Episode 7.3 Release Notes System Requirements
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Fundamentals of Digital Video
FUNDAMENTALS OF DIGITAL VIDEO Digital Video Compression © 2016 Pearson Education, Inc., Hoboken, NJ. All 1 rights reserved. In this lecture, you will learn: • Basic ideas of video compression • General types of compression methods © 2016 Pearson Education, Inc., Hoboken, NJ. All 2 rights reserved. Compression • Basic idea: Want to represent the same content by using less data © 2016 Pearson Education, Inc., Hoboken, NJ. All 3 rights reserved. Compression and Decompression • Compression: – To reduce file size – Takes time – Often takes more time for higher compression • Decompression: – A compression video file must be decompressed before it is played. – The decompression method or algorithm depends on how it is originally compressed. © 2016 Pearson Education, Inc., Hoboken, NJ. All 4 rights reserved. Compression and Decompression • Compression and decompression always go together as a pair. • Codec : compressor/decompressor © 2016 Pearson Education, Inc., Hoboken, NJ. All 5 rights reserved. Types of Compression Methods • Spatial compression • Temporal compression • Lossless vs. lossy compression • Symmetrical and asymmetrical compression © 2016 Pearson Education, Inc., Hoboken, NJ. All 6 rights reserved. Spatial Compression • Compact individual frames as if they are independent digital images • Examples of algorithms: – Run-length encoding (RLE) – JPEG compression • Example codecs: – QuickTime Animation – QuickTime PlanarRGB – Microsoft RLE © 2016 Pearson Education, Inc., Hoboken, NJ. All 7 rights reserved. Spatial Compression • Types of video that spatial compression is good for: • contain large areas of solid colors, such as cartoon animation • Disadvantage: • Less compressed, i.e., relatively large file size compared to other types of compression © 2016 Pearson Education, Inc., Hoboken, NJ. All 8 rights reserved. Temporal Compression • Exploits the repetitious nature of image content over time in video • Saving more information for selected frames, i.e. -
Camera Raw Workflows
RAW WORKFLOWS: FROM CAMERA TO POST Copyright 2007, Jason Rodriguez, Silicon Imaging, Inc. Introduction What is a RAW file format, and what cameras shoot to these formats? How does working with RAW file-format cameras change the way I shoot? What changes are happening inside the camera I need to be aware of, and what happens when I go into post? What are the available post paths? Is there just one, or are there many ways to reach my end goals? What post tools support RAW file format workflows? How do RAW codecs like CineForm RAW enable me to work faster and with more efficiency? What is a RAW file? In simplest terms is the native digital data off the sensor's A/D converter with no further destructive DSP processing applied Derived from a photometrically linear data source, or can be reconstructed to produce data that directly correspond to the light that was captured by the sensor at the time of exposure (i.e., LOG->Lin reverse LUT) Photometrically Linear 1:1 Photons Digital Values Doubling of light means doubling of digitally encoded value What is a RAW file? In film-analogy would be termed a “digital negative” because it is a latent representation of the light that was captured by the sensor (up to the limit of the full-well capacity of the sensor) “RAW” cameras include Thomson Viper, Arri D-20, Dalsa Evolution 4K, Silicon Imaging SI-2K, Red One, Vision Research Phantom, noXHD, Reel-Stream “Quasi-RAW” cameras include the Panavision Genesis In-Camera Processing Most non-RAW cameras on the market record to 8-bit YUV formats -
Avid DS - Your Future Is Now
DSWiki DSWiki Table Of Contents 1998 DS SALES BROCHURE ............................................. 4 2005 DS Wish List ..................................................... 8 2007 Unfiltered DS Wish List ............................................. 13 2007 Wish Lists ....................................................... 22 2007DSWishListFinalistsRound2 ........................................... 28 2010 Wish List ........................................................ 30 A ................................................................. 33 About .............................................................. 53 AchieveMoreWithThe3DDVE ............................................. 54 AmazonStore ......................................................... 55 antler .............................................................. 56 Arri Alexa ........................................................... 58 Avid DS - Your Future Is Now ............................................. 59 Avid DS for Colorists ................................................... 60 B ................................................................. 62 BetweenBlue&Green ................................................... 66 Blu-ray Copy ......................................................... 67 C ................................................................. 68 ColorItCorrected ...................................................... 79 Commercial Specifications ............................................... 80 Custom MC Color Surface Layouts ........................................ -
Adobe Media Encoder CC Help
Adobe® Media Encoder CC Help Legal notices Legal notices For legal notices, see http://help.adobe.com/en_US/legalnotices/index.html. Last updated 12/15/2014 iii Contents Chapter 1: What's new New features summary . .1 Chapter 2: Encoding quick start and basics Overview of Adobe Media Encoder . .9 Encoding quick start . 13 Using the Preset Browser . 13 Add and manage items in the encoding queue . 16 File formats supported for import . 20 Working with log files . 22 Preferences . 23 File formats supported for export . 25 Default keyboard shortcuts . 26 About video and audio encoding and compression . 30 Compression tips . 33 Keyboard shortcuts . 34 Chapter 3: Encoding and exporting Sync Settings . 35 Using the GoPro CineForm codec in After Effects . 36 Custom presets . 39 Encode and export video and audio . 40 Managing the media cache database . 44 Export settings reference . 44 Last updated 12/15/2014 1 Chapter 1: What's new New features summary Updates and Enhancements | December 2014 Publish files to YouTube and Vimeo Last updated 12/15/2014 2 What's new The latest release of Adobe Media Encoder has two new video publishing destinations, YouTube and Vimeo. The new destinations are located under the Publish tab in the Export Settings dialog box. Log in to YouTube and Vimeo with your username and password to upload your encoded files to these destinations. • To view the video after you have uploaded the video successfully, click the link in the Output File column in the queue. • To stop uploading a video to YouTube or Vimeo, right-click the upload in the Queue and choose Stop upload. -
Using Dragonframe 4.Pdf
Using DRAGONFRAME 4 Welcome Dragonframe is a stop-motion solution created by professional anima- tors—for professional animators. It's designed to complement how the pros animate. We hope this manual helps you get up to speed with Dragonframe quickly. The chapters in this guide give you the information you need to know to get proficient with Dragonframe: “Big Picture” on page 1 helps you get started with Dragonframe. “User Interface” on page 13 gives a tour of Dragonframe’s features. “Camera Connections” on page 39 helps you connect cameras to Drag- onframe. “Cinematography Tools” on page 73 and “Animation Tools” on page 107 give details on Dragonframe’s main workspaces. “Using the Timeline” on page 129 explains how to use the timeline in the Animation window to edit frames. “Alternative Shooting Techniques (Non Stop Motion)” on page 145 explains how to use Dragonframe for time-lapse. “Managing Your Projects and Files” on page 149 shows how to use Dragonframe to organize and manage your project. “Working with Audio Clips” on page 159 and “Reading Dialogue Tracks” on page 171 explain how to add an audip clip and create a track reading. “Using the X-Sheet” on page 187 explains our virtual exposure sheet. “Automate Lighting with DMX” on page 211 describes how to use DMX to automate lights. “Adding Input and Output Triggers” on page 241 has an overview of using Dragonframe to trigger events. “Motion Control” on page 249 helps you integrate your rig with the Arc Motion Control workspace or helps you use other motion control rigs. -
20.1 Data Sheet - Supported File Formats
20.1 Data Sheet - Supported File Formats Target release 20.1 Epic Document status DRAFT Document owner Dieter Van Rijsselbergen Designer Not applicable Architecture Dieter Van Rijsselbergen QA Assumptions Implementation of Avid proxy formats produced by Edge impose a number of known Avid-specific conversions. Avid proxies are under consideration and will be included upon binding commitment. Implementation of ingest through rewrapping (instead of transcoding) of formats with Avid-supported video and audio codecs are under consideration and will be included upon binding commitment. Implementation of ingest through transcoding to Avid-supported video codecs other than DNxHD or DNxHR are under consideration and will be included upon binding commitment. Limecraft Flow and Edge - Ingest File Formats # File Codecs and Variants Edge Flow Status Notes Container ingest ingest 1 MXF MXF OP1a Deployed No P2 spanned clips supported at the Sony XDCAM (DV25, MPEG moment. IMX codecs), XDCAM HD and Referencing original OP1a media from Flow XDCAM HD 422 AAFs is possible using AMA media linking in also for Canon Avid. C300/C500 and XF series AAF workflows for P2 are not implemented end-to-end yet. Sony XAVC (incl. XAVC Intra and XAVC-L codecs) ARRI Alexa MXF (DNxHD codec) AS-11 MXF (MPEG IMX/D10, AVC-I codecs) MXF OP-atom Deployed. P2 (DV codec) and P2 HD Only (DVCPro HD, AVC-I 50 and available AVC-I 100 codecs) in Edge. 1.1 MXF Sony RAW and X-OCN (XT, LT, Deployed. Due to the heavy data rates involved in ST) Only processing these files, a properly provisioned for Sony Venice, F65, available system is required, featuring fast storage PMW-F55, PMW-F5 and NEX in Edge. -
Input Formats & Codecs
Input Formats & Codecs Pivotshare offers upload support to over 99.9% of codecs and container formats. Please note that video container formats are independent codec support. Input Video Container Formats (Independent of codec) 3GP/3GP2 ASF (Windows Media) AVI DNxHD (SMPTE VC-3) DV video Flash Video Matroska MOV (Quicktime) MP4 MPEG-2 TS, MPEG-2 PS, MPEG-1 Ogg PCM VOB (Video Object) WebM Many more... Unsupported Video Codecs Apple Intermediate ProRes 4444 (ProRes 422 Supported) HDV 720p60 Go2Meeting3 (G2M3) Go2Meeting4 (G2M4) ER AAC LD (Error Resiliant, Low-Delay variant of AAC) REDCODE Supported Video Codecs 3ivx 4X Movie Alaris VideoGramPiX Alparysoft lossless codec American Laser Games MM Video AMV Video Apple QuickDraw ASUS V1 ASUS V2 ATI VCR-2 ATI VCR1 Auravision AURA Auravision Aura 2 Autodesk Animator Flic video Autodesk RLE Avid Meridien Uncompressed AVImszh AVIzlib AVS (Audio Video Standard) video Beam Software VB Bethesda VID video Bink video Blackmagic 10-bit Broadway MPEG Capture Codec Brooktree 411 codec Brute Force & Ignorance CamStudio Camtasia Screen Codec Canopus HQ Codec Canopus Lossless Codec CD Graphics video Chinese AVS video (AVS1-P2, JiZhun profile) Cinepak Cirrus Logic AccuPak Creative Labs Video Blaster Webcam Creative YUV (CYUV) Delphine Software International CIN video Deluxe Paint Animation DivX ;-) (MPEG-4) DNxHD (VC3) DV (Digital Video) Feeble Files/ScummVM DXA FFmpeg video codec #1 Flash Screen Video Flash Video (FLV) / Sorenson Spark / Sorenson H.263 Forward Uncompressed Video Codec fox motion video FRAPS: -
Bitmovin Encoding We Help Content Providers Deliver Video at the Highest Possible Quality
PRODUCT SHEET Bitmovin Encoding We help content providers deliver video at the highest possible quality Clear ROI Highest quality (at lowest bitrates) Our encoding solutions provide a clear By optimizing video quality at lowest bitrates, return on investment over the entire we enable customers to deliver Netflix-grade lifetime of a video asset. quality videos to a larger set of their viewers. • Saves CDN and storage costs • Improve picture quality • Per-Title encoding reduces total cost • Optimize the bitrate ladder of ownership by 30% • Offer high-quality video under lower • Match browsers with the most efficient bandwidth conditions codecs with Multi-Codec Streaming to save CDN costs Deploy everywhere Reduce time to market Our solution can be deployed in any cloud or on-premise environment, fully utilizing Our chunk based encoding approach fully the infrastructure most suitable for the leverages the cloud’s capabilities to deliver given use-case. encodings at up to 100x real-time. • We enable companies to use our encoder • Innovative cloud-native technology ensures within the infrastructure that works best fast encoding turnaround times for their use case • The world’s most renowned media • No vendor lock-in companies and publishers rely on our • Use multi-cloud setup for backups and technology to be the first to market as fall back options WWW.BITMOVIN.COM/ PARTNER (BBC and New York Times) Robust and scalable We manage complexity Our encoding solutions are used by market Our API hides the complexity of the encoding leaders across different segments and are process, enabling you to concentrate on proven to be extremely robust and scalable. -
18T00562.Pdf
ESCUELA SUPERIOR POLITÉCNICA DE CHIMBORAZO FACULTAD DE INFORMÁTICA Y ELECTRÓNICA ESCUELA DE INGENIERÍA EN SISTEMAS “EVALUACIÓN DE CODECS DE VIDEO SOBRE TRÁFICO MULTICAST EN IPV6 PARA EL DESARROLLO DE UN PROTOTIPO EN EL LABORATORIO LIRSI – FIE” “TESIS DE GRADO PREVIO A LA OBTENCIÓN DEL TÍTULO DE INGENIERO EN SISTEMAS INFORMÁTICOS” PRESENTADO POR: EVELYN PAMELA CHAVEZ PAREDES DIEGO ARMANDO CASTRO ARROBO RIOBAMBA – ECUADOR - 2014 - El fin de una meta ha llegado, el sentimiento de alegría y gratitud en mi corazón es inmenso, por ello mi más sincero agradecimiento a Dios, por ser mi guía y compañero siempre; A toda mi familia por la confianza depositada en mí; A mi querida madre por su ternura, amor y comprensión internacional; A la ESPOCH por permitirme crecer intelectual y profesionalmente; A mis amigos por la motivación y cariño; A ti Diego por tu paciencia y tolerancia; Y una gratitud especial a los Ingenieros: Diego Ávila y Alberto Arellano, por sus consejos y apoyo necesario para culminar con éxito la presente tesis. Evelyn Pamela Chavez Paredes Para mí, es un verdadero placer utilizar este medio para expresar mi agradecimiento; A ti Dios, por darme la oportunidad de vivir, por estar conmigo en cada paso que doy, por fortalecer mi corazón e iluminar mi mente; A ti Marco, por tu incondicional apoyo, tanto al inicio como al final de mi carrera; A ti mami Betty, que tienes algo de Dios por la inmensidad de tu amor, y mucho de ángel por ser mi guarda y por tus incansables cuidados, porque si hay alguien que está detrás de todo este trabajo, eres tú mami, que has sido, eres y serás el pilar de mi vida; A todos mis amigos y en especial a ti Pamela por ser la persona que me ha apoyado siempre, por ser tolerante, comprensiva, paciente y por ayudarme a hacer realidad nuestro sueño; Agradecer al Ing. -
Scape D10.1 Keeps V1.0
Identification and selection of large‐scale migration tools and services Authors Rui Castro, Luís Faria (KEEP Solutions), Christoph Becker, Markus Hamm (Vienna University of Technology) June 2011 This work was partially supported by the SCAPE Project. The SCAPE project is co-funded by the European Union under FP7 ICT-2009.4.1 (Grant Agreement number 270137). This work is licensed under a CC-BY-SA International License Table of Contents 1 Introduction 1 1.1 Scope of this document 1 2 Related work 2 2.1 Preservation action tools 3 2.1.1 PLANETS 3 2.1.2 RODA 5 2.1.3 CRiB 6 2.2 Software quality models 6 2.2.1 ISO standard 25010 7 2.2.2 Decision criteria in digital preservation 7 3 Criteria for evaluating action tools 9 3.1 Functional suitability 10 3.2 Performance efficiency 11 3.3 Compatibility 11 3.4 Usability 11 3.5 Reliability 12 3.6 Security 12 3.7 Maintainability 13 3.8 Portability 13 4 Methodology 14 4.1 Analysis of requirements 14 4.2 Definition of the evaluation framework 14 4.3 Identification, evaluation and selection of action tools 14 5 Analysis of requirements 15 5.1 Requirements for the SCAPE platform 16 5.2 Requirements of the testbed scenarios 16 5.2.1 Scenario 1: Normalize document formats contained in the web archive 16 5.2.2 Scenario 2: Deep characterisation of huge media files 17 v 5.2.3 Scenario 3: Migrate digitised TIFFs to JPEG2000 17 5.2.4 Scenario 4: Migrate archive to new archiving system? 17 5.2.5 Scenario 5: RAW to NEXUS migration 18 6 Evaluation framework 18 6.1 Suitability for testbeds 19 6.2 Suitability for platform 19 6.3 Technical instalability 20 6.4 Legal constrains 20 6.5 Summary 20 7 Results 21 7.1 Identification of candidate tools 21 7.2 Evaluation and selection of tools 22 8 Conclusions 24 9 References 25 10 Appendix 28 10.1 List of identified action tools 28 vi 1 Introduction A preservation action is a concrete action, usually implemented by a software tool, that is performed on digital content in order to achieve some preservation goal. -
On Audio-Visual File Formats
On Audio-Visual File Formats Summary • digital audio and digital video • container, codec, raw data Reto Kromer • AV Preservation by reto.ch • different formats for different purposes audio-visual data transformations La preservazione digitale • del film e del video Università di Udine a Gorizia 7–10 maggio 2018 1 2 Digital Audio • sampling Digital Audio • quantisation 3 4 Sampling • 44.1 kHz • 48 kHz • 96 kHz • 192 kHz digitisation = sampling + quantisation 5 6 Quantisation • 16 bit • 24 bit • 32 bit Digital Video 7 8 Digital Video Resolution • resolution • SD 480i / SD 576i • bit depth • HD 720p / HD 1080i • linear, power, logarithmic • 2K / HD 1080p • colour model • 4K / UHD-1 • chroma subsampling • 8K / UHD-2 • illuminant 9 10 Bit Depth Linear, Power, Logarithmic • 8 bit «medium grey» • 10 bit • linear: 18% • 12 bit • «logarithmic»: 50% • 16 bit • 24 bit 11 12 Colour Model • XYZ • RGB / R′G′B′ / CMY / C′M′Y′ • Y′IQ / Y′UV / Y′DBDR • Y′CBCR / Y′COCG • Y′PBPR 13 14 RGB24 00000000 11111111 00000000 00000000 00000000 00000000 11111111 00000000 00000000 00000000 00000000 11111111 00000000 11111111 11111111 11111111 11111111 00000000 11111111 11111111 11111111 11111111 00000000 11111111 15 16 Chroma Subsampling • 4:4:4 • 4:2:2 • 4:2:0 / 4:1:1 17 18 4:4:4 4:2:2 4 ● ● ● ● ● ● ● ● 2 ● ○ ● ○ ● ○ ● ○ 4 ● ● ● ● ● ● ● ● 2 ● ○ ● ○ ● ○ ● ○ ● ● ● ● ● ● ● ● ● ○ ● ○ ● ○ ● ○ ● ● ● ● ● ● ● ● ● ○ ● ○ ● ○ ● ○ 19 20 4:2:0 4:1:1 2 ● ○ ● ○ ● ○ ● ○ 1 ● ○ ○ ○ ● ○ ○ ○ 0 ○ ○ ○ ○ ○ ○ ○ ○ 1 ● ○ ○ ○ ● ○ ○ ○ ● ○ ● ○ ● ○ ● ○ ● ○ ○ ○ ● ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ● ○ ○ ○ -
007-1799-050 Contributors
Digital Media Programming Guide Document Number 007-1799-050 CONTRIBUTORS Written by Patricia Creek and Don Moccia Illustrated by Dany Galgani and Martha Levine Engineering author contributions by Bent Hagemark, Chris Pirazzi, Angela Lai, Scott Porter, Doug Scott, Mike Travis, Mark Segal, Bryan James, Doug Cook, Nelson Bolyard, Candace Obert, Eric Bloch, Brian Beach, Dan Kinney, and Mike Portuesi © 1996, Silicon Graphics, Inc.— All Rights Reserved The contents of this document may not be copied or duplicated in any form, in whole or in part, without the prior written permission of Silicon Graphics, Inc. RESTRICTED RIGHTS LEGEND Use, duplication, or disclosure of the technical data contained in this document by the Government is subject to restrictions as set forth in subdivision (c) (1) (ii) of the Rights in Technical Data and Computer Software clause at DFARS 52.227-7013 and/or in similar or successor clauses in the FAR, or in the DOD or NASA FAR Supplement. Unpublished rights reserved under the Copyright Laws of the United States. Contractor/manufacturer is Silicon Graphics, Inc., 2011 N. Shoreline Blvd., Mountain View, CA 94043-1389. Silicon Graphics, Indigo, IRIS, OpenGL, and the Silicon Graphics logo are registered trademarks and CHALLENGE, Cosmo Compress, Galileo Video, GL, Graphics Library, Image Vision Library, IndigoVideo, Indigo2, Indigo2 Video, Indy, Indy Cam, Indy Video, IRIS GL, IRIS Graphics Library, IRIS Indigo, IRIS InSight, IRIX, O2, Personal IRIS, Sirius Video, and VINO are trademarks of Silicon Graphics, Inc. Aware and the Aware logo are registered trademarks and MultiRate is a trademark of Aware, Inc. Betacam and Sony are registered trademarks and Hi-8mm is a trademark of Sony Corporation.