing services, based on this document may require intellectual property licenses from third parties for technology referenced in this document. To the extent this document contains or refers to documents of third parties, you agree to abide by the terms of any licenses associated with such third-party documents, including open source licenses, if any. Cable Television Laboratories, Inc. 2018–2021 CM-SP-SYNC-I02-210407 Data-Over-Cable Service Interface Specifications DISCLAIMER This document is furnished on an "AS IS" basis and neither CableLabs nor its members provides any representation or warranty, express or implied, regarding the accuracy, completeness, noninfringement, or fitness for a particular purpose of this document, or any document referenced herein. -
Lecture 8: More Pipelining
Overview n Getting Started with Lab 2 Lecture 8: n Just get a single pixel calculating at one time n Then look into filling your pipeline n Multipliers More Pipelining n Different options for pipelining: what do you need? n 3 Multipliers or put x*x, y*y, and x*y through sequentially? David Black-Schaffer n Pipelining [email protected] n If it won’t fit in one clock cycle you have to divide it EE183 Spring 2003 up so each stage will fit n The control logic must be designed with this in mind n Make sure you need it EE183 Lecture 8 - Slide 2 Public Service Announcement Logistics n n Xilinx Programmable World Lab 2 Prelab due Friday by 5pm n Tuesday, May 6th n http://www.xilinx.com/events/pw2003/index.htm n Guest lecture next Monday n Guest Lectures Synchronization and Metastability n Monday, April 28th These are critical for high-speed systems and Ryan Donohue on Metastability and anything where you’ll be connecting across Synchronization clock domains. n Wednesday, May 7th Gary Spivey on ASIC & FPGA Design for Speed n The content of these lectures will be on the Quiz SHOW UP! (please) EE183 Lecture 8 - Slide 3 EE183 Lecture 8 - Slide 4 1 Easier FSMs Data Path always @(button or current_state) Do this if nothing else is begin Xn Yn write_en <= 0; specified. Mandel X Julia X Mandel X Julia Y output <= 1; next_state <= `START_STATE; Mux * * * Mux case(current_state) Note that the else is not `START_STATE: specified. begin write_en <= 1; - <<1 + if (button) next_state <= `WAIT_STATE; What is the next state? end What do we+ do if the+ wholeIf>4 -
Performance Analysis of Audio and Video Synchronization Using Spreaded Code Delay Measurement Technique
ISSN: 0976-9102 (ONLINE) ICTACT JOURNAL ON IMAGE AND VIDEO PROCESSING, AUGUST 2018, VOLUME: 09, ISSUE: 01 DOI: 10.21917/ijivp.2018.0254 PERFORMANCE ANALYSIS OF AUDIO AND VIDEO SYNCHRONIZATION USING SPREADED CODE DELAY MEASUREMENT TECHNIQUE A. Thenmozhi and P. Kannan Department of Electronics and Communication Engineering, Anna University-Chennai, India Abstract video streams for necessarily maintaining synchronization The audio and video synchronization plays an important role in speech between the audio and video signals. During transmission, the recognition and multimedia communication. The audio-video sync is a audio and video streams are recorded by combining audio and quite significant problem in live video conferencing. It is due to use of video signatures into a synchronization signature. At reception, various hardware components which introduces variable delay and the equivalent signatures are extracted and compared with the software environments. The synchronization loss between audio and reference signature using a hamming distance correlation to video causes viewers not to enjoy the program and decreases the estimate the relative misalignment between the audio and video effectiveness of the programs. The objective of the synchronization is used to preserve the temporal alignment between the audio and video streams. Finally, the calculated delays are recognized to correct signals. This paper proposes the audio-video synchronization using the relative temporal misalignment between the audio and video spreading codes delay measurement technique. The performance of the streams. The synchronization efficiency is high for both audio and proposed method made on home database and achieves 99% video streams. It is applicable for multimedia and networking synchronization efficiency. The audio-visual signature technique technology. -
Timecoder Pro Is Indata's Popular Video and Transcript
TimeCoder Pro is inData’s popular video and transcript synchronization software. Widely used by legal videographers, court reporters, and law firms, the software automatically synchronizes transcripts and video depositions using advanced speech and pattern recognition technologies. Imagine... in just an hour, you can synchronize up to 20 hours of deposition testimony! Not only is TimeCoder Pro faster than ever before, but it also gives you full control over your synchronization projects. TIMECODER PRO PUTS YOU IN COMPLETE CONTROL OF THE SYNCING PROCESS Control – process transcripts in-house. No data goes out of your office or offshore and you’ll always know the status of a sync job Complete Job History – available online for all jobs processed, including time and accuracy statistics Marketing Tools – create client loyalty and reinforce your branding by distributing videos on a DepoView DVD. You can even personalize the main menu of DepoView DVD with your company logo and contact information. Also, take advantage of inData’s customizable brochures and mailers available exclusively to TimeCoder Pro clients. “Having spent the past 2 months “The RapidSync feature in TimeCoder running hundreds of hours of vid- Pro is amazing!!! I synchronized a 9 eo through TimeCoder Pro 5, I can hour deposition with minimal QC effort say without question that you have in 45 minutes.” a true WINNER on your hands.” Richard E. Katz, Esq. Mark Fowler President/CEO Litigation Support & Multimedia Specialist Katz Consulting Group, LLC Whetstone Myers Perkins & Young 1 www.indatacorp.com | 800.828.8292 Multiple Sync Options With TimeCoder Pro, you have multiple synchronization options. -
The Use of Music in the Cinematic Experience
Western Kentucky University TopSCHOLAR® Honors College Capstone Experience/Thesis Honors College at WKU Projects Spring 2019 The seU of Music in the Cinematic Experience Sarah Schulte Western Kentucky University, [email protected] Follow this and additional works at: https://digitalcommons.wku.edu/stu_hon_theses Part of the Film and Media Studies Commons, Music Commons, and the Psychology Commons Recommended Citation Schulte, Sarah, "The sU e of Music in the Cinematic Experience" (2019). Honors College Capstone Experience/Thesis Projects. Paper 780. https://digitalcommons.wku.edu/stu_hon_theses/780 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Honors College Capstone Experience/ Thesis Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. SOUND AND EMOTION: THE USE OF MUSIC IN THE CINEMATIC EXPERIENCE A Capstone Project Presented in Partial Fulfillment of the Requirements for the Degree Bachelor of Arts with Honors College Graduate Distinction at Western Kentucky Univeristy By Sarah M. Schulte May 2019 ***** CE/T Committee: Professor Matthew Herman, Advisor Professor Ted Hovet Ms. Siera Bramschreiber Copyright by Sarah M. Schulte 2019 Dedicated to my family and friends ACKNOWLEDGEMENTS This project would not have been possible without the help and support of so many people. I am incredibly grateful to my faculty advisor, Dr. Matthew Herman. Without your wisdom on the intricacies of composition and your constant encouragement, this project would not have been possible. To Dr. Ted Hovet, thank you for believing in this project from the start. I could not have done it without your reassurance and guidance. -
TRANSCRIPT Editing, Graphics and B Roll, Oh
TRANSCRIPT Editing, Graphics and B Roll, Oh My! You’ve entered the deep dark tunnel of creating a new thing…you can’t see the light of day… Some of my colleagues can tell you that I am NOT pleasant to be around when I am in the creative video-making tunnel and I feel like none of the footage I have is working the way I want it to, and I can’t seem to fix even the tiniest thing, and I’m convinced all of my work is garbage and it’s never going to work out right and… WOW. Okay deep breaths. I think it’s time to step away from the expensive equipment and go have a piece of cake…I’ll be back… Editing, for me at least, is the hardest, but also most creatively fulfilling part of the video-making process. I have such a love/hate relationship with editing because its where I start to see all the things I messed up in the planning and filming process. But it’s ALSO where - when I let it - my creativity pulls me in directions that are BETTER than I planned. Most of my best videos were okay/mediocre in the planning and filming stages, but became something special during the editing process. So, how the heck do you do it? There are lots of ways to edit, many different styles, formats and techniques you can learn. But for me at least, it comes down to being playful and open to the creative process. This is the time to release your curious and playful inner child. -
MANUAL Set-Up and Operations Guide Glidecam Industries, Inc
GLIDECAM HD-SERIES 1000/2000/4000 MANUAL Set-up and Operations Guide Glidecam Industries, Inc. 23 Joseph Street, Kingston, MA 02364 Customer Service Line 1-781-585-7900 Manufactured in the U.S.A. COPYRIGHT 2013 GLIDECAM INDUSTRIES, INC. ALL RIGHTS RESERVED PLEASE NOTE Since the Glidecam HD-2000 is essentially the same as the HD-1000 and the HD-4000, this manual only shows photographs of the Glidecam HD-2000 being setup and used. The Glidecam HD-1000 and the HD-4000 are just smaller and larger versions of the HD-2000. When there are important differences between the HD-2000 and the HD-1000 or HD-4000 you will see it noted with a ***. Also, the words HD-2000 will be used for the most part to include the HD-1000 and HD-4000 as well. 2 TABLE OF CONTENTS SECTION # PAGE # 1. Introduction 4 2. Glidecam HD-2000 Parts and Components 6 3. Assembling your Glidecam HD-2000 10 4. Attaching your camera to your Glidecam HD-Series 18 5. Balancing your Glidecam HD-2000 21 6. Handling your Glidecam HD-2000 26 7. Operating your Glidecam HD-2000 27 8. Improper Techniques 29 9. Shooting Tips 30 10. Other Camera Attachment Methods 31 11. Professional Usage 31 12. Maintenance 31 13. Warning 32 14. Warranty 32 15. Online Information 33 3 #1 INTRODUCTION Congratulations on your purchase of a Glidecam HD-1000 and/or Glidecam HD-2000 or Glidecam HD-4000. The amazingly advanced and totally re-engineered HD-Series from Glidecam Industries represents the top of the line in hand-held camera stabilization. -
Perception of Cuts in Different Editing Styles Celia Andreu-Sánchez; Miguel-Ángel Martín-Pascual
Perception of cuts in different editing styles Celia Andreu-Sánchez; Miguel-Ángel Martín-Pascual Nota: Este artículo se puede leer en español en: http://www.profesionaldelainformacion.com/contenidos/2021/mar/andreu-martin_es.pdf How to cite this article: Andreu-Sánchez, Celia; Martín-Pascual, Miguel-Ángel (2021). “Perception of cuts in different editing styles”. Profesional de la información, v. 30, n. 2, e300206. https://doi.org/10.3145/epi.2021.mar.06 Manuscript received on 18th May 2020 Accepted on 12th July 2020 Celia Andreu-Sánchez * Miguel-Ángel Martín-Pascual https://orcid.org/0000-0001-9845-8957 https://orcid.org/0000-0002-5610-5691 Serra Húnter Fellow Technological Innovation IRTVE Universitat Autònoma de Barcelona Instituto RTVE (Barcelona) Dep. de Com. Audiovisual i Publicitat Corporación Radio Televisión Española Neuro-Com Research Group Universitat Autònoma de Barcelona Edifici I. Campus Bellaterra. Dep. de Com. Audiovisual i Publicitat 08193 Cerdanyola del Vallès (Barcelona), Spain Neuro-Com Research Group [email protected] [email protected] Abstract The goal of this work is to explain how the cuts and their insertion in different editing styles influence the attention of viewers. The starting hypothesis is that viewers’ response to cuts varies depending on whether they watch a movie with a classical versus a messy or chaotic editing style. To undertake this investigation, we created three videos with the same narrative content and duration but different editing styles. One video was a fixed one-shot movie. Another video followed a classical editing style, based on the rules of classic Hollywood movies, according to David Bordwell’s studies. -
Motion-Based Video Synchronization
ActionSnapping: Motion-based Video Synchronization Jean-Charles Bazin and Alexander Sorkine-Hornung Disney Research Abstract. Video synchronization is a fundamental step for many appli- cations in computer vision, ranging from video morphing to motion anal- ysis. We present a novel method for synchronizing action videos where a similar action is performed by different people at different times and different locations with different local speed changes, e.g., as in sports like weightlifting, baseball pitch, or dance. Our approach extends the popular \snapping" tool of video editing software and allows users to automatically snap action videos together in a timeline based on their content. Since the action can take place at different locations, exist- ing appearance-based methods are not appropriate. Our approach lever- ages motion information, and computes a nonlinear synchronization of the input videos to establish frame-to-frame temporal correspondences. We demonstrate our approach can be applied for video synchronization, video annotation, and action snapshots. Our approach has been success- fully evaluated with ground truth data and a user study. 1 Introduction Video synchronization aims to temporally align a set of input videos. It is at the core of a wide range of applications such as 3D reconstruction from multi- ple cameras [20], video morphing [27], facial performance manipulation [6, 10], and spatial compositing [44]. When several cameras are simultaneously used to acquire multiple viewpoint shots of a scene, synchronization can be trivially achieved using timecode information or camera triggers. However this approach is usually only available in professional settings. Alternatively, videos can be synchronized by computing a (fixed) time offset from the recorded audio sig- nals [20]. -
Manual Sinar P2 / C2 / F2 / F1-EN (PDF)
lnstructionManual The cameras Operatingcontrols of the SINAR iT p2andc2 1 Coarse-focusclamping lever 2 Finefocusing drive with depth of field scale 3 Micrometer drive for vertical (rise and fall) shift 4 Micrometer drive for lateral(cross) shift 5 Micrometerdrive for horizontal-axistilts 6 Micrometer drive for vertical-axisswings 7 lmageplane mark 8 Coarse-tilt (horizontal axis) clamping lever; movementused for verticalalignment of stan- dards with camerainclined up or down, alsofor coarse tilting to reservefull micrometertilt (5) rangefor sharpnessdistribution control. Fig.1 Contents The cameras 2 The planeof sharpnessand depthof field 11 - Controls 2 - Zerosettings Fufiher accessories 12 3 - - Mountingthe camera SINARCOLOR CONTROLfitters 12 4 - - The spirit levels Exposure meters 12 4 - - The base rail 4 AutomaticSINAR film holder - Changingcomponents 4 and shuttercoupling 12 - Film - The bellows 5 holders 13 - Camera backs s Final points 14 - Switchingformats p2 on the STNAR andc2 6 - Maintenance 14 - Switchingformats g on the SINARf2 andtl - Cleaning 14 - The convertible g camera - Adjusting the drives 14 - The bellowshood 9 - Cleaninglenses, filters and mirrors 14 - Viewingaids 9 - Warranty 14 - Transport l0 - Furtherinstruction manuals 14 The view camera movements 10 Remark: The camerac2 is no longerpart of the SINARsales programme, but can stiltrbe combined by the individualSINAR components. Operatingcontrols of the S|NARt2andtl 1 Coarse-focusclamping knob 2 Finefocussing drive with depthof fieldscale 3 Clampingwheel for verticalshift 4 Clampinglever for lateralshift 5 Clampinglever for swing (verticalaxis) 6 Clampinglever for tilt (horizontalaxis) 7 Angle-meteringscale for tilt and swingangles 8 lmageplane mark Zero setting points of the cameras CAMERAMODELS REAR(IMAGE) STANDARD FRONT(LENS) STANDARD NOTES SINARo2 With regularor special gxi|2 - 4x5 / White l White White dot for standardbearer 5x7 /13x18 Green i dots White lateralshift on With F/S back j or. -
Virtual Video Editing in Interactive Multimedia Applications
SPECIAL SECTION Edward A. Fox Guest Editor Virtual Video Editing in Interactive Multimedia Applications Drawing examples from four interrelated sets of multimedia tools and applications under development at MIT, the authors examine the role of digitized video in the areas of entertainment, learning, research, and communication. Wendy E. Mackay and Glorianna Davenport Early experiments in interactive video included surro- video data format might affect these kinds of informa- gate travel, trainin);, electronic books, point-of-purchase tion environments in the future. sales, and arcade g;tme scenarios. Granularity, inter- ruptability, and lixrited look ahead were quickly identi- ANALOG VIDEO EDITING fied as generic attributes of the medium [l]. Most early One of the most salient aspects of interactive video applications restric:ed the user’s interaction with the applications is the ability of the programmer or the video to traveling along paths predetermined by the viewer to reconfigure [lo] video playback, preferably author of the program. Recent work has favored a more in real time. The user must be able to order video constructivist approach, increasing the level of interac- sequences and the system must be able to remember tivity ‘by allowing L.sers to build, annotate, and modify and display them, even if they are not physically adja- their own environnlents. cent to each other. It is useful to briefly review the Tod.ay’s multitasl:ing workstations can digitize and process of traditional analog video editing in order to display video in reel-time in one or more windows on understand both its influence on computer-based video the screen. -
Imovie Handout
Using iMovie iMovie is a video editing program that is available on Apple computers. It allows you to create and edit movies with titling and effects, so that you can export them to the Web. iMovie imports video from DV cameras. It can also import other video files, like mpeg or mov and formats from smartphones. The new version can import most video formats, but if you run into trouble, you can try a video converter like MPEG Streamclip to get the files in a format that iMovie will accept. You can import a digital clip as shown below. Most of your footage will be from a digital source. To import, you simply choose the Import button at the top of the screen. You can name the event (File, New Event), so you can organize your files. Once you have the event, you can simply drag from the finder to add the files or choose File, Import Media. Video Editing 1. Now you have several clips captured in your event library. You need to create a New Movie Project to work in. In the Projects tab, choose Create New. iMovie saves as you go, but it will later prompt you to save the project. 2. Now the screen is separated into three parts. There is the clip window and viewer at the top and the timeline at the bottom. You must move clips into the timeline to have them as part of your movie. 3. To select an entire clip, double-click. Put the playhead anywhere in the clip and hit the space bar to play.