DOCSLIB.ORG

(12) United States Patent (10) Patent N0.: US 6,449,009 B1 Grace Et Al

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
(12) United States Patent (10) Patent N0.: US 6,449,009 B1 Grace Et Al US006449009B1 (12) United States Patent (10) Patent N0.: US 6,449,009 B1 Grace et al. (45) Date of Patent: Sep. 10, 2002 (54) IMAGE TRANSFER METHOD FOR 5,170,154 A * 12/1992 Mead ....................... .. 348/102 TELECINE 5,276,522 A * 1/1994 Mead . .. 348/101 5,469,209 A * 11/1995 Gunday et al. ..... .. 348/96 (75) Inventors: Paul Grace, HaultWich; Aine 5,671,008 A * 9/1997 Linn . .. 348/97 Marsland, North?eet, both of (GB) 5,917,987 A * 6/1999 Neyman .................... .. 386/42 (73) Assignee: Pandora International Limited (GB) FOREIGN PATENT DOCUMENTS (*) Notice: Subject to any disclaimer, the term of this EP 0438299 * 7/1991 ....... .. G11B/27/034 patent is extended or adjusted under 35 GB 2244626 * 12/1991 ........ .. H04N/4/253 U.S.C. 154(b) by 0 days. GB 2254518 * 10/1992 ......... .. G06F/15/68 (21) Appl. No.: 08/737,869 OTHER PUBLICATIONS (22) PCT Filed: May 19, 1995 High—Resolution Electronic Intermediate System for PCT No.: (86) PCT/GB95/01135 Motion—Picture Film, B. Hunt, G. Kennel, L. DeMarsh, and § 371 (6X1), S. Kristy, SMPTE Journal, pp. 156—161, Mar. 1991.* (2), (4) Date: Jul. 7, 1997 (87) PCT Pub. No.: WO95/32582 * cited by examiner PCT Pub. Date: Nov. 30, 1995 Primary Examiner—Nhon Diep (30) Foreign Application Priority Data (74) Attorney, Agent, or Firm—McDonnell Boehnen May 19, 1994 (GB) ........................................... .. 9410093 Hulbert & Berghoff (51) Int. Cl.7 ........................ .. H04N 5/253; H04N 9/11; (57) ABSTRACT H04N 9/47 Amethod for transferring images from cinematographic ?lm (52) US. Cl. ....................................................... .. 348/97 to video media. The method uses a telecine machine Which (58) Field of Search ................. .. 348/97—105, 107—109; 386/131, 42; H04N 5/253, 9/11, 9/47 is associated With a digital storage device and a modi?cation device is used to modify image data during transfer to video (56) References Cited media. Accordingly, an operator may select a sequence of frames on the ?lm and modify the image. U.S. PATENT DOCUMENTS 4,514,769 A * 4/1985 Gallo ........................ .. 348/97 6 Claims, 5 Drawing Sheets TELECINE VIDEO 'SERVER' TO VIDEO TAPE MACHINE VIDEO 5 'L ------ - DATA L ---- " (POSSIBLY'HIPPI' FORMAT) VIDEO POSSIBLE i EDITING ADDITIONAL i TERMINAL VET i _______ ___|_____-__. | l | _ _ J. _ _ MONITOR U.S. Patent Sep. 10, 2002 Sheet 1 0f 5 US 6,449,009 B1 FIG. 1 O_O TELECINE VIDEO PROCESSING TO VIDEO TAPE MACHINE [3 PROGRAMMER U.S. Patent Sep. 10, 2002 Sheet 2 0f 5 US 6,449,009 B1 FIG. 2 w [ VIDEO DAIA TELECINE STILL STORE < VIDEO PROCESSING _ TO VIDEO TAPE MACHlNE H ‘CONTROL’ DATA [:1 PROGRAMMER ‘CONTROL' DATA U.S. Patent Sep. 10, 2002 Sheet 3 0f 5 US 6,449,009 B1 FIG. 3 IELECINE VIDEO 'SERVER' TO VIDEO TAPE MACHINE VIDEO I DATA (POSSIBLY ‘HIPPI' FORMAT) I Y VIDEO POSSIBLE EDITING ADDITIONAL TERMINAL VET. MONITOR U.S. Patent Sep. 10, 2002 Sheet 4 0f 5 US 6,449,009 B1 FIG. 4 O_O TELECINE VIDEO ‘SERVER’ TO VIDEO TAPE lVIACI-IINE LOCATION 1 Y l LOCATTONZ ?INMKQXSYNCHRONOUSTRANFERMODE) VIDEO EDITING TERMINAL (\lET.) U.S. Patent Sep. 10, 2002 Sheet 5 0f 5 US 6,449,009 B1 FIG. 5 (LG GRAPHICS TELECINE ENGINE DIGITAL VIDEO HIPPI l _ DISK STORE REMOVABLE DRIVE TO FEED NON-LINEAR SYSTEM SCSI-2 HIPPI STANDARDPLATPORM OOMPUTER C] MONITOR US 6,449,009 B1 1 2 IMAGE TRANSFER METHOD FOR Currently available systems have a ‘close coupling’ of TELECINE video around the telecine machine. The programmer to telecine link is a ‘control’ link, meaning that control data This disclosure relates to image processing and in par only passes doWn this link. No true video information is ticular to improving the ef?ciency or facilities offered in the available at the programmer. Reference is made to FIG. 1, creative process of transferring ?lm originated material into Which shoWs a telecine machine With a video processing a TV or Video medium. unit, a programmer and a monitor, and output to a video tape Conventionally, the process of ?lm to video transfer is machine. accomplished on a ‘Telecine’ machine, and a number of Even for systems Where a ‘still store’ system is additional control and editing systems. Examples of such 10 employed, there has to be a ‘close coupling’ betWeen the telecine machines are the Rank Cintel URSAmachine, or the BTS FDL 90 machine. Such machine transfer the ?lm to telecine and the still store. Reference is made to FIG. 2 video in ‘real time’. This means that a ?lm that has a one Which shoWs a telecine machine With a video processing hour vieWing duration takes one hour to transfer to video. unit, a programmer and a monitor, output to a video tape Telecine machines are inevitably very expensive and this is machine, and a still store Which exchange video data With unlikely to be changed by forthcoming technology. This is 15 the telecine and receives control data from the programmer. because of the large amount of precision mechanics neces According to one aspect of the present invention there is sary to transport ?lm With great stability and Without putting provided a method of transferring material from cinemato undue stress on, or damaging, the ?lm. graphic ?lm to video media using a telecine machine, in Making editorial decisions on the reproduction cannot be Which an operator selects a sequence of frames to be accomplished in real time, and thus there exist a number of operated upon, the telecine supplies digitised versions of programmer, machines, Which alloW decisions to be made in those frames to digital storage means, the operator accesses non real time, stored, and replayed in real time. Examples of the digitised versions of the frames on the digital storage such programming systems are the POGLE (Trade Mark), means and makes a decision as to modi?cation of the available from Pandora International, or the DA VINCI material to be carried out during the transfer from cinemato (Trade Mark), from Colorgraphics in Fort Lauderdale, Fla. 25 graphic ?lm to video media, data corresponding to the The technique of ‘scene by scene programming’ is disclosed decision is created, if desired further sequences of frames are in US. Pat. No. 4,096,523. In a typical operation, colour operated upon and the corresponding modi?cation data grading is carried out. Film resolution material has a much created, the data corresponding to the or each modi?cation Wider range of colours than are used in video material. One is transmitted to means for modifying the material during task of the programmer is to adjust the colours so that they transfer from cinematographic ?lm to video media, and the Will be suitable for the video environment. Thus, in one transfer is effected and the material modi?ed. scene there may be a red item Whose colour needs to be VieWed from another aspect of the invention there is adjusted for the video material, and the appropriate grading provided apparatus for transferring material from cinemato operation Will be carried out for that scene. graphic ?lm to video media, comprising a telecine machine, Such telecine systems usually have a ‘reference’ store. 35 means for modifying the material during transfer from This alloWs a comparison betWeen one image and another, cinematographic ?lm to video media, digital storage means quite often on a ‘split screen’ basis. Such facilities are quite communicating With the telecine machine to receive digi often used to compare the colour consistency of a given tised versions of frames therefrom, a video editing terminal object betWeen several scenes. communicating With the digital storage means to receive the Extensions to the reference store can be accomplished by digitised versions of the frames, the video editing terminal techniques disclosed in US. Pat. No. 4,857,994. This dis comprising means for recording data corresponding to closes a method for adding an additional ‘still store’ to the operator decisions as to modi?cation of the material, and telecine grading system, and controlling the available means for committing the data from the video editing images on this still store from the programming system. terminal to the means for modifying the material during Examples of such systems are the ‘Matchbox’ (Trade Mark) 45 transfer to video media. system from Rank Cintel Ltd., or the still store from Thus Whilst in a conventional telecine the grading system ACCOM, in Menlo Park, Calif. USA. gives ‘command’ data to the telecine for the execution at the In a separate series of developments, there noW exist a telecine, in a preferred edit the proposed novel architecture number of systems for the ‘non-linear’ editing of video here actually transfers the video data to the video Worksta material. Typically, video material (normally shot as video, tion for modifying of the data, Which is eventually returned although the systems do not preclude the use of ?lm origi back to the telecine ‘server’. This server Would consist of a nated material converted to video on a telecine type system) control computer, together With storage facilities in the form is digitised, i.e. captured into a digital computer type disc of large computer discs, and RAM store. These Would be ?le, compressed, i.e. meaning data compressed by such ?lled With ‘clips’ from the telecine as the telecine transfers techniques as the ISO standard JPEG system, and displayed 55 data from ?lm into the digital domain. When it is necessary on a loW cost video Workstation for the purpose of making to vieW a scene again later, this scene Will be recalled from ‘cut’ decisions These decisions are stored in a ‘cut list’ Which the server’s store instead of from ?lm.
Load more

Recommended publications
  • American Society of Cinematographers Motion Imaging Technology Council Progress Report 2018
    American Society of Cinematographers Motion Imaging Technology Council Progress Report 2018 By Curtis Clark, ASC; David Reisner; David Stump, Color Encoding System), they can creatively make the ASC; Bill Bennett, ASC; Jay Holben; most of this additional picture information, both color Michael Karagosian; Eric Rodli; Joachim Zell; and contrast, while preserving its integrity throughout Don Eklund; Bill Mandel; Gary Demos; Jim Fancher; the workflow. Joe Kane; Greg Ciaccio; Tim Kang; Joshua Pines; Parallel with these camera and workflow develop- Pete Ludé; David Morin; Michael Goi, ASC; ments are significant advances in display technologies Mike Sanders; W. Thomas Wall that are essential to reproduce this expanded creative canvas for cinema exhibition and TV (both on-demand streaming and broadcast). While TV content distribu- ASC Motion Imaging Technology Council Officers tion has been able to take advantage of increasingly avail- Chair: Curtis Clark, ASC able consumer TV displays that support (“4K”) Ultra Vice-Chair: Richard Edlund, ASC HD with both wide color gamut and HDR, including Vice-Chair: Steven Poster, ASC HDR10 and/or Dolby Vision for consumer TVs, Dolby Secretary & Director of Research: David Reisner, Vision for Digital Cinema has been a leader in devel- [email protected] oping laser-based projection that can display the full range of HDR contrast with DCI P3 color gamut. More recently, Samsung has demonstrated their new emissive Introduction LED-based 35 foot cinema display offering 4K resolu- ASC Motion Imaging Technology Council Chair: tion with full HDR utilizing DCI P3 color gamut. Curtis Clark, ASC Together, these new developments enable signifi- cantly enhanced creative possibilities for expanding The American Society of Cinematographers (ASC) the visual story telling of filmmaking via the art of Motion Imaging Technology Council (MITC – “my cinematography.
    [Show full text]
  • Ffmpeg Filters Documentation Table of Contents
    FFmpeg Filters Documentation Table of Contents 1 Description 2 Filtering Introduction 3 graph2dot 4 Filtergraph description 4.1 Filtergraph syntax 4.2 Notes on filtergraph escaping 5 Timeline editing 6 Options for filters with several inputs (framesync) 7 Audio Filters 7.1 acompressor 7.2 acopy 7.3 acrossfade 7.3.1 Examples 7.4 acrusher 7.5 adelay 7.5.1 Examples 7.6 aecho 7.6.1 Examples 7.7 aemphasis 7.8 aeval 7.8.1 Examples 7.9 afade 7.9.1 Examples 7.10 afftfilt 7.10.1 Examples 7.11 afir 7.11.1 Examples 7.12 aformat 7.13 agate 7.14 alimiter 7.15 allpass 7.16 aloop 7.17 amerge 7.17.1 Examples 7.18 amix 7.19 anequalizer 7.19.1 Examples 7.19.2 Commands 7.20 anull 7.21 apad 7.21.1 Examples 7.22 aphaser 7.23 apulsator 7.24 aresample 7.24.1 Examples 7.25 areverse 7.25.1 Examples 7.26 asetnsamples 7.27 asetrate 7.28 ashowinfo 7.29 astats 7.30 atempo 7.30.1 Examples 7.31 atrim 7.32 bandpass 7.33 bandreject 7.34 bass 7.35 biquad 7.36 bs2b 7.37 channelmap 7.38 channelsplit 7.39 chorus 7.39.1 Examples 7.40 compand 7.40.1 Examples 7.41 compensationdelay 7.42 crossfeed 7.43 crystalizer 7.44 dcshift 7.45 dynaudnorm 7.46 earwax 7.47 equalizer 7.47.1 Examples 7.48 extrastereo 7.49 firequalizer 7.49.1 Examples 7.50 flanger 7.51 haas 7.52 hdcd 7.53 headphone 7.53.1 Examples 7.54 highpass 7.55 join 7.56 ladspa 7.56.1 Examples 7.56.2 Commands 7.57 loudnorm 7.58 lowpass 7.58.1 Examples 7.59 pan 7.59.1 Mixing examples 7.59.2 Remapping examples 7.60 replaygain 7.61 resample 7.62 rubberband 7.63 sidechaincompress 7.63.1 Examples 7.64 sidechaingate 7.65 silencedetect
    [Show full text]
  • PBX6001 Pogle Workstation
    Pandora Pogle Installation Document April 2010 Rev 3 Contents Contents ........................................................................................................................ 1 PBX6001 Pogle Workstation ......................................................................................... 2 Platinum ........................................................................................................................ 3 Connectivity between the Platinum PC and the Workstation......................................... 9 Evolution Panels.......................................................................................................... 11 Revolution Colour Corrector ........................................................................................ 21 Video Stillstore & Wipe ................................................................................................ 26 PBX6002 Pogle Telecine Interface.............................................................................. 30 Spirit HD/2K/4K connectivity........................................................................................ 31 YoYo connectivity........................................................................................................ 35 PCIE data workflow installation ................................................................................... 41 Appendices.................................................................................................................. 53 A. Power Requirements..............................................................................................
    [Show full text]
  • Jts Awards 2019
    CONFERENCE SPONSORS Conference Host and Gold Sponsor Silver Sponsors Bronze Sponsor Exhibiting Sponsors TABLE OF CONTENTS Welcome from JTS 4 Acknowledgements 7 Welcome from JTS 2019 Organizers Netherlands Institute for Sound and Vision 11 FIAF 13 AMIA 14 IASA 15 FIAT/IFTA 16 Practical Information 18 Social Events 20 JTS Awards 2019 22 Daily Schedule 26 JTS 2019 Keynote 30 Workshops and Tutorials 32 Poster Sessions 38 Paper Abstracts Friday October 4 41 Saturday October 5 47 JTS 2019 Speakers 60 JTS Bingo 74 WELCOME FROM JTS Welcome to the Joint Technical Symposium 2019! PRESERVE THE LEGACY | CELEBRATE THE FUTURE I am delighted to welcome you to the 10th iteration of the Joint Technical Symposium (JTS). In existence since 1983, it has been hosted annually by various Co-Ordinating Council of Audiovisual Archives (CCAAA) organizations or related member institutions. Over the years the JTS has enabled our combined audiovisual archival communities to share the latest, most innovative technological advancements in our fields. Consistently, the symposium offers the newest and best preservation practices and tools in our fields and introduces the technological breakthroughs that are being developed at that time. Throughout each event and at its core the JTS has been a dedicated symposium focused on the international scientific and technical issues pertaining to audiovisual archives and archivists. A review of the past 36 years of the JTS programs reveals that the changes in symposia have reflected current technological advancements while maintaining a focus on efforts to preserve the collections: film, audio, video, and now digital. And, most importantly, we have consistently looked to the future.
    [Show full text]
  • Broadcast & Media Technology Industry Guide
    Broadcast & Media Technology Industry Guide an IABM Sourcebook 2009 The IABM Sourcebook 2009 Broadcast & Media Technology Industry Guide an IABM Sourcebook 2009 IABM Secretariat Team: The Global Media Alliance (GMA): Price: US$145 / €110 / £95 Chief Executive Officer: Roger Stanwell Publisher: Nicholas Hunter Barr Published by: The Global Media Alliance Non Executive Director: Roger Crumpton Account Manager: Cary Creed Operations Manager: Cindy Horwood Design & Pemberton Design Project Manager: Andrew Morgan pembertondesign.co.uk Financial Controller: Lucinda Meek Production Research Director: Kathryn Hall 020 8398 3962 Membership Administrator: Elaine Bukiej Technical Consultant: Max Alexander Marketing & Project Printed in the UK: Thanet Press Coordinator: Megan Haywood Credit Control: Amanda Shepard Website Administrator: Jamie Goodenough Subscriptions: Steven Roberts PO Box 2264 The Studios, 1 Portsmouth Road The publishers would like to thank the sponsors, Reading, Berkshire, UK Thames Ditton, Surrey KT7 0SY, UK contributors, the IABM and all those who have Tel: +44 (0)118 941 8620 assisted in compiling information for this publication. Tel: +44 (0)20 8339 0081 Fax: +44 (0)118 941 8630 Fax: +44 (0)20 8181 6459 Email: [email protected] Email: [email protected] ISBN: 978-0-9552420-4-5 www.theiabm.org www.thegma.eu © The GMA infringement and to the Copyright and Rights in Database Regulation 1997 in relation to copyright and database rights infringement. This work has been compiled as a work of reference, and is published and supplied for such purpose. It is a condition of sale of this publication that it may not be used or reproduced in part or in its entirety to compile or If you are in any doubt as to the manner in which this publication may be used whether in the course of business store lists, other directories or mailing lists without the prior written permission of the publisher (The Global Media or otherwise please contact the publisher for advice and guidance.
    [Show full text]
  • Montreux Symposium Broadens Its Reach Show Hopes to Unite Creative and Technical Professionals
    Vol II No 6, June 1993 `Pe °PAN • e -e• .4 7 e. 416 e • ECHNOLOG c3d) International Edition Montreux Symposium Broadens Its Reach Show Hopes to Unite Creative And Technical Professionals MONTREUX, Switzerland Organizers of grams that were made possible by the use the biennial Montreux International Tele- of digital and high definition technology. vision Symposium predict this year's In fact, the emerging digital technolo- event, 10-15 June, will spark interest gies, particularly digital processing and from the creative and business side of the compression, are much of the reason industry as well as the technical side. behind the convergence of the broadcast, The conference sessions and special pro- cable and production communities, a fact grams this year will broaden their focus to recognized by the Montreux ITS. include all aspects of the industry. "The digital invasion is not only in "In the past, we tried to have sessions transmission but in production equip- just for creative people, but they weren't ment," said ITS Director Michel Ferla. well attended, because what they really "We are opening up and trying to be a wanted was to talk to the technical people bridge between the technological world about what they needed and wanted," and the creative one." said Rupert Stow, press officer for the "The trend is that there is a welding Montreux ITS. "So this year in the ses- together of cable and broadcast—creative sions we're introducing people from the and technical—because when you are creative world so they can (interact with) talking about digital compression and the technical world." processing, they share many of the same This effort to unite the creative, engineer- problems," added Stow.
    [Show full text]
  • November 1992/$20
    AN INTERTEC PUBLICATION NOVEMBER 1992/$20 0 ox ,,°x w 7z) x m 0 www.americanradiohistory.com "but have you ever built a big one?,' asked NBC, CBS, RTO 1992 Olympics (International Broadcast Center), Sunset Post, Video Post & Transfer, U.S. Air Force, Mills /James Productions, University of Arizona, The Family Channel, NEP and The United Nations. Looking 100MHz ahead:.. SYSTEM 5 A/V routing switcher met their specs. Its 100MHz bandwidth is essential for computer graphics and advanced TV signals. It can be configured up to 1024x1024 with multi -level control (up to 16). SYSTEM 5 is a disc based system, has virtual matrix mapping, full system reconfiguration ...and it maintains system specification integrity. And there are scores of smaller SYSTEM 5s installed by a wide range of users from airlines to telco companies. NBC routing switcher "Are you competitive ?9, Call us. for 1992 Olympic Summer Gaines in Barcelona, Spain. Pesa America. Huntsville. AL 205- 880 -0795 - Fax 205 -881 -4828 PESA Burbank. CA 800- 323 -7372 Switching Systems New York City 800- 328 -1008 THE PESAcciHhmom L GROUP PESA (CIHhYáB®#1 AURORA Circle (1) on Reply Card www.americanradiohistory.com [LITI S THEY COME IN ALL SHAPES AND SIZES And who's the creator of all these shapes and sizes for the last 15 years, worldwide? Harris Allied. From news gathering and network programming to teleconferencing and business, government and emergency communications, we have your solution. We offer you the high performance of KU or C -Band systems in analog or digital. 5 And we can design this solution in the shape of a simple flyaway uplink to the size of a redundant network quality uplink.
    [Show full text]
  • Color Correction Acceleration Using a Color Cube and Opencl
    Color Correction Acceleration Using a Color Cube and OpenCL Tenio Vachev Faculty of Mathematics and Informatics, St. Kl. Ohridski University of Sofia, Bulgaria UP2 Technology, www.up2.eu [email protected], [email protected] Abstract. The article deals with the problem of real time color correction on modern but not dedicated video hardware, suggesting a new implementation of fast algorithm for color transformation utilizing 3D look-up tables. We focus on highly parallel nature of the proposed method and employ the GPU to perform the color calculations side-by- side. The paper is comparing the performance of the implementation of the algorithm on the CPU and on the GPU. Keywords: secondary color correction, tetrahedral interpolation, LUT, color cube, GPU, parallel computing, OpenCL 1 Introduction The modern hardware platforms - both central and graphics processors are SIMD (Single Instruction Multiple Data Streams). They can be targeted through a common abstraction and API. We are utilizing OpenCL to make parallel cal- culations on both the CPU and the GPU in order to compare the performance on them as a step towards the goal to make soft real-time color correction of HD and 4K [1] resolution images available on systems with modern graphics cards. OpenCL (Open Computing Language) is a framework for developing and executing parallel computation across heterogeneous processors (CPUs, GPUs and other Digital Signal Processing (DSP) hardware). It is an open standard managed by the non-profit consortium the Khronos Group [5]. OpenCL sup- ports both data-parallel and task-parallel programming models. OpenCL gives applications access to the Graphical Processing Unit for non-graphical comput- ing.
    [Show full text]
  • Film Sound in Preservation and Presentation Film Sound in Preservation and Presentation
    Film Sound in Preservation and Presentation Film Sound in Preservation and Presentation What is the nature of film sound? How does it change through time? How can film sound be conceptually defined? To address these issues, this work assumes the perspective of film preservation and presentation practices, describing the preservation of early sound systems, as well as the presentation of film sound in the spaces provided by film heritage institutions. The preservation and presentation practices analyzed bring different dimensions of film sound to the fore, such as its material, human, technological, institutional, experiential, and memorial dimensions. The definition of film sound is constructed around the concepts of material form, trace, and performance, which explain its transitory nature and its many facets. Sonia Campanini ISBN 978-90-6464-765-9 Sonia Campanini Film Sound in Preservation and Presentation Sonia Campanini ISBN 978-90-6464-765-9 © 2014 Sonia Campanini Cover designed by Loo Printed by GVO printers & designers B.V. Film Sound in Preservation and Presentation ACADEMISCH PROEFSCHRIFT ter verkrijging van de graad van doctor aan de Universiteit van Amsterdam en Università degli Studi di Udine op gezag van de Rector Magnificus prof. dr. D.C. van den Boom ten overstaan van een door het college voor promoties ingestelde commissie, in het openbaar te verdedigen in de Agnietenkapel op donderdag 17 april 2014, te 14:00 uur door Sonia Campanini geboren te San Secondo Parmense, Italië Promotores: Prof. dr. J.J. Noordegraaf Prof. dr. L. Quaresima Co-promotores: Prof. dr. G. Fossati Dr. S. Venturini Overige leden: Prof. dr. B. Flückiger Prof.
    [Show full text]
  • Complete List of ALL File Extensions and Information - Botcrawl
    Complete List of ALL File Extensions and Information - Botcrawl Extension Information A Image Alchemy File (Handmade Software, Inc.) A Unknown Apple II File (found on Golden Orchard Apple II CD Rom) A ADA Program A Free Pascal Archive File for Linux or DOS Version (FPC Development Team) a UNIX Static Object Code Library A Assembly Source Code (Macintosh) A00 Archive Section A01 ARJ Multi-volume Compressed Archive (can be 01 to 99) (also see .000) (can be 01 to 99) (also see .000) A01 OzWin CompuServe E-mail/Forum Access SYSOP File A01 Archive Section A02 Archive Section A02 OzWin CompuServe E-mail/Forum Access SYSOP File A03 Archive Section A03 annotare ava 04 Project File (annotare.net) A03 OzWin CompuServe E-mail/Forum Access SYSOP File A04 OzWin CompuServe E-mail/Forum Access SYSOP File A04 Archive Section A05 OzWin CompuServe E-mail/Forum Access SYSOP File A05 Archive Section A06 OzWin CompuServe E-mail/Forum Access SYSOP File A06 Archive Section A06 Lotto Pro 2002 Smart Number Ticket A07 OzWin CompuServe E-mail/Forum Access SYSOP File A07 Archive Section A07 TaxCalc Tax File (Acorah Software Products Ltd.) A08 OzWin CompuServe E-mail/Forum Access SYSOP File A08 Archive Section A09 OzWin CompuServe E-mail/Forum Access SYSOP File A09 Archive Section A1 Free Pascal Archive File for GO321v1 Platform (FPC Development Team) A1 Unknown Apple II File (found on Golden Orchard Apple II CD Rom) A10 OzWin CompuServe E-mail/Forum Access SYSOP File A11 AOL Instant Messenger (AIM) Graphic (America Online, Inc.) A2 Unknown Apple II File (found on
    [Show full text]