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Capabilities of the Horchow Auditorium and the Orientation
Performance Capabilities of Horchow Auditorium and Atrium at the Dallas Museum of Art Horchow Auditorium Capacity and Stage: The auditorium seats 333 people (with a 12 removable chair option in the back), maxing out the capacity at 345). The stage is 45’ X 18’and the screen is 27’ X 14’. A height adjustable podium, microphone, podium clock and light are standard equipment available. Installed/Available Equipment Sound: Lighting: 24 channel sound board 24 fixed lights 4 stage monitors (with up to 4 Mixes) 5 movers (these give a wide array of lighting looks) 6 hardwired microphones 4 wireless lavaliere microphones 2 handheld wireless microphones (with headphone option) 9-foot Steinway Concert Grand Piano 3 Bose towers (these have been requested by Acoustic performers before and work very well) Music stands Projection Panasonic PTRQ32 4K 20,000 Lumen Laser Projector Preferred Video Formats in Horchow Blu Ray DVD Apple ProRes 4:2:2 Standard in a .mov wrapper H.264 in a .mov wrapper Formats we can use, but are not optimal MPEG-1/2 Dirac / VC-2 DivX® (1/2/3/4/5/6) MJPEG (A/B) MPEG-4 ASP WMV 1/2 XviD WMV 3 / WMV-9 / VC-1 3ivX D4 Sorenson 1/3 H.261/H.263 / H.263i DV H.264 / MPEG-4 AVC On2 VP3/VP5/VP6 Cinepak Indeo Video v3 (IV32) Theora Real Video (1/2/3/4) Atrium Capacity and Stage: The Atrium seats up to 500 people (chair rental required). The stage available to be installed in the Atrium is 16’ x 12’ x 1’. -
(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. -
Codec Is a Portmanteau of Either
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. -
Mcgraw-Hill New York Chicago San Francisco Lisbon London Madrid Mexico City Milan New Delhi San Juan Seoul Singapore Sydney Toronto Mcgraw-Hill Abc
Y L F M A E T Team-Fly® Streaming Media Demystified Michael Topic McGraw-Hill New York Chicago San Francisco Lisbon London Madrid Mexico City Milan New Delhi San Juan Seoul Singapore Sydney Toronto McGraw-Hill abc Copyright © 2002 by The McGraw-Hill Companies, Inc. All rights reserved. Manufactured in the United States of America. Except as permitted under the United States Copyright Act of 1976, no part of this publication may be reproduced or distrib- uted in any form or by any means, or stored in a database or retrieval system, without the prior written permission of the publisher. 0-07-140962-9 The material in this eBook also appears in the print version of this title: 0-07-138877-X. All trademarks are trademarks of their respective owners. Rather than put a trademark symbol after every occurrence of a trademarked name, we use names in an editorial fashion only, and to the benefit of the trademark owner, with no intention of infringement of the trademark. Where such designations appear in this book, they have been printed with initial caps. McGraw-Hill eBooks are available at special quantity discounts to use as premiums and sales promotions, or for use in cor- porate training programs. For more information, please contact George Hoare, Special Sales, at george_hoare@mcgraw- hill.com or (212) 904-4069. TERMS OF USE This is a copyrighted work and The McGraw-Hill Companies, Inc. (“McGraw-Hill”) and its licensors reserve all rights in and to the work. Use of this work is subject to these terms. -
Directshow Codecs On
DirectShow Codecs (Reported) Version RVG 0.5754 Windows Vista X86 Windows Vista X64 Codec Company Description Reported Windows XP Pro WindowsXP Starter Business N Business HomeBasic N HomeBasic HomePremium Ultimate Business N Business HomeBasic N HomeBasic HomePremium Ultimate AVI Decompressor Microsoft Corporation DirectShow Runtime AVI Draw Microsoft Corporation DirectShow Runtime Cinepak Codec by Radius Radius Inc. Cinepak® Codec DV Splitter Microsoft Corporation DirectShow Runtime DV Video Decoder Microsoft Corporation DirectShow Runtime DV Video Encoder Microsoft Corporation DirectShow Runtime Indeo® video 4.4 Decompression Filter Intel Corporation Intel Indeo® Video 4.5 Indeo® video 5.10 Intel Corporation Intel Indeo® video 5.10 Indeo® video 5.10 Compression Filter Intel Corporation Intel Indeo® video 5.10 Indeo® video 5.10 Decompression Filter Intel Corporation Intel Indeo® video 5.10 Intel 4:2:0 Video V2.50 Intel Corporation Microsoft H.263 ICM Driver Intel Indeo(R) Video R3.2 Intel Corporation N/A Intel Indeo® Video 4.5 Intel Corporation Intel Indeo® Video 4.5 Intel Indeo(R) Video YUV Intel IYUV codec Intel Corporation Codec Microsoft H.261 Video Codec Microsoft Corporation Microsoft H.261 ICM Driver Microsoft H.263 Video Codec Microsoft Corporation Microsoft H.263 ICM Driver Microsoft MPEG-4 Video Microsoft MPEG-4 Video Decompressor Microsoft Corporation Decompressor Microsoft RLE Microsoft Corporation Microsoft RLE Compressor Microsoft Screen Video Microsoft Screen Video Decompressor Microsoft Corporation Decompressor Video -
For Immediate Release Press Contact Wendy Espey Phone: +61 2 9635 4881 [email protected]
For Immediate Release Press Contact Wendy Espey Phone: +61 2 9635 4881 [email protected] 3ivx MPEG-4 5.0 Global Release Sydney, Australia — June 6, 2007 — 3ivx Technologies Pty. Ltd., the MPEG-4 Video & Audio specialist, announces the immediate world wide availability of version 5.0 of the 3ivx MPEG-4 compression suite for Windows, Mac OS X & Linux. This release is the culmination of 7 years research and development. 3ivx’s compression technology enables the transmission and storage of video which would otherwise be too large to store or transmit. 3ivx MPEG-4 5.0 consists of separate MPEG-4 Audio, MPEG-4 Video and MP4 File Format components for authoring and playback of MPEG-4 media. Technical Details 3ivx MPEG-4 5.0 is an MPEG-4 Part 2 Advanced Simple Profile implementation for Mac OS X, Windows Vista and Linux. 3ivx MPEG-4 5.0 now includes support for B-Frames, Interlaced Decoding and Glo- bal Motion Compensation. MPEG, H.263 and Custom Quantization Matrices, Pixel Aspect Ratios, NVop Suppression, Variable Framerate Encoding and Quarter Pixel or Half Pixel Motion Interpolation with 8x8 or 16x16 Motion Vector functionality has also been added. New CPU Complexity Controls enable realtime video encoding by allowing Speed vs Quality trade-offs, combined with VBR, CBR and ABR Single Pass modes provide enhanced Live Streaming capabilities. Video Archiving and Offline Production benefit from Dual Pass modes with Fast First Pass and Credit Suppression. Error Detection, Recovery and Concealment aid in the playback of error prone streams while the MP4 Media Tools can be used to recondition and repair malformed pre-exist- ing MPEG-4 streams to enable broader interoperability. -
Finding an Appropriate Codec -.:: GEOCITIES.Ws
1 Adobe Premiere Technical Guides Finding an appropriate codec Codecs are compression/decompression algorithms that are crucial for producing digital video and audio. Some codecs are more appropriate for certain kinds of work than others. Which codecs are available to you when editing digital video in Adobe® Premiere® 6.0 depends on your system and capture card. This choice is further constrained by the Editing Mode you choose in Premiere’s Project Settings dialog box. For example, in Windows the video codecs you can choose in Project Settings will be different if you choose Video for Windows as your Editing Mode than if you choose Quicktime. When you export digital video, the available codecs are determined by the File Type you choose in the Export Movie Settings dialog box. You can evaluate codecs by their intended uses, compression methods, and how they handle different kinds of pictures or sound. Video for Windows and QuickTime software are used for a wide range of video-related tasks, such as video conferencing, so they include many codecs which are not appropriate for video editing. Codecs intended for purposes other than video editing are identified in this section so that you can avoid them. If your video card provides hardware compression and its software is properly installed, its codec will appear in the Compressor menu in the Video Settings panel of the Project Settings dialog box. You can also access the codec in the dialog box for your video-capture hardware, which you can open by clicking the Video button in the Capture Settings panel of the Project Settings dialog box. -
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: -
System Information ---Time of This Report: 11/23/2010, 00:57:15
------------------ System Information ------------------ Time of this report: 11/23/2010, 00:57:15 Machine name: WANTEDPC Operating System: Windows XP Professional (5.1, Build 2600) Service Pack 2 (2 600.xpsp_sp2_rtm.0408032158) Language: English (Regional Setting: English) System Manufacturer: ECS System Model: 945GCTM2 BIOS: Default System BIOS Processor: Intel(R) Pentium(R) Dual CPU E2200 @ 2.20GHz (2 CPUs) Memory: 2040MB RAM Page File: 228MB used, 3707MB available Windows Dir: C:\WINDOWS DirectX Version: DirectX 9.0c (4.09.0000.0904) DX Setup Parameters: Not found DxDiag Version: 5.03.2600.2180 32bit Unicode ------------ DxDiag Notes ------------ DirectX Files Tab: No problems found. Display Tab 1: No problems found. DirectDraw test results: All tests were successful. Direct3D 7 test results: All tests were successful. Direct3D 8 test results: All tests were successful. Direct3D 9 test results: All tests were succ essful. Sound Tab 1: DirectSound test results: All tests were successful. Music Tab: DirectMusic test results: All tests were successful. Input Tab: No problems found. Network Tab: No problems found. DirectPlay test results: The tests were cancelled before completing. -------------------- DirectX Debug Levels -------------------- Direct3D: 0/4 (n/a) DirectDraw: 0/4 (retail) DirectInput: 0/5 (n/a) DirectMusic: 0/5 (n/a) DirectPlay: 0/9 (retail) DirectSound: 0/5 (retail) DirectShow: 0/6 (retail) --------------- Display Devices --------------- Card name: Intel(R) 82945G Express Chipset Family Manufacturer: Intel Corporation -
Video Quality Measurement for 3G Handset
University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2007 Video Quality Measurement for 3G Handset Zeeshan http://hdl.handle.net/10026.2/509 University of Plymouth All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. Video Quality Measurement for 3G Handset by Zeeshan Dissertation submitted in partial fulfilment of the requirements for the award of Master of Research in Communications Engineering and Signal Processing in School of Computing, Communication and Electronics University of Plymouth January 2007 Supervisors Professor Emmanuel C. Ifeachor Dr. Lingfen Sun Mr. Zhuoqun Li © Zeeshan 2007 University of Plymouth Library Item no. „ . ^ „ Declaration This is to certify that the candidate, Mr. Zeeshan, carried out the work submitted herewith Candidate's Signature: Mr. Zeeshan KJ(. 'X&_.XJ<t^ Date: 25/01/2007 Supervisor's Signature: Dr. Lingfen Sun /^i^-^^^^f^ » P^^^. 25/01/2007 Second Supervisor's Signature: Mr. Zhuoqun Li / Date: 25/01/2007 Copyright & Legal Notice This copy of the dissertation has been supplied on the condition that anyone who consults it is understood to recognize that its copyright rests with its author and that no part of this dissertation and information derived from it may be published without the author's prior written consent. -
Multimedia and Computer Security Introduction to Multimedia
Unit 8: Multimedia and Computer Security Introduction to Multimedia: • Newspaper and television are the common medium of mass communication. However, they differ in the way they present information to the user. • The information in a newspaper is presented as a combination of text, image, and graphics. This has a different impact on the user than the information presented on the television as a combination of image, photo, video, sound and music. • Similarly, talking over a telephone (using sound) has a different impact on the user, than, talking using the Internet telephone with a web camera (sound and photo) attached to it. • In other words, the same information when presented using different media has a different impact on the user. Or, we can say that the media used for presenting the information affects the way the user perceives and understands the information. • Multimedia is a combination of graphics, audio, text, animation, and video using the computer. Multimedia-Definition: • The word multimedia consists of two words—multi and media. The word multi means many and the word media (plural of medium) are the means through which information is shared. • Multimedia is the field concerned with the computer-controlled integration of text, graphics, drawings, still and moving images (Video), animation, audio, and any other media where every type of information can be represented, stored, transmitted and processed digitally. • A Multimedia Application is an Application which uses a collection of multiple media sources e.g. text, graphics, images, sound/audio, animation and/or video. • Newspaper, radio, television and films are some of the earliest and traditional means of mass communication that use mass media. -
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.