Processing Videos for Use with ELAN
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Download Media Player Codec Pack Version 4.1 Media Player Codec Pack
download media player codec pack version 4.1 Media Player Codec Pack. Description: In Microsoft Windows 10 it is not possible to set all file associations using an installer. Microsoft chose to block changes of file associations with the introduction of their Zune players. Third party codecs are also blocked in some instances, preventing some files from playing in the Zune players. A simple workaround for this problem is to switch playback of video and music files to Windows Media Player manually. In start menu click on the "Settings". In the "Windows Settings" window click on "System". On the "System" pane click on "Default apps". On the "Choose default applications" pane click on "Films & TV" under "Video Player". On the "Choose an application" pop up menu click on "Windows Media Player" to set Windows Media Player as the default player for video files. Footnote: The same method can be used to apply file associations for music, by simply clicking on "Groove Music" under "Media Player" instead of changing Video Player in step 4. Media Player Codec Pack Plus. Codec's Explained: A codec is a piece of software on either a device or computer capable of encoding and/or decoding video and/or audio data from files, streams and broadcasts. The word Codec is a portmanteau of ' co mpressor- dec ompressor' Compression types that you will be able to play include: x264 | x265 | h.265 | HEVC | 10bit x265 | 10bit x264 | AVCHD | AVC DivX | XviD | MP4 | MPEG4 | MPEG2 and many more. File types you will be able to play include: .bdmv | .evo | .hevc | .mkv | .avi | .flv | .webm | .mp4 | .m4v | .m4a | .ts | .ogm .ac3 | .dts | .alac | .flac | .ape | .aac | .ogg | .ofr | .mpc | .3gp and many more. -
Encoding H.264 Video for Streaming and Progressive Download
What is Tuning? • Disable features that: • Improve subjective video quality but • Degrade objective scores • Example: adaptive quantization – changes bit allocation over frame depending upon complexity • Improves visual quality • Looks like “error” to metrics like PSNR/VMAF What is Tuning? • Switches in encoding string that enables tuning (and disables these features) ffmpeg –input.mp4 –c:v libx264 –tune psnr output.mp4 • With x264, this disables adaptive quantization and psychovisual optimizations Why So Important • Major point of contention: • “If you’re running a test with x264 or x265, and you wish to publish PSNR or SSIM scores, you MUST use –tune PSNR or –tune SSIM, or your results will be completely invalid.” • http://x265.org/compare-video-encoders/ • Absolutely critical when comparing codecs because some may or may not enable these adjustments • You don’t have to tune in your tests; but you should address the issue and explain why you either did or didn’t Does Impact Scores • 3 mbps football (high motion, lots of detail) • PSNR • No tuning – 32.00 dB • Tuning – 32.58 dB • .58 dB • VMAF • No tuning – 71.79 • Tuning – 75.01 • Difference – over 3 VMAF points • 6 is JND, so not a huge deal • But if inconsistent between test parameters, could incorrectly show one codec (or encoding configuration) as better than the other VQMT VMAF Graph Red – tuned Green – not tuned Multiple frames with 3-4-point differentials Downward spikes represent untuned frames that metric perceives as having lower quality Tuned Not tuned Observations • Tuning -
Video Codec Requirements and Evaluation Methodology
Video Codec Requirements 47pt 30pt and Evaluation Methodology Color::white : LT Medium Font to be used by customers and : Arial www.huawei.com draft-filippov-netvc-requirements-01 Alexey Filippov, Huawei Technologies 35pt Contents Font to be used by customers and partners : • An overview of applications • Requirements 18pt • Evaluation methodology Font to be used by customers • Conclusions and partners : Slide 2 Page 2 35pt Applications Font to be used by customers and partners : • Internet Protocol Television (IPTV) • Video conferencing 18pt • Video sharing Font to be used by customers • Screencasting and partners : • Game streaming • Video monitoring / surveillance Slide 3 35pt Internet Protocol Television (IPTV) Font to be used by customers and partners : • Basic requirements: . Random access to pictures 18pt Random Access Period (RAP) should be kept small enough (approximately, 1-15 seconds); Font to be used by customers . Temporal (frame-rate) scalability; and partners : . Error robustness • Optional requirements: . resolution and quality (SNR) scalability Slide 4 35pt Internet Protocol Television (IPTV) Font to be used by customers and partners : Resolution Frame-rate, fps Picture access mode 2160p (4K),3840x2160 60 RA 18pt 1080p, 1920x1080 24, 50, 60 RA 1080i, 1920x1080 30 (60 fields per second) RA Font to be used by customers and partners : 720p, 1280x720 50, 60 RA 576p (EDTV), 720x576 25, 50 RA 576i (SDTV), 720x576 25, 30 RA 480p (EDTV), 720x480 50, 60 RA 480i (SDTV), 720x480 25, 30 RA Slide 5 35pt Video conferencing Font to be used by customers and partners : • Basic requirements: . Delay should be kept as low as possible 18pt The preferable and maximum delay values should be less than 100 ms and 350 ms, respectively Font to be used by customers . -
(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. -
Ease Your Automation, Improve Your Audio, with Ffmpeg
Ease your automation, improve your audio, with FFmpeg A talk by John Warburton, freelance newscaster for the More Radio network, lecturer in the Department of Music and Media in the University of Surrey, Guildford, England Ease your automation, improve your audio, with FFmpeg A talk by John Warburton, who doesn’t have a camera on this machine. My use of Liquidsoap I used it to develop a highly convenient, automated system suitable for in-store radio, sustaining services without time constraints, and targeted music and news services. It’s separate from my professional newscasting job, except I leave it playing when editing my professional on-air bulletins, to keep across world, UK and USA news, and for calming music. In this way, it’s incredibly useful, professionally, right now! What is FFmpeg? It’s not: • “a command line program” • “a tool for pirating” • “a hacker’s plaything” (that’s what they said about GNU/Linux once!) • “out of date” • “full of patent problems” It asks for: • Some technical knowledge of audio-visual containers and codec • Some understanding of what makes up picture and sound files and multiplexes What is FFmpeg? It is: • a world-leading multimedia manipulation framework • a gateway to codecs, filters, multiplexors, demultiplexors, and measuring tools • exceedingly generous at accepting many flavours of audio-visual input • aims to achieve standards-compliant output, and often succeeds • gives the user both library-accessed and command-line-accessed toolkits • is generally among the fastest of its type • incorporates many industry-leading tools • is programmer-friendly • is cross-platform • is open source, by most measures of the term • is at the heart of many broadcast conversion, and signal manipulation systems • is a viable Internet transmission platform Integration with Liquidsoap? (1.4.3) 1. -
Opus, a Free, High-Quality Speech and Audio Codec
Opus, a free, high-quality speech and audio codec Jean-Marc Valin, Koen Vos, Timothy B. Terriberry, Gregory Maxwell 29 January 2014 Xiph.Org & Mozilla What is Opus? ● New highly-flexible speech and audio codec – Works for most audio applications ● Completely free – Royalty-free licensing – Open-source implementation ● IETF RFC 6716 (Sep. 2012) Xiph.Org & Mozilla Why a New Audio Codec? http://xkcd.com/927/ http://imgs.xkcd.com/comics/standards.png Xiph.Org & Mozilla Why Should You Care? ● Best-in-class performance within a wide range of bitrates and applications ● Adaptability to varying network conditions ● Will be deployed as part of WebRTC ● No licensing costs ● No incompatible flavours Xiph.Org & Mozilla History ● Jan. 2007: SILK project started at Skype ● Nov. 2007: CELT project started ● Mar. 2009: Skype asks IETF to create a WG ● Feb. 2010: WG created ● Jul. 2010: First prototype of SILK+CELT codec ● Dec 2011: Opus surpasses Vorbis and AAC ● Sep. 2012: Opus becomes RFC 6716 ● Dec. 2013: Version 1.1 of libopus released Xiph.Org & Mozilla Applications and Standards (2010) Application Codec VoIP with PSTN AMR-NB Wideband VoIP/videoconference AMR-WB High-quality videoconference G.719 Low-bitrate music streaming HE-AAC High-quality music streaming AAC-LC Low-delay broadcast AAC-ELD Network music performance Xiph.Org & Mozilla Applications and Standards (2013) Application Codec VoIP with PSTN Opus Wideband VoIP/videoconference Opus High-quality videoconference Opus Low-bitrate music streaming Opus High-quality music streaming Opus Low-delay -
EMA Mezzanine File Creation Specification and Best Practices Version 1.0.1 For
16530 Ventura Blvd., Suite 400 Encino, CA 91436 818.385.1500 www.entmerch.org EMA Mezzanine File Creation Specification and Best Practices Version 1.0.1 for Digital Audio‐Visual Distribution January 7, 2014 EMA MEZZANINE FILE CREATION SPECIFICATION AND BEST PRACTICES The Mezzanine File Working Group of EMA’s Digital Supply Chain Committee developed the attached recommended Mezzanine File Specification and Best Practices. Why is the Specification and Best Practices document needed? At the request of their customers, content providers and post‐house have been creating mezzanine files unique to each of their retail partners. This causes unnecessary costs in the supply chain and constrains the flow of new content. There is a demand to make more content available for digital distribution more quickly. Sales are lost if content isn’t available to be merchandised. Today’s ecosystem is too manual. Standardization will facilitate automation, reducing costs and increasing speed. Quality control issues slow down today’s processes. Creating one standard mezzanine file instead of many files for the same content should reduce the quantity of errors. And, when an error does occur and is caught by a single customer, it can be corrected for all retailers/distributors. Mezzanine File Working Group Participants in the Mezzanine File Working Group were: Amazon – Ben Waggoner, Ryan Wernet Dish – Timothy Loveridge Google – Bill Kotzman, Doug Stallard Microsoft – Andy Rosen Netflix – Steven Kang , Nick Levin, Chris Fetner Redbox Instant – Joe Ambeault Rovi -
On Engagement with ICT Standards and Their Implementations in Open Source Software Projects: Experiences and Insights from the Multimedia Field
International Journal of Standardization Research Volume 19 • Issue 1 On Engagement With ICT Standards and Their Implementations in Open Source Software Projects: Experiences and Insights From the Multimedia Field Jonas Gamalielsson, University of Skövde, Sweden Björn Lundell, University of Skövde, Sweden ABSTRACT The overarching goal in this paper is to investigate organisational engagement with an ICT standard and open source software (OSS) projects that implement the standard, with a specific focus on the multimedia field, which is relevant in light of the wide deployment of standards and different legal challenges in this field. The first part reports on experiences and insights from engagement with standards in the multimedia field and from implementation of such standards in OSS projects. The second part focuses on the case of the ITU-T H.264 standard and the two OSS projects OpenH264 and x264 that implement the standard, and reports on a characterisation of organisations that engage with and control the H.264 standard, and organisations that engage with and control OSS projects implementing the H.264 standard. Further, projects for standardisation and implementation of H.264 are contrasted with respect to mix of contributing organisations, and findings are related to organisational strategies of contributing organisations and previous research. KEywordS AVC, H.264, Involvement, ISO, ITU-T, OpenH264, Participation, x264 1 INTROdUCTION There are a number of different challenges related to provision of standards in the software sector, that can impact on the extent to which it is possible to faithfully implement the specification of a standard in software systems (Blind and Böhm, 2019; Gamalielsson and Lundell, 2013; Lundell et al., 2019; UK, 2015). -
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. -
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE Optimized AV1 Inter
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE Optimized AV1 Inter Prediction using Binary classification techniques A graduate project submitted in partial fulfillment of the requirements for the degree of Master of Science in Software Engineering by Alex Kit Romero May 2020 The graduate project of Alex Kit Romero is approved: ____________________________________ ____________ Dr. Katya Mkrtchyan Date ____________________________________ ____________ Dr. Kyle Dewey Date ____________________________________ ____________ Dr. John J. Noga, Chair Date California State University, Northridge ii Dedication This project is dedicated to all of the Computer Science professors that I have come in contact with other the years who have inspired and encouraged me to pursue a career in computer science. The words and wisdom of these professors are what pushed me to try harder and accomplish more than I ever thought possible. I would like to give a big thanks to the open source community and my fellow cohort of computer science co-workers for always being there with answers to my numerous questions and inquiries. Without their guidance and expertise, I could not have been successful. Lastly, I would like to thank my friends and family who have supported and uplifted me throughout the years. Thank you for believing in me and always telling me to never give up. iii Table of Contents Signature Page ................................................................................................................................ ii Dedication ..................................................................................................................................... -
Submitting Electronic Evidentiary Material in Western Australian Courts
Submitting Electronic Evidentiary Material in Western Australian Courts Document Revision History Revision Date Version Summary of Changes October 2007 1 Preliminary Draft December 2007 2 Incorporates feedback from Electronic Evidentiary Standards Workshop February 2008 3 Amendments following feedback from Paul Smith, Martin Jackson and Chris Penwald. June 2008 4 Amendments by Courts Technology Group July 2008 5 Amendments from feedback August 2008 6 Courtroom Status Update February 2010 7 Address details and Courtroom Status Update May 2013 8 Status Update November 2013 9 Status & Location Update February 2017 10 Incorporates range of new formats and adjustment to process December 2019 11 Updates to CCTV Players, Court Location Courtroom Types and Microsoft Office versions. Page 1 of 15 SUBMITTING ELECTRONIC EVIDENTIARY MATERIAL IN WESTERN AUSTRALIAN COURTS 1. INTRODUCTION ..................................................................................3 1.1. Non-Compliance with Standards ................................................................ 3 1.2. Court Locations ...................................................................................... 3 1.3. Courtroom Types .................................................................................... 3 1.3.1. Type A & B ........................................................................................ 3 1.3.2. Type C .............................................................................................. 3 1.4. Contacting DoJ Courts in Relation to Electronic -
B.Com – 6Th Semester Multimedia Unit-5 Multimedia
RCUB, B.Com – 6th Semester Multimedia RANI CHANNAMMA UNIVERSITY B.Com – 6th Semester Multimedia Unit-5 Multimedia Multimedia: ‘Multi’ – means many and ‘media’ – means medium. We need a suitable medium to exchange our thoughts and express our feelings. The term multimedia refers to combination of more than one such medium for communication and conveying of information. Definition Multimedia means that computer information can be represented through audio, video, and animation in addition to traditional media (i.e., text, graphics drawings, images). Multimedia is content that uses a combination of different content forms such as text, audio, images, animations, video and interactive content. Multimedia contrasts with media that use only rudimentary computer displays such as text-only or traditional forms of printed or hand-produced material. Multimedia can be recorded and played, displayed, interacted with or accessed by information content processing devices, such as computerized and electronic devices, but can also be part of a live performance. Multimedia devices are electronic media devices used to store and experience multimedia content. Multimedia is distinguished from mixed media in fine art; for example, by including audio it has a broader scope. In the early years of multimedia the term "rich media" was synonymous with interactive multimedia, and "hypermedia" was an application of multimedia. Multimedia is the field concerned with the computer-controlled integration of text, graphics, drawings, still and moving images (Video), animation, audio, and any other media where every type of information can be represented, stored, transmitted and processed digitally. Applications of Multimedia: Nowadays the application of multimedia are observed in various fields such as Education, Entertainment, Business and so on.