Release Notes for 10/01/2020-10/31/2020 for Builds
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Dockerdocker
X86 Exagear Emulation • Android Gaming • Meta Package Installation Year Two Issue #14 Feb 2015 ODROIDMagazine DockerDocker OS Spotlight: Deploying ready-to-use Ubuntu Studio containers for running complex system environments • Interfacing ODROID-C1 with 16 Channel Relay Play with the Weather Board • ODROID-C1 Minimal Install • Device Configuration for Android Development • Remote Desktop using Guacamole What we stand for. We strive to symbolize the edge of technology, future, youth, humanity, and engineering. Our philosophy is based on Developers. And our efforts to keep close relationships with developers around the world. For that, you can always count on having the quality and sophistication that is the hallmark of our products. Simple, modern and distinctive. So you can have the best to accomplish everything you can dream of. We are now shipping the ODROID U3 devices to EU countries! Come and visit our online store to shop! Address: Max-Pollin-Straße 1 85104 Pförring Germany Telephone & Fax phone : +49 (0) 8403 / 920-920 email : [email protected] Our ODROID products can be found at http://bit.ly/1tXPXwe EDITORIAL ow that ODROID Magazine is in its second year, we’ve ex- panded into several social networks in order to make it Neasier for you to ask questions, suggest topics, send article submissions, and be notified whenever the latest issue has been posted. Check out our Google+ page at http://bit.ly/1D7ds9u, our Reddit forum at http://bit. ly/1DyClsP, and our Hardkernel subforum at http://bit.ly/1E66Tm6. If you’ve been following the recent Docker trends, you’ll be excited to find out about some of the pre-built Docker images available for the ODROID, detailed in the second part of our Docker series that began last month. -
Working with Digital Video
Working with digital video By admin Published: 10/04/2007 - 08:35 Peter Westenberg , October 2007 Working with digital video is part of many artistic disciplines. Besides single screen narratives, video productions can range from animation, multiple screen installation to interactive work. Still, many aspects of digital video can be traced back to the history of film. The interface of a timeline editing software such as Cinelerra [1] shows a multitrack timeline, a viewing monitor, a bin for clips; echoing the setup of a flatbed table for editing celluloid. A dual head set up Cinelerra work station The physical materiality of film and video are fundamentaly different: celluloid versus pixels, chemicals versus algorhytms, but the relationship between film and video has mutually matured. As outlined by Matt Hanson [1b] , video expands cinematographic traditions in new directions, filmmakers can benefit from digitisation by reclaiming the central position of creativity in the film process, as pointed out by Samira Makhmalbaf. [1c] 1 / 28 An 'Old Delft Cinemonta' 16mm editing table in use at the Filmwerkplaats in Rotterdam Digital video also roots in artistic practices of the sixties and seventies. [1a] Artists started using video to capture temporary performances (Joan Jonas [2] , Vito Acconci [3] ), they integrated video monitors in installations (Nam June Paik [4] ), experimented with filters and mixing in video paintings (Peter Campus [5] ). Compared to film cameras, video cameras had a strong feature: it became possible connect a monitor and view directly what the camera recorded. Today, artists can use softwares such as Lives [5] , Jahshaka [6] , Zone Minder [7] or Pure Data [8] and Linux distributions aimed at audio and visual creation such as Dyne:bolic [9] Apodio [10] and Ubuntu Studio [11] to further explore the possibilities of real time video, multiple camera input and live interaction. -
Avid Supported Video File Formats
Avid Supported Video File Formats 04.07.2021 Page 1 Avid Supported Video File Formats 4/7/2021 Table of Contents Common Industry Formats ............................................................................................................................................................................................................................................................................................................................................................................................... 4 Application & Device-Generated Formats .................................................................................................................................................................................................................................................................................................................................................................. 8 Stereoscopic 3D Video Formats ...................................................................................................................................................................................................................................................................................................................................................................................... 11 Quick Lookup of Common File Formats ARRI..............................................................................................................................................................................................................................................................................................................................................................4 -
Panstamps Documentation Release V0.5.3
panstamps Documentation Release v0.5.3 Dave Young 2020 Getting Started 1 Installation 3 1.1 Troubleshooting on Mac OSX......................................3 1.2 Development...............................................3 1.2.1 Sublime Snippets........................................4 1.3 Issues...................................................4 2 Command-Line Usage 5 3 Documentation 7 4 Command-Line Tutorial 9 4.1 Command-Line..............................................9 4.1.1 JPEGS.............................................. 12 4.1.2 Temporal Constraints (Useful for Moving Objects)...................... 17 4.2 Importing to Your Own Python Script.................................. 18 5 Installation 19 5.1 Troubleshooting on Mac OSX...................................... 19 5.2 Development............................................... 19 5.2.1 Sublime Snippets........................................ 20 5.3 Issues................................................... 20 6 Command-Line Usage 21 7 Documentation 23 8 Command-Line Tutorial 25 8.1 Command-Line.............................................. 25 8.1.1 JPEGS.............................................. 28 8.1.2 Temporal Constraints (Useful for Moving Objects)...................... 33 8.2 Importing to Your Own Python Script.................................. 34 8.2.1 Subpackages.......................................... 35 8.2.1.1 panstamps.commonutils (subpackage)........................ 35 8.2.1.2 panstamps.image (subpackage)............................ 35 8.2.2 Classes............................................ -
“Laboratório” De T V Digital Usando Softw Are Open Source
“Laboratório” de TV digital usando software open source Objectivos Realizar uma pesquisa de software Open Source, nomeadamente o que está disponível em Sourceforge.net relacionado com a implementação de operações de processamento de sinais audiovisuais que tipicamente existem em sistemas de produção de TV digital. Devem ser identificadas aplicações para: • aquisição de vídeo, som e imagem • codificação com diferentes formatos (MPEG-2, MPEG-4, JPEG, etc.) • conversão entre formatos • pré e pós processamento (tal como filtragens) • edição • anotação Instalação dos programas e teste das suas funcionalidades. Linux Aquisição Filtros Codificação :: VLC :: Xine :: Ffmpeg :: Kino (DV) :: VLC :: Transcode :: Tvtime Television Viewer (TV) :: Video4Linux Grab Edição :: Mpeg4IP :: Kino (DV) Conversão :: Jashaka :: Kino :: Cinelerra :: VLC Playback :: Freej :: VLC :: FFMpeg :: Effectv :: MJPEG Tools :: PlayerYUV :: Lives :: Videometer :: MPlayer Anotação :: Xmovie :: Agtoolkit :: Video Squirrel VLC (VideoLan Client) VLC - the cross-platform media player and streaming server. VLC media player is a highly portable multimedia player for various audio and video formats (MPEG-1, MPEG-2, MPEG-4, DivX, mp3, ogg, ...) as well as DVDs, VCDs, and various streaming protocols. It can also be used as a server to stream in unicast or multicast in IPv4 or IPv6 on a high-bandwidth network. http://www.videolan.org/ Kino (DV) Kino is a non-linear DV editor for GNU/Linux. It features excellent integration with IEEE-1394 for capture, VTR control, and recording back to the camera. It captures video to disk in Raw DV and AVI format, in both type-1 DV and type-2 DV (separate audio stream) encodings. http://www.kinodv.org/ Tvtime Television Viewer (TV) Tvtime is a high quality television application for use with video capture cards on Linux systems. -
Discrete Cosine Transform for 8X8 Blocks with CUDA
Discrete Cosine Transform for 8x8 Blocks with CUDA Anton Obukhov [email protected] Alexander Kharlamov [email protected] October 2008 Document Change History Version Date Responsible Reason for Change 0.8 24.03.2008 Alexander Kharlamov Initial release 0.9 25.03.2008 Anton Obukhov Added algorithm-specific parts, fixed some issues 1.0 17.10.2008 Anton Obukhov Revised document structure October 2008 2 Abstract In this whitepaper the Discrete Cosine Transform (DCT) is discussed. The two-dimensional variation of the transform that operates on 8x8 blocks (DCT8x8) is widely used in image and video coding because it exhibits high signal decorrelation rates and can be easily implemented on the majority of contemporary computing architectures. The key feature of the DCT8x8 is that any pair of 8x8 blocks can be processed independently. This makes possible fully parallel implementation of DCT8x8 by definition. Most of CPU-based implementations of DCT8x8 are firmly adjusted for operating using fixed point arithmetic but still appear to be rather costly as soon as blocks are processed in the sequential order by the single ALU. Performing DCT8x8 computation on GPU using NVIDIA CUDA technology gives significant performance boost even compared to a modern CPU. The proposed approach is accompanied with the sample code “DCT8x8” in the NVIDIA CUDA SDK. October 2008 3 1. Introduction The Discrete Cosine Transform (DCT) is a Fourier-like transform, which was first proposed by Ahmed et al . (1974). While the Fourier Transform represents a signal as the mixture of sines and cosines, the Cosine Transform performs only the cosine-series expansion. -
Multimedia Systems DCAP303
Multimedia Systems DCAP303 MULTIMEDIA SYSTEMS Copyright © 2013 Rajneesh Agrawal All rights reserved Produced & Printed by EXCEL BOOKS PRIVATE LIMITED A-45, Naraina, Phase-I, New Delhi-110028 for Lovely Professional University Phagwara CONTENTS Unit 1: Multimedia 1 Unit 2: Text 15 Unit 3: Sound 38 Unit 4: Image 60 Unit 5: Video 102 Unit 6: Hardware 130 Unit 7: Multimedia Software Tools 165 Unit 8: Fundamental of Animations 178 Unit 9: Working with Animation 197 Unit 10: 3D Modelling and Animation Tools 213 Unit 11: Compression 233 Unit 12: Image Format 247 Unit 13: Multimedia Tools for WWW 266 Unit 14: Designing for World Wide Web 279 SYLLABUS Multimedia Systems Objectives: To impart the skills needed to develop multimedia applications. Students will learn: z how to combine different media on a web application, z various audio and video formats, z multimedia software tools that helps in developing multimedia application. Sr. No. Topics 1. Multimedia: Meaning and its usage, Stages of a Multimedia Project & Multimedia Skills required in a team 2. Text: Fonts & Faces, Using Text in Multimedia, Font Editing & Design Tools, Hypermedia & Hypertext. 3. Sound: Multimedia System Sounds, Digital Audio, MIDI Audio, Audio File Formats, MIDI vs Digital Audio, Audio CD Playback. Audio Recording. Voice Recognition & Response. 4. Images: Still Images – Bitmaps, Vector Drawing, 3D Drawing & rendering, Natural Light & Colors, Computerized Colors, Color Palletes, Image File Formats, Macintosh & Windows Formats, Cross – Platform format. 5. Animation: Principle of Animations. Animation Techniques, Animation File Formats. 6. Video: How Video Works, Broadcast Video Standards: NTSC, PAL, SECAM, ATSC DTV, Analog Video, Digital Video, Digital Video Standards – ATSC, DVB, ISDB, Video recording & Shooting Videos, Video Editing, Optimizing Video files for CD-ROM, Digital display standards. -
User Manual 1
Pro Maintenance Tools User Manual 1 Pro Maintenance Tools User Manual Pro Maintenance Tools (formerly Pro Maintenance Tools) is a utility pack designed to keep your Final Cut Studio, Final Cut Pro X, Avid Media Composer, Avid Symphony or Adobe Premiere Pro for Mac running at optimal performance and help resolve problems when they arise. The suite contains tools to repair corrupt QuickTime movies, locate corrupt clips within a timeline, diagnose crash logs, manage plugins, repair Final Cut Pro projects, manage autosaves, salvage movie data from corrupt files, and much more. Show-stopping problems always seem to occur on a deadline - Pro Maintenance Tools is designed to rapidly diagnose and fix common issues, ensuring users get back on track as quickly as possible. With the Task Scheduler utility, maintenance tasks can even be scheduled to run in the background for convenience. Pro Maintenance Tools includes: Autosave Manager – Flexible autosave management offering automatic archival or removal based on criteria including age and file size. Supports Final Cut Studio, Final Cut Pro X, Avid Media Composer, Avid Symphony and Adobe Premiere Pro Compressor Repair – Repairs the fragile links between Compressor and Qmaster. Supports Final Cut Studio and Final Cut Pro X Corrupt Clip Finder – Automatically locates corrupt clips in a project, saving hours of manual Last updated Aug 18, 2014 Pro Maintenance Tools User Manual 2 reconnecting. Supports Avid MXF with a third-party plugin such as MXF4Mac. Supports Final Cut Studio, Final Cut Pro X, Avid Media Composer, Avid Symphony and Adobe Premiere Pro Crash Analyzer – Analyzes your editing application crash logs, attempts to diagnose the cause of the crash and suggests ways to solve the problem. -
Reviewer's Guide
Episode® 6.5 Affordable transcoding for individuals and workgroups Multiformat encoding software with uncompromising quality, speed and control. The Episode Product Guide is designed to provide an overview of the features and functions of Telestream’s Episode products. This guide also provides product information, helpful encoding scenarios and other relevant information to assist in the product review process. Please review this document along with the associated Episode User Guide, which provides complete product details. Telestream provides this guide for informational purposes only; it is not a product specification. The information in this document is subject to change at any time. 1 CONTENTS EPISODE OVERVIEW ........................................................................................................... 3 Episode ($495 USD) ........................................................................................................... 3 Episode Pro ($995 USD) .................................................................................................... 3 Episode Engine ($4995 USD) ............................................................................................ 3 KEY BENEFITS ..................................................................................................................... 4 FEATURES ............................................................................................................................ 5 Highest quality ................................................................................................................... -
(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. -
Avid DS - Your Future Is Now
DSWiki DSWiki Table Of Contents 1998 DS SALES BROCHURE ............................................. 4 2005 DS Wish List ..................................................... 8 2007 Unfiltered DS Wish List ............................................. 13 2007 Wish Lists ....................................................... 22 2007DSWishListFinalistsRound2 ........................................... 28 2010 Wish List ........................................................ 30 A ................................................................. 33 About .............................................................. 53 AchieveMoreWithThe3DDVE ............................................. 54 AmazonStore ......................................................... 55 antler .............................................................. 56 Arri Alexa ........................................................... 58 Avid DS - Your Future Is Now ............................................. 59 Avid DS for Colorists ................................................... 60 B ................................................................. 62 BetweenBlue&Green ................................................... 66 Blu-ray Copy ......................................................... 67 C ................................................................. 68 ColorItCorrected ...................................................... 79 Commercial Specifications ............................................... 80 Custom MC Color Surface Layouts ........................................ -
Adobe Photoshop® TIFF Technical Note 3 April 8, 2005
Adobe Photoshop® TIFF Technical Note 3 April 8, 2005 Adobe Photoshop® TIFF Technical Note 3 April 8, 2005 This document describes additions to the TIFF specification to improve support for floating point values. Readers are advised to cross reference terms and discussions found in this document with the TIFF 6.0 specification (TIFF6.pdf), the TIFF Technical Note for Adobe PageMaker® 6.0 (TIFF-PM6.pdf), and the File Formats Specification for Adobe Photoshop® (Photoshop File Formats.pdf). Page 1 of 5 Adobe Photoshop® TIFF Technical Note 3 April 8, 2005 16 and 24 bit Floating Point Values Introduction This section describes the format of floating point data with BitsPerSample of 16 and 24. Field: SampleFormat Tag: 339 (153.H) Type: SHORT Count: N = SamplesPerPixel Value: 3 = IEEE Floating point data Field: BitsPerSample Tag: 258 (102.H) Type: SHORT Count: N = SamplesPerPixel Value: 16 or 24 16 and 24 bit floating point values may be used to minimize file size versus traditional 32 bit or 64 bit floating point values. The loss of range and precision may be acceptable for many imaging applications. The 16 bit floating point format is designed to match the HALF data type used by OpenEXR and video graphics card vendors. Implementation 16 bit floating point values 16 bit floating point numbers have 1 sign bit, 5 exponent bits (biased by 16), and 10 mantissa bits. The interpretation of the sign, exponent and mantissa is analogous to IEEE-754 floating-point numbers. The 16 bit floating point format supports normalized and denormalized numbers, infinities and NANs (Not A Number).