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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. -
The History and Politics of DTV Cinemasource , 18 Denbow Rd., Durham, NH 03824 Cinemasource.Com 800-483-9778
The History and Politics of DTV CinemaSource , 18 Denbow Rd., Durham, NH 03824 cinemasource.com 800-483-9778 CinemaSource Technical Bulletins. Copyright 2002 by CinemaSource, Inc. All rights reserved. Printed in the United States of America. No part of this bulletin may be used or reproduced in any manner whatsoever without written permission, except in brief quotations embodied in critical reviews. CinemaSource is a registered federal trademark. For information contact: The CinemaSource Press, 18 Denbow Rd. Durham, NH 03824 Chapter One: The History of DT V 3 The History and Politics of DTV Chapter 1: The History of Digital Television • The history of DTV ------------------------------------------------------------------ Page 4 • Behind The Scenes of the Grand Alliance ------------------------------------ Page 11 Chapter 2: The Politics of Digital Television • Can the FCC Fix the Transition? ------------------------------------------------- Page 15 • The Great 8-VSB vs COFDM Debate ------------------------------------------ Page 18 • How The Cable Companies Fit In ----------------------------------------------- Page 20 • Digital Copy Protection Via HDCP ---------------------------------------------- Page 23 • Digital Copy Protection Via DTLA ----------------------------------------------- Page 25 • And Some Negative Opinions ---------------------------------------------------- Page 26 Chapter One: The History of DT V 4 From The Guide To Digital Television Chapter One: Published by United Entertainment Media The History of 460 Park Avenue South, 9th Floor New York, NY 10016 DTV (212) 378-0449 For more information: www.digitaltelevision.com rom concept to reality, the quest for a new viewing 2) An existing NTSC-compatible channel, unchanged, and experience has reshaped the technical and a separate 6 MHz channel containing an independent non- Fregulatory landscape of broadcasting in North NTSC-compatible HDTV signal America, and indeed, around the world. -
Save 15%* on AT&T Monthly Wireless Services
PRINTED IN THE U.S.A. Save 15%* on AT&T monthly wireless services. Go union and start saving today! In addition to saving money, you’ll be supporting union workers and their families. AT&T is the only national unionized wireless carrier—with over 40,000 union represented employees. Start Saving Today! Q Visit your local AT&T store Just bring this ad and union identification to your local AT&T store. To find a location near you, visit UnionPlus.org/ATT. (Not available at authorized AT&T dealers or kiosks.) Q Online @ UnionPlus.org/ATT Purchase services and find specials on phones. This offer is available only to qualified union members and retired union members. Union identification is required. The IATSE FAN# is 3508840 The Union Plus FAN# is * Credit approval and new two-year service agreement required. Additional lines for family plans, unlimited plans and Unity Plans or plans combining land line and wireless are not eligible. Other conditions and restrictions apply. ATT-IATSE-0610 INTERNATIONAL ALLIANCE OF THEATRICAL STAGE EMPLOYEES, MOVING PICTURE TECHNICIANS, ARTISTS AND ALLIED CRAFTS OF THE UNITED STATES, ITS TERRITORIES AND CANADA, AFL-CIO, CLC EXECUTIVE OFFICERS Matthew D. Loeb James B. Wood International President General Secretary–Treasurer Thomas C. Short Michael W. Proscia International General Secretary– President Emeritus Treasurer Emeritus Edward C. Powell SECOND QUARTER, 2010 NUMBER 628 International Vice President Emeritus Timothy F. Magee Brian J. Lawlor 1st Vice President 7th Vice President 20017 Van Dyke 1430 Broadway, 20th Floor Detroit, MI 48234 New York, NY 10018 FEATURES DEPARTMENTS Michael Barnes Michael F. -
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. -
Episode 7.3 Release Notes System Requirements
Episode 7.3 Release Notes System Requirements Mac Minimum System Requirements ● Operating System: OS X 10.11 or higher (Includes macOS Sierra 10.12) ● RAM: 8 GB or more ● 256 GB hard disk space, with 300 MB minimum for product installation ● Online Help Browser Requirements • Safari *Please note: Episode 7 does not support OS X 10.10 or previous versions of Mac OS X. Windows Minimum System Requirements ● Operating Systems: • Windows 7 64-bit SP1 (64-bit, 1.5 GHz) • Windows 8.1 (64-bit, 1.5 GHz) • Windows 10 (64-bit) • Windows Server 2012* ● RAM: 8 GB or more ● 256 GB hard disk space, with 300 MB minimum for product installation ● Bonjour Print ServiCes for Windows v2.0.2 ● .NET Framework 3.5 SP1 ● .NET Framework 4.6 ● Online Help Browser Requirements • Internet Explorer: Version 8 or higher • Firefox: Version 6 or higher *Please note: Episode 7 does not support Windows Server 2008. Episode 7.3 IMPROVEMENTS • AdDed support for DeCoDing the Cineform codeC. • ADDeD alpha Channel support for QT Animation sourCes. • ADDeD support for 8-bit BlackMagiC viDeo. • ADDeD support for WinDows RGB DeCoDe from an AVI Container. Copyright © 2017 Telestream, LLC January 2017 Page 1 BUG FIXES General • FixeD time CoDe issues when using Split & Stitch. • FixeD time CoDe issues for some MXF anD TS variants. • FixeD time CoDe issues when using 23.98fps. • FixeD CloseD Caption issues when using Split & Stitch. • FixeD Color format for JPEG 2000 in MOV. • FixeD Channel orDer for 5-Channel auDio. • FixeD a race ConDition when DeCoDing long AVC-Intra sourCes. -
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 ● ○ ○ ○ ● ○ ○ ○ ● ○ ● ○ ● ○ ● ○ ● ○ ○ ○ ● ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ● ○ ○ ○ -
Gopro Studio 2.5 User Manual for Windws Operating Systems
GoPro Studio 2.0 User Manual for Windows Operating Systems TABLE OF CONTENTS INTRODUCTION ..................................................................................................................................... 1 What is GoPro Studio? ............................................................................................................................................................................................... 1 Learning Resources ................................................................................................................................................................................................... 2 User Manual ........................................................................................................................................................................................................... 2 Readme File ........................................................................................................................................................................................................... 2 Online Help and Support ........................................................................................................................................................................................ 2 Installing GoPro Studio .............................................................................................................................................................................................. 3 UNDERSTANDING THE WORKFLOW .................................................................................................. -
Vmix User Guide
vMix User Guide Copyright © 2017 StudioCoast Pty Ltd vMix User Guide Table of contents Introduction and Features ................................................................................... 6 Getting Started ................................................................................................. 10 Presets ............................................................................................................ 12 New Preset .................................................................................................. 13 Open Preset ................................................................................................. 14 Last Preset ................................................................................................... 15 Video Controls ................................................................................................. 16 Fullscreen ........................................................................................................ 17 Transitions ...................................................................................................... 19 Quick Play ................................................................................................... 20 Cut ............................................................................................................. 21 Fade/Transition Buttons ................................................................................ 22 Merge Effect ............................................................................................... -
Baselight Codec Support
Baselight Codec Support Whether images are shot on film or using one of the Reading and writing formats many digital cameras now available, image media is being acquired and stored digitally in a bewildering range of file Some formats can be read and written by Baselight; others and movie formats. can be read only or written only. There are many reasons for this. A competent post-production system needs to be able to handle and transcode all of these to ensure optimal Decoders and codecs workflows. Baselight supports an extensive range of image A decoder just allows a movie file format to be read, while a and movie formats that employ many different codecs and codec allows the format to be both read and written. wrapper formats. Camera raw source formats Some digital cameras produce raw images with the original File formats sensor data saved in a Bayer format. To visualise an image, The table on the following pages shows the formats that it must be de-Bayered and converted to RGB. There is no are supported by Baselight, either natively or within one of benefit to Baselight writing an image in a Bayer format—raw the options described below, and their common extensions; images are used as source only, and so these formats will it also shows whether each format can be read or written, be decoded (read) but never written. and other relevant details such as bit depth and colour channels. Camera acquisition formats Some digital camera acquisition codecs use interframe (temporal) compression over multiple images. These Format options formats are not necessarily easy to edit or use for grading or VFX work, which require whole frames to operate on.