Episode Format Sheet
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Download Media Player Codec Pack Version 4.1 Media Player Codec Pack
download media player codec pack version 4.1 Media Player Codec Pack. Description: In Microsoft Windows 10 it is not possible to set all file associations using an installer. Microsoft chose to block changes of file associations with the introduction of their Zune players. Third party codecs are also blocked in some instances, preventing some files from playing in the Zune players. A simple workaround for this problem is to switch playback of video and music files to Windows Media Player manually. In start menu click on the "Settings". In the "Windows Settings" window click on "System". On the "System" pane click on "Default apps". On the "Choose default applications" pane click on "Films & TV" under "Video Player". On the "Choose an application" pop up menu click on "Windows Media Player" to set Windows Media Player as the default player for video files. Footnote: The same method can be used to apply file associations for music, by simply clicking on "Groove Music" under "Media Player" instead of changing Video Player in step 4. Media Player Codec Pack Plus. Codec's Explained: A codec is a piece of software on either a device or computer capable of encoding and/or decoding video and/or audio data from files, streams and broadcasts. The word Codec is a portmanteau of ' co mpressor- dec ompressor' Compression types that you will be able to play include: x264 | x265 | h.265 | HEVC | 10bit x265 | 10bit x264 | AVCHD | AVC DivX | XviD | MP4 | MPEG4 | MPEG2 and many more. File types you will be able to play include: .bdmv | .evo | .hevc | .mkv | .avi | .flv | .webm | .mp4 | .m4v | .m4a | .ts | .ogm .ac3 | .dts | .alac | .flac | .ape | .aac | .ogg | .ofr | .mpc | .3gp and many more. -
Encoding H.264 Video for Streaming and Progressive Download
What is Tuning? • Disable features that: • Improve subjective video quality but • Degrade objective scores • Example: adaptive quantization – changes bit allocation over frame depending upon complexity • Improves visual quality • Looks like “error” to metrics like PSNR/VMAF What is Tuning? • Switches in encoding string that enables tuning (and disables these features) ffmpeg –input.mp4 –c:v libx264 –tune psnr output.mp4 • With x264, this disables adaptive quantization and psychovisual optimizations Why So Important • Major point of contention: • “If you’re running a test with x264 or x265, and you wish to publish PSNR or SSIM scores, you MUST use –tune PSNR or –tune SSIM, or your results will be completely invalid.” • http://x265.org/compare-video-encoders/ • Absolutely critical when comparing codecs because some may or may not enable these adjustments • You don’t have to tune in your tests; but you should address the issue and explain why you either did or didn’t Does Impact Scores • 3 mbps football (high motion, lots of detail) • PSNR • No tuning – 32.00 dB • Tuning – 32.58 dB • .58 dB • VMAF • No tuning – 71.79 • Tuning – 75.01 • Difference – over 3 VMAF points • 6 is JND, so not a huge deal • But if inconsistent between test parameters, could incorrectly show one codec (or encoding configuration) as better than the other VQMT VMAF Graph Red – tuned Green – not tuned Multiple frames with 3-4-point differentials Downward spikes represent untuned frames that metric perceives as having lower quality Tuned Not tuned Observations • Tuning -
Preservation Metadata Dictionary Version 1.2 October 2015
Preservation Metadata Dictionary Version 1.2 October 2015 A publication by: Digital Preservation Office, Netherlands Institute for Sound and Vision Beth Delaney Hanneke Smulders Yvette Hollander Annemieke de Jong Daniël Steinmeier Introduction In the Preservation Metadata Dictionary V 1.2 (PMD) the Netherlands Institute for Sound and Vision has summarized the definitions of preservation metadata, a combination of a variety of existing standards, to best serve the needs of the institute as an audiovisual archive. Preservation metadata include the categories of technical metadata and provenance metadata. Parts of the descriptive metadata are also included in the category preservation metadata, namely the attributes needed to identify a digital object. The fourth category of preservation metadata are the rights metadata. This dictionary contains the possible selection and definition of all metadata used in recording the digital preservation process at Sound and Vision. In the PMD, the attributes are defined that can be allocated to each digital object (audio, video, film, text, photograph) ingested in the Digital Archive. This includes both technical metadata attributes of a file and attributes describing actions (‘events’), results of those actions (‘outcomes’) and their associated ‘agents’ (responsible organization, software or person. After all, these are the data that are required to provide the Digital Archive, its depositors and its users evidence of the digital provenance of a digital object, and hence its authenticity. The Dictionary also contains rights attributes that must be structurally related to a digital object. These rights relate not only to (re)use rights, but also preservation rights. The collection attributes in the Preservation Metadata Dictionary V1.2 are based among others on the standards PBCore, the Library of Congress VideoMD and AudioMD, PREMIS, NARA reVTMD and the ANSI/NISO Z39.87 Data Dictionary Technical Metadata for Digital Still Images. -
EMA Mezzanine File Creation Specification and Best Practices Version 1.0.1 For
16530 Ventura Blvd., Suite 400 Encino, CA 91436 818.385.1500 www.entmerch.org EMA Mezzanine File Creation Specification and Best Practices Version 1.0.1 for Digital Audio‐Visual Distribution January 7, 2014 EMA MEZZANINE FILE CREATION SPECIFICATION AND BEST PRACTICES The Mezzanine File Working Group of EMA’s Digital Supply Chain Committee developed the attached recommended Mezzanine File Specification and Best Practices. Why is the Specification and Best Practices document needed? At the request of their customers, content providers and post‐house have been creating mezzanine files unique to each of their retail partners. This causes unnecessary costs in the supply chain and constrains the flow of new content. There is a demand to make more content available for digital distribution more quickly. Sales are lost if content isn’t available to be merchandised. Today’s ecosystem is too manual. Standardization will facilitate automation, reducing costs and increasing speed. Quality control issues slow down today’s processes. Creating one standard mezzanine file instead of many files for the same content should reduce the quantity of errors. And, when an error does occur and is caught by a single customer, it can be corrected for all retailers/distributors. Mezzanine File Working Group Participants in the Mezzanine File Working Group were: Amazon – Ben Waggoner, Ryan Wernet Dish – Timothy Loveridge Google – Bill Kotzman, Doug Stallard Microsoft – Andy Rosen Netflix – Steven Kang , Nick Levin, Chris Fetner Redbox Instant – Joe Ambeault Rovi -
On Engagement with ICT Standards and Their Implementations in Open Source Software Projects: Experiences and Insights from the Multimedia Field
International Journal of Standardization Research Volume 19 • Issue 1 On Engagement With ICT Standards and Their Implementations in Open Source Software Projects: Experiences and Insights From the Multimedia Field Jonas Gamalielsson, University of Skövde, Sweden Björn Lundell, University of Skövde, Sweden ABSTRACT The overarching goal in this paper is to investigate organisational engagement with an ICT standard and open source software (OSS) projects that implement the standard, with a specific focus on the multimedia field, which is relevant in light of the wide deployment of standards and different legal challenges in this field. The first part reports on experiences and insights from engagement with standards in the multimedia field and from implementation of such standards in OSS projects. The second part focuses on the case of the ITU-T H.264 standard and the two OSS projects OpenH264 and x264 that implement the standard, and reports on a characterisation of organisations that engage with and control the H.264 standard, and organisations that engage with and control OSS projects implementing the H.264 standard. Further, projects for standardisation and implementation of H.264 are contrasted with respect to mix of contributing organisations, and findings are related to organisational strategies of contributing organisations and previous research. KEywordS AVC, H.264, Involvement, ISO, ITU-T, OpenH264, Participation, x264 1 INTROdUCTION There are a number of different challenges related to provision of standards in the software sector, that can impact on the extent to which it is possible to faithfully implement the specification of a standard in software systems (Blind and Böhm, 2019; Gamalielsson and Lundell, 2013; Lundell et al., 2019; UK, 2015). -
Format Support
Episode 6 Format Support FILE FORMAT CODEC Episode Episode Episode Pro EngineCOMMENTS Adaptive bitrate streaming Microsoft Smooth Streaming H.264 (AAC audio) O Windows OS only. Available with Episode Engine License. Apple HLS H.264 (AAC audio) O Available with Episode Engine License. Windows Media WMV, ASF VC-1 O O O WM9 I/O I/O I/O WMV7 and 8 through F4M component on Mac WMA I/O I/O I/O WMA Pro I/O I/O I/O Flash FLV Flash 8 (VP6s/VP6e) I/O I/O I/O SWF Flash 8 (VP6s/VP6e) I/O I/O I/O MOV/MP4/F4V Flash 9 (H.264) I/O I/O I/O F4V as extension to MP4 WebM WebM VP8 O O O Vorbis O O O 3GPP 3GPP AAC I/O I/O I/O H.263 I/O I/O I/O H.264 I/O I/O I/O MainConcept and x264 MPEG-4 I/O I/O I/O 3GPP2 3GPP2 AAC I/O I/O I/O H.263 I/O I/O I/O H.264 I/O I/O I/O MainConcept and x264 MPEG-4 I/O I/O I/O MPEG Elementary Streams MPEG-1 Elementary Stream MPEG-1 (video) I/O I/O I/O MPEG-2 Elementary Stream MPEG-2 I/O I/O I/O MPEG Program Streams PS AAC O O O MainConcept and x264 H.264 I/O I/O I/O MPEG-1/2 (audio) I/O I/O I/O MPEG-2 I/O I/O I/O MPEG-4 I/O I/O I/O MPEG Transport Streams TS AAC I O O AES I I/O I/O H.264 I I/O I/O MainConcept and x264 AVCHD I I I HDV I I/O I/O MPEG - 1/2 (audio) I I/O I/O MPEG - 2 I I/O I/O MPEG - 4 I I/O I/O PCM I I I Matrox MAX H.264 I/O I/O I/O QT codec (*output possible via QT), Requires Matrox MAX hardware - Mac OS X only MPEG System Streams M1A MPEG-1 (audio) I/O I/O I/O M1V MPEG-1 (audio) I/O I/O I/O Episode 6 Format Support Format Support FILE FORMAT CODEC Episode Episode Episode Pro EngineCOMMENTS MPEG-4 MP4 AAC I/O I/O I/O -
Ffmpeg Codecs Documentation Table of Contents
FFmpeg Codecs Documentation Table of Contents 1 Description 2 Codec Options 3 Decoders 4 Video Decoders 4.1 hevc 4.2 rawvideo 4.2.1 Options 5 Audio Decoders 5.1 ac3 5.1.1 AC-3 Decoder Options 5.2 flac 5.2.1 FLAC Decoder options 5.3 ffwavesynth 5.4 libcelt 5.5 libgsm 5.6 libilbc 5.6.1 Options 5.7 libopencore-amrnb 5.8 libopencore-amrwb 5.9 libopus 6 Subtitles Decoders 6.1 dvbsub 6.1.1 Options 6.2 dvdsub 6.2.1 Options 6.3 libzvbi-teletext 6.3.1 Options 7 Encoders 8 Audio Encoders 8.1 aac 8.1.1 Options 8.2 ac3 and ac3_fixed 8.2.1 AC-3 Metadata 8.2.1.1 Metadata Control Options 8.2.1.2 Downmix Levels 8.2.1.3 Audio Production Information 8.2.1.4 Other Metadata Options 8.2.2 Extended Bitstream Information 8.2.2.1 Extended Bitstream Information - Part 1 8.2.2.2 Extended Bitstream Information - Part 2 8.2.3 Other AC-3 Encoding Options 8.2.4 Floating-Point-Only AC-3 Encoding Options 8.3 flac 8.3.1 Options 8.4 opus 8.4.1 Options 8.5 libfdk_aac 8.5.1 Options 8.5.2 Examples 8.6 libmp3lame 8.6.1 Options 8.7 libopencore-amrnb 8.7.1 Options 8.8 libopus 8.8.1 Option Mapping 8.9 libshine 8.9.1 Options 8.10 libtwolame 8.10.1 Options 8.11 libvo-amrwbenc 8.11.1 Options 8.12 libvorbis 8.12.1 Options 8.13 libwavpack 8.13.1 Options 8.14 mjpeg 8.14.1 Options 8.15 wavpack 8.15.1 Options 8.15.1.1 Shared options 8.15.1.2 Private options 9 Video Encoders 9.1 Hap 9.1.1 Options 9.2 jpeg2000 9.2.1 Options 9.3 libkvazaar 9.3.1 Options 9.4 libopenh264 9.4.1 Options 9.5 libtheora 9.5.1 Options 9.5.2 Examples 9.6 libvpx 9.6.1 Options 9.7 libwebp 9.7.1 Pixel Format 9.7.2 Options 9.8 libx264, libx264rgb 9.8.1 Supported Pixel Formats 9.8.2 Options 9.9 libx265 9.9.1 Options 9.10 libxvid 9.10.1 Options 9.11 mpeg2 9.11.1 Options 9.12 png 9.12.1 Private options 9.13 ProRes 9.13.1 Private Options for prores-ks 9.13.2 Speed considerations 9.14 QSV encoders 9.15 snow 9.15.1 Options 9.16 vc2 9.16.1 Options 10 Subtitles Encoders 10.1 dvdsub 10.1.1 Options 11 See Also 12 Authors 1 Description# TOC This document describes the codecs (decoders and encoders) provided by the libavcodec library. -
AVC, HEVC, VP9, AVS2 Or AV1? — a Comparative Study of State-Of-The-Art Video Encoders on 4K Videos
AVC, HEVC, VP9, AVS2 or AV1? | A Comparative Study of State-of-the-art Video Encoders on 4K Videos Zhuoran Li, Zhengfang Duanmu, Wentao Liu, and Zhou Wang University of Waterloo, Waterloo, ON N2L 3G1, Canada fz777li,zduanmu,w238liu,[email protected] Abstract. 4K, ultra high-definition (UHD), and higher resolution video contents have become increasingly popular recently. The largely increased data rate casts great challenges to video compression and communication technologies. Emerging video coding methods are claimed to achieve su- perior performance for high-resolution video content, but thorough and independent validations are lacking. In this study, we carry out an in- dependent and so far the most comprehensive subjective testing and performance evaluation on videos of diverse resolutions, bit rates and content variations, and compressed by popular and emerging video cod- ing methods including H.264/AVC, H.265/HEVC, VP9, AVS2 and AV1. Our statistical analysis derived from a total of more than 36,000 raw sub- jective ratings on 1,200 test videos suggests that significant improvement in terms of rate-quality performance against the AVC encoder has been achieved by state-of-the-art encoders, and such improvement is increas- ingly manifest with the increase of resolution. Furthermore, we evaluate state-of-the-art objective video quality assessment models, and our re- sults show that the SSIMplus measure performs the best in predicting 4K subjective video quality. The database will be made available online to the public to facilitate future video encoding and video quality research. Keywords: Video compression, quality-of-experience, subjective qual- ity assessment, objective quality assessment, 4K video, ultra-high-definition (UHD), video coding standard 1 Introduction 4K, ultra high-definition (UHD), and higher resolution video contents have en- joyed a remarkable growth in recent years. -
MPEG-4 AVC/H.264 Video Codecs Comparison Short Version of Report
MPEG-4 AVC/H.264 Video Codecs Comparison Short version of report Project head: Dr. Dmitriy Vatolin Measurements, analysis: Dr. Dmitriy Kulikov, Alexander Parshin Codecs: DivX H.264 Elecard H.264 Intel® MediaSDK AVC/H.264 MainConcept H.264 Microsoft Expression Encoder Theora x264 XviD (MPEG-4 ASP codec) April 2010 CS MSU Graphics&Media Lab Video Group http://www.compression.ru/video/codec_comparison/index_en.html [email protected] VIDEO MPEG-4 AVC/H.264 CODECS COMPARISON MOSCOW, APR 2010 CS MSU GRAPHICS & MEDIA LAB VIDEO GROUP SHORT VERSION Contents Contents .................................................................................................................... 2 1 Acknowledgments ............................................................................................. 4 2 Overview ........................................................................................................... 5 2.1 Sequences .....................................................................................................................5 2.2 Codecs ...........................................................................................................................5 2.3 Objectives and Testing Rules ........................................................................................6 2.4 H.264 Codec Testing Objectives ...................................................................................6 2.5 Testing Rules .................................................................................................................6 -
A Teleca Company Compression Master 3.2 Is The
www.popwire.com Compression Master 3.2 is the application for Lightning Fast Codecs the professional media producer who requires Developed from scratch in native Mac OS X code, simplicity and reliability without sacrifi cing leveraging years of expertise in video and audio any choices. Compression Master enables processing, Popwire Technology’s codecs are blazingly you to produce content for DVD, Internet, fast while delivering unsurpassed quality. Additionally, these codecs give you access to over 45 media formats broadcasting, mobile phones, portable video such as MPEG-2, MPEG-4, DV, QuickTime, H.264, players, music services or any other type of 3GPP and native Mac OS X encoding of Windows and media. Real Media. Video Encoding for the Mac Best-of-Breed Quality Filters and Results With Compression Master from Popwire Technology Native YCbCr processing together with innovative pre- the reliability and speed of server based video processing such as Popwire Technology’s deinterlacing encoding is brought to the desktop. With its extensive with edge detection interpolation, three-level noise format support Compression Master converts to and reduction, frame rate fi lter that enables true inverse from all common formats such as MPEG-2, MPEG- telecine, as well as conversion between NTSC, PAL, 4, QuickTime, DV, H.264, 3GPP, Flash, Windows fi lm, HD to SD, guarantees that you get the highest and Real Media for anything from satellite- and web possible quality. From broadcast media to the Internet broadcasting, DVD authoring to the video enabled iPod or the 3G mobile phone, the results are perfect and you and 3G Mobile Phones. -
Cambria Ftc Cambria Ftc: Technical Specifications
CAMBRIA FTC CAMBRIA FTC: TECHNICAL SPECIFICATIONS Version .9 12/6/2017 Page 1 CAMBRIA FTC CAMBRIA FTC: TECHNICAL SPECIFICATIONS TABLE OF CONTENTS 1 PURPOSE OF THIS DOCUMENT................................................................................................3 1.1Purpose of This Technical specifications document.....................................................3 2 OVERVIEW OF FUNCTIONALITY ...............................................................................................3 2.1Key Features....................................................................................................................3 2.1.1 General Features.................................................................................................3 2.1.2 Engine Features...................................................................................................3 2.1.3 Workflow Features...............................................................................................4 2.1.4 Video and Audio Filters.....................................................................................5 3 MINIMUM SYSTEM REQUIREMENTS........................................................................................5 3.1Operating System............................................................................................................5 3.1.1 Windows Update May Be Required.................................................................6 3.2 Processor......................................................................................................................6 -
Moose Kidstalks Presentation A/V Information
Moose KidsTalks Presentation A/V Information The time you have to present your Moose KidsTalks information and what you did is your time and you are allowed to use that time anyway you please to get your information across to your peers. The following information is for anyone that would like to use technology to present their information. If you are going to use a presentation that requires a computer, the following are the requirements to make your presentation work with the set-up that is available. Presentation/Keynote/PowerPoint 1. Presentation must be in one of the following: 1. Email your presentation to Gordie Dailey or Camille Ruffino (windows based) so we have a back up copy. 2. Apple Keynote 3. Prezi 4. Any ONLINE presentation tool 2. Presentation should be brought on a flash drive or readily available on an online storage system (ex. - Google Drive, Dropbox). Local storage like a flash drive is more reliable and recommended. However, based on experience, please have a backup of all materials. We recommend using Google Drive. They offer 15 GB of free storage, which is plenty of room for any and all files you would be using. 3. If audio is required, please have the audio file embedded into the presentation, video, or have the audio file available on a storage device to play through a computer. Phones, iPods, MP3 players are also allowed to be used, but must use a standard 3.5mm headphone jack. Video If your video is online, be able to quickly access the link or search result.