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Sony Recognises That Your Needs As a Programme Maker Will Vary Depending Upon the Type of Pro- HDCAM Uses Intra-Frame DCT Compression Using a Gramme Being Made
HDW-M2000P/20 HDCAM video tape recorder with CineAlta record feature and multi-format playback A high definition VTR for prestige and mainstream Features programme production HDCAM recording and playback Sony recognises that your needs as a programme maker will vary depending upon the type of pro- HDCAM uses intra-frame DCT compression using a gramme being made. This has driven the develop- compression ratio of about 7:1. There are four chan- ment of a multi-format high definition product offer- nels of 48kHz digital audio at 20-bit resolution. ing, including HDV for entry-level high definition oper- ation, HDCAM for mainstream and prestige produc- Selectable frame rates tions, CineAlta for 24P applications, and HDCAM SR The HDW-M2000P/20 can record and replay at 1080/ for productions where only the ultimate quality will 50i, 1080/59.94i, 1080/25P, 1080/29.97P, 1080/ suffice. 23.98P and 1080/24P. HDCAM has long been associated with the production Compatible replay of standard definition cassettes of the most prestigious movies, commercials and tele- Betacam, Betacam SP, Betacam SX, MPEG IMX and vision programmes. The recent expansion of the Digital Betacam cassettes can be replayed. The HDW- HDCAM product line up has transformed the econom- M2000P/20 is optimised for analogue 625/50 Betacam ics of HD for mainstream television production, with and Betacam SP playback, but can replay 525/60 new models such as the HDW-730S camcorder mak- Betacam and Betacam SP tapes and provide a monit- ing HD acquistion accessible to those working on oring quality output. -
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. -
Blu-Ray Disc™ HDD Recorder
sr1500-1250_sales_guide.qxd 10.1.27 7:40 PM Page 1 Glossary Blu-ray Disc™ HDD Recorder G1080i GHDMI (High-definition Multimedia Interface) (500GB HDD) In a single high-definition image, 1080 (1125) alternating scan lines pass every 1/60th (NTSC) Established in Dec. 2002, HDMI is an interface for digital electronic equipment that acts as the SR-HD1500 or 1/50th (PAL) of a second to create an interlace image. And because 1080i (1125i) more than connection standard between PCs and displays. It transmits uncompressed HD digital audio doubles the current scan lines of 480i (525i) found on television broadcasts, it helps to ensure and video signals on a single cable without distortion. The DVI interface was its predecessor, (250GB HDD) that details are much clearer, enabling the creation of more realistic and richer images. and HDMI has been enhanced for AV equipment by adding functions such as audio SR-HD1250 transmission capability, copy protection of digital content and other intellectual properties, as well as the ability to transfer color-variation information. GAVCHD (Advanced Video Codec High Definition) AVCHD is an acronym for Advanced Video Codec High Definition, and it is the format for HD GMPEG-2 (Moving Picture Experts Group 2) camcorders used to record and playback high-definition video images. AVCHD uses the MPEG-2 is a standard for efficient data compression and color video expansion that is widely H.264/MPEG-4 AVC compression format for video to enable highly efficient encoding, the Dolby used for media such as DVDs and satellite-based digital broadcastings. Digital (AC-3) format with LPCM option for audio, and MPEG-2-TS for multiplexing. -
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 -
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 -
Video Terminology Video Standards Progressive Vs
VIDEO TERMINOLOGY VIDEO STANDARDS 1. NTSC - 525 Scanlines/frame rate - 30fps North & Central America, Phillipines & Taiwan . NTSC J - Japan has a darker black 2. PAL - 625 scanlines 25 fps Europe, Scandinavia parts of Asia, Pacific & South Africa. PAL in Brazil is 30fps and PAL colours 3. SECAM France Russia Middle East and North Africa PROGRESSIVE VS INTERLACED VIDEO All computer monitors use a progressive scan - each scan line in sequence. Interlacing is only for CRT monitors. LCD monitors work totally differently - no need to worry about. Interlacing is for broadcast TV. Every other line displayed alternatively. FRAME RATES As we transition from analogue video to digitla video. Film is 24 fps, PAL video 25 fps. NTSC 30fps. Actually film and NTSC are slightly different but we don't need to worry about that for now. IMAGE SIZE All video is shot at 72 px/inch - DV NTSC - 720 x 480 (SD is 720 x 486) DV PAL - 720 x 576 (SD PAL is 720 x 576) HD comes in both progressive and interlaced. HD480i is usual broadcast TV 480p is 480 progressive. 720i is 720 interlaced 720p is progressive. 720 means 720 vertical lines 1080 is 1080 vertical lines. 1080i is most popular. 720p is 1280 x 720, HD 1080 is 1920x1080px. All HD formats are 16:9 aspect ratio. Traditional TV is 4:3 aspect ratio. HDV is 1440 x 1080. New format - is it the new HD version of DV? Cameras like the Sony and JVC make minor alterations to this format when shooting In summary HD 1080i = 1920 x 1080 HD 720p = 1280 x 720 Traditional = 720 x 480 (NTSC) 720 x 576 (PAL) VIDEO OUTPUTS Analog Composite, S-Video, Component in increasing quality. -
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). -
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. -
Product Overview: Includes
Product Overview: Go straight from the box to box-office quality with our top-tier release from the Pinnacle Studio™ Family, Pinnacle Studio Ultimate Collection. The Collection includes everything you need to tell your story, including a complete set of plug-ins from 3D animation leader Red Giant and a Chroma-key green screen for advanced effects, editing and production, in addition to the feature-rich Studio Ultimate software. With a new, simpler interface, create top quality movies in HD video, include stunning effects, transitions, animation, and incredible Dolby Digital® 5.1 sound, empowered by new tools from Avid’s professional lines of film-editing products. Then, dazzle your audience when you share your sensations in widescreen format. Sharing options are as limitless as your creativity: from Blu-ray and AVCHD to YouTube, iPod, PS3, Wii, and more. Includes: • Studio Ultimate editing software • Chroma-key Green Screen* • Full step-by-step printed instruction manual Also includes valuable suite of Red Giant effects—used in movies and TV productions: • Knoll Light Factory—Light and lens flares from master effects guru John Knoll (visual effects supervisor; Star Wars, Pirates of the Caribbean, Avatar) • ToonIt—Turn video into animation • Trapcode Shine—Light ray effects • Particular—3D smoke, explosion, rain effects • Magic Bullet Looks—Change look and mood of your movie, from arctic tundra to desert sunrise • Trapcode 3D Stroke—Animations like glowing lines, swirling shapes, and 3D camera effects *Green screen not included on upgrade -
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. -
HDV Workflow
Whitepaper Author: Jon Thorn, Field Systems Engineer—AJA Video Systems, Inc. HDV Workfl ow JVC HDV and Sony HDV Workfl ow Using the AJA KonaLH or KonaLHe with Final Cut Pro 5 Introduction With the introduction of the HDV format, a broader era of HD acquisition has grown from the portable camcorder sized devices that could record compressed HD on inexpensive MiniDV tapes. However, akin to the beginning of the DV era in the late 1990s, this format is still early in its development and deployment. Though support for the format has grown quickly by comparison to its digital forerunner—DV, the format’s very structure has proven to be somewhat problematic in a conventional post-production workfl ow. The Format What makes HDV such an amazing format is that it manages to capture HD images via MPEG2 compression and allow for record- ing the signal to a MiniDV tape (thankfully a tape format already ubiquitous in the marketplace among all major camera manu- facturers and tape stock providers.) This MPEG2 compression is similar to a DVD (although DVD is a program stream vs. HDV’s transport stream and HDV uses a constant bit rate whereas DVDs use variable bit rates). The issue for post production is that the HDV transport stream is based around a long-GOP structure (group of pictures) which produces images based on information over a section of time, via I, P and B frames; Intraframes, predicted frames and bi-direction- al frames. Formats that do not use this scheme treat frames as individual units, as in the progressive formats where a frame truly is a frame, or as interlaced frames where two fi elds create the image. -
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.