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Understanding Digital Video
chapter1 Understanding Digital Video Are you ready to learn more about how digital video works? This chapter introduces you to the concept of digital video, the benefits of going digital, the different types of digital video cameras, the digital video workflow, and essential digital video terms. COPYRIGHTED MATERIAL What Is Digital Video? ........................................ 4 Understanding the Benefits of Going Digital ................................................6 Discover Digital Video Cameras .......................8 The Digital Video Workflow ............................10 Essential Digital Video Terms .........................12 What Is Digital Video? Digital video is a relatively inexpensive, high-quality video format that utilizes a digital video signal rather than an analog video signal. Consumers and professionals use digital video to create video for the Web and mobile devices, and even to create feature-length movies. Analog versus Digital Video Recording Media versus Format Analog video is variable data represented as The recording medium is essentially the physical electronic pulses. In digital video, the data is broken device on which the digital video is recorded, like down into a binary format as a series of ones and a tape or solid-state medium (a medium without zeros. A major weakness of analog recordings is that moving parts, such as flash memory). The format every time analog video is copied from tape to tape, refers to the way in which video and audio data is some of the data is lost and the image is degraded, coded and organized on the media. Three popular which is referred to as generation loss. Digital video examples of digital video formats are DV (Digital is less susceptible to deterioration when copied. -
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 -
Digital Video Quality Handbook (May 2013
Digital Video Quality Handbook May 2013 This page intentionally left blank. Executive Summary Under the direction of the Department of Homeland Security (DHS) Science and Technology Directorate (S&T), First Responders Group (FRG), Office for Interoperability and Compatibility (OIC), the Johns Hopkins University Applied Physics Laboratory (JHU/APL), worked with the Security Industry Association (including Steve Surfaro) and members of the Video Quality in Public Safety (VQiPS) Working Group to develop the May 2013 Video Quality Handbook. This document provides voluntary guidance for providing levels of video quality in public safety applications for network video surveillance. Several video surveillance use cases are presented to help illustrate how to relate video component and system performance to the intended application of video surveillance, while meeting the basic requirements of federal, state, tribal and local government authorities. Characteristics of video surveillance equipment are described in terms of how they may influence the design of video surveillance systems. In order for the video surveillance system to meet the needs of the user, the technology provider must consider the following factors that impact video quality: 1) Device categories; 2) Component and system performance level; 3) Verification of intended use; 4) Component and system performance specification; and 5) Best fit and link to use case(s). An appendix is also provided that presents content related to topics not covered in the original document (especially information related to video standards) and to update the material as needed to reflect innovation and changes in the video environment. The emphasis is on the implications of digital video data being exchanged across networks with large numbers of components or participants. -
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 -
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 ........................................ -
Digital Video Recording
Digital Video Recording Five general principles for better video: Always use a tripod — always. Use good microphones and check your audio levels. Be aware of lighting and seek more light. Use the “rule of thirds” to frame your subject. Make pan/tilt movements slowly and deliberately. Don’t shoot directly against a wall. Label your recordings. Tripods An inexpensive tripod is markedly better than shooting by hand. Use a tripod that is easy to level (look for ones with a leveling bubble) and use it for every shot. Audio Remember that this is an audiovisual medium! Use an external microphone when you are recording, not the built-in video recorder microphone. Studies have shown that viewers who watch video with poor audio quality will actually perceive the image as more inferior than it actually is, so good sound is crucial. The camera will automatically disable built-in microphones when you plug in an external. There are several choices for microphones. Microphones There are several types of microphones to choose from: Omnidirectional Unidirectional Lavalier Shotgun Handheld In choosing microphones you will need to make a decision to use a wired or a wireless system. Hardwired systems are inexpensive and dependable. Just plug one end of the cord into the microphone and the other into the recording device. Limitations of wired systems: . Dragging the cord around on the floor causes it to accumulate dirt, which could result in equipment damage or signal distortion. Hiding the wiring when recording can be problematic. You may pick up a low hum if you inadvertently run audio wiring in a parallel path with electrical wiring. -
Model DV6600 User Guide Super Audio CD/DVD Player
E61M7ED/E61M9ED(EN).qx3 05.8.4 5:27 PM Page 1 Model DV6600 User Guide Super Audio CD/DVD Player CLASS 1 LASER PRODUCT E61M7ED/E61M9ED(EN).qx3 05.8.4 5:27 PM Page 2 PRECAUTIONS ENGLISH ESPAÑOL WARRANTY GARANTIA For warranty information, contact your local Marantz distributor. Para obtener información acerca de la garantia póngase en contacto con su distribuidor Marantz. RETAIN YOUR PURCHASE RECEIPT GUARDE SU RECIBO DE COMPRA Your purchase receipt is your permanent record of a valuable purchase. It should be Su recibo de compra es su prueba permanente de haber adquirido un aparato de kept in a safe place to be referred to as necessary for insurance purposes or when valor, Este recibo deberá guardarlo en un lugar seguro y utilizarlo como referencia corresponding with Marantz. cuando tenga que hacer uso del seguro o se ponga en contacto con Marantz. IMPORTANT IMPORTANTE When seeking warranty service, it is the responsibility of the consumer to establish proof Cuando solicite el servicio otorgado por la garantia el usuario tiene la responsabilidad and date of purchase. Your purchase receipt or invoice is adequate for such proof. de demonstrar cuándo efectuó la compra. En este caso, su recibo de compra será la FOR U.K. ONLY prueba apropiada. This undertaking is in addition to a consumer's statutory rights and does not affect those rights in any way. ITALIANO GARANZIA FRANÇAIS L’apparecchio è coperto da una garanzia di buon funzionamento della durata di un anno, GARANTIE o del periodo previsto dalla legge, a partire dalla data di acquisto comprovata da un Pour des informations sur la garantie, contacter le distributeur local Marantz. -
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). -
Installation Guide Autodesk® Smoke® 2010 for Mac OS® X © 2009 Autodesk, Inc
Autodesk ® WiretapCentral™ 2010.2 and Wiretap™ Gateway 2010.2 Installation Guide Autodesk® Smoke® 2010 For Mac OS® X © 2009 Autodesk, Inc. All rights reserved. Except as otherwise permitted by Autodesk, Inc., this publication, or parts thereof, may not be reproduced in any form, by any method, for any purpose. Trademarks The following are registered trademarks or trademarks of Autodesk, Inc., and/or its subsidiaries and/or affiliates in the USA and other countries: 3DEC (design/logo), 3December, 3December.com, 3ds Max, Algor, Alias, Alias (swirl design/logo), AliasStudio, Alias|Wavefront (design/logo), ATC, AUGI, AutoCAD, AutoCAD Learning Assistance, AutoCAD LT, AutoCAD Simulator, AutoCAD SQL Extension, AutoCAD SQL Interface, Autodesk, Autodesk Envision, Autodesk Intent, Autodesk Inventor, Autodesk Map, Autodesk MapGuide, Autodesk Streamline, AutoLISP, AutoSnap, AutoSketch, AutoTrack, Backburner, Backdraft, Built with ObjectARX (logo), Burn, Buzzsaw, CAiCE, Civil 3D, Cleaner, Cleaner Central, ClearScale, Colour Warper, Combustion, Communication Specification, Constructware, Content Explorer, Dancing Baby (image), DesignCenter, Design Doctor, Designer's Toolkit, DesignKids, DesignProf, DesignServer, DesignStudio, Design Web Format, Discreet, DWF, DWG, DWG (logo), DWG Extreme, DWG TrueConvert, DWG TrueView, DXF, Ecotect, Exposure, Extending the Design Team, Face Robot, FBX, Fempro, Fire, Flame, Flare, Flint, FMDesktop, Freewheel, GDX Driver, Green Building Studio, Heads-up Design, Heidi, HumanIK, IDEA Server, i-drop, ImageModeler, iMOUT, -
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.