Dolby® LE100 2D/3D Live Event Player

Total Page:16

File Type:pdf, Size:1020Kb

Dolby® LE100 2D/3D Live Event Player Dolby® LE100 2D/3D Live Event Player The Dolby® LE100 is a 1-U rack unit live broadcast receiver and player that allows live content to be recorded and saved as a DCI-compliant digital cinema package (DCP). The Dolby LE100 also incorporates standard DVR functionality for live and stored events, SNMP for remote monitoring, and a web client interface for setup and control. The Dolby LE100 plays files with bit rates up to 50 Mbps and has native support for MPEG-2, H.264, and VC-1 codecs. Using either Ethernet or USB, the Dolby LE100 can also accept numerous alternative content file formats for display. The Dolby LE100 offers dual HDMI® as well as dual 3G HD-SDI outputs. With these I/O options and support for full- resolution 3D, the Dolby LE100 can be connected to most 2D or 3D displays, including dual-projector setups. The Dolby LE100 is controlled via Ethernet, and the included web interface provides easy-to-use device and playlist control. The web-based graphical user interface (GUI) can be accessed from any computer on the network or even from a wirelessly connected laptop or tablet. SNMP is also supported for remote monitoring. DOLBY LE100 KEY FEATURES: • Live playback of IP transport stream, up to 1080p 60 • Transport stream packaged as a DCI-compliant DCP on the fly and recorded to local storage (delayed playback) • Dual 3G HD-SDI outputs • Dual HDMI outputs • Support for MPEG-2, H.264, and VC-1 codecs at bit rates up to 50 Mbps • Internal storage that supports more than 40 hours of recording • Playlist support • 3D support • Network setup through web-based GUI, serial port, or USB • SNMP monitoring • Web-based control and monitoring • API for third-party developers to program IP control • Sharable DCPs through USB or Ethernet • Subtitle support • Support for IP streaming output to up to four devices Confidential Information of Dolby Laboratories, Inc. 1 Dolby LE100 2D/3D Live Event Player MAIN CHASSIS: VIDEO OUTPUTS: • Internal SATA storage • HD 2 x 3G HD SDI(SEMPTE 259M, SMPTE • 2× 10/100/1000Base-T Ethernet ports 292M, SMPTE 424M)s • 3× USB 2.0 ports (one front, two rear) 2 x HDMI • 1× AC power connector • Embedded Linux® OS AUDIO: • Embedded (HDMI/SDI) 8 channel HD/SD DECODING: • AES/EBU 8 channel unbalanced on four BNC • MPEG2 up to 50 Mbps • Analog 2 channel stereo on 3.5 mm audio jack • H.264 up to 50 Mbps • Processing and storage 16-, 20-, or 24-bit PCM, 48 kHz • VC-1 up to 50 Mbps • Compressed audio Dolby Digital (AC-3) pass-through 3D SUPPORT: CONTROL: • 3D Output Formats Side by side • Input/output Ethernet Top/bottom • Protocols Odetics Dual stream Frame Packing INPUT FILE FORMAT SUPPORT (VIA USB OR ETHERNET): • Dimensions (H × W × D) 1 rack unit, 44 mm × 483 mm × 330 mm OUTPUT VIDEO FORMATS: (1.75” × 19” × 13”) • HD 720p @ 60fps/50fps/59.94fps • Weight 4.8 kg (10.5 lb) 1080i @ 25fps/29.97fps/30fps 1080p @ 23.98fps/24fps/25fps/29.97fps/ POWER: 30fps/50fps/59.94fps/60fps/ • Power Supply 80 PLUS certified INPUT FILE FORMAT SUPPORT (VIA USB OR ETHERNET): • Voltage AC 100–240 V • Current 1.5–3.5 A • DCP files • Frequency 60–50 Hz • MPEG-2/H.264/VC-1 • Total DC Output 250 W • Idle Consumption 28 W • Peak Consumption 41 W The English version of this document is the only legally binding version. Translated versions are not legally binding and are for convenience only. Dolby Laboratories, Inc. 100 Potrero Avenue, San Francisco, CA 94103-4813 USA T 415-558-0200 dolby.com Dolby and the double-D symbol are registered trademarks of Dolby Laboratories. All other trademarks remain the property of their respective owners. © 2015 Dolby Laboratories, Inc. All rights reserved. 2.
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]
  • Dolby Cineasset User Manual 005058 Issue 6
    Dolby CineAsset User’s Manual 22 July 2019 CAS.OM.005058.DRM Issue 6 Notices Notices Copyright © 2019 Dolby Laboratories. All rights reserved. Dolby Laboratories, Inc. 1275 Market Street San Francisco, CA 94103-1410 USA Telephone 415-558-0200 Fax 415-645-4000 http://www.dolby.com Trademarks Dolby and the double-D symbol are registered trademarks of Dolby Laboratories. The following are trademarks of Dolby Laboratories: Dialogue Intelligence™ Dolby Theatre® Dolby® Dolby Vision™ Dolby Advanced Audio™ Dolby Voice® Dolby Atmos® Feel Every Dimension™ Dolby Audio™ Feel Every Dimension in Dolby™ Dolby Cinema™ Feel Every Dimension in Dolby Atmos™ Dolby Digital Plus™ MLP Lossless™ Dolby Digital Plus Advanced Audio™ Pro Logic® Dolby Digital Plus Home Theater™ Surround EX™ Dolby Home Theater® All other trademarks remain the property of their respective owners. Patents THIS PRODUCT MAY BE PROTECTED BY PATENTS AND PENDING PATENT APPLICATIONS IN THE UNITED STATES AND ELSEWHERE. FOR MORE INFORMATION, INCLUDING A SPECIFIC LIST OF PATENTS PROTECTING THIS PRODUCT, PLEASE VISIT http://www.dolby.com/patents. Third-party software attributions Portions of this software are copyright © 2012 The FreeType Project (freetype.org). All rights reserved. Dolby CineAsset software is based in part on the work of the Qwt project (qwt.sf.net). This software uses libraries from the FFmpeg project under the LGPLv2.1. This product includes software developed by the OpenSSL Project for use in the OpenSSL Toolkit (openssl.org). This product includes cryptographic software
    [Show full text]
  • Digital Cinema System Specification Version 1.3
    Digital Cinema System Specification Version 1.3 Approved 27 June 2018 Digital Cinema Initiatives, LLC, Member Representatives Committee Copyright © 2005-2018 Digital Cinema Initiatives, LLC DCI Digital Cinema System Specification v. 1.3 Page | 1 NOTICE Digital Cinema Initiatives, LLC (DCI) is the author and creator of this specification for the purpose of copyright and other laws in all countries throughout the world. The DCI copyright notice must be included in all reproductions, whether in whole or in part, and may not be deleted or attributed to others. DCI hereby grants to its members and their suppliers a limited license to reproduce this specification for their own use, provided it is not sold. Others should obtain permission to reproduce this specification from Digital Cinema Initiatives, LLC. This document is a specification developed and adopted by Digital Cinema Initiatives, LLC. This document may be revised by DCI. It is intended solely as a guide for companies interested in developing products, which can be compatible with other products, developed using this document. Each DCI member company shall decide independently the extent to which it will utilize, or require adherence to, these specifications. DCI shall not be liable for any exemplary, incidental, proximate or consequential damages or expenses arising from the use of this document. This document defines only one approach to compatibility, and other approaches may be available to the industry. This document is an authorized and approved publication of DCI. Only DCI has the right and authority to revise or change the material contained in this document, and any revisions by any party other than DCI are unauthorized and prohibited.
    [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]
  • Eidr 2.6 Data Fields Reference
    EIDR 2.6 DATA FIELDS REFERENCE Table of Contents 1 INTRODUCTION ............................................................................................................................................... 5 1.1 Introduction to Content ................................................................................................................................ 5 1.2 Composite Details ......................................................................................................................................... 5 1.3 How to read the Tables ................................................................................................................................. 6 1.4 EIDR IDs ........................................................................................................................................................ 7 2 BASE OBJECT TYPE ......................................................................................................................................... 9 2.1 Summary ...................................................................................................................................................... 9 2.2 Referent Type Details ................................................................................................................................. 25 2.3 Title Details ................................................................................................................................................ 26 2.4 Language Code Details ...............................................................................................................................
    [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]
  • Special Rules for the International Feature Film Award
    94th ACADEMY AWARDS RULE THIRTEEN SPECIAL RULES FOR THE INTERNATIONAL FEATURE FILM AWARD The unprecedented coronavirus/COVID-19 global pandemic mandated the closure of commercial motion picture theaters worldwide. Country-selected films that had a previously planned theatrical release but are initially made available through a reputable commercial streaming distribution service or video on demand may qualify for Awards consideration in the International Feature Film category for the 94th Academy Awards under these provisions: Provide to the Academy documentation (original document(s) and an English translation) of government-mandated theater/cinema closure dates, previously planned theatrical release and streaming distribution or video on demand agreements; Make the selected film available on the secure Academy Screening Room member site within 60 days of the film being officially selected; Meet all other eligibility requirements. When theaters reopen in accordance with national and local specified guidelines and criteria, and on a date to be determined by the Academy, this exemption to the rules will no longer apply. All films released thereafter will be expected to comply with the standard International Feature Film category theatrical qualifying requirements. In order for films to more easily meet theatrical exhibition requirements, the Academy will allow films to qualify outside the country of origin, provided the film is theatrically exhibited outside of the United States and its territories for at least seven consecutive days in a commercial motion picture theater for paid admission. The International Feature Executive Committee will evaluate all matters of rules and eligibility. Film festivals have been impacted by the coronavirus/COVID-19 pandemic. Participation in an impacted festival’s online/virtual platform will not affect a film’s eligibility for Awards consideration provided the festival has a transactional pay wall or password-protected entry.
    [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]