Digital File Formats for Videotape Reformatting
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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 . -
'DIY' Digital Preservation for Audio Identify · Appraise · Organise · Preserve · Access Plan + Housekeeping
'DIY' Digital Preservation for Audio Identify · Appraise · Organise · Preserve · Access Plan + housekeeping Part 1 (10:00am-10:50am) Part 2 (11:00am-11:45am) 10:00am-10:10am Intros and housekeeping 10:50am-11:00am [10-minute comfort break] 10:10am-10:30am Digital Preservation for audio 11:00am-11:15am Organise (Migrate) What material do you care 11:15am-11:45am Store, Maintain, Access about and hope to keep?_ Discussion & Questions 10:30am-10:50am Locate, Appraise, Identify What kind of files are you working with?_ Feel free to Using Zoom swap to ‘Grid View’ when slides are not in use, to gage ‘the room’. Please use the chat Please keep function to your mic on ask questions ‘mute’ when while slides not speaking. are in use. Who are we? • Bridging the Digital Gap traineeship scheme • UK National Archives (National Lottery Heritage Fund) • bringing ‘digital’ skills into the archives sector Why are we doing these workshops? • agitate the cultural record to reflect lived experience • embrace tools that support historical self-determination among non- specialists • raise awareness, share skills, share knowledge What is digital preservation? • digital material is vulnerable in different ways to analog material • digital preservation = “a series of managed activities undertaken to ensure continued access to digital materials for as long as necessary.” Audio practices and technological dependency Image credit: Tarje Sælen Lavik Image credit: Don Shall Image credit: Mk2010 Image credit: Stahlkocher Image credit: JuneAugust Digital preservation and ‘born-digital’ audio Bitstream File(s) Digital Content Rendered Content • codecs (e.g. LPCM) • formats and containers (e.g. -
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. -
(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. -
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. -
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. -
1 Last Date Modified: 30 April 2015 BAE SYSTEMS INFORMATION
BAE SYSTEMS INFORMATION SOLUTIONS INC. GEOSPATIAL EXPLOITATION PRODUCTS® PLATFORM SOFTWARE LICENSE AGREEMENT THIS SOFTWARE LICENSE AGREEMENT (“AGREEMENT”) APPLIES TO ANY SOFTWARE PRODUCT(S) THAT MAY BE PROVIDED BY BAE SYSTEMS INFORMATION SOLUTIONS INC. (“LICENSOR”) TO YOU (“LICENSEE”), INCLUDING BUT NOT LIMITED TO GXP XPLORER®, SOCET GXP ®, SOCET SET®, GXP WEBVIEWTM, GXP INMOTIONTM, GXP INMOTIONTM SERVER GXP JPIP SERVER AND IF APPLICABLE (AS SPECIFICALLY IDENTIFIED IN THE APPLICABLE ORDERING DOCUMENT OR CONTRACT) THE GXP XPLORER SERVER JPIP CONNECTOR FOR EXELIS IAS AND/OR THE GXP XPLORER SERVER TO DIB CONNECTOR (EACH SEPARATELY REFERRED TO BELOW AS “GXP SOFTWARE”). READ THE TERMS AND CONDITIONS OF THIS AGREEMENT CAREFULLY BEFORE (1) OPENING THE PACKAGE OR DOWNLOADING THE FILE CONTAINING THE GXP SOFTWARE, OR (2) CLICKING THE “I ACCEPT” BUTTON. THE GXP SOFTWARE AND THE ACCOMPANYING USER DOCUMENTATION (EACH REFERRED TO AS THE “PROGRAM”) ARE COPYRIGHTED AND LICENSED - NOT SOLD. BY OPENING THE SOFTWARE PACKAGE, OR CLICKING “I ACCEPT”, YOU ARE ACCEPTING AND AGREEING TO THE TERMS OF THIS AGREEMENT. IF YOU DO NOT ACCEPT THE TERMS AND CONDITIONS OF THIS AGREEMENT PROMPTLY RETURN THE UNOPENED PACKAGE TO THE PARTY FROM WHOM IT WAS ACQUIRED, CANCEL THE DOWNLOAD OR CANCEL THE INSTALLATION. IF YOU ARE A UNITED STATES (“U.S”) GOVERNMENT CUSTOMER, ACCEPTANCE OF THESE TERMS ARE EFFECTUATED BY ACCEPTANCE OF A PROPOSAL, QUOTE, OR OTHER ORDERING DOCUMENT OR CONTRACT INCORPORATING THIS AGREEMENT BY REFERENCE OR OTHERWISE OR BY CONTRACTING OFFICER EXECUTION OF THIS AGREEMENT. THIS AGREEMENT REPRESENTS THE ENTIRE AGREEMENT CONCERNING THE LICENSING OF THE PROGRAM BETWEEN LICENSEE AND LICENSOR, AND IT SUPERSEDES AND REPLACES IN ITS ENTIRETY ANY PRIOR PROPOSAL, REPRESENTATION, OR UNDERSTANDING BETWEEN THE PARTIES. -
Open Source Licenses Applicable to Hitachi's Products Earlier Versions
Open Source Licenses Applicable to Hitachi’s Products EARLIER VERSIONS Several products are listed below together with certain open source licenses applicable to the particular product. The open source software licenses are included at the end of this document. If the open source package has been modified, an asterisk (*) appears next to the name of the package. Note that the source code for packages licensed under the GNU General Public License or similar type of license that requires the licensor to make the source code publicly available (“GPL Software”) may be available for download as indicated below. If the source code for GPL Software is not included in the software or available for download, please send requests for source code for GPL Software to the contact person listed for the applicable product. The materials below are provided “AS IS,” without warranty of any kind, including, but not limited to, the implied warranties of merchantability, fitness for a particular purpose, and non-infringement. Access to this material grants you no right or license, express or implied, statutorily or otherwise, under any patent, trade secret, copyright, or any other intellectual property right of Hitachi Vantara Corporation (“Hitachi”). Hitachi reserves the right to change any material in this document, and any information and products on which this material is based, at any time, without notice. Hitachi shall have no responsibility or liability to any person or entity with respect to any damages, losses, or costs arising from the materials -
Repository Design Report with Attached Metadata Plan
National Digital Information Infrastructure and Preservation Program Preserving Digital Public Television Project REPOSITORY DESIGN REPORT WITH ATTACHED METADATA PLAN Prepared by Joseph Pawletko, Software Systems Architect, New York University With contributions by Nan Rubin, Project Director, Thirteen/WNET-TV Kara van Malssen, Senior Research Scholar, New York University 2010-03-19 Table of Contents Executive Summary ………………………………………………………………………………………… 2 1. Background ……………………………………………………………………………………………..... 3 2. OAIS Reference Model and Terms …………………………………………………………………… 3 3. Preservation Repository Design ……………………………………………………………………….. 3 4. Core Archival Information Package Structure …………………………………………………….. 11 5. PDPTV Archival Information Package Structure …………………………………………………... 14 6. PDPTV Submission Information Packages …………………………………………………………... 17 7. PDPTV Archival Information Package Generation and Metadata Plan ……………………... 18 8. Content Transfer to the Library of Congress .……………………………………………………….. 22 9. Summary …………………………………………………………………………………………………… 23 10. Remaining Work …………………………………………………………………………………………. 30 11. Acknowledgements ……………………………………………………………………………………. 31 Appendix 1 Glossary and OAIS Operation ……………………………………………...…………… 32 Appendix 2 WNET NAAT 002405 METS File ……………………………………………………………. 37 Appendix 3 WNET NAAT 002405 PBCore File …………………………………………………………. 41 Appendix 4 WNET NAAT 002405 SD Broadcast Master PREMIS File ...……………………………. 46 Appendix 5 WNET NAAT 002405 SD Broadcast Master METSRights File …………………………. 48 Appendix 6 WGBH -
Introduction • the Ffmpeg Family • Other Open-Source Pieces Of
Open-Source Tools and Resources Summary • introduction • the FFmpeg family Reto Kromer • AV Preservation by reto.ch • other open-source pieces of software conclusion Akademie der bildenden Künste • Medienkunst: Technologie und Erhaltungsstrategien III Wien, 7.–10. Jänner 2020 1 2 CLI and/or GUI MD5 Checksums • command-line interface (CLI) Windows comes with: graphical user interface (GUI) CertUtil • macOS and Linux come with: md5 md5deep shasum 3 4 FFmpeg Components • ffmpeg • libavutil • ffplay • libavcodec FFmpeg • ffprobe • libavformat • libavdevice • libavfilter • libswscale • libswresample 5 6 Data Transformations File Transformations ffmpeg (CLI) ffmpeg.org demultiplex: libavformat ➔ decode: libavcodec FFmpeg Cookbook for Archivists filter: libavfilter ➔ avpres.net/FFmpeg/ encode: libavcodec ffmprovisr multiplex: libavformat ➔ amiaopensource.github.io/ffmprovisr/ 7 8 Metadata Extraction Media Players MediaInfo (GUI, CLI) VLC (GUI) ➔ mediaarea.net/MediaInfo ➔ www.videolan.org/vlc/ ffprobe (CLI) mpv (CLI) ➔ ffmpeg.org ➔ mpv.io ffplay (CLI) ➔ ffmpeg.org 9 10 A Graphical User Interface FFCommand Engine (GUI) ➔ github.com/ColorlabMD/FFCommand_Engine Other Software 11 12 The Missing Piece of Software avantages disavantages RAWcooked (CLI) TIFF data easier ➔ mediaarea.net/RAWcooked DPX bigger files OpenEXR to process JPEG 2000 data complexer FFV1 smaller files to process 13 14 RAWcooked Quality Control • encoding into Matroska (.mkv) using FFV1 QCTools (GUI), qcli (CLI) video codec and FLAC audio codec ➔ bavc.org/preserve-media/preservation-tools -
Creating and Archiving Born Digital Video
Federal Agencies Digitization Guidelines Initiative Creating and Archiving Born Digital Video Part III. High Level Recommended Practices December 2, 2014 The FADGI Audio-Visual Working Group http://www.digitizationguidelines.govaudio-visual/ Creating and Archiving Born Digital Video III: High Level Recommended Practices By the Federal Agencies Digitization Guidelines Initiative Audio-Visual Working Group http://www.digitizationguidelines.gov/audio-visual/ Version 1.1, December 2, 2014 TABLE OF CONTENTS Introduction .............................................................................................................................................................. 4 What is this Document? .......................................................................................................................................... 4 Key to Case History References .............................................................................................................................. 4 Understanding the Recommended Practices .......................................................................................................... 4 Part 1. Advice for File Creators .............................................................................................................................. 6 Plan for High Quality Video Files and Metadata ................................................................................................... 6 RP 1.1 Select a camera and other recording equipment with the capability to capture at high quality