Virtualdub Mpeg4 Codec
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Ts 102 527-1 V1.3.1 (2012-01)
ETSI TS 102 527-1 V1.3.1 (2012-01) Technical Specification Digital Enhanced Cordless Telecommunications (DECT); New Generation DECT; Part 1: Wideband speech 2 ETSI TS 102 527-1 V1.3.1 (2012-01) Reference RTS/DECT-NG0260 Keywords 7 kHz, audio, codec, DECT, GAP, IMT-2000, interoperability, mobility, profile, radio, speech, TDD, TDMA ETSI 650 Route des Lucioles F-06921 Sophia Antipolis Cedex - FRANCE Tel.: +33 4 92 94 42 00 Fax: +33 4 93 65 47 16 Siret N° 348 623 562 00017 - NAF 742 C Association à but non lucratif enregistrée à la Sous-Préfecture de Grasse (06) N° 7803/88 Important notice Individual copies of the present document can be downloaded from: http://www.etsi.org The present document may be made available in more than one electronic version or in print. In any case of existing or perceived difference in contents between such versions, the reference version is the Portable Document Format (PDF). In case of dispute, the reference shall be the printing on ETSI printers of the PDF version kept on a specific network drive within ETSI Secretariat. Users of the present document should be aware that the document may be subject to revision or change of status. Information on the current status of this and other ETSI documents is available at http://portal.etsi.org/tb/status/status.asp If you find errors in the present document, please send your comment to one of the following services: http://portal.etsi.org/chaircor/ETSI_support.asp Copyright Notification No part may be reproduced except as authorized by written permission. -
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 -
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. -
Vysoke´Ucˇenítechnicke´V Brneˇ
VYSOKE´ UCˇ ENI´ TECHNICKE´ V BRNEˇ BRNO UNIVERSITY OF TECHNOLOGY FAKULTA INFORMACˇ NI´CH TECHNOLOGII´ U´ STAV POCˇ ´ITACˇ OVE´ GRAFIKY A MULTIME´ DII´ FACULTY OF INFORMATION TECHNOLOGY DEPARTMENT OF COMPUTER GRAPHICS AND MULTIMEDIA SYSTEM FOR RECORDING VIDEO FROM IP VIDEOCAMERAS DIPLOMOVA´ PRA´ CE MASTER’S THESIS AUTOR PRA´ CE Bc. JIRˇ ´I TRAVEˇ NEC AUTHOR BRNO 2015 VYSOKE´ UCˇ ENI´ TECHNICKE´ V BRNEˇ BRNO UNIVERSITY OF TECHNOLOGY FAKULTA INFORMACˇ NI´CH TECHNOLOGII´ U´ STAV POCˇ ´ITACˇ OVE´ GRAFIKY A MULTIME´ DII´ FACULTY OF INFORMATION TECHNOLOGY DEPARTMENT OF COMPUTER GRAPHICS AND MULTIMEDIA SYSTE´ M PRO ZA´ ZNAM STREAMOVANE´ HO VIDEA Z IP KAMER SYSTEM FOR RECORDING VIDEO FROM IP VIDEOCAMERAS DIPLOMOVA´ PRA´ CE MASTER’S THESIS AUTOR PRA´ CE Bc. JIRˇ ´I TRAVEˇ NEC AUTHOR VEDOUCI´ PRA´ CE Mgr. JANA SKOKANOVA´ SUPERVISOR BRNO 2015 Abstrakt Tato diplomová práce je zaměřená na pøenos multimédií v reálném èase z IP kamer. Jejím hlavním cílem je vysvětlit teoretické základy pøenosu v reálném èase pøes počítačovou síť a popsat vývoj nahrávacího systému. Tento nahrávací systém je urèen pøevážně k nahrávání pøedná¹ek ve ¹kolách. Práce obsahuje popis vývoje serverové nahrávací aplikace a webového administračního rozhraní. Teoretická èást vysvětluje témata spojená s pøenosem médií v reálném èase, počítačovými sítěmi a zpracováním multimédií, jako například real-time streaming protokoly, kódování, komprese, síťová odezva, zahlcení sítě a další. Abstract This diploma thesis focuses on multimedia streaming from IP cameras. Its main goal is to explain theoretical background of real-time streaming via computer networks, and describe development of a recording system. This recording system is meant to be used mainly in schools for lecture recording purposes. -
ACCESS Multirack Manual
Product Manual ACCESS MultiRack Manual I. Introduction 12 Applications 12 Audio Coding 12 Transmission Modes and Delay 13 Switchboard Server 13 CrossLock 13 Additional Features 14 AES67 Protocol 14 HTML5 14 II. Diagrams and Installation 15 Rear Panel Diagram and Descriptions 15 Front Panel Diagram and Descriptions 16 Mono vs. Stereo 17 Pinouts - Balanced Audio 17 Pinouts - Contact Closures 17 Pinouts - Serial Port (Instance 1) 18 Pinouts - Serial Port (Instances 2-5) 18 ACCESS MultiRack • November 2019 III. Quick Start - Connections With MultiRack 20 More About Profiles 20 Using The Console 20 About MultiRack Instances 21 Making Switchboard Connections 21 Receiving Incoming Connections 22 IV. Using The Device Manager Program 23 Updating Firmware Using Device Manager 25 Network Recovery Mode 26 V. Configuring MultiRack 28 Login 28 Controlling MultiRack Instances 28 Instance Pages And Global Settings 29 Interface Page Sections 29 Connections Tab 30 Dashboard Tab 30 Performance Tab 31 Active Connections 31 Codec Channel Field 32 CrossLock Field 32 Packet Loss Graph 33 Utilization Graph 33 CrossLock Settings 34 Profile Manager Tab 35 Building a Profile 36 Profile Settings: Local & Remote Encoders 36 Advanced Local & Remote Options 37 Instance Settings Tab 39 Security Settings 40 Connections 40 Contact Closures 40 Switchboard Server 41 Alternate Modes 41 Advanced Instance Settings 42 Auxiliary Serial 42 Switchboard Server 42 Advanced Instance Settings Under Alternate Modes 42 BRIC Normal Settings 42 HTTP Settings 43 Modem (Instance 1) 43 Standard RTP Settings 43 EBU3326/SIP Settings 43 TCP Settings 44 Miscellaneous 45 VI. Global Settings and Network Manager 46 Global Settings 46 CrossLock VPN Settings 46 AES67 System Settings 47 Advanced Global Settings 47 Advanced CrossLock VPN Settings 47 Network Manager Tab 48 Ethernet Port Settings 49 Network Locations 50 WLAN Adapter 50 3G/4G Connections 51 Advanced Ethernet Port Settings 52 VII. -
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 ........................................ -
Sonnox Fraunhofer Pro-Codec User Guide
Contents 1 Introduction 5 2 Terminology 6 3 Supported Codecs and Formats 7 4 Summary of Codec Features and Applications 8 4.1 iTunes+ ....................................... 9 4.2 MPEG Surround .................................. 9 4.3 HD-AAC ....................................... 10 4.4 AAC-LC ....................................... 10 5 The Pro-Codec Plug-In 11 5.1 User Interface and Workflow Overview ...................... 11 5.2 Input and Output Panels .............................. 15 5.2.1 Surround Channel Mapping ........................ 16 5.3 Online Auditioning and Configuring Codecs ................... 17 5.3.1 The NMR Indicator ............................. 20 5.3.2 Downsampling When Using Higher Sample Rates ........... 21 5.3.3 Overloading Pre-Codec (Codec Headroom) ............... 22 5.3.4 Overloading Post-Codec (Audition Level Matching) .......... 22 5.4 Bitstream Level (TRIM Tab) ............................ 23 5.5 Data Compression Factor (COMP Tab) ...................... 24 5.6 A-B Auditioning and A-B-X Testing (A-B Tab) .................. 25 5.6.1 A-B Auditioning .............................. 25 5.6.2 A-B-X Testing ................................ 25 5.7 Processing Sequence ............................... 27 5.8 Online Encoding .................................. 28 5.9 HD-AAC ....................................... 31 5.9.1 Auditioning HD-AAC ............................ 31 5.9.2 Bit Depth .................................. 33 5.9.3 Dither and Truncation ........................... 34 5.9.4 Internal Dither and Truncation ....................... 37 5.9.5 Overloading HD-AAC ........................... 41 5.9.6 Reasons to Audition HD-AAC ....................... 41 5.10 Description of Controls .............................. 43 6 Preset Manager Toolbar 53 6.1 Presets and Project/Session Data Handling ................... 54 6.1.1 Internal Data Rules ............................. 54 6.2 Plug-In Signal and Control Flow Diagram .................... 55 7 The Pro-Codec Manager Application 56 7.1 Folder Browser .................................. -
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. -
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. -
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. -
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. -
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.