Download the Press Release As PDF File

Total Page:16

File Type:pdf, Size:1020Kb

Download the Press Release As PDF File The Leading Provider of Data Leakage Prevention, Hidden Data Removal, and Privacy Software Solutions. http://www.digitalconfidence.com Digital Confidence Announces MetadataTouch 6 TEL AVIV, ISRAEL (September 22, 2013) — Digital Confidence, the leading provider of data leakage prevention (DLP), hidden data & metadata removal, and privacy software solutions, today announced the release of version 6 of its powerful multi-format metadata editor - MetadataTouch™. The new version of MetadataTouch™ includes support for 5 new audio file formats: Monkey's Audio, Musepack, OptimFROG, WavPack, and Tom's Audio Kompressor. Support for APE tag in MP3 was also added. MetadataTouch™ is a powerful tool to view and edit metadata in 23 file types including Microsoft Office® documents (Word, Excel®, and PowerPoint®), OpenOffice documents, JPEG, JPEG 2000, AVI, MP4, F4V, WAVE, PNG, SVG, and XMP files. MetadataTouch™ is a superior tool for metadata management, and it is also useful for e-discovery and digital forensics specialists. About Digital Confidence Digital Confidence is the leading provider of data leakage prevention (DLP), hidden data & metadata removal, and privacy software solutions to individuals and organizations of all sizes, from small and medium businesses and law firms, to large-scale enterprises. Since its foundation in 2009, Digital Confidence's desktop-based and server-based products has been deployed by more than 150,000 individuals and organizations. Digital Confidence's best-of-breed products enables its customers to make their way in the digital world with confidence, and frees them from the worry of unintentional sensitive data leakage which can cause embarrassment with possible financial and legal implications. Digital Confidence is a privately held company with corporate headquarters in Tel Aviv, Israel. Contact Information Digital Confidence Ltd. 7 Pinhas Rosen Street, Suite 12 Tel Aviv 69512, Israel Email: [email protected] Web: http://www.digitalconfidence.com.
Recommended publications
  • Lossless Audio Codec Comparison
    Contents Introduction 3 1 CD-audio test 4 1.1 CD's used . .4 1.2 Results all CD's together . .4 1.3 Interesting quirks . .7 1.3.1 Mono encoded as stereo (Dan Browns Angels and Demons) . .7 1.3.2 Compressibility . .9 1.4 Convergence of the results . 10 2 High-resolution audio 13 2.1 Nine Inch Nails' The Slip . 13 2.2 Howard Shore's soundtrack for The Lord of the Rings: The Return of the King . 16 2.3 Wasted bits . 18 3 Multichannel audio 20 3.1 Howard Shore's soundtrack for The Lord of the Rings: The Return of the King . 20 A Motivation for choosing these CDs 23 B Test setup 27 B.1 Scripting and graphing . 27 B.2 Codecs and parameters used . 27 B.3 MD5 checksumming . 28 C Revision history 30 Bibliography 31 2 Introduction While testing the efficiency of lossy codecs can be quite cumbersome (as results differ for each person), comparing lossless codecs is much easier. As the last well documented and comprehensive test available on the internet has been a few years ago, I thought it would be a good idea to update. Beside comparing with CD-audio (which is often done to assess codec performance) and spitting out a grand total, this comparison also looks at extremes that occurred during the test and takes a look at 'high-resolution audio' and multichannel/surround audio. While the comparison was made to update the comparison-page on the FLAC website, it aims to be fair and unbiased.
    [Show full text]
  • A Forensic Database for Digital Audio, Video, and Image Media
    THE “DENVER MULTIMEDIA DATABASE”: A FORENSIC DATABASE FOR DIGITAL AUDIO, VIDEO, AND IMAGE MEDIA by CRAIG ANDREW JANSON B.A., University of Richmond, 1997 A thesis submitted to the Faculty of the Graduate School of the University of Colorado Denver in partial fulfillment of the requirements for the degree of Master of Science Recording Arts Program 2019 This thesis for the Master of Science degree by Craig Andrew Janson has been approved for the Recording Arts Program by Catalin Grigoras, Chair Jeff M. Smith Cole Whitecotton Date: May 18, 2019 ii Janson, Craig Andrew (M.S., Recording Arts Program) The “Denver Multimedia Database”: A Forensic Database for Digital Audio, Video, and Image Media Thesis directed by Associate Professor Catalin Grigoras ABSTRACT To date, there have been multiple databases developed for use in many forensic disciplines. There are very large and well-known databases like CODIS (DNA), IAFIS (fingerprints), and IBIS (ballistics). There are databases for paint, shoeprint, glass, and even ink; all of which catalog and maintain information on all the variations of their specific subject matter. Somewhat recently there was introduced the “Dresden Image Database” which is designed to provide a digital image database for forensic study and contains images that are generic in nature, royalty free, and created specifically for this database. However, a central repository is needed for the collection and study of digital audios, videos, and images. This kind of database would permit researchers, students, and investigators to explore the data from various media and various sources, compare an unknown with knowns with the possibility of discovering the likely source of the unknown.
    [Show full text]
  • Ardour Export Redesign
    Ardour Export Redesign Thorsten Wilms [email protected] Revision 2 2007-07-17 Table of Contents 1 Introduction 4 4.5 Endianness 8 2 Insights From a Survey 4 4.6 Channel Count 8 2.1 Export When? 4 4.7 Mapping Channels 8 2.2 Channel Count 4 4.8 CD Marker Files 9 2.3 Requested File Types 5 4.9 Trimming 9 2.4 Sample Formats and Rates in Use 5 4.10 Filename Conflicts 9 2.5 Wish List 5 4.11 Peaks 10 2.5.1 More than one format at once 5 4.12 Blocking JACK 10 2.5.2 Files per Track / Bus 5 4.13 Does it have to be a dialog? 10 2.5.3 Optionally store timestamps 5 5 Track Export 11 2.6 General Problems 6 6 MIDI 12 3 Feature Requests 6 7 Steps After Exporting 12 3.1 Multichannel 6 7.1 Normalize 12 3.2 Individual Files 6 7.2 Trim silence 13 3.3 Realtime Export 6 7.3 Encode 13 3.4 Range ad File Export History 7 7.4 Tag 13 3.5 Running a Script 7 7.5 Upload 13 3.6 Export Markers as Text 7 7.6 Burn CD / DVD 13 4 The Current Dialog 7 7.7 Backup / Archiving 14 4.1 Time Span Selection 7 7.8 Authoring 14 4.2 Ranges 7 8 Container Formats 14 4.3 File vs Directory Selection 8 8.1 libsndfile, currently offered for Export 14 4.4 Container Types 8 8.2 libsndfile, also interesting 14 8.3 libsndfile, rather exotic 15 12 Specification 18 8.4 Interesting 15 12.1 Core 18 8.4.1 BWF – Broadcast Wave Format 15 12.2 Layout 18 8.4.2 Matroska 15 12.3 Presets 18 8.5 Problematic 15 12.4 Speed 18 8.6 Not of further interest 15 12.5 Time span 19 8.7 Check (Todo) 15 12.6 CD Marker Files 19 9 Encodings 16 12.7 Mapping 19 9.1 Libsndfile supported 16 12.8 Processing 19 9.2 Interesting 16 12.9 Container and Encodings 19 9.3 Problematic 16 12.10 Target Folder 20 9.4 Not of further interest 16 12.11 Filenames 20 10 Container / Encoding Combinations 17 12.12 Multiplication 20 11 Elements 17 12.13 Left out 21 11.1 Input 17 13 Credits 21 11.2 Output 17 14 Todo 22 1 Introduction 4 1 Introduction 2 Insights From a Survey The basic purpose of Ardour's export functionality is I conducted a quick survey on the Linux Audio Users to create mixdowns of multitrack arrangements.
    [Show full text]
  • Downloads PC Christophe Fantoni Downloads PC Tous Les Fichiers
    Downloads PC Christophe Fantoni Downloads PC Tous les fichiers DirectX 8.1 pour Windows 9X/Me Indispensable au bon fonctionnement de certain programme. Il vaut mieux que DirectX soit installé sur votre machine. Voici la version française destinée au Windows 95, 98 et Millenium. Existe aussi pour Windows NT et Windows 2000. http://www.christophefantoni.com/fichier_pc.php?id=46 DirectX 8.1 pour Windows NT/2000 Indispensable au bon fonctionnement de certain programme. Il vaut mieux que DirectX soit installé sur votre machine. Voici la version française destinée à Windows Nt et Windows 2000. Existe aussi pour Windows 95, 98 et Millenium. http://www.christophefantoni.com/fichier_pc.php?id=47 Aspi Check Permet de connaitre la présence d'unc couche ASPI ainsi que le numéro de version de cette couche éventuellement présente sur votre système. Indispensable. http://www.christophefantoni.com/fichier_pc.php?id=49 Aspi 4.60 Ce logiciel freeware permet d'installer une couche ASPI (la 4.60) sur votre système d'exploitation. Attention, en cas de problème d'installation de cette version originale, une autre version de cette couche logiciel est également présente sur le site. De plus, Windows XP possede sa propre version de cette couche Aspi, version que vous trouverez également en télécharegement sur le site. Absolument indispensable. http://www.christophefantoni.com/fichier_pc.php?id=50 DVD2AVI 1.76 Fr Voici la toute première version du meilleur serveur d'image existant sur PC. Version auto-installable, en français, livré avec son manuel, également en français. Le tout à été traduit ou rédigé par mes soins..
    [Show full text]
  • ITU-T Technical Paper HSTP-MCTB "Media Coding Toolbox for IPTV
    ITU-T Technical Paper TELECOMMUNICATION STANDARDIZATION SECTOR OF ITU (3 June 2016) SERIES H: AUDIOVISUAL AND MULTIMEDIA SYSTEMS Infrastructure of audiovisual services - Communication procedures HSTP-MCTB Media coding toolbox for IPTV: Audio and video codecs International Telecommunication Union Summary This ITU-T Technical Paper addresses the use of audio and video coding in services delivered over Internet Protocols (IP). This document describes specific codecs for use within an IPTV environment. For audio coding, it describes the use of MPEG-1 Layer II, AC-3, E-AC3, HE AAC v2 audio, Extended AMR WB (AMR WB+) audio, MPEG 2 AAC, MPEG-4 HE AAC, MPEG-4 HE AAC v2, MPEG Surround, MPEG-4 ALS, G719, G.722, G.722.1, G.722.1 Annex C, G.722.2, G.729.1, G.711.1 and G.718. For video coding, it recommends support for ITU-T H.265 | ISO/IEC 23008-2 HEVC and H.264 | 14496-10 AVC, and also lists some additional video coding technologies that have been identified in member contributions as potentially relevant to the application (ITU-T H.262 | ISO/IEC 13818-2 MPEG-2 Video, AVS, H.263, MPEG-1, MPEG-4 Part 2, and VC-1). This document adopts a "toolbox" approach for the general case of IPTV applications delivered directly over IP and MPEG2 -TS. This document is not a specification for the use of audio or video codecs in IPTV Services. Keywords: Media coding; IPTV; Audio codecs; Speech codecs; video codecs; audiovisual media; captions; subtitles; descriptive audio Change log This document contains the 3rd edition of the ITU-T Technical Paper on "Media coding toolbox for IPTV: Audio and Video codecs" approved at the ITU-T Study Group 16 meeting held in Geneva, 23 May – 3 June 2016.
    [Show full text]
  • Critical Assessment of Advanced Coding Standards for Lossless Audio Compression
    TONNY HIDAYAT et al: A CRITICAL ASSESSMENT OF ADVANCED CODING STANDARDS FOR LOSSLESS .. A Critical Assessment of Advanced Coding Standards for Lossless Audio Compression Tonny Hidayat Mohd Hafiz Zakaria, Ahmad Naim Che Pee Department of Information Technology Faculty of Information and Communication Technology Universitas Amikom Yogyakarta Universiti Teknikal Malaysia Melaka Yogyakarta, Indonesia Melaka, Malaysia [email protected] [email protected], [email protected] Abstract - Image data, text, video, and audio data all require compression for storage issues and real-time access via computer networks. Audio data cannot use compression technique for generic data. The use of algorithms leads to poor sound quality, small compression ratios and algorithms are not designed for real-time access. Lossless audio compression has achieved observation as a research topic and business field of the importance of the need to store data with excellent condition and larger storage charges. This article will discuss and analyze the various lossless and standardized audio coding algorithms that concern about LPC definitely due to its reputation and resistance to compression that is audio. However, another expectation plans are likewise broke down for relative materials. Comprehension of LPC improvements, for example, LSP deterioration procedures is additionally examined in this paper. Keywords - component; Audio; Lossless; Compression; coding. I. INTRODUCTION Compression is to shrink / compress the size. Data compression is a technique to minimize the data so that files can be obtained with a size smaller than the original file size. Compression is needed to minimize the data storage (because the data size is smaller than the original), accelerate information transmission, and limit bandwidth prerequisites.
    [Show full text]
  • E- NOTES on PROGRAMMING in “C”
    E- NOTES on PROGRAMMING IN “C” 1 Lecture Note: 1 Introduction to C C is a programming language developed at AT & T’s Bell Laboratories of USA in 1972. It was designed and written by a man named Dennis Ritchie. In the late seventies C began to replace the more familiar languages of that time like PL/I, ALGOL, etc ANSI C standard emerged in the early 1980s, this book was split into two titles: The original was still called Programming in C, and the title that covered ANSI C was called Programming in ANSI C. This was done because it took several years for the compiler vendors to release their ANSI C compilers and for them to become ubiquitous. It was initially designed for programming UNIX operating system. Now the software tool as well as the C compiler is written in C. Major parts of popular operating systems like Windows, UNIX, Linux is still written in C. This is because even today when it comes to performance (speed of execution) nothing beats C. Moreover, if one is to extend the operating system to work with new devices one needs to write device driver programs. These programs are exclusively written in C. C seems so popular is because it is reliable, simple and easy to use. often heard today is – “C has been already superceded by languages like C++, C# and Java. 2 Program There is a close analogy between learning English language and learning C language. The classical method of learning English is to first learn the alphabets used in the language, then learn to combine these alphabets to form words, which in turn are combined to form sentences and sentences are combined to form paragraphs.
    [Show full text]
  • Design Considerations for Audio Compression Alexander Benjamin
    Design Considerations for Audio Compression Alexander Benjamin 8/01/10 The world of music is very different than it was ten years ago, which was markedly changed from ten years before that. Just as the ways in which people listen to music have evolved steadily over the last couple of decades, so have the demands and considerations of music listeners. People want music to have optimal sound quality while requiring as little space as possible (so they can listen to it on an MP3 player, for example). This paper will discuss the considerations and tradeoffs that go into audio compression as a determinant of audio quality and the amount of memory that the file occupies. Music files are compressed to reduce the amount of data needed to play a song while minimizing the loss (if any) of perceptible sound quality. A decade ago, hard drive storage was much more expensive, and so the norm was to compress music. With the advent of digital audio players (MP3 players), compression is desired so that people can fit more songs onto a device. In addition, music compression is very useful for transferring the data over the internet or between devices. While download and transfer speeds have increased notably over the years, it takes much longer to download an uncompressed music file over the internet in comparison to a compressed one. Different types of compression algorithms have been developed that aim to reduce or alter the digital audio data in order to reduce the number of bits needed for playback. The compression process is called encoding while the reverse is called decoding.
    [Show full text]
  • Tipos De Ficheros Soportados
    Tipos de ficheros soportados File Type Support Description EXIF IPTC XMP ICC1 Other 3FR R Hasselblad RAW (TIFF-based) R R R R - 3G2, 3GP2 R/W R/W2 R/W2 R/W/C - R/W QuickTime3 3rd Gen. Partnership Project 2 a/v (QuickTime-based) 3GP, 3GPP R/W R/W2 R/W2 R/W/C - R/W QuickTime3 3rd Gen. Partnership Project a/v (QuickTime-based) - - - - AA R Audible Audiobook R Audible AAX R/W R/W2 R/W2 R/W/C - R/W QuickTime3 Audible Enhanced Audiobook (QuickTime-based) ACR R - - - - R DICOM American College of Radiology ACR-NEMA (DICOM-like) R - - - - R Font Adobe [Composite/Multiple Master] AFM, ACFM, AMFM Font Metrics AI, AIT R/W R/W/C4 R/W/C4 R/W/C R/W/C4 Adobe Illustrator [Template] (PS or PDF) R/W/C PDF PostScript, R Photoshop AIFF, AIF, AIFC R - - - - R AIFF ID3 Audio Interchange File Format [Compressed] - - - - APE R Monkey’s Audio R APE ID3 ARW R/W Sony Alpha RAW (TIFF-based) R/W/C R/W/C R/W/C R/W/C R/W Sony SonyIDC ASF R - - R - R ASF Microsoft Advanced Systems Format AVI R/W R/W R/W R/W R/W R RIFF Audio Video Interleaved (RIFF- based) Tipos de ficheros soportados BMP, DIB R - - - - R BMP Windows BitMaP / Device Independent Bitmap BTF R R R R R - BigTIFF (64-bit Tagged Image File Format) CHM R - - - - R EXE Microsoft Compiled HTML format COS R - - - - R XML Capture One Settings (XML- based) CR2 R/W Canon RAW 2 (TIFF-based) R/W/C R/W/C R/W/C R/W/C R/W/C CanonVRD, R/W Canon CRW, CIFF R/W - - R/W/C - Canon RAW Camera Image File R/W/C CanonVRD, Format (CRW spec.) R/W CanonRaw CS1 R/W Sinar CaptureShop 1-shot RAW R/W/C R/W/C R/W/C R/W/C R Photoshop (PSD-based)
    [Show full text]
  • Análisis Comparativo De Codificadores De Audio Sin Pérdidas
    2º Congreso Internacional de Acústica UNTREF Septiembre 2010, Argentina ANÁLISIS COMPARATIVO DE CODIFICADORES DE AUDIO SIN PÉRDIDAS FERNANDO A. MARENGO RODRIGUEZ, ERIBERTO A. ROVERI, JUAN MANUEL RODRÍGUEZ GUERRERO, MAURO TREFFILÓ, FEDERICO MIYARA Laboratorio de Acústica y Electroacústica Escuela de Ingeniería Electrónica Facultad de Ciencias Exactas, Ingeniería y Agrimensura Universidad Nacional de Rosario Rosario, Argentina http://www.fceia.unr.edu.ar/acustica/ Motivación del trabajo Entre los audiófilos, los codificadores de audio sin pérdidas (CSP) han ganado popularidad frente a los perceptuales. No se registra antecedente sobre la comparación del desempeño de diferentes CSP para archivos de audio provenientes de CD. Tipos de codec Perceptuales Sin pérdidas (CSP) Minimizan redundancia en la señal de entrada. o Filtran irrelevancias psicoacústicas. o Pros: gran compresión 8 o Pros: No introducen distorsión. a 13 veces. o Contra: menor compresión ~ 1,5 o Contra: Suprimen a 6 veces. información. o Ejemplos: MPEG-1 audio o Ejemplos: FLAC, WavPack, layer 3 (MP3) y Ogg Vorbis Monkey’s Audio, OptimFrog, (formato libre y abierto). LPAC, MPEG-4 ALS, Shorten, TAK, TTA. ¿Por qué razones los CSP son cada vez más utilizados? Tecnológicas: Recursos de almacenamiento con mayor capacidad de memoria. La creciente velocidad de transmisión de datos vía Internet minimiza la ventaja de los codec perceptuales frente a los CSP. Económicas: En los equipos de reproducción de sonido de alta fidelidad se vuelve evidente la distorsión que introduce la codificación perceptual. Dichos equipos disminuyen de costo y su acceso es más masivo. Masterización: Las grabaciones de estudio se pueden transmitir entre equipos remotos en formato comprimido sin distorsión: la única opción viable es usar CSP.
    [Show full text]
  • PPT-Codec Audio Nov2011
    Codificadores de audio Fernando A. Marengo Rodriguez, PhD [email protected] Codificación de Audio Digital Laboratorio de Acústica y Electroacústica Escuela de Ingeniería Electrónica Facultad de Ciencias Exactas, Ingeniería y Agrimensura Universidad Nacional de Rosario, Riobamba 245 bis www.codecdigital.com.ar Resumen Principios de codificación. Codificación de audio. Codificación de audio perceptual (con pérdidas). Codificación de audio sin pérdidas. Tendencias futuras: nuevos codecs. Principios de codificación Entropía La codificación consiste en reducir la cantidad de bits que emite una fuente de información. Si la fuente emite valores numéricos discretos aaii, con probabilidad pp((aaii) en el rango [[--22nn--11; 2; 2 nn--11--1], se define la entropía H como la mínima cantidad de bits con la que se puede representar cada símbolo: Nt = − H ∑ p(ai )log 2 p(ai ) i=1 Hmáx = log2 Ntt (distribución uniforme) Shannon, C. E. (1948). “A Mathematical Theory of Communication”. The Bell System Technical Journal, 27, 379–423, 623–656. Codificación de símbolos En nuestro lenguaje asignamos: pocas letras a las palabras más frecuentes (“sí”, “ya”, “que”), más letras a las palabras menos frecuentes (“impactante”, “espectacular”, ““georeferenciadogeoreferenciado”).”). Codificadores estadísticos : análogamente al lenguaje, se asignan códigos cuya longitud es inversamente proporcional a la frecuencia de aparición de los símbolos emitidos por la fuente. Método basados en diccionarios (LZ77, LZ78): a medida que se recorren los símbolos del archivo, las cadenas nuevas se almacenan en un diccionario y las cadenas viejas (o sea las repetidas) se asocian al diccionario. Codificador RAR Se basa en el método LZ77 ((LempelLempel ZivZiv).). Funcionamiento: se hace una lectura dinámica de los datos con ventanas temporales que abarcan hasta varios kbkb.
    [Show full text]
  • Media Coding Toolbox for IPTV: Audio and Video Codecs
    ITU-T Technical Paper TELECOMMUNICATION STANDARDIZATION SECTOR OF ITU (10 July 2009) SERIES H: AUDIOVISUAL AND MULTIMEDIA SYSTEMS Infrastructure of audiovisual services - Communication procedures HSTP-MCTB Media coding toolbox for IPTV: Audio and video codecs International Telecommunication Union Summary This ITU-T Technical Paper addresses the use of audio and video coding in services delivered over Internet Protocols (IP). This document describes specific codecs for use within an IPTV environment. For audio coding, it describes the use of MPEG-1 Layer II, AC-3, E-AC3, HE AAC v2 audio, Extended AMR WB (AMR WB+) audio, MPEG 2 AAC, MPEG-4 HE AAC, MPEG-4 HE AAC v2, MPEG Surround, MPEG-4 ALS, G719, G.722, G.722.1, G.722.1 Annex C, G.722.2, G.729.1, G.711.1 and G.718. For video coding, it recommends support for H.264 | MPEG-4 AVC and H.262 | MPEG-2 Video, and also lists some additional video coding technologies that have been identified in member contributions as potentially relevant to the application (AVS, H.263, MPEG-1, MPEG-4 Part 2, and VC-1). This document adopts a “toolbox” approach for the general case of IPTV applications delivered directly over IP and MPEG2 -TS. This document is not a specification for the use of Audio or Video Codecs in IPTV Services. Change Log This document contains Version 2of the ITU-T Technical Paper on “Media coding toolbox for IPTV: Audio and Video codecs” approved at the ITU-T Study Group 16 Working Party 3 meeting held in Geneva, 10 July 2009.
    [Show full text]