Quality Assessment Experiment for 4K SVT- AV1 Video Format
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Game of Thrones
2012 ISSN 1433-2620 > B 43362 >> 16. Jahrgang >>> www.digitalproduction.com Deutschland € 14,95 Published by Österreich € 17,– 5 Schweiz sfr 23,– 05|12 MAGAZIN FÜR DIGITALE MEDIENPRODUKTION SEPTEMBER | OKTOBER 05|12 Game of Thrones | ParaNorman | Cinema 4D R14 | Maya 2013 | Element | Cinema 4D R14 Maya | ParaNorman 3DThrones | | SpeedGrade of Game Sony NEX Sony | SynthEyes | HP Z1 & HP Z820 | Tears of Steel | HP Z1 & Z820 Tears | SynthEyes Pixomondo erobert Westeros Game of Thrones Cinema 4D R14 Element 3D Maya 2013 Seit wann kann C4D Animation für Adobes Workflow-Winner oder sculpten? After Effects Pflicht-Update? DDP1205_001-001_U1_TitelP1205_001-001_U1_Titel 1 009.08.20129.08.2012 008:28:148:28:14 AKTUELL FILM & VFX 3D & ANIMATION INTERACTIVE INDUSTRIE DIGITAL ART SCIENCE & EDUCATION SERVICE Alle Bilder: (CC) Blender Foundation | mango.blender.org Matte Painting – WIP einer Matte für die Kuppel, in der die Zeitreise passiert. Tears of Steel – Film als Open Source Ende September soll das neue Open Movie „Tears of Steel“ (Codename: Project Mango) der Blender Foundation fertig gestellt werden. Es handelt sich dabei um einen Film zum Anfassen, zum Untersuchen und zum Studieren. Bis ins kleinste Detail werden die Quellen des Films offengelegt. Für den VFX-Interessierten eine wahre Fundgru- be. Gleichzeitig dient der Film dazu, die Blender-basierte Produktions-Pipeline zu erkunden, zu verbessern und fit zu machen für VFX. DP wagt einen Blick unter die (offene) Haube. von Gottfried Hofmann 104 WWW.DIGITALPRODUCTION.COM DDP1205_104-109_TearsSteelP1205_104-109_TearsSteel 110404 009.08.20129.08.2012 009:56:149:56:14 AUSGABE 05|12 BLENDER | OPEN MOVIE Open Source Footage Da „Tears of Steel“ Open Source ist, werden Sie nach der Fertigstellung das gesamte Material herunterladen können unter http://mango.blender.org/. -
Videocodecs in a Nutshell
Videocodecs in a Nutshell Wie funktioniert’s und was gibt’s neues? darkbit 14.08.2021 14.08.21 1 Gliederung ● Motivation ● Grundlagen moderner Videocodecs am Beispiel von HEVC ● Neue Videocodecs – AOMedia Video 1 (AV1) – Versatile Video Coding (VVC) – Essential Video Coding (EVC) – Low Complexity Enhancement Video Codec (LC EVC) ● Vergleich der Codecs ● Ausblick 14.08.21 Videocodecs in a Nutshell - darkbit 2 Motivation ● Rohvideo ist groß ● Bsp: Spielfilm auf DVD – Pixel hat je 8 Bit für die RGB-Komponenten => 24 bits pro Pixel – Übliche Auflösung 720x576 Pixel => 414‘720 Pixel => ~9,953Mbit pro Bild – 25 Bilder pro Sekunde => 248,825 Mbit/s – 90 Minuten Spielfilmlänge => 1,344 Tbit (168 Gbyte) pro Film – Wir haben aber nur max. 8,5 Gbyte pro DVD (Dual-Layer) – Wir müssen unser Video um mind. 95% komprimieren! ● Ziel eines Videocodecs: Möglichst hohe Kompression bei möglichst geringer visuellen Qualitätseinbußungen. 14.08.21 Videocodecs in a Nutshell - darkbit 3 Motivation CC-BY 3.0 - Blender Foundation CC-BY-SA 3.0 - Rdikeman Anforderungen On-Demand Video Live Video Kompression möglichst hoch auf Kanalbandbreite Encodingspeed irrelevant in Echtzeit Decodingspeed in Echtzeit in Echtzeit Bitrate adaptiv konstant 14.08.21 Videocodecs in a Nutshell - darkbit 4 State of the Art Videocodecs Veröffentlichung Codec Bitraten-reduktion Anwendungen Mai 1996 H.262, MPEG-2 Part 2 DVD, SDTV, Blu-Ray März 2003 AVC (H.264, MPEG-4 -50% gegenüber HDTV, Webvideo, Part 10) H.262 WebRTC, Blu-Ray September 2008 (seit VP8 -5% gegenüber AVC Webvideo, 2010 lizenzfrei) WebRTC Mai 2013 VP9 -20% gegenüber AVC Webvideo, WebRTC Dezember 2013 HEVC (H.265, MPEG-H -20% gegenüber AVC UHD Blu-Ray Part 2) 14.08.21 Videocodecs in a Nutshell - darkbit 5 Patentproblematiken Quelle: Jonatan Samuelsson und Per Hermansson. -
W4: OBJECTIVE QUALITY METRICS 2D/3D Jan Ozer [email protected] 276-235-8542 @Janozer Course Overview
W4: OBJECTIVE QUALITY METRICS 2D/3D Jan Ozer www.streaminglearningcenter.com [email protected] 276-235-8542 @janozer Course Overview • Section 1: Validating metrics • Section 2: Comparing metrics • Section 3: Computing metrics • Section 4: Applying metrics • Section 5: Using metrics • Section 6: 3D metrics Section 1: Validating Objective Quality Metrics • What are objective quality metrics? • How accurate are they? • How are they used? • What are the subjective alternatives? What Are Objective Quality Metrics • Mathematical formulas that (attempt to) predict how human eyes would rate the videos • Faster and less expensive than subjective tests • Automatable • Examples • Video Multimethod Assessment Fusion (VMAF) • SSIMPLUS • Peak Signal to Noise Ratio (PSNR) • Structural Similarity Index (SSIM) Measure of Quality Metric • Role of objective metrics is to predict subjective scores • Correlation with Human MOS (mean opinion score) • Perfect score - objective MOS matched actual subjective tests • Perfect diagonal line Correlation with Subjective - VMAF VMAF PSNR Correlation with Subjective - SSIMPLUS PSNR SSIMPLUS SSIMPLUS How Are They Used • Netflix • Per-title encoding • Choosing optimal data rate/rez combination • Facebook • Comparing AV1, x265, and VP9 • Researchers • BBC comparing AV1, VVC, HEVC • My practice • Compare codecs and encoders • Build encoding ladders • Make critical configuration decisions Day to Day Uses • Optimize encoding parameters for cost and quality • Configure encoding ladder • Compare codecs and encoders • Evaluate -
Introducing Basic Principles of Haptic Cinematography and Editing
Eurographics Workshop on Intelligent Cinematography and Editing (2016) M. Christie, Q. Galvane, A. Jhala, and R. Ronfard (Editors) Introducing Basic Principles of Haptic Cinematography and Editing Philippe Guillotely1, Fabien Danieau1, Julien Fleureau1, and Ines Rouxel2 1Technicolor, Cesson-Sévigné, France. 2ESRA, Rennes, France. Abstract Adding the sense of touch to hearing and seeing would be necessary for a true immersive experience. This is the promise of the growing "4D-cinema" based on motion platforms and others sensory effects (water spray, wind, scent, etc.). Touch provides a new dimension for filmmakers and leads to a new creative area, the haptic cinematography. However design rules are required to use this sensorial modality in the right way for increasing the user experience. This paper addresses this issue, by introducing principles of haptic cinematography editing. The proposed elements are based on early feedback from different creative works performed by the authors (including a student in cinema arts), anticipating the role of haptographers, the experts on haptic content creation. Three full short movies have been augmented with haptic feedback and tested by numerous users, in order to provide the inputs for this introductory paper. Categories and Subject Descriptors (according to ACM CCS): 1. Tactile: the perception of vibrations, pressure and temperature H.5.2 [HCI]: User Interfaces—Haptic I/O through the skin; 2. Kinesthetic: the perception of positions and movements of limbs and forces from spindles and tendons; 1. Introduction 3. Proprioception: the perception of position and posture of the Today only two senses are stimulated when being in a movie the- body in space. -
Encoding H.264 Video for Streaming and Progressive Download
W4: KEY ENCODING SKILLS, TECHNOLOGIES TECHNIQUES STREAMING MEDIA EAST - 2019 Jan Ozer www.streaminglearningcenter.com [email protected]/ 276-235-8542 @janozer Agenda • Introduction • Lesson 5: How to build encoding • Lesson 1: Delivering to Computers, ladder with objective quality metrics Mobile, OTT, and Smart TVs • Lesson 6: Current status of CMAF • Lesson 2: Codec review • Lesson 7: Delivering with dynamic • Lesson 3: Delivering HEVC over and static packaging HLS • Lesson 4: Per-title encoding Lesson 1: Delivering to Computers, Mobile, OTT, and Smart TVs • Computers • Mobile • OTT • Smart TVs Choosing an ABR Format for Computers • Can be DASH or HLS • Factors • Off-the-shelf player vendor (JW Player, Bitmovin, THEOPlayer, etc.) • Encoding/transcoding vendor Choosing an ABR Format for iOS • Native support (playback in the browser) • HTTP Live Streaming • Playback via an app • Any, including DASH, Smooth, HDS or RTMP Dynamic Streaming iOS Media Support Native App Codecs H.264 (High, Level 4.2), HEVC Any (Main10, Level 5 high) ABR formats HLS Any DRM FairPlay Any Captions CEA-608/708, WebVTT, IMSC1 Any HDR HDR10, DolbyVision ? http://bit.ly/hls_spec_2017 iOS Encoding Ladders H.264 HEVC http://bit.ly/hls_spec_2017 HEVC Hardware Support - iOS 3 % bit.ly/mobile_HEVC http://bit.ly/glob_med_2019 Android: Codec and ABR Format Support Codecs ABR VP8 (2.3+) • Multiple codecs and ABR H.264 (3+) HLS (3+) technologies • Serious cautions about HLS • DASH now close to 97% • HEVC VP9 (4.4+) DASH 4.4+ Via MSE • Main Profile Level 3 – mobile HEVC (5+) -
Ulrich Kaiser Die Einheiten Dieses Openbooks Werden Mittelfristig Auch Auf Elmu ( Bereitge- Stellt Werden
Ulrich Kaiser Die Einheiten dieses OpenBooks werden mittelfristig auch auf elmu (https://elmu.online) bereitge- stellt werden. Die Website elmu ist eine von dem gemeinnützigen Verein ELMU Education e.V. getra- gene Wikipedia zur Musik. Sie sind herzlich dazu eingeladen, in Zukun Verbesse rungen und Aktualisierungen meiner OpenBooks mitzugestalten! Zu diesem OpenBook finden Sie auch Materialien auf musikanalyse.net: • Filmanalyse (Terminologie): http://musikanalyse.net/tutorials/filmanalyse-terminologie/ • Film Sample-Library (CC0): http://musikanalyse.net/tutorials/film-sample-library-cc0/ Meine Open Educational Resources (OER) sind kostenlos erhältlich. Auch öffentliche Auf- führungen meiner Kompositionen und Arrangements sind ohne Entgelt möglich, weil ich durch keine Verwertungsgesellschaft vertreten werde. Gleichwohl kosten Open Educatio- nal Resources Geld, nur werden diese Kosten nicht von Ihnen, sondern von anderen ge- tragen (z.B. von mir in Form meiner Ar beits zeit, den Kosten für die Domains und den Server, die Pflege der Webseiten usw.). Wenn Sie meine Arbeit wertschätzen und über ei- ne Spende unter stützen möchten, bedanke und freue ich mich: Kontoinhaber: Ulrich Kaiser / Institut: ING / Verwendungszweck: OER IBAN: DE425001 0517 5411 1667 49 / BIC: INGDDEFF 1. Auflage: Karlsfeld 2020 Autor: Ulrich Kaiser Umschlag, Layout und Satz Ulrich Kaiser erstellt in Scribus 1.5.5 Dieses Werk wird unter CC BY-SA 4.0 veröffentlicht: http://creativecommons.org/licenses/by-sa/4.0/legalcode Für die Covergestaltung (U1 und U4) wurden verwendet: -
2021 TIW DRAFT AGENDA Revi
24th ITEA Test and Training Instrumentation Workshop Innovating for Tomorrow’s Challenges 5/5/21 REV I 11-May First Day – Tutorials 8:00 a.m. – 12:00 p.m. Morning Tutorials Basics of Aircraft Instrumentation Systems Bruce Johnson, NAWCAD This course will cover a wide variety of topics related to Aircraft Instrumentation. Data, Telemetry, Instrumentation System Block Diagram, Standards, Data Requirements, Transducers / Specifications, Video, 1553 Bus, Using Requirements to Configure an Analog Data Channel, Creating a PCM Map to Obtain a Sample Rate, Telemetry Bandwidth, Record Time, GPS, Audio, Telemetry Attributes Transfer Standard (TMATS), and Measurement Uncertainty - Interpreting the Results. This is great introduction for new hires or a refresher for current employees. IRIG 106-17 Chapter 7 Packet Telemetry Downlink Basis and Implementation Fundamentals Johnny Pappas, Safran Data Systems, Inc. This course will focus on presenting information to establish a basic understanding of the 2017 release of the IRIG 106, Chapter 7, Packet Telemetry Downlink Standard. It will also focus on the implementation of airborne and ground system hardware and methods to handle IRIG 106, Chapter 7, Packet Telemetry data. The presentation will address the implementation of special features necessary to support legacy RF Transmission, data recording, RF Receiving, Ground Reproduction, and Chapter 10 data processing methods. Predictive Analytics for Performance Assessment Mark J. Kiemele, Air Academy Associates Design of Experiments (DOE) is a method that can and should be used not only in the design and development of systems, but also in the modeling and validation of system performance. Building useful prediction models and then validating them can ease the burden of making procurement decisions. -
Open Animation Projects
OPEN ANIMATION PROJECTS State of the art. Problems. Perspectives Julia Velkova & Konstantin Dmitriev Saturday, 10 November 12 Week: 2006 release of ELEPHANT’S DREAM (Blender Foundation) “World’s first open movie” (orange.blender.org) Saturday, 10 November 12 Week: 2007 start of COLLECT PROJECT (?) “a collective world wide "open source" animation project” Status: suspended shortly after launch URL: http://collectproject.blogspot.se/ Saturday, 10 November 12 Week: 2008 release of BIG BUCK BUNNY (Blender Foundation) “a comedy about a fat rabbit taking revenge on three irritating rodents.” URL: http://www.bigbuckbunny.org Saturday, 10 November 12 Week: 2008 release of SITA SINGS THE BLUES (US) “a musical, animated personal interpretation of the Indian epic the Ramayan” URL: http://www.sitasingstheblues.com/ Saturday, 10 November 12 Week: 2008 start of MOREVNA PROJECT (RUSSIA) “an effort to create full-feature anime movie using Open Source software only” URL: morevnaproject.org Saturday, 10 November 12 Week: 2009 start of ARSHIA PROJECT (Tinab pixel studio, IRAN) “the first Persian anime” Suspended in 2010 due to “lack of technical knowledge and resources” URL: http://www.tinabpixel.com Saturday, 10 November 12 Week: 2010 release of PLUMIFEROS (Argentina) “first feature length 3D animation made using Blender” URL: Plumiferos.com Saturday, 10 November 12 Week: 2010 release of LA CHUTE D’UNE PLUME (pèse plus que ta pudeur) - France “a short French speaking movie made in stop motion” URL: http://lachuteduneplume.free.fr/ Saturday, 10 November 12 -
“Blender, a Classic Underdog Story, Is the World's Most Widely Used 3D
The art of open source Open source powers every part of the creative arts. Jim Thacker explores how Blender is conquering animation and movie effects. lender has been used to create It may not be the market leader – animations for national commercial tools, particularly those television channels and developed by Autodesk, are still used for Bcommercials for Coca-Cola, the majority of professional animation, Pizza Hut and BMW. It creates slick visual effects and game development marketing images for brands ranging from projects – in the West, at least. But it is Puma to Philippe Starck. It has even been capable of great work. used on Oscar-nominated movies. And Over the next four pages, we’ll meet best of all, it’s open- source software. “Blender, a classic underdog Blender is a classic underdog story. story, is the world’s most Originally the in-house 3D toolset of a small widely used 3D software.” Dutch animation firm, it has survived early financial hardships and some of the companies using Blender for even the collapse of its original distributor to commercial projects, from illustrations win widespread popular acclaim. With over for cereal boxes to the visual effects four million downloads each year, it is now by for Red Dwarf. We’ll explore how the far the world’s most widely used 3D software. software powers an international But more importantly for the purposes network of animation studios on every of this article, it’s software that commands continent except Antarctica. And we’ll even the respect of professional artists. Once try to answer the question: ‘If Blender is so dismissed as a tool for hobbyists, Blender is great, why doesn’t it get used on more now praised by some of the world’s largest Hollywood movies?’ animation studios. -
Ict R&D 기술로드맵 2025
ICT R&D 기술로드맵 2025 ICT융합·방송·콘텐츠 ICT융합 방송·미디어 디지털콘텐츠 ICT R&D 기술로드맵 2025 ICT융합·방송·콘텐츠 ICT융합 방송·미디어 디지털콘텐츠 ICT R&D 기술로드맵 2025 ICT융합·방송·콘텐츠 Contents 01 ICT융합 분야 02 방송·미디어 분야 ● ● Ⅰ. 개념 및 범위 006 Ⅰ. 개념 및 범위 160 Ⅱ. 동향 조사 분석 018 Ⅱ. 동향 조사 분석 162 Ⅲ. 기술 발전 전망 080 Ⅲ. 기술 발전 전망 176 Ⅳ. 대상 기술 선정 096 Ⅳ. 대상 기술 선정 182 Ⅴ. 기술로드맵 124 Ⅴ. 기술로드맵 192 Ⅵ. 기술 확보 전략 130 Ⅵ. 기술 확보 전략 194 03 디지털콘텐츠 분야 ● Ⅰ. 개념 및 범위 210 Ⅱ. 동향 조사 분석 216 Ⅲ. 기술 발전 전망 236 Ⅳ. 대상 기술 선정 242 Ⅴ. 기술로드맵 248 Ⅵ. 기술 확보 전략 250 [참고] 참여 전문가 명단 258 ICT R&D 기술로드맵 2025 ICT융합·방송·콘텐츠 ICT융합 분야 006 018 Ⅰ. 개념 및 범위 Ⅱ. 동향 조사 분석 080 096 Ⅲ. 기술 발전 전망 Ⅳ. 대상 기술 선정 124 130 Ⅴ. 기술로드맵 Ⅵ. 기술 확보 전략 개념 및 범위 Ⅰ ICT R&D 기술로드맵 2025 1.개념 및 정의 ICT 융합의 개념 ICT 융합 분야는 지능정보 기술 등 다양한 ICT 기술을 융합하여 미래사회 문제에 대응하고, 全 산업의‘디지털 전환(Digital Transformation)’을 통해 사람 중심(Human Driven)의 혁신적인 新 융합기술·서비스 실현을 목표로 함 - 기존 산업구조 기반에서 마련된 현재의 기술과의 융합에서 벗어나, ICT 기술을 뒷받침하는 이론에서 파생한 새로운 융합 신기술 발굴 - 미래의 ICT 융합은‘인간을 위한’도구로서, 인간의 편리하고 안전한 삶을 지원하고, 사회 전반의 고민과 과제를 해결하는데 기여하는 사람 중심(Human-Driven)의 핵심기술로 정의함 < ICT융합분야 개념도 > 006 ICT융합 분야 Ⅰ. 개념 및 범위 2.기술분류(Technology Tree) ICT 융합기술의 응용대상 분야 ※ ICT 융합 분야 특성상 융합기술을 활용한 서비스 중점 도출이 유의미하다고 판단하여, 본 로드맵에서 기존 기술분류체계(<참고>)를 기반으로 ICT융합기술 응용 대상 분야를 아래와 같이 새로이 설정하여 이에 따른 기술을 매칭하여 활용 ‘ 혁신성장을 위한 사람 중심의「4차산업혁명 대응계획」’(`18. -
The Emerging Mpeg-5 Evc Standard - Applications, Technology and Results
THE EMERGING MPEG-5 EVC STANDARD - APPLICATIONS, TECHNOLOGY AND RESULTS Jonatan Samuelsson1, Kiho Choi2, Jianle Chen3, Dmytro Rusanovskyy4 1Divideon, 2Samsung, 3Futurewei, 4Qualcomm ABSTRACT For more than 30 years, digitalization in the media industry has enabled new services, increased reach of conventional services and brought a continuously improving TV experience to consumers all over the world. One of the most central technology components in digital media distribution and consumption is compression and in particular video compression, since video data represents by far the largest amount of data in most media services. Over the years, multiple different video coding standards and proprietary codecs have emerged and the compression performance of new generations of codecs is constantly improving. However, the compression efficiency is not the only factor that determines how well a codec is suited for usage in different application areas – and eventually – how widely deployed the codec will become. The MPEG-5 Essential Video Coding (EVC) standard, presented in this paper, is being developed by MPEG using a novel process targeted at addressing business requirements, including licensing, as well as technical requirements, so as to facilitate rapid deployment and widespread use of the standard throughout the media industry. INTRODUCTION Development of a standard typically starts with an analysis of the requirements: What are the problems that will be addressed by this standard? What are the desirable technical properties of this standard? How will this standard interact with other components of the eco-system? What are the target applications and use cases? For video coding standards, the core problem has remained the same over the years: reduce the size of transmitted video data as much as possible while keeping the visual quality as close as possible to the original video. -
Deep–CNN Architecture for Error Minimisation in Video Scaling
International Journal of Applied Engineering Research ISSN 0973-4562 Volume 13, Number 5 (2018) pp. 2558-2568 © Research India Publications. http://www.ripublication.com Deep–CNN Architecture for Error Minimisation in Video Scaling Safinaz S.1 and Dr. Ravi Kumar AV2 1Department of Electronics and Electrical Engineering, Sir M.V.I.T, Bangalore Karnataka, 562 157, India. 1E-mail: [email protected] 2Department of Electronics and Electrical Engineering, SJBIT, Bangalore, Karnataka, 560060, India. 2E-mail: [email protected] Abstract the high resolution frames. This type of video scaling's are very useful in the fields such as face recognition, video coding or People like to watch high-quality videos, so high-resolution decoding, satellite imaging etc. In case of super resolution videos are in more demand from few years. The techniques like technique, it captures the video and displays the video in which DWT which are used to obtain the high-quality videos results it will helps in production of UHD content. [6]To obtain a with high distortions in videos which ends in low resolution. noise free video or image with high quality is a very difficult But there are numerous super-resolution techniques in signal task in recent years. To retrieve the high quality images or processing to obtain the high-resolution frames from the videos needs high amount of precision point and also needs multiple low resolution frames without using any external high speed to access large amount of datasets in which the hardware. Super-resolution techniques offer very cheap and normal techniques cannot be able to handle because of the efficient ways to obtain high-resolution frames.