AVC-Intra Defines Two Classes

Total Page：16

File Type：pdf, Size：1020Kb

AVC-Intra defines two classes: •AVC-Intra 50: •AVC-Intra 100: •nominally 50 Mbit/s, size of each frame is fixed •nominally 100 Mbit/s, size of each frame is fixed •CABAC entropy coding only. •CAVLC entropy coding only. •1920 × 1080 formats are High 10 Intra Profile, •All formats are High 4:2:2 Intra Profile, Level Level 4 4.1 •1280 × 720 formats are High 10 Intra Profile, Level •4:2:2 chrominance sampling 3.2 •frames are not scaled •4:2:0 chrominance sampling Common to both classes; frames are horizontally scaled by 3/4 (1920x1080 is • •Frame rates: 1920 × 1080 (23.98p / 25p / scaled to 1440x1080. 1280 × 720 is scaled to 29.97p / 50i / 59.94i), 1280 × 720 (23.98p / 25p / 960x720) 29.97p / 50p / 59.94p) •10 bit luma and chroma Video High Definition Standard Definition Subtype (AVCHD-HD) (AVCHD-SD) 1920×1080 Frame size in pixels 1280×720 720×480 720×576 1440×1080 29.97, interlaced 59.94, progressive 25, interlaced 50, progressive 29.97, Frame rate 25, interlaced 23.976, 23.976, interlaced progressive progressive Frame aspect ratio 16:9 4:3, 16:9 Video Compression MPEG-4 AVC/H.264 Luminance sampling 74.25 MHz 74.25 MHz 13.5 MHz 13.5 MHz frequency 55.7 MHz Chroma sampling format 4:2:0 Quantization 8 bits (both luminance and chrominance) Audio (Dolby Digital) AC-3 Compression Dolby Digital (AC-3) AC-3 channel mode 1-5.1 channels AC-3 compressed bitstream 64 to 640 kbit/s rate Audio (PCM) PCM linear PCM uncompressed audio PCM channel mode 1-7.1 channels PCM bitrate 1.5 Mbit/s (2 channels) System Stream type MPEG transport stream up to 18 Mbit/s (DVD media) System data rate up to 24 Mbit/s (all other media) File extension (generally) mts (on camcorder), m2ts (after import to computer) 8 cm optical media (DVD) SD/SDHC/SDXC Memory Card Media "Memory Stick" Built-in hard-disk or flash Media Specification addendum (AVCHD 2.0) The AVCHD 2.0 format includes video compression with H.264 Main Profile (MP) and High Profile (HP) up to H.264 Level 4.2 AVCHD 2.0 adds support for the following recording modes: Video Subtype AVCHD Progressive AVCHD 3D (stereoscopic) Frame size in pixels 1440×1080 1920×1080 1280×720 1920×1080 23.976, progressive 59.94, progressive 59.94, progressive Frame rate 25, interlaced 50, progressive 50, progressive 29.97, interlaced Frame aspect ratio 16:9 Video Compression MPEG-4 AVC/H.264 Luminance sampling frequency 111.4 MHz 148.5 MHz 74.25 MHz Chroma sampling format 4:2:0 Quantization 8 bits (both luminance and chrominance) Audio (Dolby Digital) AC-3 Compression Dolby Digital (AC-3) AC-3 channel mode 1-5.1 channels AC-3 compressed bitstream rate 64 to 640 kbit/s Audio (PCM) PCM linear PCM uncompressed audio PCM channel mode 1-7.1 channels PCM bitrate 1.5 Mbit/s (2 channels) System Stream type MPEG transport stream System data rate up to 28 Mbit/s File extension (generally) mts (on camcorder), m2ts (after import to computer) SD/SDHC/SDXC Memory Card Media "Memory Stick" Built-in hard-disk or flash Media.

Copy Link

Recommended publications

Implementing Object-Based Audio in Radio Broadcasting
Object-based Audio in Radio Broadcast Implementing Object-based audio in radio broadcasting Diplomarbeit Ausgeführt zum Zweck der Erlangung des akademischen Grades Dipl.-Ing. für technisch-wissenschaftliche Berufe am Masterstudiengang Digitale Medientechnologien and der Fachhochschule St. Pölten, Masterkalsse Audio Design von: Baran Vlad DM161567 Betreuer/in und Erstbegutachter/in: FH-Prof. Dipl.-Ing Franz Zotlöterer Zweitbegutacher/in:FH Lektor. Dipl.-Ing Stefan Lainer [Wien, 09.09.2019] I Ehrenwörtliche Erklärung Ich versichere, dass - ich diese Arbeit selbständig verfasst, andere als die angegebenen Quellen und Hilfsmittel nicht benutzt und mich auch sonst keiner unerlaubten Hilfe bedient habe. - ich dieses Thema bisher weder im Inland noch im Ausland einem Begutachter/einer Begutachterin zur Beurteilung oder in irgendeiner Form als Prüfungsarbeit vorgelegt habe. Diese Arbeit stimmt mit der vom Begutachter bzw. der Begutachterin beurteilten Arbeit überein. .................................................. ................................................ Ort, Datum Unterschrift II Kurzfassung Die Wissenschaft der objektbasierten Tonherstellung befasst sich mit einer neuen Art der Übermittlung von räumlichen Informationen, die sich von kanalbasierten Systemen wegbewegen, hin zu einem Ansatz, der Ton unabhängig von dem Gerät verarbeitet, auf dem es gerendert wird. Diese objektbasierten Systeme behandeln Tonelemente als Objekte, die mit Metadaten verknüpft sind, welche ihr Verhalten beschreiben. Bisher wurde diese Forschungen vorwiegend
[Show full text]
Lossless Compression of Audio Data
CHAPTER 12 Lossless Compression of Audio Data ROBERT C. MAHER OVERVIEW Lossless data compression of digital audio signals is useful when it is necessary to minimize the storage space or transmission bandwidth of audio data while still maintaining archival quality. Available techniques for lossless audio compression, or lossless audio packing, generally employ an adaptive waveform predictor with a variable-rate entropy coding of the residual, such as Huffman or Golomb-Rice coding. The amount of data compression can vary considerably from one audio waveform to another, but ratios of less than 3 are typical. Several freeware, shareware, and proprietary commercial lossless audio packing programs are available. 12.1 INTRODUCTION The Internet is increasingly being used as a means to deliver audio content to end-users for en tertainment, education, and commerce. It is clearly advantageous to minimize the time required to download an audio data file and the storage capacity required to hold it. Moreover, the expec tations of end-users with regard to signal quality, number of audio channels, meta-data such as song lyrics, and similar additional features provide incentives to compress the audio data. 12.1.1 Background In the past decade there have been significant breakthroughs in audio data compression using lossy perceptual coding [1]. These techniques lower the bit rate required to represent the signal by establishing perceptual error criteria, meaning that a model of human hearing perception is Copyright 2003. Elsevier Science (USA). 255 AU rights reserved. 256 PART III / APPLICATIONS used to guide the elimination of excess bits that can be either reconstructed (redundancy in the signal) orignored (inaudible components in the signal).
[Show full text]
Frequently Asked Questions Dolby Digital Plus
Frequently Asked Questions Dolby® Digital Plus redefines the home theater surround experience for new formats like high-definition video discs. What is Dolby Digital Plus? Dolby® Digital Plus is Dolby’s new-generation multichannel audio technology developed to enhance the premium experience of high-definition media. Built on industry-standard Dolby Digital technology, Dolby Digital Plus as implemented in Blu-ray Disc™ features more channels, less compression, and higher data rates for a warmer, richer, more compelling audio experience than you get from standard-definition DVDs. What other applications are there for Dolby Digital Plus? The advanced spectral coding efficiencies of Dolby Digital Plus enable content producers to deliver high-resolution multichannel soundtracks at lower bit rates than with Dolby Digital. This makes it ideal for emerging bandwidth-critical applications including cable, IPTV, IP streaming, and satellite (DBS) and terrestrial broadcast. Dolby Digital Plus is also a preferred medium for delivering BonusView (Profile 1.1) and BD-Live™ (Profile 2.0) interactive audio content on Blu-ray Disc. Delivering higher quality and more channels at higher bit rates, plus greater efficiency at lower bit rates, Dolby Digital Plus has the flexibility to fulfill the needs of new content delivery formats for years to come. Is Dolby Digital Plus content backward-compatible? Because Dolby Digital Plus is built on core Dolby Digital technologies, content that is encoded with Dolby Digital Plus is fully compatible with the millions of existing home theaters and playback systems worldwide equipped for Dolby Digital playback. Dolby Digital Plus soundtracks are easily converted to a 640 kbps Dolby Digital signal without decoding and reencoding, for output via S/PDIF.
[Show full text]
Dolby Broadcast Technologies Overview
Dolby® Broadcast Technologies: Essential for Evolving Entertainment Broadcast delivery requirements are in transition, and television transmission is no longer limited to signals sent to TV sets and home theater systems. Consumers now watch their favorite programs and movies on multiple devices: on PCs via the Internet, or by using cell phones, portable media players, and more. Dolby’s portfolio of technologies is evolving right alongside today’s new broadcast landscape. Dolby® broadcast technologies work together as a seamless, integrated solution—they are involved at every stage, from content creation all the way to consumers. Dolby helps content providers deliver a great entertainment experience, regardless of how viewers access programming: in their home theaters; via new Internet-capable media devices such as Vudu and Apple TV®; or on the many video-enhanced mobile devices on the market. All Dolby broadcast technologies support a path for metadata, ensuring that consumers hear programming the way it was intended. Plus, each technology is designed to address unique requirements for different parts of the broadcast chain, while still efficiently taking advantage of similarities when possible. The Technologies Dolby E is our digital audio technology optimized for the distribution of multichannel audio through digital two- channel postproduction and broadcasting infrastructures. Dolby E is the ideal format for professional contribution and distribution through networks regardless of the technology used for final delivery to consumers. Dolby Digital is a worldwide standard in film, broadcast, and packaged media. It is used virtually worldwide for broadcast services with 5.1-channel audio and can be found in DVD, terrestrial DTV, digital cable, and direct broadcast satellite.
[Show full text]
Multimedia Foundations Glossary of Terms Chapter 11 – Recording Formats and Device Settings
Multimedia Foundations Glossary of Terms Chapter 11 – Recording Formats and Device Settings Advanced Audio Coding (AAC) An MPEG-2 open standard that improved audio compression and extended the stereo capabilities of MPEG-1 to multichannel surround sound (Dolby Digital). Advanced Video Coding (AVC) Or AVC, H.264, MPEG-4, and H.264/MPEG-4. A high-quality compression codec developing primarily as a method for distributing full bandwidth high-definition video to the home video consumer. AIFF Audio Video Interleave format. A multimedia container format released in 1992 by Microsoft Corporation. Audio Compression A host of methods for reducing the size of a digital audio file without a negligible loss of quality in the sound of the recording. MP3 is a popular audio compression file format that can reduce the size of a digital sound file by ratio of up to 10:1. See Advanced Audio Coding AVCHD A variation of the MPEG-4 standard developed jointly in 2006 by Sony and Panasonic. Originally designed for consumers, AVCHD is a proprietary file-based recording format that has since been incorporated into a growing fleet of prosumer and professional camcorders. Bit Depth In digital audio sampling, this is the number of bits used to encode the value of a given sample. Bit Rate The transmission speed of a compressed audio stream during playback expressed in kilobits per second (Kbps). Codec Short for coder-decoder. A computer program or algorithm designed for encoding and decoding audio and/or video into raw digital bitstreams. Container Format Or wrapper. A unique kind of file format used for bundling and storing the raw digital bitstreams that codecs encode.
[Show full text]
DVP720SA/02 Philips DVD/SACD Player
Philips DVD/SACD Player DivX playback DVP720SA Total immersion in movies and music Multi-channel Super Audio CD Want a player that gives you multi-channel surround sound movies & music experience? With Philips DVD/SACD player, now you can! Be impressed & immerse yourself with movies & music entertainment experience delivered right to your home. Pure multi-channel sound • Multi-channel Super Audio CD for total music immersion • DTS 5.1 Dolby Digital Pro Logic II full surround sound Unrivalled video performance • PAL & NTSC Progressive Scan gives razor-sharp images • 108MHz/12 bit video processing high-resolution images Plays practically any disc format • Movies: DVD, DVD+R/RW, DVD-R/RW, (S)VCD, DivX • Music: SACD, CD, MP3-CD, CD-R and CD-RW • Picture CD (JPEG) with music (MP3) playback DVD/SACD Player DVP720SA/02 DivX playback Specifications Highlights Picture/Display Still Picture Playback Multi-channel Super Audio CD • Aspect ratio: 4:3, 16:9 • Playback Media: Picture CD Multi-channel SACD is a new generation music • D/A converter: 12 bit, 108 MHz • Picture Compression Format: JPEG format that offers ultra high quality music • Picture enhancement: Progressive scan • Picture Enhancement: Flip photos, Rotate reproduction. With a 5.1 multi-channel surround • Slide show: with music (MP3) sound and full CD compatibility both forward and Sound backward, what results is unsurpassed audio • D/A converter: 24 bit, 192 kHz Connectivity performance for your listening pleasure. • Signal to noise ratio: 110 • Other connections: Analog audio Left/Right
[Show full text]
A Critical Evaluation of the Dolby Digital Compression Algorithm
UNLV Retrospective Theses & Dissertations 1-1-1996 A critical evaluation of the Dolby Digital compression algorithm David Andrew Ingbretsen University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/rtds Repository Citation Ingbretsen, David Andrew, "A critical evaluation of the Dolby Digital compression algorithm" (1996). UNLV Retrospective Theses & Dissertations. 3279. http://dx.doi.org/10.25669/dw8q-xx1b processed, response: 201 This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Retrospective Theses & Dissertations by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI fihns the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type o f computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted.
[Show full text]
Dolby Digital Plus Audio Coding
Technical Paper Dolby® Digital Plus Audio Coding Dolby® Digital Plus is an advanced, more capable digital audio codec based on the Dolby Digital (AC-3) system that was introduced first for use on 35 mm theatrical films and then chosen for consumer formats that include DVD, cable, satellite, and digital broadcast television. Today Dolby Digital Plus has been adopted for use on Blu-ray Disc™ optical media, advanced A/V receivers, and for the ATSC and DVB digital broadcast formats. Among the factors leading to the development of Dolby Digital Plus was the need for a more efficient codec for emerging bandwidth-critical broadcast formats such as IPTV. Equally important was the need for a means to bring into the home the additional audio channels that are included in the SMPTE 428M specification for digital cinema. Digital cinema enables up to 20 channels—7 equivalent to the current 6.1 format, and 13 for additional speaker locations such as above the screen. A further factor was the necessity to provide full compatibility with the millions of existing Dolby Digital 5.1-channel home theater systems. Dolby Digital Plus supports up to 7.1 discrete channels when implemented in Blu-ray Disc media. Designed to be expandable, Dolby Digital Plus can support up to 15.1 discrete channels in the future, while retaining compatibility with all Dolby Digital Plus players and decoders. Dolby Digital Evolves into Dolby Digital Plus Several approaches to extending the number of channels while maintaining compatibility with existing playback configurations have been tried. For 7.1-channel content, for example, MPEG-2 LII incorporates three preconfigured downmix subsets to enable two-, 5.1-, and 7.1-channel presentations.
[Show full text]
Mvix Ultio Pro Media Player Format Support.Pdf
Mvix Ultio Pro Format Support: Video Formats and Codecs File Type File Extension Video Codec Audio Code LPCM, uLaw, aLaw Divx 3 / 4/ / 5/ / 6 MPEG-Audio Motion JPEG HE-AAC, LC-AAC .mp4, .mov, .xvid, .m4v MP4, MOV MPEG-4 SP / ASP (Xvid) Dolby Digital Plus MPEG-4 AVC (H.264) Vorbis MS-ADPCM LPCM, uLaw, aLaw MPEG-1 MPEG-Audio Divx 3 / 4/ / 5/ / 6 HE-AAC, LC-AAC Motion JPEG Dolby Digital Plus .avi, .divx AVI MPEG-4 SP/ASP (Xvid) DTS MPEG-4 AVC (H.264) Vorbis VC-1 MS-ADPCM WMA, WMA Pro MPEG-1 LPCM Minus VR MPEG-2 MPEG-1 Layer 2 LPCM MPEG-1 .iso MPEG-1 Layer 2 DVD Video MPEG-2 DTS Dvix 3 / 5 LPCM MPEG-4 SP/ASP (Xvid) WMA .asf, .wmv, .xvid ASF, WMV VC-1 WMA Pro WMV ADPCM LPCM H.263 .flv MPEG-AUDIO FLV MPEG-4 AVC (H.264) HE-AAC, LC-AAC LPCM MPEG-AUDIO DIVX 3/4/5/6 Dolby Digital Plus MPEG-1 .mkv, .xvid HE-AAC, LC-AAC MKV MPEG-2 DTS, Vorbis MPEG-4 SP/ASP(XviD) MS-ADPCM WMA, WMA Pro COOK RM, RMVB .rm/.rmvb RV8,RV9 HE-AAC, LC-AAC RA-Lossless LPCM MPEG-1 MPEG-AUDIO MPEG-2 .ts/.m2ts/.mts/.tp/.trp Dolby Digital Plus TS MPEG-4 AVC(H.264) HE-AAC, LC-AAC VC-1 DTS, TrueHD LPCM MPEG-1 MPEG-AUDIO .dat, .mpg, .mpeg DAT, MPG, MPEG MPEG-2 HE-AAC, LC-AAC DTS LPCM MPEG-1 .vob MPEG-1 Layer2 VOB MPEG-2 DTS Mvix Ultio Pro Format Support: Audio Formats and Codecs File Type File Extension Version Support MPEG-1 Layer 3 .mp3 WMA .wma, .asf WMA 7~9.1 WMA pro .wma, .asf WMA pro 9.1 N/A MPEG 1/2 MPEG-1/2 Layer 1/2 (included in video only) WAV .wav MKA .mka N/A LPCM (included in video only) N/A Microsoft ADPCM ADPCM (included in video only) G.726 MPEG-2/4 LC/HE profile .aac, .mp4 AAC AAC+ ver.
[Show full text]
What's the Plus in Dolby® Digital Plus?
Hear It. See It. Feel It. What’s the Plus in Dolby® Digital Plus? Dolby® Digital Plus is Dolby’s new-generation audio technology that elevates and redefines the home theater surround experience with formats like Blu-ray Disc™, digital broadcasting, and devices that play downloadable movie content. Better Sound As implemented in Blu-ray Disc, Dolby Digital Plus features more channels, less compression, and higher data rates for a warmer, richer, more compelling audio experience than is possible from standard-definition DVDs. Dolby Digital Plus content when encoded at higher bit rates has been described by some reviewers as being “virtually transparent” to the original source. At the same time, the advanced coding efficiencies of Dolby Digital Plus enable content producers to deliver high-resolution multichannel soundtracks at lower bit rates than with Dolby Digital. Dolby Digital Plus offers an enveloping 7.1-channel listening experience. More Channels Interactivity Support in Blu-ray Disc Dolby Digital Plus can deliver up to 7.1 channels of surround Dolby Digital Plus also enables sound from Blu-ray Disc players BonusView (Profile 1.1) and and digital broadcasts, providing BD-Live™ (Profile 2.0), interactive a more enveloping entertainment Blu-ray Disc features that mix stereo experience. Capable of supporting or multichannel secondary audio up to 15.1 channels of dynamic such as a director’s commentary with surround sound, Dolby Digital Plus the disc’s main theatrical soundtrack. has the flexibility to fulfill the needs BonusView is an embedded picture- of new content delivery formats for in-picture option for secondary audio years to come.
[Show full text]
Dolby Digital DP524 Digital Decoder
DIGITAL DECODER DOLBY DP524 DOLBY DP524 DOLBY DP524 TWO-CHANNEL DIGITAL AUDIO DECODER esigned to provide unmatched flexibility Synchronization is derived from either a Dand interconnectivity,the Dolby DP524 user-provided external clock or the unit’s own is a two-channel digital audio decoder unit internal clock. Both AES/EBU and S/PDIF supporting Dolby AC-2, Dolby Digital, and digital audio outputs are provided, plus analog MPEG-1 LII algorithms at data rates from 40 outputs with 20-bit D/A converters. The to 448 kb/s. With Dolby Digital and MPEG-1 DP524 also features front-panel system status LII, the DP524 supports single-channel, dual- indicators and rear-panel logic-level tallies, as mono (stereo) and joint-stereo formats, at 32, well as an internal test tone generator for sys- 44.1, or 48 kHz sampling rates. tem set-up and trouble-shooting. The DP524 is ideal for decoding and A complementary encoder unit, the monitoring purposes in broadcast, produc- Dolby DP503, is also available, supporting the tion, and telecommunications applications. same algorithms and data rates as the DP524. Uses include studio interconnection via ISDN for remote recording and post-production applications (Dolby Fax™), broadcast remotes, and satellite systems. The DP524 accepts an encoded RS-449 serial datastream with timing information, and automatically selects the appropriate decoding algorithm to recover the original audio and 100 Potrero Avenue any auxiliary data. San Francisco, CA 94103-4813 Telephone 415-558-0200 Facsimile 415-863-1373 [email protected] Wootton Bassett Wiltshire, SN4 8QJ, England Telephone (44) 1793-842100 Facsimile (44) 1793-842101 [email protected] www.dolby.com ABOUT DOLBY AC-2 DP524 SPECIFICATIONS AND DOLBY DIGITAL Audio Coding Algorithm Rear-Panel Switches Dolby Laboratories’ unique knowledge Dolby AC-2, Dolby Digital (AC-3) and Select operational modes: Test Tone Generator, Aux of psychoacoustics combined with MPEG-1 LII.
[Show full text]
DTS™ and Dolby Digital™ Built-In
8239 300 15401 Philips DVD-Video Player DVD Q40 DVDQ40Q40 DTS™ and Dolby Digital™ Built-in • 6-channel analog output for DTS™ and Dolby Digital™ • Dual Laser optical pickup unit for optimum CD-R and CD-RW playback • Multi-standard video compatibility ( NTSC & PAL ) • 96kHz/24 bits audio digital output • Component, Composite, and S-Video outputs, RGB on scart • Optical & Coaxial Digital Audio output (PCM / MPEG 2 / Dolby Digital / DTS) • High Resolution (58x43 pixel) backlit LCD display • 5 Disc Resume • Remote Control with Remote Confirm • Smart Power On/Off • MP3 CD Playback 8239 300 15401 DVD-Video player DVDQ40Q40 Technical specifications DVD Q40 Playback system • DVD-Video • Video CD / SVCD • CD (CDR and CD-RW) • DVD+RW and DVD-R • MP3 CD Audio performance (typical) General functionality • D/A converter 24 bits • Stop/ play/ pause Optical read-out system DVD: Fs 96 kHz 4 Hz- 44 kHz • Fast forward/ backward • Laser type Semicondoctor AlGaAs Fs 48 kHz 4 Hz- 22 kHz • Time search • Numerical Aperture 0.60 (DVD) Video CD: Fs 44.1 kHz 4 Hz- 20 kHz • Step forward/ backward 0.45 (VCD/CD) CD: Fs 44.1 kHz 4 Hz- 20 kHz • Slow motion • Wavelength 650 nm (DVD) SVCD: Fs 44.1 kHz 4 Hz- 20 kHz • Title / chapter/ track select 780 nm (VCD/CD) Fs 48.1 kHz 4 Hz- 22 kHz • Skip next/ skip previous • Repeat (Chapter/ title/ all) or (Track/ all) • Signal-noise (1kHz) 100 dB • A-B repeat DVD disc format • Dynamic Range (1kHz) 97 dB • Shuffle • Medium Optical disc • Crosstalk (1kHz) 110 dB • Scan • Diameter 12 cm (8 cm) • Distortion/noise (1kHz) 88 dB • Enhanced
[Show full text]