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A Novel Real-Time Video Transmission Approach for Remote Laboratory Development
Wang et al. A NOVEL REAL-TIME VIDEO TRANSMISSION APPROACH 99 A novel real-time video transmission approach for remote laboratory development Ning Wang, Xuemin Chen, Texas Southern University, Houston, USA Gangbing Song, University of Houston, Houston, USA Hamid Parsaei, Texas A&M University at Qatar, Doha, Qatar Article first published in “iJOE International Journal of Online Engineering”, ABSTRACT. Remote laboratories are an inevitable necessity for V. 11 (2015), n. 1, as open Internet enabled education in Science, Technology, Engineering, access article distributed and Math (STEM) fields due to their effectiveness, flexibility, cost under the terms of the Creative Commons savings, and the fact that they provide many benefits to students, Attribution License 3.0 instructors and researchers. Accordingly, real-time experiment (http://creativecommons. live video streaming is an essential part of remote experimentation org/licenses/by/3.0/at/ operation. Nevertheless, in the development of real-time deed.en) http://online-journals.org/ experiment video transmission, it is a key and difficult issue that index.php/i-joe/article/ the video is transferred across the network firewall in most of view/3167 the current remote laboratory solutions. To address the network firewall issue, we developed a complete novel solution via HTTP Live Streaming (HLS) protocol and FFMPEG that is a powerful cross-platform command line video transcode/encoding software package on the server side. In this paper, a novel, real-time video streaming transmission approach based on HLS for the remote laboratory development is presented. With this new solution, the terminal users can view the real-time experiment live video streaming on any portable device without any firewall issues or the need for a third party plug-in. -
Wowza Media Server® - Overview
Wowza Media Server® - Overview Wowza® Media Systems, LLC. June 2013, Wowza Media Server version 3.6 Copyright © 2006 – 2013 Wowza Media Systems, LLC. All rights reserved. Wowza Media Server version 3.6 Overview Copyright © 2006 - 2013 Wowza Media Systems, LLC. All rights reserved. This document is for informational purposes only and in no way shall be interpreted or construed to create any warranties of any kind, either express or implied, regarding the information contained herein. Third-Party Information This document contains links to third party websites that are not under the control of Wowza Media Systems, LLC ("Wowza") and Wowza is not responsible for the content on any linked site. If you access a third party website mentioned in this document, then you do so at your own risk. Wowza provides these links only as a convenience, and the inclusion of any link does not imply that Wowza endorses or accepts any responsibility for the content on third party sites. Trademarks Wowza, Wowza Media Systems, Wowza Media Server and related logos are either registered trademarks or trademarks of Wowza Media Systems, LLC in the United States and/or other countries. Adobe and Flash are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. Microsoft and Silverlight are either registered trademarks or trademarks of Microsoft Corporation in the United States and/or other countries. QuickTime, iPhone, iPad and iPod touch are either registered trademarks or trademarks of Apple, Inc. in the United States and/or other countries. Other product names, logos, designs, titles, words or phrases mentioned may be third party registered trademarks or trademarks in the United States and/or other countries. -
XMP SPECIFICATION PART 3 STORAGE in FILES Copyright © 2016 Adobe Systems Incorporated
XMP SPECIFICATION PART 3 STORAGE IN FILES Copyright © 2016 Adobe Systems Incorporated. All rights reserved. Adobe XMP Specification Part 3: Storage in Files NOTICE: All information contained herein is the property of Adobe Systems Incorporated. No part of this publication (whether in hardcopy or electronic form) may be reproduced or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written consent of Adobe Systems Incorporated. Adobe, the Adobe logo, Acrobat, Acrobat Distiller, Flash, FrameMaker, InDesign, Illustrator, Photoshop, PostScript, and the XMP logo are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. MS-DOS, Windows, and Windows NT are either registered trademarks or trademarks of Microsoft Corporation in the United States and/or other countries. Apple, Macintosh, Mac OS and QuickTime are trademarks of Apple Computer, Inc., registered in the United States and other countries. UNIX is a trademark in the United States and other countries, licensed exclusively through X/Open Company, Ltd. All other trademarks are the property of their respective owners. This publication and the information herein is furnished AS IS, is subject to change without notice, and should not be construed as a commitment by Adobe Systems Incorporated. Adobe Systems Incorporated assumes no responsibility or liability for any errors or inaccuracies, makes no warranty of any kind (express, implied, or statutory) with respect to this publication, and expressly disclaims any and all warranties of merchantability, fitness for particular purposes, and noninfringement of third party rights. Contents 1 Embedding XMP metadata in application files . -
Cloud-Based Mobile Video Streaming Techniques
Global Journal of Computer Science and Technology Network, Web & Security Volume 12 Issue 17 Version 1.0 Year 2012 Type: Double Blind Peer Reviewed International Research Journal Publisher: Global Journals Inc. (USA) Online ISSN: 0975-4172 & Print ISSN: 0975-4350 Cloud-Based Mobile Video Streaming Techniques By Saurabh Goel Abstract - Reasoning processing is changing the landscape of the electronic digital multi-media market by moving the end customers concentrate from possession of video to buying entry to them in the form of on-demand delivery solutions. At the same time, the cloud is also being used to store possessed video paths and create solutions that help audience to discover a whole new range of multi-media. Cellular devices are a key car owner of this change, due to their natural mobility and exclusively high transmission rate among end customers. This document investigates cloud centered video streaming methods particularly from the mobile viewpoint. The qualitative part of the research contains explanations of current video development methods, streaming methods and third celebration cloud centered streaming solutions for different mobile which shows my realistic work relevant to streaming methods with RTMP protocols family and solutions for iPhone, Android, Smart mobile phones, Window and BalackBerry phones etc. Keywords : QCIF, CIF, 4CIF, HD, FFMPEG encoding/ streaming, zencoder cloud based encoding API , amazon cloud front service, video streaming, H.264, MPEG- 4, RTMP, RTMPT, RTMPE, RTMPTE. GJCST-E Classification : C.2.4 Cloud-Based Mobile Video Streaming Techniques Strictly as per the compliance and regulations of: © 2012. Saurabh Goel. This is a research/review paper, distributed under the terms of the Creative Commons Attribution- Noncommercial 3.0 Unported License http://creativecommons.org/licenses/by-nc/3.0/), permitting all non-commercial use, distribution, and reproduction inany medium, provided the original work is properly cited. -
(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. -
A Review of HTTP Live Streaming
A Review of HTTP Live Streaming Andrew Fecheyr-Lippens ([email protected]) Abstract TODO: write abstract January 2010 A Review of HTTP Live Streaming Andrew Fecheyr-Lippens Table of Contents 1. Introduction to streaming media 3 On-demand vs live streaming 3 2. Popular solutions 5 RTP/RTSP 5 Adobe Flash Media Streaming Server 5 3. Apple’s HTTP Live Streaming 7 HTTP Streaming Architecture 7 Server Components 9 Media Segment Files 10 Distribution Components 11 Client Component 11 Using HTTP Live Streaming 12 Session Types 12 Content Protection 13 Caching and Delivery Protocols 14 Stream Alternatives 14 Failover Protection 15 4. Critical Comparison 16 Ease of Setup 16 HTTP Live Streaming - Apple tools 17 HTTP Live Streaming - Open Source tools 17 RTP/RTSP - Darwin Streaming Server 18 Compatibility 19 Features 20 Ease of Distribution 21 Cost 22 5. Conclusion 23 6. Appendices 25 Appendix 1 - Index file generated by Apple tool 25 Appendix 2 - Configuration file for the O.S. toolchain 26 Appendix 3 - Index files generated by O.S. toolchain 27 Appendix 4 - Web server access log 28 Appendix 5 - Akamai HD for iPhone architecture 29 7. References 30 2 A Review of HTTP Live Streaming Andrew Fecheyr-Lippens 1.Introduction to streaming media In the early 1990s consumer-grade personal computers became powerful enough to display video and playback audio. These early forms of computer media were usually delivered over non-streaming channels, by playing it back from CD-ROMs or by downloading a digital file from a remote web server and saving it to a local hard drive on the end user's computer. -
Game Audio Via Openal
Game Audio via OpenAL Summary In the Graphics For Games module, you learnt how to use OpenGL to create complex graphical scenes, improving your programming skills along the way, and learning about data structures such as scene graphs. In this workshop, you'll see how to add sounds to your game worlds using the OpenAL sound library. New Concepts Sound in games, OpenAL, PCM audio, binary file formats, FourCC codes, WAV files, limited resource management Introduction Audio has played an important part in gaming almost as long as there have been games to play - even Pong back in 1972 had simple sound effects. We've moved a long way from then; the 80s brought dedicated audio hardware such as the Commodore 64's SID chip that could play 3 simultaneous syn- thesised sounds, and later the Amiga brought the ability to play audio samples to the home gaming market. In modern gaming hardware, we can expect to hear many simultaneous sounds and music tracks, often in surround sound. Game developers now employ dedicated sound engineers that will carefully adjust the sounds in each game release to create an immersive aural experience - making sure that each individual sound is uniquely identifiable and correctly equalised, and that every music track suits the situation they will be played in. At the heart of a game's audio experience is the code that plays back the game sounds, and cal- culates which speakers they should use - the sound system. Although we can't hope to compete with the complex sound systems of AAA games, we should still be able to make a robust, simple system for the addition of sound in our 3D games, and that's what this workshop will assist you in creating. -
Codec Is a Portmanteau of Either
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. -
The Qumu AWS Live Encoder High Performance Video Processing for Live Streaming
The Qumu AWS Live Encoder High Performance Video Processing for Live Streaming Whether you’re broadcasting a CEO event, new product introduction or crisis Overview communication, the Qumu AWS Live Encoder makes live, enterprise-wide video communication efficient, reliable and secure. HIGH PERFORMANCE Deliver content via Apple HLS, RTMP, Microsoft Smooth The Qumu Live Encoder (QLE) from AWS to the Video Control Center (VCC) and Streaming, or transport streams. is a video processing engine that provides automated ingest of archives for video-on- Alternatively, create mezzanine real-time video and audio encoding for live demand viewing. deliverables for wrapping with streaming via the Qumu enterprise video separate packages to reduce The Linux-based system can also be controlled platform. Powered by AWS Elemental Live, network bandwidth. the QLE performs simultaneous processing of through an intuitive web interface to set up multiple video outputs, delivering the high- and monitor the QLE, eliminating the need to VERSATILE DEPLOYMENT quality, high-efficiency performance required use external remote control tools. The QLE Control the Linux-based system for formatting live video for any device. The allows users to configure broadcasts that can through an intuitive web interface QLE is designed to integrate seamlessly into publish to both internal (i.e., Qumu VideoNet or REST / XML APIs for quick and the Qumu delivery workflow, with the flexibility Edge) and external (i.e., Amazon CloudFront, simple integration into existing workflows. Unified control and to evolve as technology requires. The QLE Akamai) distribution points simultaneously. management reduces setup time, provides flexible input options from HD-SDI In addition, for customers requiring live simplifies maintenance tasks and and HDMI inputs to both local file and HLS or multitrack audio for live audio translations allows for centralized upgrades of MPEG Transport Stream network inputs. -
FLV File Format
Video File Format Specification Version 10 Copyright © 2008 Adobe Systems Incorporated. All rights reserved. This manual may not be copied, photocopied, reproduced, translated, or converted to any electronic or machine-readable form in whole or in part without written approval from Adobe Systems Incorporated. Notwithstanding the foregoing, a person obtaining an electronic version of this manual from Adobe may print out one copy of this manual provided that no part of this manual may be printed out, reproduced, distributed, resold, or transmitted for any other purposes, including, without limitation, commercial purposes, such as selling copies of this documentation or providing paid-for support services. Trademarks Adobe, ActionScript, Flash, Flash Media Server, XMP, and Flash Player are either registered trademarks or trademarks of Adobe Systems Incorporated and may be registered in the United States or in other jurisdictions including internationally. Other product names, logos, designs, titles, words, or phrases mentioned within this publication may be trademarks, service marks, or trade names of Adobe Systems Incorporated or other entities and may be registered in certain jurisdictions including internationally. No right or license is granted to any Adobe trademark. Third-Party Information This guide contains links to third-party websites that are not under the control of Adobe Systems Incorporated, and Adobe Systems Incorporated is not responsible for the content on any linked site. If you access a third-party website mentioned in this guide, then you do so at your own risk. Adobe Systems Incorporated provides these links only as a convenience, and the inclusion of the link does not imply that Adobe Systems Incorporated endorses or accepts any responsibility for the content on those third- party sites. -
Technologie Pro Streaming Videa Video Streaming Technologies
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Digital Library of the Czech Technical University in Prague ČESKÉ VYSOKÉ U ČENÍ TECHNICKÉ V PRAZE Fakulta elektrotechnická Katedra radioelektroniky Technologie pro streaming videa Video streaming technologies Diplomová práce Studijní program: Komunikace, multimédia a elektronika (magisterský) Studijní obor: Multimediální technika Vedoucí práce: Ing. Karel Fliegel, Ph.D. Bc. Václav Popelka Praha 2013 Prohlášení Prohlašuji, že jsem předloženou práci vypracoval samostatn ě a že jsem uvedl veškeré použité informa ční zdroje v souladu s Metodickým pokynem o dodržování etických princip ů při p říprav ě vysokoškolských záv ěre čných prací. V Praze 29. prosince 2013 ____________ Podpis studenta Zadání (p řepis) České vysoké u čení technické v Praze Fakulta elektrotechnická Katedra radioelektroniky ZADÁNÍ DIPLOMOVÉ PRÁCE Student: Bc. Václav Popelka Studijní program: Komunikace, multimédia a elektronika (magisterský) Obor: Multimediální technika Název tématu: Technologie pro streaming videa / Video streaming technologies Pokyny pro vypracování: Podejte p řehled sou časných technologií pro streaming videa. Zam ěř te se zejména na nejnov ější standard MPEG-DASH (Dynamic Adaptive Streaming over HTTP). Popište typické artefakty, které p ři streamingu videa pomocí různých technologií vznikají a analyzujte jejich vliv na vnímanou kvalitu obrazu. Realizujte model streamingového serveru a s jeho využitím porovnejte ú činnost a výpo četní náro čnost jednotlivých technologií. Seznam odborné literatury: [1] Wu, H. R., Rao, K. R.: Digital Video Image Quality and Perceptual Coding, Signal Processing and Communications, CRC Press, New York, 2006. [2] Winkler, S.: Digital Video Quality: Vision Models and Metrics, Wiley, 2005. Vedoucí: Ing. -
TAPAS: a Tool for Rapid Prototyping of Adaptive Streaming Algorithms
TAPAS: a Tool for rApid Prototyping of Adaptive Streaming algorithms Luca De Cicco Vito Caldaralo Politecnico di Bari, Italy Quavlive srl, Italy [email protected] [email protected] Vittorio Palmisano Saverio Mascolo Quavlive srl, Italy Politecnico di Bari, Italy [email protected] [email protected] ABSTRACT and user screen resolution. The two leading standardiza- tion efforts related to adaptive streaming are the HTTP The central component of any adaptive video streaming sys- 1 tem is the stream-switching controller. This paper intro- Live Streaming (HLS) proposed by Apple and the ISO duces TAPAS, an open-source Tool for rApid Prototyping standard Dynamic Adaptive Streaming over HTTP (MPEG- of Adaptive Streaming control algorithms. TAPAS is a flex- DASH) [10]. Both the standards require the video content ible and extensible video streaming client written in python to be encoded at different bitrates and resolutions, the video that allows to easily design and carry out experimental per- levels or representations. Then, each video level is logically or physically divided into segments, or chunks, of fixed dura- formance evaluations of adaptive streaming controllers with- 2 out needing to write the code to download video segments, tions. A manifest file is stored at the server and is used to parse manifest files, and decode the video. TAPAS currently associate to each (chunk,video level) pair its corresponding supports DASH and HLS and has been designed to minimize URL. The client downloads and parses the manifest file and the CPU and memory footprint so that experiments involv- constructs a data structure that is used to request consec- ing a large number of concurrent video flows can be carried utive video segments of possibly different representations.