Internet Video Telephony Allows Speech Reading by Deaf Individuals and Improves Speech Perception by Cochlear Implant Users
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Video Codec Requirements and Evaluation Methodology
Video Codec Requirements 47pt 30pt and Evaluation Methodology Color::white : LT Medium Font to be used by customers and : Arial www.huawei.com draft-filippov-netvc-requirements-01 Alexey Filippov, Huawei Technologies 35pt Contents Font to be used by customers and partners : • An overview of applications • Requirements 18pt • Evaluation methodology Font to be used by customers • Conclusions and partners : Slide 2 Page 2 35pt Applications Font to be used by customers and partners : • Internet Protocol Television (IPTV) • Video conferencing 18pt • Video sharing Font to be used by customers • Screencasting and partners : • Game streaming • Video monitoring / surveillance Slide 3 35pt Internet Protocol Television (IPTV) Font to be used by customers and partners : • Basic requirements: . Random access to pictures 18pt Random Access Period (RAP) should be kept small enough (approximately, 1-15 seconds); Font to be used by customers . Temporal (frame-rate) scalability; and partners : . Error robustness • Optional requirements: . resolution and quality (SNR) scalability Slide 4 35pt Internet Protocol Television (IPTV) Font to be used by customers and partners : Resolution Frame-rate, fps Picture access mode 2160p (4K),3840x2160 60 RA 18pt 1080p, 1920x1080 24, 50, 60 RA 1080i, 1920x1080 30 (60 fields per second) RA Font to be used by customers and partners : 720p, 1280x720 50, 60 RA 576p (EDTV), 720x576 25, 50 RA 576i (SDTV), 720x576 25, 30 RA 480p (EDTV), 720x480 50, 60 RA 480i (SDTV), 720x480 25, 30 RA Slide 5 35pt Video conferencing Font to be used by customers and partners : • Basic requirements: . Delay should be kept as low as possible 18pt The preferable and maximum delay values should be less than 100 ms and 350 ms, respectively Font to be used by customers . -
(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. -
Netflix and the Development of the Internet Television Network
Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation. -
The H.264 Advanced Video Coding (AVC) Standard
Whitepaper: The H.264 Advanced Video Coding (AVC) Standard What It Means to Web Camera Performance Introduction A new generation of webcams is hitting the market that makes video conferencing a more lifelike experience for users, thanks to adoption of the breakthrough H.264 standard. This white paper explains some of the key benefits of H.264 encoding and why cameras with this technology should be on the shopping list of every business. The Need for Compression Today, Internet connection rates average in the range of a few megabits per second. While VGA video requires 147 megabits per second (Mbps) of data, full high definition (HD) 1080p video requires almost one gigabit per second of data, as illustrated in Table 1. Table 1. Display Resolution Format Comparison Format Horizontal Pixels Vertical Lines Pixels Megabits per second (Mbps) QVGA 320 240 76,800 37 VGA 640 480 307,200 147 720p 1280 720 921,600 442 1080p 1920 1080 2,073,600 995 Video Compression Techniques Digital video streams, especially at high definition (HD) resolution, represent huge amounts of data. In order to achieve real-time HD resolution over typical Internet connection bandwidths, video compression is required. The amount of compression required to transmit 1080p video over a three megabits per second link is 332:1! Video compression techniques use mathematical algorithms to reduce the amount of data needed to transmit or store video. Lossless Compression Lossless compression changes how data is stored without resulting in any loss of information. Zip files are losslessly compressed so that when they are unzipped, the original files are recovered. -
A Comparison of Video Formats for Online Teaching Ross A
Contemporary Issues in Education Research – First Quarter 2017 Volume 10, Number 1 A Comparison Of Video Formats For Online Teaching Ross A. Malaga, Montclair State University, USA Nicole B. Koppel, Montclair State University, USA ABSTRACT The use of video to deliver content to students online has become increasingly popular. However, educators are often plagued with the question of which format to use to deliver asynchronous video material. Whether it is a College or University committing to a common video format or an individual instructor selecting the method that works best for his or her course, this research presents a comparison of various video formats that can be applied to online education and provides guidance in which one to select. Keywords: Online Teaching; Video Formats; Technology Acceptance Model INTRODUCTION istance learning is one of the most talked-about topics in higher education today. Online and hybrid (or blended) learning removes location and time-bound constraints of the traditional college classroom to a learning environment that can occur anytime or anywhere in a global environment. DAccording to research by the Online Learning Consortium, over 5 million students took an online course in the Fall 2014 semester. This represents an increase in online enrollment of over 3.9% in just one year. In 2014, 28% of higher education students took one or more courses online (Allen, I. E. and Seaman, J, 2016). With this incredible growth, albeit slower than the growth in previous years, institutions of higher education are continuing to increase their online course and program offerings. As such, institutions need to find easy to develop, easy to use, reliable, and reasonably priced technologies to deliver online content. -
WILL Youtube SAIL INTO the DMCA's SAFE HARBOR OR SINK for INTERNET PIRACY?
THE JOHN MARSHALL REVIEW OF INTELLECTUAL PROPERTY LAW WILL YoUTUBE SAIL INTO THE DMCA's SAFE HARBOR OR SINK FOR INTERNET PIRACY? MICHAEL DRISCOLL ABSTRACT Is YouTube, the popular video sharing website, a new revolution in information sharing or a profitable clearing-house for unauthorized distribution of copyrighted material? YouTube's critics claim that it falls within the latter category, in line with Napster and Grokster. This comment, however, determines that YouTube is fundamentally different from past infringers in that it complies with statutory provisions concerning the removal of copyrighted materials. Furthermore, YouTube's central server architecture distinguishes it from peer-to-peer file sharing websites. This comment concludes that any comparison to Napster or Grokster is superficial, and overlooks the potential benefits of YouTube to copyright owners and to society at large. Copyright © 2007 The John Marshall Law School Cite as Michael Driscoll, Will YouTube Sail into the DMCA's Safe Harboror Sink for Internet Piracy?, 6 J. MARSHALL REV. INTELL. PROP. L. 550 (2007). WILL YoUTUBE SAIL INTO THE DMCA's SAFE HARBOR OR SINK FOR INTERNET PIRACY? MICHAEL DRISCOLL* 'A sorry agreement is better than a good suit in law." English Proverb1 INTRODUCTION The year 2006 proved a banner year for YouTube, Inc. ("YouTube"), a well- known Internet video sharing service, so much so that Time Magazine credited YouTube for making "You" the Person of the Year. 2 Despite this seemingly positive development for such a young company, the possibility of massive copyright 3 infringement litigation looms over YouTube's future. For months, YouTube was walking a virtual tightrope by obtaining licensing agreements with major copyright owners, yet increasingly gaining popularity through its endless video selection, both legal and otherwise. -
MPEG Standardization Roadmap October 2017 Version Why a Standardisation Roadmap?
MPEG Standardization Roadmap October 2017 Version Why a Standardisation Roadmap? • MPEG has created, and is still producing, media standards that enable huge markets to flourish • MPEG works on requirements from industry • Many industries represented in MPEG, but not all of MPEG’s customers can or need to participate in the process • MPEG wants to inform its customers about its long- term plans (~ 5 years out) • … and collect feedback and requirements from these customers • … including in this session What is in the Roadmap • Our roadmap is a short document. • It briefly outlines MPEG’s most important standards MPEG Standards 1990 1995 2000 2005 2010 2015 Digital Music Custom Fonts on Television Distribution Web & DigiPub Internet Mobile Video HD Distribution UHD & Immersive Audio Services MPEG-2 MP3 Video & MPEG-4 AAC AVC OFF HEVC 3D Audio Systems Video MP4 FF DASH MMT MLAF Media Storage and Unified Media Second Streaming Streaming Screen New Forms of Digital Television What is in the Roadmap • Our roadmap is a short document. • It briefly outlines MPEG’s most important standards • It then gives an overview of MPEG’s activities Multimedia Platform MPEG’s Areas Systems, video, Technologies MPEG- audio and U,V of Activity transport MPEG- E,M Technologies MPEG- for content B,C,D, Device and e-commerce application DASH interfaces MPEG-A Multimedia Application Compression of Formats (combinations video, audio MPEG-21 of content formats) and 3DG MPEG-7 Description of video, MPEG- audio and multimedia 1,2,4,H,I for content search What is in the Roadmap • Our roadmap is a short document. -
Reliable Streaming Media Delivery
WHITE PAPER Reliable Streaming Media Delivery www.ixiacom.com 915-1777-01 Rev B January 2014 2 Table of Contents Overview ................................................................................................................ 4 Business Trends ..................................................................................................... 6 Technology Trends ................................................................................................. 7 Building in Reliability .............................................................................................. 8 Ixia’s Test Solutions ............................................................................................... 9 Streaming Media Test Scenarios ........................................................................... 11 Conclusion .............................................................................................................13 3 Overview Streaming media is an evolving set of technologies that deliver multimedia content over the Internet and private networks. A number of service businesses are dedicated to streaming media delivery, including YouTube, Brightcove, Vimeo, Metacafe, BBC iPlayer, and Hulu. Streaming video delivery is growing dramatically: according to the comScore Video Metrix1, Americans viewed a significantly higher number of videos in 2009 than in 2008 (up 19%) due to both increased content consumption and the growing number of video ads delivered. In January of 2010, more than 170 million viewers watched videos -
A Study on H.26X Family of Video Streaming Compression Techniques
International Journal of Pure and Applied Mathematics Volume 117 No. 10 2017, 63-66 ISSN: 1311-8080 (printed version); ISSN: 1314-3395 (on-line version) url: http://www.ijpam.eu doi: 10.12732/ijpam.v117i10.12 Special Issue ijpam.eu A Study On H.26x Family Of Video Streaming Compression Techniques Farooq Sunar Mahammad, V Madhu Viswanatham School of Computing Science & Engineering VIT University Vellore, Tamil Nadu, India [email protected] [email protected] Abstract— H.264 is a standard was one made in collaboration MPEG-4 Part 10 (AVC), MPEG21,MPEG-7 and M-JPEG. with ITU-T and ISO/IEC Moving Picture Expert Group. The ITU-I VCEG standard incorporates H.26x series, H.264, standard is turning out to be more prevalent as the principle H.261 and H.263. In this paper, distinctive video weight objective of H.264 is to accomplish spatial versatility and to strategies are kept an eye on, starting from H.261 series to the enhance the compression execution contrasted with different most recent such standard, known as H.265/HEVC. Fig. 1 standards.The H.264 is utilized as a part of spatial way to encode the video, so that the size is reduced and the quantity of the expounds the evolution of MPEG standards and ITU-T frames is being decreased and it’s in this way it accomplish Recommendations [2]. versatility. It gives new degree to making higher quality of video encoders and also decoders that give extensive level of quality video streams at kept up bit-rates (contrasted with past standdards), or, on the other hand, a similar quality video at a lower bitrate. -
The Impact of Online Video Distribution on the Global Market for Digital Content
The Impact of Online Video Distribution on the Global Market for Digital Content David Blackburn, Ph.D. Jeffrey A. Eisenach, Ph.D. Bruno Soria, Ph.D. March 2019 About the Authors Dr. Blackburn is a Director in NERA’s Communications, Media, and Internet Practice as well its Intellectual Property and Antitrust Practices. Among other issues, Dr. Blackburn’s work at NERA has focused on media production and distribution, and assessing the value of IP in music, television, and film. Dr. Blackburn has taught at the undergraduate level at Harvard University and Framingham State College, and at the graduate level at the Universidad Nacional de Tucumán in Argentina. Dr. Eisenach is a Managing Director and Co-Chair of NERA’s Communications, Media, and Internet Practice. He is also an Adjunct Professor at George Mason University Law School, where he teaches Regulated Industries, and a Visiting Scholar at the American Enterprise Institute, where he focuses on policies affecting the information technology sector, innovation, and entrepreneurship. Previously, Dr. Eisenach served in senior policy positions at the U.S. Federal Trade Commission and the White House Office of Management and Budget, and on the faculties of Harvard University’s Kennedy School of Government and Virginia Polytechnic Institute and State University. Dr. Soria is an Associate Director in NERA’s Communications, Media and Internet Practice. While at NERA, he has advised governments, telecommunications operators and media companies, including on convergent competition and the pricing of content. He is also Guest Professor at the University of Barcelona where he lectures on Telecommunications Economics and Regulation. Previously, he held executive positions in Telefónica and MCI Worldcom. -
History Analog Video Transmission
Videotelephony - AccessScience from McGraw-Hill Education http://www.accessscience.com/content/videotelephony/732100 (http://www.accessscience.com/) Article by: Bleiweis, John J. JJB Associates, Great Falls, Virginia. Publication year: 2014 DOI: http://dx.doi.org/10.1036/1097-8542.732100 (http://dx.doi.org/10.1036/1097-8542.732100) Content History Infrastructure Bibliography Analog video transmission Video telephone hardware Additional Readings Digital video transmission Video telephone software A means of simultaneous, two-way communication comprising both audio and video elements. Participants in a video telephone call can both see and hear each other in real time. Videotelephony is a subset of teleconferencing, broadly defined as the various ways and means by which people communicate with one another over some distance. Initially conceived as an extension to the telephone, videotelephony is now possible using computers with network connections. In addition to general personal use, there are specific professional applications, such as criminal justice, health care delivery, and surveillance that can greatly benefit from videotelephony. See also: Teleconferencing (/content/teleconferencing/680075) History Although basic research on the technology of videotelephony dates back to 1925, the first public demonstration of the concept was by American Telephone and Telegraph Corporation (AT&T) at the 1964 New York World's Fair. The device was called Picturephone, and the high cost of the analog circuits required to support it made it very expensive and thus unsuitable for the market place. The 1970s brought the first attempts at digitization of transmissions. The video telephones comprised four parts: a standard touch-tone telephone, a small screen with a camera and loudspeaker, a control pad with user controls and a microphone, and a service unit (coder-decoder, or CODEC) that converted the analog signals to digital signals for transmission and vice versa for reception and display. -
Lecture 14 – H.264, H.265
CS 414 – Multimedia Systems Design Lecture 14 – H.264, H.265 Klara Nahrstedt Spring 2014 CS 414 - Spring 2014 Administrative MP1 – Demonstrations on February 21, Friday Sign up for time slot at Piazza Homework 1 posted February 24 (Monday) deadline March 1 (Monday) CS 414 - Spring 2014 Outline H.26x Reading: Media Coding book, Section 7.7.2 – 7.7.5 http://en.wikipedia.org/wiki/H.264 CS 414 - Spring 2014 H.261 – Video Coding for Video Conferencing H.261 – CCITT Recommendation of ITU-T Standard Developed for interactive conferencing applications Symmetric coder - real-time encoding and decoding Rates of p x 64 Kbps for ISDN networks Only I and P frames CS 414 - Spring 2014 H.261 Design ITU-T Video Coding Experts Group (VCEG) Standard – 1988 Bit rates between 40 kbps-2 Mbps Video frame sizes CIF (352x288 luma, 176x144 chroma) QCIF (176x144 luma, 88x72 croma) using 4:2:0 sampling scheme CS 414 - Spring 2014 H.261 Design Basic processing unit – macroblock Macroblock consists of 16x16 luma samples two corresponding 8x8 chroma samples, 4:2:0 sampling and YCbCr color space DCT transform coding is used to reduce spatial redundancy Scalar quantization and Zig-zag scanning Entropy coding with RLE CS 414 - Spring 2014 Blocking Problem in Compressed Images CS 414 - Spring 2014 How Blocking Effect Happens At low bit rates, the quantization step size is large Larger step sizes can force many DCT coefficients to zero If only DC and few AC coefficients remain, reconstructed picture appears blocky CS 414 - Spring 2014 H.261 Design