Codec for Mpeg-4 Movie
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An Introduction to Mpeg-4 Audio Lossless Coding
« ¬ AN INTRODUCTION TO MPEG-4 AUDIO LOSSLESS CODING Tilman Liebchen Technical University of Berlin ABSTRACT encoding process has to be perfectly reversible without loss of in- formation, several parts of both encoder and decoder have to be Lossless coding will become the latest extension of the MPEG-4 implemented in a deterministic way. audio standard. In response to a call for proposals, many com- The MPEG-4 ALS codec uses forward-adaptive Linear Pre- panies have submitted lossless audio codecs for evaluation. The dictive Coding (LPC) to reduce bit rates compared to PCM, leav- codec of the Technical University of Berlin was chosen as refer- ing the optimization entirely to the encoder. Thus, various encoder ence model for MPEG-4 Audio Lossless Coding (ALS), attaining implementations are possible, offering a certain range in terms of working draft status in July 2003. The encoder is based on linear efficiency and complexity. This section gives an overview of the prediction, which enables high compression even with moderate basic encoder and decoder functionality. complexity, while the corresponding decoder is straightforward. The paper describes the basic elements of the codec, points out 2.1. Encoder Overview envisaged applications, and gives an outline of the standardization process. The MPEG-4 ALS encoder (Figure 1) typically consists of these main building blocks: • 1. INTRODUCTION Buffer: Stores one audio frame. A frame is divided into blocks of samples, typically one for each channel. Lossless audio coding enables the compression of digital audio • Coefficients Estimation and Quantization: Estimates (and data without any loss in quality due to a perfect reconstruction quantizes) the optimum predictor coefficients for each of the original signal. -
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 -
(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. -
Lossless Audio Coding Using Adaptive Linear Prediction
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ScholarBank@NUS LOSSLESS AUDIO CODING USING ADAPTIVE LINEAR PREDICTION SU XIN RONG (B.Eng., SJTU, PRC) A THESIS SUBMITTED FOR THE DEGREE OF MASTER OF ENGINEERING DEPARTMENT OF ELECTRICAL AND COMPUTER ENGINEERING NATIONAL UNIVERSITY OF SINGAPORE 2005 ACKNOWLEDGEMENTS First of all, I would like to take this opportunity to express my deepest gratitude to my supervisor Dr. Huang Dong Yan from Institute for Infocomm Research for her continuous guidance and help, without which this thesis would not have been possible. I would also like to specially thank my supervisor Assistant Professor Nallanathan Arumugam from NUS for his continuous support and help. Finally, I would like to thank all the people who might help me during the project. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS .............................................................................................. ii TABLE OF CONTENTS ................................................................................................. iii SUMMARY ........................................................................................................................vi LIST OF TABLES .......................................................................................................... viii LIST OF FIGURES ...........................................................................................................ix CHAPTER 1 INTRODUCTION......................................................................................................... -
Preview - Click Here to Buy the Full Publication
This is a preview - click here to buy the full publication IEC 62481-2 ® Edition 2.0 2013-09 INTERNATIONAL STANDARD colour inside Digital living network alliance (DLNA) home networked device interoperability guidelines – Part 2: DLNA media formats INTERNATIONAL ELECTROTECHNICAL COMMISSION PRICE CODE XH ICS 35.100.05; 35.110; 33.160 ISBN 978-2-8322-0937-0 Warning! Make sure that you obtained this publication from an authorized distributor. ® Registered trademark of the International Electrotechnical Commission This is a preview - click here to buy the full publication – 2 – 62481-2 © IEC:2013(E) CONTENTS FOREWORD ......................................................................................................................... 20 INTRODUCTION ................................................................................................................... 22 1 Scope ............................................................................................................................. 23 2 Normative references ..................................................................................................... 23 3 Terms, definitions and abbreviated terms ....................................................................... 30 3.1 Terms and definitions ............................................................................................ 30 3.2 Abbreviated terms ................................................................................................. 34 3.4 Conventions ......................................................................................................... -
Codifica Audio Lossless
UNIVERSITA` DEGLI STUDI DI PADOVA DIPARTIMENTO DI INGEGNERIA DELL’INFORMAZIONE Tesi di Laurea in INGEGNERIA DELL’INFORMAZIONE Codifica audio lossless Relatore Candidato Prof. Giancarlo Calvagno Mattia Bonomo Anno Accademico 2009/2010 UNIVERSITA` DEGLI STUDI DI PADOVA DIPARTIMENTO DI INGEGNERIA DELL’INFORMAZIONE Tesi di Laurea in INGEGNERIA DELL’INFORMAZIONE Codifica audio lossless Relatore Candidato Prof. Giancarlo Calvagno Mattia Bonomo Anno Accademico 2009/2010 Ai miei nonni. Indice Ringraziamenti 7 1 Introduzione 9 2 Principi della compressione lossless 13 2.1 Blocking e Framing ......................... 14 2.2 Interchannel decorrelation ..................... 17 2.3 Intrachannel decorrelation ..................... 19 2.4 Entropy Coding ........................... 26 3 Comparativa codec lossless 33 3.1 Standard MPEG .......................... 34 4 MPEG-4ALS 35 4.1 Blocking ............................... 36 4.2 Accesso casuale ........................... 36 4.3 Predizione .............................. 37 4.3.1 Predizione LPC ....................... 37 4.3.2 RLS-LMS .......................... 37 4.3.3 Predizione a lungo termine (LTP) ............. 41 4.4 Codifica Entropica ......................... 41 5 MPEG4-SLS 43 5.1 IntMCDT .............................. 44 5.1.1 Finestramento ........................ 45 5.1.2 DCT-IV ........................... 45 5.1.3 Modellazione del rumore .................. 46 5.2 Error Mapping ........................... 46 5 5.3 Codifica Entropica ......................... 48 5.3.1 Codifica Bit-Plane ..................... 48 5.3.2 Codifica a bassa energia .................. 51 6 Analisi sulle prestazioni di MPEG4-ALS 53 6.1 MPEG4-ALS ............................ 53 7 Parte sperimentale 57 7.1 Descrizione del progetto ...................... 57 7.1.1 Divisione in blocchi .................... 58 7.1.2 Inter-channel coding .................... 58 7.1.3 Algoritmo MEQP ...................... 59 7.1.4 Codifica entropica ..................... 60 7.1.5 Multiplexing ........................ 60 7.2 Simulazioni ............................ -
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 Standard for Lossless Audio Coding
한국음향학 회지 제 28권 제 7호 pp. 618-629 (2009) MPEG-4 ALS - The Standard for Lossless Audio Coding Tilman Liebchen* *LG Electronics, Berlin, Germany (접수일자 : 2009년 9월 2일 ; 채택일자 : 2009년 9월 15일 ) The MPEG-4 Audio Lossless Coding (ALS) standard belongs to the family MPEG-4 audio coding standards. In contrast to lossy codecs such as AAC, which merely strive to preserve the subjective audio quality, lossless coding preserves every sin이 e bit of the original audio data. The ALS core codec is based on forward-adaptive linear prediction, which combines remarkable compression with low complexity. Additional features include long-term prediction, multichannel coding, and compression of floating-point audio material. This paper describes the basic elements of the ALS codec with a focus on prediction, entropy coding, and related tools, and points out the most important applications of this standardized lossless audio format. Keywords： Audio Coding, Lossless, Compression, Linear Prediction, MPEG, Standard, ALS ASK subject classification* New Media (13) I. Introduction The first version of the MPEG4 ALS standard was published in 2006 [2], Since then, some corrigenda have Lossless audio coding enables the compression of been issued, and additional tools such as reference digital audio data without any loss in quality due to software [3] and conformance bitstreams [4] have a perfect (i.e. bit-identical) reconstruction of the been standardized and released. The latest description of MPEG4 ALS has been fully integrated into the 4th original signal. On the other hand, modem perceptual audio coding standards such as MP3 or AAC are always Edition of the MPEG4 audio standard [5], which was lossy, since they never fully preserve the original ultimately published in 2009. -
File Name Benchmark Width 1024 Height 768 Anti-Aliasing None
File Name Benchmark Width 1024 Height 768 Anti-Aliasing None Anti-Aliasing Quality 0 Texture Filtering Optimal Max Anisotropy 4 VS Profile 3_0 PS Profile 3_0 Force Full Precision No Disable DST No Disable Post-Processing No Force Software Vertex Shader No Color Mipmaps No Repeat Tests Off Fixed Framerate Off Comment 3DMark Score 4580 3DMarks Game Tests GT1 - Return To Proxycon 18.5 FPS Game Tests GT2 - Firefly Forest 11.7 FPS Game Tests GT3 - Canyon Flight 28.4 FPS Game Tests CPU Score 2184 CPUMarks CPU Tests CPU Test 1 1.1 FPS CPU Tests CPU Test 2 1.9 FPS CPU Tests Fill Rate - Single-Texturing 0.0 FPS N/A Feature Tests Fill Rate - Multi-Texturing 0.0 FPS N/A Feature Tests Pixel Shader 0.0 FPS N/A Feature Tests Vertex Shader - Simple 0.0 FPS N/A Feature Tests Vertex Shader - Complex 0.0 FPS N/A Feature Tests 8 Triangles 0.0 FPS N/A Batch Size Tests 32 Triangles 0.0 FPS N/A Batch Size Tests 128 Triangles 0.0 FPS N/A Batch Size Tests 512 Triangles 0.0 FPS N/A Batch Size Tests 2048 Triangles 0.0 FPS N/A Batch Size Tests 32768 Triangles 0.0 FPS N/A Batch Size Tests System Info Version 3.5 CPU Info Central Processing Unit Manufacturer Intel Family Intel(R) Pentium(R) 4 CPU 3.40GHz Architecture 32-bit Internal Clock 3400 MHz Internal Clock Maximum 3400 MHz External Clock 800 MHz Socket Designation CPU 1 Type Central Upgrade HyperThreadingTechnology Available - 2 Logical Processors Capabilities MMX, CMov, RDTSC, SSE, SSE2, PAE Version Intel(R) Pentium(R) 4 CPU 3.40GHz Caches Level Capacity Type Type Details Error Correction TyAssociativity 1 -
Input Formats & Codecs
Input Formats & Codecs Pivotshare offers upload support to over 99.9% of codecs and container formats. Please note that video container formats are independent codec support. Input Video Container Formats (Independent of codec) 3GP/3GP2 ASF (Windows Media) AVI DNxHD (SMPTE VC-3) DV video Flash Video Matroska MOV (Quicktime) MP4 MPEG-2 TS, MPEG-2 PS, MPEG-1 Ogg PCM VOB (Video Object) WebM Many more... Unsupported Video Codecs Apple Intermediate ProRes 4444 (ProRes 422 Supported) HDV 720p60 Go2Meeting3 (G2M3) Go2Meeting4 (G2M4) ER AAC LD (Error Resiliant, Low-Delay variant of AAC) REDCODE Supported Video Codecs 3ivx 4X Movie Alaris VideoGramPiX Alparysoft lossless codec American Laser Games MM Video AMV Video Apple QuickDraw ASUS V1 ASUS V2 ATI VCR-2 ATI VCR1 Auravision AURA Auravision Aura 2 Autodesk Animator Flic video Autodesk RLE Avid Meridien Uncompressed AVImszh AVIzlib AVS (Audio Video Standard) video Beam Software VB Bethesda VID video Bink video Blackmagic 10-bit Broadway MPEG Capture Codec Brooktree 411 codec Brute Force & Ignorance CamStudio Camtasia Screen Codec Canopus HQ Codec Canopus Lossless Codec CD Graphics video Chinese AVS video (AVS1-P2, JiZhun profile) Cinepak Cirrus Logic AccuPak Creative Labs Video Blaster Webcam Creative YUV (CYUV) Delphine Software International CIN video Deluxe Paint Animation DivX ;-) (MPEG-4) DNxHD (VC3) DV (Digital Video) Feeble Files/ScummVM DXA FFmpeg video codec #1 Flash Screen Video Flash Video (FLV) / Sorenson Spark / Sorenson H.263 Forward Uncompressed Video Codec fox motion video FRAPS: