“Laboratório” De T V Digital Usando Softw Are Open Source
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Working with Digital Video
Working with digital video By admin Published: 10/04/2007 - 08:35 Peter Westenberg , October 2007 Working with digital video is part of many artistic disciplines. Besides single screen narratives, video productions can range from animation, multiple screen installation to interactive work. Still, many aspects of digital video can be traced back to the history of film. The interface of a timeline editing software such as Cinelerra [1] shows a multitrack timeline, a viewing monitor, a bin for clips; echoing the setup of a flatbed table for editing celluloid. A dual head set up Cinelerra work station The physical materiality of film and video are fundamentaly different: celluloid versus pixels, chemicals versus algorhytms, but the relationship between film and video has mutually matured. As outlined by Matt Hanson [1b] , video expands cinematographic traditions in new directions, filmmakers can benefit from digitisation by reclaiming the central position of creativity in the film process, as pointed out by Samira Makhmalbaf. [1c] 1 / 28 An 'Old Delft Cinemonta' 16mm editing table in use at the Filmwerkplaats in Rotterdam Digital video also roots in artistic practices of the sixties and seventies. [1a] Artists started using video to capture temporary performances (Joan Jonas [2] , Vito Acconci [3] ), they integrated video monitors in installations (Nam June Paik [4] ), experimented with filters and mixing in video paintings (Peter Campus [5] ). Compared to film cameras, video cameras had a strong feature: it became possible connect a monitor and view directly what the camera recorded. Today, artists can use softwares such as Lives [5] , Jahshaka [6] , Zone Minder [7] or Pure Data [8] and Linux distributions aimed at audio and visual creation such as Dyne:bolic [9] Apodio [10] and Ubuntu Studio [11] to further explore the possibilities of real time video, multiple camera input and live interaction. -
OM-Cube Project
OM-Cube project V. Hiribarren, N. Marchand, N. Talfer [email protected] - [email protected] - [email protected] Abstract. The OM-Cube project is composed of several components like a minimal operating system, a multi- media player, a LCD display and an infra-red controller. They should be chosen to fit the hardware of an em- bedded system. Several other similar projects can provide information on the software that can be chosen. This paper aims to examine the different available tools to build the OM-Multimedia machine. The main purpose is to explore different ways to build an embedded system that fits the hardware and fulfills the project. 1 A Minimal Operating System The operating system is the core of the embedded system, and therefore should be chosen with care. Because of its popu- larity, a Linux based system seems the best choice, but other open systems exist and should be considered. After having elected a system, all unnecessary components may be removed to get a minimal operating system. 1.1 A Linux Operating System Using a Linux kernel has several advantages. As it’s a popular kernel, many drivers and documentation are available. Linux is an open source kernel; therefore it enables anyone to modify its sources and to recompile it. Using Linux in an embedded system requires adapting the kernel to the hardware and to the system needs. A simple method for building a Linux embed- ded system is to create a partition on a development host and to mount it on a temporary mount point. This partition is filled as one goes along and then, the final distribution is put on the target host [Fich02] [LFS]. -
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. -
Nomadik Application Processor Andrea Gallo Giancarlo Asnaghi ST Is #1 World-Wide Leader in Digital TV and Consumer Audio
Nomadik Application Processor Andrea Gallo Giancarlo Asnaghi ST is #1 world-wide leader in Digital TV and Consumer Audio MP3 Portable Digital Satellite Radio Set Top Box Player Digital Car Radio DVD Player MMDSP+ inside more than 200 million produced chips January 14, 2009 ST leader in mobile phone chips January 14, 2009 Nomadik Nomadik is based on this heritage providing: – Unrivalled multimedia performances – Very low power consumption – Scalable performances January 14, 2009 BestBest ApplicationApplication ProcessorProcessor 20042004 9 Lowest power consumption 9 Scalable performance 9 Video/Audio quality 9 Cost-effective Nominees: Intel XScale PXA260, NeoMagic MiMagic 6, Nvidia MQ-9000, STMicroelectronics Nomadik STn8800, Texas Instruments OMAP 1611 January 14, 2009 Nomadik Nomadik is a family of Application Processors – Distributed processing architecture ARM9 + multiple Smart Accelerators – Support of a wide range of OS and applications – Seamless integration in the OS through standard API drivers and MM framework January 14, 2009 roadmap ... January 14, 2009 Some Nomadik products on the market... January 14, 2009 STn8815 block diagram January 14, 2009 Nomadik : a true real time multiprocessor platform ARM926 SDRAM SRAM General (L1 + L2) Purpose •Unlimited Space (Level 2 •Limited Bandwidth Cache System for Video) DMA Master OS Memory Controller Peripherals multi-layer AHB bus RTOS RTOS Multi-thread (Scheduler FSM) NAND Flash MMDSP+ Video •Unlimited Space MMDSP+ Audio 66 MHz, 16-bit •“No” Bandwidth 133 MHz, 24-bit •Mass storage -
The Top 10 Open Source Music Players Scores of Music Players Are Available in the Open Source World, and Each One Has Something That Is Unique
For U & Me Overview The Top 10 Open Source Music Players Scores of music players are available in the open source world, and each one has something that is unique. Here are the top 10 music players for you to check out. verybody likes to use a music player that is hassle- Amarok free and easy to operate, besides having plenty of Amarok is a part of the KDE project and is the default music Efeatures to enhance the music experience. The open player in Kubuntu. Mark Kretschmann started this project. source community has developed many music players. This The Amarok experience can be enhanced with custom scripts article lists the features of the ten best open source music or by using scripts contributed by other developers. players, which will help you to select the player most Its first release was on June 23, 2003. Amarok has been suited to your musical tastes. The article also helps those developed in C++ using Qt (the toolkit for cross-platform who wish to explore the features and capabilities of open application development). Its tagline, ‘Rediscover your source music players. Music’, is indeed true, considering its long list of features. 98 | FEBRUARY 2014 | OPEN SOURCE FOR YoU | www.LinuxForU.com Overview For U & Me Table 1: Features at a glance iPod sync Track info Smart/ Name/ Fade/ gapless and USB Radio and Remotely Last.fm Playback and lyrics dynamic Feature playback device podcasts controlled integration resume lookup playlist support Amarok Crossfade Both Yes Both Yes Both Yes Yes (Xine), Gapless (Gstreamer) aTunes Fade only -
MPLAYER-10 Mplayer-1.0Pre7-Copyright
MPLAYER-10 MPlayer-1.0pre7-Copyright MPlayer was originally written by Árpád Gereöffy and has been extended and worked on by many more since then, see the AUTHORS file for an (incomplete) list. You are free to use it under the terms of the GNU General Public License, as described in the LICENSE file. MPlayer as a whole is copyrighted by the MPlayer team. Individual copyright notices can be found in the file headers. Furthermore, MPlayer includes code from several external sources: Name: FFmpeg Version: CVS snapshot Homepage: http://www.ffmpeg.org Directory: libavcodec, libavformat License: GNU Lesser General Public License, some parts GNU General Public License, GNU General Public License when combined Name: FAAD2 Version: 2.1 beta (20040712 CVS snapshot) + portability patches Homepage: http://www.audiocoding.com Directory: libfaad2 License: GNU General Public License Name: GSM 06.10 library Version: patchlevel 10 Homepage: http://kbs.cs.tu-berlin.de/~jutta/toast.html Directory: libmpcodecs/native/ License: permissive, see libmpcodecs/native/xa_gsm.c Name: liba52 Version: 0.7.1b + patches Homepage: http://liba52.sourceforge.net/ Directory: liba52 License: GNU General Public License Name: libdvdcss Version: 1.2.8 + patches Homepage: http://developers.videolan.org/libdvdcss/ Directory: libmpdvdkit2 License: GNU General Public License Name: libdvdread Version: 0.9.3 + patches Homepage: http://www.dtek.chalmers.se/groups/dvd/development.shtml Directory: libmpdvdkit2 License: GNU General Public License Name: libmpeg2 Version: 0.4.0b + patches -
Cthulhu Lives!: a Descriptive Study of the H.P. Lovecraft Historical Society
CTHULHU LIVES!: A DESCRIPTIVE STUDY OF THE H.P. LOVECRAFT HISTORICAL SOCIETY J. Michael Bestul A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2006 Committee: Dr. Jane Barnette, Advisor Prof. Bradford Clark Dr. Marilyn Motz ii ABSTRACT Dr. Jane Barnette, Advisor Outside of the boom in video game studies, the realm of gaming has barely been scratched by academics and rarely been explored in a scholarly fashion. Despite the rich vein of possibilities for study that tabletop and live-action role-playing games present, few scholars have dug deeply. The goal of this study is to start digging. Operating at the crossroads of art and entertainment, theatre and gaming, work and play, it seeks to add the live-action role-playing game, CTHULHU LIVES, to the discussion of performance studies. As an introduction, this study seeks to describe exactly what CTHULHU LIVES was and has become, and how its existence brought about the H.P. Lovecraft Historical Society. Simply as a gaming group which grew into a creative organization that produces artifacts in multiple mediums, the Society is worthy of scholarship. Add its humble beginnings, casual style and non-corporate affiliation, and its recent turn to self- sustainability, and the Society becomes even more interesting. In interviews with the artists behind CTHULHU LIVES, and poring through the archives of their gaming experiences, the picture develops of the journey from a small group of friends to an organization with influences and products on an international scale. -
2.5 the Ubuntu Operating System 7
By Courtney Loo http://courtneyloo.wordpress.com Edited by Justin Pot This manual is the intellectual property of MakeUseOf. It must only be published in its original form. Using parts or republishing altered parts of this guide is prohibited without permission from MakeUseOf.com Think you’ve got what it takes to write a manual for MakeUseOf.com? We’re always willing to hear a pitch! Send your ideas to [email protected]; you might earn up to $400. UBUNTU: AN ABSOLUTE BEGINNER’S GUIDE Table Of Contents 1. Introduction 5 2. Ubuntu 101 6 2.1 What Is Ubuntu? 6 2.2 The Ubuntu Philosophy 6 2.3 Proprietary Software vs Free/Libre Open-Source Software 6 2.4 How Can Ubuntu Be Free? 7 1. It’s Maintained By The FLOSS Community. 7 2. It’s Managed & Funded By Canonical 7 2.5 The Ubuntu Operating System 7 Linux: The Dreaded ‘L’ Word 7 What Is The Linux Kernel? 7 How Then Are Ubuntu & Linux Related? 8 2.6 Why Use Ubuntu? 8 3. Ubuntu Releases 9 3.1 Ubuntu Version Numbers 9 3.2 Ubuntu Code Names 9 3.3 Normal Releases vs. Long Term Support (LTS) Releases 9 4. Installing Ubuntu 10 4.1 Different Ways To Install Ubuntu 10 4.2 Installing Ubuntu Alongside Windows 7 With Wubi 10 What Is Wubi? 10 What Does Wubi Do? 10 5. Support & Community 14 5.1 Ubuntu Local Communities 14 Get Involved! 14 5.2 Free Documentation 14 Official Documentation 14 Community Documentation 15 5.3 Launchpad Answers 15 What Is Launchpad ? 15 HTTP://MAKEUSEOF.COM HTTP://COURTNEYLOO.WORDPRESS.COM, COURTNEY LOO 3 UBUNTU: AN ABSOLUTE BEGINNER’S GUIDE Why Should You Use Launchpad Answers? 15 6. -
60 Rogue Screen Resolution KNOW$HOW 60
BEFN$?FN Ask Klaus! 8JB BC8LJ 1152x864, 1024x768, 832x624, 800x600, driver and is thus staying with the text- 720x400, and 640x480). mode resolution on the console. However, in System | Preferences | The default and setup resolutions de- Screen Resolution Klaus Knopper is the creator of , the monitor is shown pend on your version of Xorg. I’m not as UNKNOWN despite the name in xorg. sure which version of Xorg is used with Knoppix and co-founder of the conf being PLE1900 (for the iiyama your distribution, but if it is not older E1900S LCD monitor), and the list of res- than about half a year, it should be using LinuxTag expo. He currently olutions now reads 1280x1024, the randr extension, which means: works as a teacher, program- 1280x960, 1280x800, 1280x768, 1024x768, 800x600, and 640x480, own choice for the best resolution for mer, and consultant. If you have though when things went wrong, your card/ monitor combination, 1280x1024 disappeared. The refresh rate Modes settings in /etc/X11/xorg. a configuration problem, or if is 60Hz. conf will probably be ignored, and you just want to learn more Where is the system picking up these resolutions, and how can I eliminate the desktop tools (usually running in the about how Linux works, send 1280x768? desktop panel), such as kandrtray or I used sudo displayconfig-gtk and was lxandr, which remember your last set- your questions to: able to select 1280x1024, and now two ting (hence the difference between dif- of my three users are OK, but although ferent user logins). klaus@linux-magazine. -
Kubuntu Desktop Guide
Kubuntu Desktop Guide Ubuntu Documentation Project <[email protected]> Kubuntu Desktop Guide by Ubuntu Documentation Project <[email protected]> Copyright © 2004, 2005, 2006 Canonical Ltd. and members of the Ubuntu Documentation Project Abstract The Kubuntu Desktop Guide aims to explain to the reader how to configure and use the Kubuntu desktop. Credits and License The following Ubuntu Documentation Team authors maintain this document: • Venkat Raghavan The following people have also have contributed to this document: • Brian Burger • Naaman Campbell • Milo Casagrande • Matthew East • Korky Kathman • Francois LeBlanc • Ken Minardo • Robert Stoffers The Kubuntu Desktop Guide is based on the original work of: • Chua Wen Kiat • Tomas Zijdemans • Abdullah Ramazanoglu • Christoph Haas • Alexander Poslavsky • Enrico Zini • Johnathon Hornbeck • Nick Loeve • Kevin Muligan • Niel Tallim • Matt Galvin • Sean Wheller This document is made available under a dual license strategy that includes the GNU Free Documentation License (GFDL) and the Creative Commons ShareAlike 2.0 License (CC-BY-SA). You are free to modify, extend, and improve the Ubuntu documentation source code under the terms of these licenses. All derivative works must be released under either or both of these licenses. This documentation is distributed in the hope that it will be useful, but WITHOUT ANY WARRANTY; without even the implied warranty of MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE AS DESCRIBED IN THE DISCLAIMER. Copies of these licenses are available in the appendices section of this book. Online versions can be found at the following URLs: • GNU Free Documentation License [http://www.gnu.org/copyleft/fdl.html] • Attribution-ShareAlike 2.0 [http://creativecommons.org/licenses/by-sa/2.0/] Disclaimer Every effort has been made to ensure that the information compiled in this publication is accurate and correct. -
The Power of Digital Storytelling to Support Teaching and Learning
The Power of Digital Storytelling to Support Teaching and Learning Bernard R. Robin [email protected] University of Houston, USA Abstract Although the term “digital storytelling” may not be familiar to all readers, over the last twenty years, an increasing number of educators, students and others around the world have created short movies by combining computer-based images, text, recorded audio narration, video clips and music in order to present information on various topics. For more than twelve years, faculty members and graduate students in the Learning, Design and Technology Program at the University of Houston College of Education have been exploring the use of digital storytelling to support both teaching and learning. In 2004, the author established the Educational Uses of Digital Storytelling website (http://digitalstorytelling.coe.uh.edu) to serve as a helpful resource for those interested in learning how digital storytelling could be integrated into a variety of educational activities. This paper presents an overview of how digital storytelling has and continues to be used to support teaching and learning activities. In addition, recommendations and guidelines are presented for educators who would like to teach students to use digital storytelling as an educational endeavor. Keywords Digital Storytelling, Educational Technology, Teaching, Learning, Multimedia B.R. Robin 17 Digital Education Review - Number 30, December 2016- http://greav.ub.edu/der/ The Power of Digital Storytelling to Support Teaching and Learning I. Introduction This paper deals with the educational uses of digital storytelling and presents an overview of how digital storytelling has and continues to be used to support teaching and learning. -
Intro to Video Production Meaning Is More Than Dialogue in Videos
Intro to Video Production Meaning is more than dialogue in videos 2 Meaning is conveyed in videos through Visual metaphor Audio Editing 3 1 Visual Metaphor 4 Star Wars, 1977, Directed by George Lucas 5 Tools for Visual Metaphor Examples include ◦ Size ◦ Composition ◦ Movement (camera and subjects) ◦ Camera angles ◦ Color ◦ Lighting ◦ Scenery And many more 6 Color The Lord of the Rings: The Fellowship of the Ring, 2001, Directed by Peter Jackson 7 Color The Lord of the Rings: The Return of the King, 2003, Directed by Peter Jackson 8 Lighting Up, 2008, Directed by Pete Docter 9 Lighting Up, 2008, Directed by Pete Docter 10 Scenery Rocky, 1976, Directed by John G. Avildsen 11 Scenery Rocky, 1976, Directed by John G. Avildsen 12 2 Audio 13 The importance of music 14 The importance of music 15 Music can change a scene 16 Sound Effects Make a Difference as Well 17 Sound Effects Make a Difference as Well 18 Creative Commons Resources 19 Creative Commons (creativecommons.org) Attribution Share Alike Must attribute the Derivatives must use author/creator same or compatible license Noncommercial No derivative works Cannot be used for Can only be shared commercial purposes unaltered 20 Music and Sound Effects ◦ Free Music Archive (freemusicarchive.org) ◦ Jamendo (jamendo.com/start) ◦ IMSLP/Petrucci Music Library (imslp.org/wiki/Main_Page) ▫ Example ◦ Freesound (freesound.org) - includes sound effects ◦ Musopen (musopen.org) ◦ ccMixter (ccmixter.org) ◦ Internet Archive (archive.org/details/netlabels) 21 Videos ◦ YouTube search ◦ Archive.org (archive.org/details/stock_footage) ◦ NASA (nasa.gov/multimedia/videogallery/index.html) ◦ Hubble Space telescope (spacetelescope.org/videos/) ◦ Coverr (coverr.co) ◦ Public Domain Movies (publicdomainflix.com) 22 3 Editing 23 Transitioning Scenes with Editing Star Wars, 1977, Directed by George Lucas 24 Editing can change the emotion of a scene 25 Reaction Shot Mrs.