DOCSLIB.ORG

Universidad Politécnica De Valencia

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Universidad Politécnica De Valencia UNIVERSIDAD POLITÉCNICA DE VALENCIA ESCUELA POLITÉCNICA SUPERIOR DE GANDÍA MÁSTER EN POSTPRODUC CIÓN DIGITAL “Estudio de emisión de vídeo sobre HTML5” TRABAJO FINAL DE MÁSTER Autor: Andrés López Herreros Director: Jaime Lloret Mauri Gandía, septiembre de 2014 Estudio de emisión de vídeo sobre HTML5 Andrés López Herreros Página | 2 Estudio de emisión de vídeo sobre HTML5 Andrés López Herreros “La lucha es lo más importante; no su resultado, sino la rebelión en sí misma” FRITZ LANG Página | 3 Estudio de emisión de vídeo sobre HTML5 Andrés López Herreros Página | 4 Estudio de emisión de vídeo sobre HTML5 Andrés López Herreros RESUMEN / ABSTRACT El siguiente proyecto se presenta como un estudio de las diferentes posibilidades de emisión de vídeo digital a través del lenguaje de etiquetas HTML5 considerando el soporte de los navegadores del mercado frente a los diferentes formatos de contenedor y códecs. Igualmente, se analizan los distintos parámetros de compresión de software de codificación de vídeo para comprobar los ratios que soporten una mejor relación de tamaño/bitrate para su emisión en Internet bajo el estándar de HTML5. The next project is presented as a study of the different possibilities of digital video broadcast through HTML5 markup considering the market browsers support compared to the different codecs and container formats. Similarly, the various parameters of software compression video coding are analyzed for the ratios that support a better size/bitrate for broadcast on the Internet under the standard HTML5. PALABRAS CLAVE / KEY WORDS ESPAÑOL: HTML5, códec, compresión, vídeo, API. ENGLISH: HTML5, codec, codification, video, API. Página | 5 Estudio de emisión de vídeo sobre HTML5 Andrés López Herreros Página | 6 Estudio de emisión de vídeo sobre HTML5 Andrés López Herreros ÍNDICE GENERAL 1. Introducción 14 1.1. Introducción 14 1.2. Objetivos 16 1.3. Precedentes del proyecto 17 1.4. Estructura del proyecto 18 2. El estándar HTML5 22 2.1. Confección de la página web y enlace con vídeo 22 2.2. Código HTML para el header del index 23 2.3. Código HTML para la elección automática del formato de vídeo adecuado según el tipo de navegador 24 2.4. Código JavaScript para averiguar cuál es el navegador 25 2.5. Llamada a una función JavaScript para ejecutar la API WebWorkers de HTML5 25 3. Formatos, códecs y soporte en navegadores 26 3.1. Concepto contenedor 26 3.2. Códec 27 3.3. Principales códecs del estándar 29 3.3.1 MP4 (H.264) 29 3.3.2 OGG (Theora) 31 3.3.3 WebM (VP8) 36 4. Estudio y análisis de la codificación y emisión de vídeo sobre HTML5 39 4.1. Material y software utilizado 39 Página | 7 Estudio de emisión de vídeo sobre HTML5 Andrés López Herreros 4.2. Resultados experimentales 42 4.2.1 Identificación de los parámetros a analizar 42 4.2.2 Medición de datos 43 4.2.3 Creación de ratios 43 4.3. Resultado del análisis 44 4.3.1 Tamaños finales de codificación en PAL 25 y NTSC 23,976 según diferentes bitrates utilizando el software VLC 44 4.3.2 Tiempos finales de codificación en PAL 25 y NTSC 23,976 según diferentes bitrates utilizando el software VLC 51 4.3.3 Tamaños finales de codificación en PAL 25 y NTSC 23,976 según diferentes bitrates utilizando el software SUPER 55 4.3.4 Tiempos finales de codificación en PAL 25 y NTSC 23,976 según diferentes bitrates utilizando el software SUPER 59 4.4. Gráficas comparativas 64 4.5. Discusión de resultados 78 5. Conclusiones 84 5.1. Cumplimiento del objetivo 84 5.2. Conclusiones sobre el proyecto 85 5.3. Problemas encontrados y cómo se han solucionado 87 5.4. Aportaciones personales 88 5.5. Futuras líneas de trabajo 89 6. Bibliografía 91 6.1. Referencias 91 6.2. Bibliografía complementaria 93 Página | 8 Estudio de emisión de vídeo sobre HTML5 Andrés López Herreros ÍNDICE DE TABLAS 1. Soporte de los tres formatos del estándar HTML5 en los principales navegadores 27 2. Soporte de los tres códecs de vídeo del estándar HTML5 en los principales navegadores 28 2.1. Soporte de los tres códecs de audio del estándar HTML5 en los principales navegadores 29 3. Tamaños finales de codificación (MB) en PAL 25 con VLC y MP4 44 4. Tamaños finales de codificación (MB) en PAL 25 con VLC y OGG 45 5. Tamaños finales de codificación (MB) en PAL 25 con VLC y WebM 45 6. Tamaños finales de codificación (MB) en NTSC 23,976 con VLC y MP4 47 7. Tamaños finales de codificación (MB) en NTSC 23,976 con VLC y OGG 47 8. Tamaños finales de codificación (MB) en NTSC 23,976 con VLC y WebM 48 9. Tiempos finales de codificación (ms) en PAL 25 con VLC y MP4 51 10. Tiempos finales de codificación (ms) en PAL 25 con VLC y OGG 52 11. Tiempos finales de codificación (ms) en PAL 25 con VLC y WebM 52 12. Tiempos finales de codificación (ms) en NTSC 23,976 con VLC y MP4 53 13. Tiempos finales de codificación (ms) en NTSC 23,976 con VLC y OGG 54 14. Tiempos finales de codificación (ms) en NTSC 23,976 con VLC y WebM 54 15. Tamaños finales de codificación (MB) en PAL 25 con SUPER y MP4 55 16. Tamaños finales de codificación (MB) en PAL 25 con SUPER y OGG 56 17. Tamaños finales de codificación (MB) en PAL 25 con SUPER y WebM 56 18. Tamaños finales de codificación (MB) en NTSC 23,976 con SUPER y MP4 57 19. Tamaños finales de codificación (MB) en NTSC 23,976 con SUPER y OGG 58 20. Tamaños finales de codificación (MB) en NTSC 23,976 con SUPER y WebM 58 21. Tiempos finales de codificación (ms) en PAL 25 con SUPER y MP4 59 22. Tiempos finales de codificación (ms) en PAL 25 con SUPER y OGG 60 23. Tiempos finales de codificación (ms) en PAL 25 con SUPER y WebM 60 24. Tiempos finales de codificación (ms) en NTSC 23,976 con SUPER y MP4 62 25. Tiempos finales de codificación (ms) en NTSC 23,976 con SUPER y OGG 62 26. Tiempos finales de codificación (ms) en NTSC 23,976 con SUPER y WebM 63 27. Relación de parámetros de QoE según frame rate y software para MP4, OGG y WebM 81 Página | 9 Estudio de emisión de vídeo sobre HTML5 Andrés López Herreros ÍNDICE DE FIGURAS 1. Funcionamiento del algoritmo de compresión H.264 30 2. Capa del campo de la cabecera de metadatos OGG en la multiplexación del algoritmo (Ogg Page) 32 3. Fase del multiplexado OGG que indica en un campo de 8 bits el tipo de información que contiene 33 4. Ejemplos de software de terceros que soportan la codificación a través de la librería libtheora 35 5. Ejemplos de servidores de multimedia que pueden realizar streaming con Theora 35 6. Funcionamiento del algoritmo de compresión VP8 junto a su aceleración de software RTC 39 7. Ejemplo de secuencia GOP de 15 cuadros para MPEG-4, OGG y WebM 50 8. Tamaños finales de codificación (MB) en PAL 25 con VLC 65 8.1. Tamaños finales de codificación (MB) en PAL 25 con VLC y MP4 con ratios de compresión 65 8.2. Tamaños finales de codificación (MB) en PAL 25 con VLC y OGG con ratios de compresión 66 8.3. Tamaños finales de codificación (MB) en PAL 25 con VLC y WebM con ratios de compresión 66 9. Tamaños finales de codificación (MB) en NTSC 23,976 con VLC 67 9.1. Tamaños finales de codificación (MB) en NTSC 23,976 con VLC y MP4 con ratios de compresión 67 9.2. Tamaños finales de codificación (MB) en NTSC 23,976 con VLC y OGG con ratios de compresión 68 9.3. Tamaños finales de codificación (MB) en NTSC 23,976 con VLC y WebM con ratios de compresión 68 Página | 10 Estudio de emisión de vídeo sobre HTML5 Andrés López Herreros 10. Tiempos finales de codificación (s) en PAL 25 con VLC 69 10.1. Media de codificación, por segundo de vídeo, en PAL 25 con VLC en comparación al tiempo real de reproducción 69 11. Tiempos finales de codificación (s) en NTSC 23,976 con VLC 70 11.1. Media de codificación, por segundo de vídeo, en NTSC 23,976 con VLC en comparación al tiempo real de reproducción 70 12. Tamaños finales de codificación (MB) en PAL 25 con SUPER 71 12.1. Tamaños finales de codificación (MB) en PAL 25 con SUPER y MP4 con ratios de compresión 71 12.2. Tamaños finales de codificación (MB) en PAL 25 con SUPER y OGG con ratios de compresión 72 12.3. Tamaños finales de codificación (MB) en PAL 25 con SUPER y WebM con ratios de compresión 72 13. Tamaños finales de codificación (MB) en NTSC 23,976 con SUPER 73 13.1. Tamaños finales de codificación (MB) en NTSC 23,976 con SUPER y MP4 con ratios de compresión 73 13.2. Tamaños finales de codificación (MB) en NTSC 23,976 con SUPER y OGG con ratios de compresión 74 13.3. Tamaños finales de codificación (MB) en NTSC 23,976 con SUPER y WebM con ratios de compresión 74 14. Tiempos finales de codificación (s) en PAL 25 con SUPER 75 14.1. Media de codificación, por segundo de vídeo, en PAL 25 con SUPER en comparación al tiempo real de reproducción 75 15. Tiempos finales de codificación (s) en NTSC 23,976 con SUPER 76 Página | 11 Estudio de emisión de vídeo sobre HTML5 Andrés López Herreros 15.1.
Load more

Recommended publications
  • Opus, a Free, High-Quality Speech and Audio Codec
    Opus, a free, high-quality speech and audio codec Jean-Marc Valin, Koen Vos, Timothy B. Terriberry, Gregory Maxwell 29 January 2014 Xiph.Org & Mozilla What is Opus? ● New highly-flexible speech and audio codec – Works for most audio applications ● Completely free – Royalty-free licensing – Open-source implementation ● IETF RFC 6716 (Sep. 2012) Xiph.Org & Mozilla Why a New Audio Codec? http://xkcd.com/927/ http://imgs.xkcd.com/comics/standards.png Xiph.Org & Mozilla Why Should You Care? ● Best-in-class performance within a wide range of bitrates and applications ● Adaptability to varying network conditions ● Will be deployed as part of WebRTC ● No licensing costs ● No incompatible flavours Xiph.Org & Mozilla History ● Jan. 2007: SILK project started at Skype ● Nov. 2007: CELT project started ● Mar. 2009: Skype asks IETF to create a WG ● Feb. 2010: WG created ● Jul. 2010: First prototype of SILK+CELT codec ● Dec 2011: Opus surpasses Vorbis and AAC ● Sep. 2012: Opus becomes RFC 6716 ● Dec. 2013: Version 1.1 of libopus released Xiph.Org & Mozilla Applications and Standards (2010) Application Codec VoIP with PSTN AMR-NB Wideband VoIP/videoconference AMR-WB High-quality videoconference G.719 Low-bitrate music streaming HE-AAC High-quality music streaming AAC-LC Low-delay broadcast AAC-ELD Network music performance Xiph.Org & Mozilla Applications and Standards (2013) Application Codec VoIP with PSTN Opus Wideband VoIP/videoconference Opus High-quality videoconference Opus Low-bitrate music streaming Opus High-quality music streaming Opus Low-delay
    [Show full text]
  • Forcepoint DLP Supported File Formats and Size Limits
    Forcepoint DLP Supported File Formats and Size Limits Supported File Formats and Size Limits | Forcepoint DLP | v8.8.1 This article provides a list of the file formats that can be analyzed by Forcepoint DLP, file formats from which content and meta data can be extracted, and the file size limits for network, endpoint, and discovery functions. See: ● Supported File Formats ● File Size Limits © 2021 Forcepoint LLC Supported File Formats Supported File Formats and Size Limits | Forcepoint DLP | v8.8.1 The following tables lists the file formats supported by Forcepoint DLP. File formats are in alphabetical order by format group. ● Archive For mats, page 3 ● Backup Formats, page 7 ● Business Intelligence (BI) and Analysis Formats, page 8 ● Computer-Aided Design Formats, page 9 ● Cryptography Formats, page 12 ● Database Formats, page 14 ● Desktop publishing formats, page 16 ● eBook/Audio book formats, page 17 ● Executable formats, page 18 ● Font formats, page 20 ● Graphics formats - general, page 21 ● Graphics formats - vector graphics, page 26 ● Library formats, page 29 ● Log formats, page 30 ● Mail formats, page 31 ● Multimedia formats, page 32 ● Object formats, page 37 ● Presentation formats, page 38 ● Project management formats, page 40 ● Spreadsheet formats, page 41 ● Text and markup formats, page 43 ● Word processing formats, page 45 ● Miscellaneous formats, page 53 Supported file formats are added and updated frequently. Key to support tables Symbol Description Y The format is supported N The format is not supported P Partial metadata
    [Show full text]
  • MPLAB® Harmony Help - Decoder Libraries
    MPLAB® Harmony Help - Decoder Libraries MPLAB Harmony Integrated Software Framework v1.11 © 2013-2017 Microchip Technology Inc. All rights reserved. Decoder Libraries Help Decoder Libraries Help This section provides descriptions of the Decoder libraries that are available in MPLAB Harmony. © 2013-2017 Microchip Technology Inc. MPLAB Harmony v1.11 2 Decoder Libraries Help AAC Decoder Library Library Interface AAC Decoder Library This section describes the AAC Decoder Library. Introduction The AAC Decoder Library is available for the PIC32MX family of microcontrollers. Description The AAC Decoder Library is a premium product and is not included in the standard release of MPLAB Harmony and must be purchased separately. Refer to the Microchip Premium MPLAB Harmony Audio web page (www.microchip.com/pic32harmonypremiumaudio) for additional information. This AAC algorithm Non-Modifiable Binary Code is designed for 80 MHz or greater PIC32MX MCUs. Keep in mind, this code requires 62 MIPS peak 34 MIPS average performance, 61 KB Flash and 12 KB RAM without frame buffer memory for operation on the PIC32MX MCU. This product is the non-modifiable binary. A modifiable source-code version of this code is also available on Microchip Direct (SW320013-2). Users are responsible for licensing for their products through Via Licensing. Assembly Language Issue There is an assembly language issue in the AAC Decoder Library that misaligns the stack pointer. Contrary to the MIPS programming specification, this error is benign except when the application is built for a device with a hardware Floating Point Unit (FPU), such as the PIC32MZ EF family of devices. In this case, the sub-routine context-saving operations will produce an exception and stop the application.
    [Show full text]
  • (IETF) T. Terriberry Request for Comments: 7845 Mozilla Corporation Updates: 5334 R
    Internet Engineering Task Force (IETF) T. Terriberry Request for Comments: 7845 Mozilla Corporation Updates: 5334 R. Lee Category: Standards Track Voicetronix ISSN: 2070-1721 R. Giles Mozilla Corporation April 2016 Ogg Encapsulation for the Opus Audio Codec Abstract This document defines the Ogg encapsulation for the Opus interactive speech and audio codec. This allows data encoded in the Opus format to be stored in an Ogg logical bitstream. Status of This Memo This is an Internet Standards Track document. This document is a product of the Internet Engineering Task Force (IETF). It represents the consensus of the IETF community. It has received public review and has been approved for publication by the Internet Engineering Steering Group (IESG). Further information on Internet Standards is available in Section 2 of RFC 5741. Information about the current status of this document, any errata, and how to provide feedback on it may be obtained at http://www.rfc-editor.org/info/rfc7845. Copyright Notice Copyright (c) 2016 IETF Trust and the persons identified as the document authors. All rights reserved. This document is subject to BCP 78 and the IETF Trust's Legal Provisions Relating to IETF Documents (http://trustee.ietf.org/license-info) in effect on the date of publication of this document. Please review these documents carefully, as they describe your rights and restrictions with respect to this document. Code Components extracted from this document must include Simplified BSD License text as described in Section 4.e of the Trust Legal Provisions and are provided without warranty as described in the Simplified BSD License.
    [Show full text]
  • Roaraudio Manual
    RoarAudio Manual Philipp ”ph3-der-loewe” Schafft et al. August 13, 2010 Contents Contens 6 I Introduction 7 1 What is RoarAudio? 8 1.1 What is a Sound Server? ....................... 8 1.2 What are the key fatures of RoarAudio? .............. 8 2 Basic concept 10 II Quickstart 11 3 Installation 12 3.1 archlinux ............................... 12 3.2 OpenBSD ............................... 13 3.3 Debian ................................. 13 3.4 From Sources ............................. 14 4 Configuring 15 4.1 archlinux ............................... 15 4.2 OpenBSD ............................... 15 4.3 Debian ................................. 15 4.3.1 Options ............................ 15 5 Setting up a player 17 5.1 XMMS ................................. 17 5.2 libao based .............................. 17 5.3 Other ................................. 17 III User Manual 18 6 RoarAudio’s Architecture 19 6.1 Subsystems .............................. 19 6.2 Clients ................................. 19 6.3 Streams ................................ 19 6.3.1 Stream Types ......................... 20 6.3.2 Stream Flags ......................... 22 1 CONTENTS 2 6.4 Driver ................................. 24 6.5 Sources ................................ 24 6.6 Codecfilter ............................... 24 6.7 Bridges ................................ 24 7 Playing music on command lion with RoarAudio 25 7.1 roarcatplay .............................. 25 7.2 roarvorbis ............................... 25 7.3 roarradio ..............................
    [Show full text]
  • Plateforme De Diffusion Audio Net-Jukeboxe
    Plateforme de diffusion audio Net-jukeboxe Annexes de la plateforme Beytullah Gunduz, Ilies` Selmi, Johan Blaix, Maurice Zarka, et Tony Georges 21 juin 2006 A propos de ce document Ce document presente´ les annexes pour notre plateforme de diffusion audio sur internet Net-jukeboxe. Ces documents ont leur importance et montrent bien souvent le travail de fond que nous avons realis´ e´ pour ce projet. Nous avons ici uniquement une sel´ ection´ de document que nous pensons judicieux de presenter´ Vous trouverez notamment des documents sur les differentes´ recherches que nous avons pu effectu´ e´ durant ce projet. Des presentations´ de technologie accompagne´ de petits tutoriaux pour une prise en main rapide. Nous avons aussi decid´ e´ d’y glisser des manuels techniques concernant notre plateforme tel que le lancement du diffuseur ou encore la maintenance de la base de donnees.´ Table des mati`eres A Gestion de projet 5 A.1 Plan qualite´ ............................................. 5 A.2 Environnement technique du projet . 5 A.3 Documents de qualite´ produits : . 5 A.4 Comptes rendues de reunion´ . 6 A.4.1 Samedi 7 Janvier . 6 A.4.2 Samedi 14 Janvier . 7 A.4.3 Samedi 28 et Dimanche 29 Janvier . 8 A.4.4 Samedi 11 et Dimanche 12 Fevrier´ . 8 A.4.5 Samedi 25 et Dimanche 26 Fevrier´ . 9 A.4.6 Dimanche 5 Mars . 10 A.4.7 Jeudi 9 Mars . 11 A.4.8 Mardi 21 Mars . 11 A.4.9 Samedi 15 Avril . 12 A.4.10 Mardi 18 Avril . 12 A.4.11 Jeudi 20 Avril .
    [Show full text]
  • Real Time Implementation of OGG VORBIS Decoder on Analog Devices SHARC ADSP-21364
    Real time implementation of OGG VORBIS decoder on Analog Devices SHARC ADSP-21364 Sanjay Rajashekar, Ashish Shenoy P., Siddhartha Sampath, Akella Karthik and Dr. Sumam David S. Department of Electronics & Communication Engineering National Institute of Technology Karnataka, Surathkal, Mangalore 575025 INDIA Email: [email protected] Abstract—A real-time implementation of Ogg Vorbis audio decoding is computationally simpler than MP3, although it decoder using Analog Devices SHARC ADSP-21364 processor does require more working memory as Vorbis has a dynamic is presented in this paper. The ADSP-21364 is a floating-point probability model [2]. The probability model is dynamic in processor optimized for professional audio applications. We exploit the architectural features of this processor to implement the sense that a particular distribution is decided based on the the decoder using floating point arithmetic. Since the SHARC audio content in that particular frame of data. There are many ADSP-21364 processor poses stringent memory constraints for such models for an audio file, each frame being associated the dynamic probability models used in Ogg Vorbis, a technique with a model. The larger the number of statistically different for significantly reducing memory requirement is presented. frames of data, larger will be the number of models used. Compressed-array-representations of tree structures are used to reduce the execution time of the critical section of the Naturally, the information regarding these models have to be code. This is one of the early implementations of floating point coded and sent along with the compressed audio data. Usage of Ogg Vorbis decoder on the SHARC ADSP-21364 processor.
    [Show full text]
  • The IETF Journal a Report from IETF 87, July 2013, Berlin, Germany
    Volume 9, Issue 2 • November 2013 ® the IETF Journal A report from IETF 87, July 2013, Berlin, Germany. Published by the Internet Society in cooperation with the Inside this Issue Internet Engineering Task Force* From the Editor’s Desk .....1 Get to Know the Opus Codec ...............................1 Message from the IETF Chair ........................2 Words from the IAB Chair .................................3 Opus Is a Model for Future IETF Standards Work .................................7 IETF Hosts Diversity Debate ..............................9 From the Editor’s Desk IETF Privacy Update ......10 By Mat Ford Internet Society Fellow n this jam-packed issue of The IETF Journal we present a thick slice of the schokoladentorte that Sets RFC Milestone........13 was the 87th meeting of the Internet Engineering Task Force, which took place in sunny Berlin, It’s Time to Give Online IGermany. One feature of this meeting was the large number of students in attendance, and our Games Serious Consideration .................14 articles on the student outreach pilot project and the MANIAC challenge explain why. Internet Society Panel Our cover article this issue documents a real IETF success story—the development, specification Tackles Transient and deployment of the Opus audio codec. And we have articles about two other hot new IETF work Congestion .....................16 areas: security for telephony identity and mitigating email abuse. Other BoF meetings are covered in Latin American our regular IETF Ornithology column. Participation in the IETF ................................18 We also have articles on an online gaming tutorial (it was work, honest!) and a very timely roundup Protecting Consumers of privacy and security developments. We celebrate the most recent winners of the Applied Net- from Fraud ......................20 working Research Prize, and document the Internet Society panel event that debated the need for Secure Telephone coordinated optimisations to improve Internet experience.
    [Show full text]
  • USING OMA DRM 2.0 PROTECTED CONTENT Ogg Vorbis Protected Audio Under Symbian OS
    USING OMA DRM 2.0 PROTECTED CONTENT Ogg Vorbis Protected Audio under Symbian OS Francisco Pimenta, Carlos Serrão ADETTI, ISCTE/DCTI, Av. das Forças Armadas, Edifício ISCTE, Lisboa, Portugal Keywords: OMA, DRM, Symbian OS, Ogg Vorbis, Security, Cryptography. Abstract: The lack of control inherent to digital content has been put on the spotlight by copyright infringement coupled with massive content distribution online (e.g., Peer-to-Peer). Digital Rights Management seems to be the solution to counter this problem advocating the use of cryptography and other related security mechanisms to protect digital content and to associate rights with it which determine how, when and by whom it can be consumed. The Open Mobile Alliance (OMA) specifies mobile service enablers in order to ensure interoperability throughout the mobile spectrum. As prominent mobile devices, Symbian OS smartphones offer an interesting platform for the demonstration of OMA DRM for the consumption of multimedia content. This article outlines the mechanisms enabling the protected consumption of the open and patent-free audio format (Ogg Vorbis Website), Ogg Vorbis using an OMA DRM 2.0 compliant audio player application running under Symbian OS (directed for mobile devices). 1 INTRODUCTION Symbian Operating System (OS) mobile phones are a compelling deployment platform for OMA The growing proliferation of multimedia digital DRM 2.0 as their usage and multimedia capabilities content throughout, virtually, every digital platform are on the rise. and system available today has produced a profound impact. Digital Rights Management (DRM) solutions aim 2 OMA DRM 2.0 OVERVIEW to enable content providers to assign and oversee usage permissions or rights for multimedia content The main focus for this document will be the OMA upon purchase/distribution with the aid of DRM Agent entity and in particular it’s content and cryptographic mechanisms.
    [Show full text]
  • A URI-Based Approach for Addressing Fragments of Media Resources on the Web
    Multimed Tools Appl (2012) 59:691–715 DOI 10.1007/s11042-010-0683-z A URI-based approach for addressing fragments of media resources on the Web Erik Mannens · Davy Van Deursen · Raphaël Troncy · Silvia Pfeiffer · Conrad Parker · Yves Lafon · Jack Jansen · Michael Hausenblas · Rik Van de Walle Published online: 31 December 2010 © Springer Science+Business Media, LLC 2010 Abstract To make media resources a prime citizen on the Web, we have to go beyond simply replicating digital media files. The Web is based on hyperlinks E. Mannens (B) · D. Van Deursen · R. Van de Walle ELIS—Multimedia Lab, Ghent University—IBBT, Ghent, Belgium e-mail: [email protected] D. Van Deursen e-mail: [email protected] R. Van de Walle e-mail: [email protected] R. Troncy Multimedia Communications Department, EURECOM, Sophia Antipolis, France e-mail: [email protected] S. Pfeiffer Vquence, Sydney, Australia e-mail: [email protected] C. Parker Kyoto University, Kyoto, Japan e-mail: [email protected] Y. Lafon W3C/ERCIM, Sophia Antipolis, France e-mail: [email protected] J. Jansen Distributed Multimedia Languages and Infrastructures, CWI, Amsterdam, Netherlands e-mail: [email protected] M. Hausenblas Digital Enterprise Research Institute—LiDRC, National University of Ireland, Galway, Ireland e-mail: [email protected] 692 Multimed Tools Appl (2012) 59:691–715 between Web resources, and that includes hyperlinking out of resources (e.g., from a word or an image within a Web page) as well as hyperlinking into resources (e.g., fragment URIs into Web pages). To turn video and audio into hypervideo and hyperaudio, we need to enable hyperlinking into and out of them.
    [Show full text]
  • IDOL Connector Framework Server 12.5 Administration Guide
    Connector Framework Server Software Version 12.5 Administration Guide Document Release Date: February 2020 Software Release Date: February 2020 Administration Guide Legal notices Copyright notice © Copyright 2020 Micro Focus or one of its affiliates. The only warranties for products and services of Micro Focus and its affiliates and licensors (“Micro Focus”) are set forth in the express warranty statements accompanying such products and services. Nothing herein should be construed as constituting an additional warranty. Micro Focus shall not be liable for technical or editorial errors or omissions contained herein. The information contained herein is subject to change without notice. Documentation updates The title page of this document contains the following identifying information: l Software Version number, which indicates the software version. l Document Release Date, which changes each time the document is updated. l Software Release Date, which indicates the release date of this version of the software. To check for updated documentation, visit https://www.microfocus.com/support-and-services/documentation/. Support Visit the MySupport portal to access contact information and details about the products, services, and support that Micro Focus offers. This portal also provides customer self-solve capabilities. It gives you a fast and efficient way to access interactive technical support tools needed to manage your business. As a valued support customer, you can benefit by using the MySupport portal to: l Search for knowledge documents of interest l Access product documentation l View software vulnerability alerts l Enter into discussions with other software customers l Download software patches l Manage software licenses, downloads, and support contracts l Submit and track service requests l Contact customer support l View information about all services that Support offers Many areas of the portal require you to sign in.
    [Show full text]
  • The Opus Codec
    The Opus Codec Technical Plenary IETF 87 Berlin, DE July 29, 2013 Jean-Marc Valin, Greg Maxwell, Peter Saint-Andre, Timothy B. Terriberry, Emil Ivov, Lorenzo Miniero, Justin Uberti Outline ● Remote Participation Experiment ● Overview of Opus ● Testing ● CODEC WG History and Lessons Learned ● Future work ● Opus deployment panel IETF Remote Participation Meetecho provides remote participation to IETF sessions http://ietf87.conf.meetecho.com/ Tutorial: http://ietf87.conf.meetecho.com/index.php/WebRTC_Interface Conference room associated with a session Audio from the physical room mixer Video from a webcam Active participants (can contribute to the mix) Java Applet, WebRTC, Softphones, PSTN Passive participants (can only watch/listen) Conference mix made available as a stream RTSP, RTMP, HTML5 Opus Experiment (Live Now!) Remote participation for this technical plenary: http://www.meetecho.com/ietf87/tech_plenary For information on remote participation and additional links relating to OPUS, please check the IAB wiki: http://trac.tools.ietf.org/group/iab/trac/wiki/IETF-87 WebRTC-only setup available for remote speakers Asterisk+Opus mixing audio at 48kHz Open source MCU switching video feeds http://lynckia.com/ Have something to say? Raise your hand! (well, maybe later) Outline ● Remote Participation Experiment ● Overview of Opus (Jean-Marc Valin) ● Testing ● CODEC WG History and Lessons Learned ● Future work ● Opus deployment panel What is Opus? ● Audio codec designed for interactive Internet application ● Published as
    [Show full text]