University of Southampton Research Repository Eprints Soton
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
Microsoft Powerpoint
Development of Multimedia WebApp on Tizen Platform 1. HTML Multimedia 2. Multimedia Playing with HTML5 Tags (1) HTML5 Video (2) HTML5 Audio (3) HTML Pulg-ins (4) HTML YouTube (5) Accessing Media Streams and Playing (6) Multimedia Contents Mgmt (7) Capturing Images 3. Multimedia Processing Web Device API Multimedia WepApp on Tizen - 1 - 1. HTML Multimedia • What is Multimedia ? − Multimedia comes in many different formats. It can be almost anything you can hear or see. − Examples : Pictures, music, sound, videos, records, films, animations, and more. − Web pages often contain multimedia elements of different types and formats. • Multimedia Formats − Multimedia elements (like sounds or videos) are stored in media files. − The most common way to discover the type of a file, is to look at the file extension. ⇔ When a browser sees the file extension .htm or .html, it will treat the file as an HTML file. ⇔ The .xml extension indicates an XML file, and the .css extension indicates a style sheet file. ⇔ Pictures are recognized by extensions like .gif, .png and .jpg. − Multimedia files also have their own formats and different extensions like: .swf, .wav, .mp3, .mp4, .mpg, .wmv, and .avi. Multimedia WepApp on Tizen - 2 - 2. Multimedia Playing with HTML5 Tags (1) HTML5 Video • Some of the popular video container formats include the following: Audio Video Interleave (.avi) Flash Video (.flv) MPEG 4 (.mp4) Matroska (.mkv) Ogg (.ogv) • Browser Support Multimedia WepApp on Tizen - 3 - • Common Video Format Format File Description .mpg MPEG. Developed by the Moving Pictures Expert Group. The first popular video format on the MPEG .mpeg web. -
Atmospheric Downwelling Longwave Radiation at the Surface During Cloudless and Overcast Conditions. Measurements and Modeling
ATMOSPHERIC DOWNWELLING LONGWAVE RADIATION AT THE SURFACE DURING CLOUDLESS AND OVERCAST CONDITIONS. MEASUREMENTS AND MODELING Antoni VIÚDEZ-MORA ISBN: 978-84-694-5001-7 Dipòsit legal: GI-752-2011 http://hdl.handle.net/10803/31841 ADVERTIMENT. La consulta d’aquesta tesi queda condicionada a l’acceptació de les següents condicions d'ús: La difusió d’aquesta tesi per mitjà del servei TDX ha estat autoritzada pels titulars dels drets de propietat intel·lectual únicament per a usos privats emmarcats en activitats d’investigació i docència. No s’autoritza la seva reproducció amb finalitats de lucre ni la seva difusió i posada a disposició des d’un lloc aliè al servei TDX. No s’autoritza la presentació del seu contingut en una finestra o marc aliè a TDX (framing). Aquesta reserva de drets afecta tant al resum de presentació de la tesi com als seus continguts. En la utilització o cita de parts de la tesi és obligat indicar el nom de la persona autora. ADVERTENCIA. La consulta de esta tesis queda condicionada a la aceptación de las siguientes condiciones de uso: La difusión de esta tesis por medio del servicio TDR ha sido autorizada por los titulares de los derechos de propiedad intelectual únicamente para usos privados enmarcados en actividades de investigación y docencia. No se autoriza su reproducción con finalidades de lucro ni su difusión y puesta a disposición desde un sitio ajeno al servicio TDR. No se autoriza la presentación de su contenido en una ventana o marco ajeno a TDR (framing). Esta reserva de derechos afecta tanto al resumen de presentación de la tesis como a sus contenidos. -
© 2019 Jimi Jones
© 2019 Jimi Jones SO MANY STANDARDS, SO LITTLE TIME: A HISTORY AND ANALYSIS OF FOUR DIGITAL VIDEO STANDARDS BY JIMI JONES DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Library and Information Science in the Graduate College of the University of Illinois at Urbana-Champaign, 2019 Urbana, Illinois Doctoral Committee: Associate Professor Jerome McDonough, Chair Associate Professor Lori Kendall Assistant Professor Peter Darch Professor Howard Besser, New York University ABSTRACT This dissertation focuses on standards for digital video - the social aspects of their design and the sociotechnical forces that drive their development and adoption. This work is a history and analysis of how the MXF, JPEG 2000, FFV1 and Matroska standards have been adopted and/or adapted by libraries and archives of different sizes. Well-funded institutions often have the resources to develop tailor-made specifications for the digitization of their analog video objects. Digital video standards and specifications of this kind are often derived from the needs of the cinema production and television broadcast realms in the United States and may be unsuitable for smaller memory institutions that are resource-poor and/or lack staff with the knowledge to implement these technologies. This research seeks to provide insight into how moving image preservation professionals work with - and sometimes against - broadcast and film production industries in order to produce and/or implement standards governing video formats and encodings. This dissertation describes the transition of four digital video standards from niches to widespread use in libraries and archives. It also examines the effects these standards produce on cultural heritage video preservation by interviewing people who implement the standards as well as people who develop them. -
Realaudio and Realvideo Content Creation Guide
RealAudioâ and RealVideoâ Content Creation Guide Version 5.0 RealNetworks, Inc. Contents Contents Introduction......................................................................................................................... 1 Streaming and Real-Time Delivery................................................................................... 1 Performance Range .......................................................................................................... 1 Content Sources ............................................................................................................... 2 Web Page Creation and Publishing................................................................................... 2 Basic Steps to Adding Streaming Media to Your Web Site ............................................... 3 Using this Guide .............................................................................................................. 4 Overview ............................................................................................................................. 6 RealAudio and RealVideo Clips ....................................................................................... 6 Components of RealSystem 5.0 ........................................................................................ 6 RealAudio and RealVideo Files and Metafiles .................................................................. 8 Delivering a RealAudio or RealVideo Clip ...................................................................... -
(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. -
Frequency Plans for Broadcasting Services by Juan Castro Broadcasting Services Division OVERVIEW
Frequency plans for broadcasting services By Juan Castro Broadcasting Services Division OVERVIEW . ITU Regions . Regional Plans . Regional Plans concerning TV broadcasting . Regional Plans concerning sound broadcasting . Article 4: Modifications to the Plans . Useful links ITU REGIONS REGIONAL PLANS - Definition . Regional agreements for: o specific frequency bands o specific region/area o specific services . Adopted by Regional Conferences (technical criteria + frequency plans) . Types of Plans: o Assignment Plans (stations) o Allotment Plans (geographical areas) TYPES OF REGIONAL PLANS . Assignment Plan: frequencies are assigned to stations Station 1 Frequencies f1, f2, f3… Station 3 Station 2 . Allotment Plan: frequencies are assigned to geographical areas Area 1 Frequencies f1, f2, f3… Area 3 Area 2 TV BROADCASTING REGIONAL PLANS . Regional Plans (in force) that concern television broadcasting: o Stockholm 1961 modified in 2006 (ST61) o Geneva 1989 modified in 2006 (GE89) o Geneva 2006 (GE06) TV REGIONAL PLANS: ST61 . ST61: Stockholm 1961 modified in 2006 In 2006 the bands 174-230 MHz and 470-862 MHz were transferred to GE06 Plan . Assignment Plan . Region: European Broadcasting Area (EBA) . Bands: o Band I: 47-68 MHz o Band II: 87.5-100 MHz o Band III: 162-170 MHz . Services: o Broadcasting (sound and television) TV REGIONAL PLANS: GE89 . GE89: Geneva 1989 modified in 2006 In 2006 the bands 174-230 MHz and 470-862 MHz were transferred to GE06 Plan . Assignment Plan . Region: African Broadcasting Area(ABA) . Bands: o Band I: 47-68 MHz o Band III: 230-238 and 246-254 MHz . Services: o Broadcasting (television only) TV REGIONAL PLANS: GE06 . GE06 (Digital Plan): There were 2 plans (analogue and digital). -
UHF-Band TV Transmitter for TV White Space Video Streaming Applications Hyunchol Shin1,* · Hyukjun Oh2
JOURNAL OF ELECTROMAGNETIC ENGINEERING AND SCIENCE, VOL. 19, NO. 4, 227~233, OCT. 2019 https://doi.org/10.26866/jees.2019.19.4.227 ISSN 2671-7263 (Online) ∙ ISSN 2671-7255 (Print) UHF-Band TV Transmitter for TV White Space Video Streaming Applications Hyunchol Shin1,* · Hyukjun Oh2 Abstract This paper presents a television (TV) transmitter for wireless video streaming applications in TV white space band. The TV transmitter is composed of a digital TV (DTV) signal generator and a UHF-band RF transmitter. Compared to a conventional high-IF heterodyne structure, the RF transmitter employs a zero-IF quadrature direct up-conversion architecture to minimize hardware overhead and com- plexity. The RF transmitter features I/Q mismatch compensation circuitry using 12-bit digital-to-analog converters to significantly im- prove LO and image suppressions. The DTV signal generator produces an 8-vestigial sideband (VSB) modulated digital baseband signal fully compliant with the Advanced Television System Committee (ATSC) DTV signal specifications. By employing the proposed TV transmitter and a commercial TV receiver, over-the-air, real-time, high-definition video streaming has been successfully demonstrated across all UHF-band TV channels between 14 and 69. This work shows that a portable hand-held TV transmitter can be a useful TV- band device for wireless video streaming application in TV white space. Key Words: DTV Signal Generator, RF Transmitter, TV Band Device, TV Transmitter, TV White Space. industry-science-medical (ISM)-to-UHF-band RF converters I. INTRODUCTION [3, 4] is a TV-band device (TVBD) to enable Wi-Fi service in a TVWS band. -
Recommended File Formats for Long-Term Archiving and for Web Dissemination in Phaidra
Recommended file formats for long-term archiving and for web dissemination in Phaidra Edited by Gianluca Drago May 2019 License: https://creativecommons.org/licenses/by-nc-sa/4.0/ Premise This document is intended to provide an overview of the file formats to be used depending on two possible destinations of the digital document: long-term archiving uploading to Phaidra and subsequent web dissemination When the document uploaded to Phaidra is also the only saved file, the two destinations end up coinciding, but in general one will probably want to produce two different files, in two different formats, so as to meet the differences in requirements and use in the final destinations. In the following tables, the recommendations for long-term archiving are distinct from those for dissemination in Phaidra. There are no absolute criteria for choosing the file format. The choice is always dependent on different evaluations that the person who is carrying out the archiving will have to make on a case by case basis and will often result in a compromise between the best achievable quality and the limits imposed by the costs of production, processing and storage of files, as well as, for the preceding, by the opportunity of a conversion to a new format. 1 This choice is particularly significant from the perspective of long-term archiving, for which a quality that respects the authenticity and integrity of the original document and a format that guarantees long-term access to data are desirable. This document should be seen more as an aid to the reasoned choice of the person carrying out the archiving than as a list of guidelines to be followed to the letter. -
FFV1 Video Codec Specification
FFV1 Video Codec Specification by Michael Niedermayer [email protected] Contents 1 Introduction 2 2 Terms and Definitions 2 2.1 Terms ................................................. 2 2.2 Definitions ............................................... 2 3 Conventions 3 3.1 Arithmetic operators ......................................... 3 3.2 Assignment operators ........................................ 3 3.3 Comparison operators ........................................ 3 3.4 Order of operation precedence .................................... 4 3.5 Range ................................................. 4 3.6 Bitstream functions .......................................... 4 4 General Description 5 4.1 Border ................................................. 5 4.2 Median predictor ........................................... 5 4.3 Context ................................................ 5 4.4 Quantization ............................................. 5 4.5 Colorspace ............................................... 6 4.5.1 JPEG2000-RCT ....................................... 6 4.6 Coding of the sample difference ................................... 6 4.6.1 Range coding mode ..................................... 6 4.6.2 Huffman coding mode .................................... 9 5 Bitstream 10 5.1 Configuration Record ......................................... 10 5.1.1 In AVI File Format ...................................... 11 5.1.2 In ISO/IEC 14496-12 (MP4 File Format) ......................... 11 5.1.3 In NUT File Format .................................... -
Codificación De La Información
Telecomunicaciones Codificación de la Información Codificación de la Información Introducción Debido al incremento de las necesidades de intercambio de información en todos los sectores, los servicios de telecomunicación han ido apareciendo y creciendo para satisfacer tan alta demanda. En consecuencia, se ha hecho necesaria la aparición de distintos sistemas de transmisión y almacenamiento, y su mejora en eficacia (fiabilidad) y eficiencia (mayor velocidad, menor potencia, menor ancho de banda, entre otros). La tarea de las fuentes de codificación es representar la información con el mínimo numero de símbolos. Cuando un código se transmite sobre un canal ante la presencia de ruido, se presentaran errores. La tarea de la codificación del canal es representar la información de manera que se minimice la probabilidad de error en la decodificación. Se nota que la codificación del canal requiere el uso de redundancia. Si todas las salidas posibles del canal corresponden unívocamente a una fuente de entrada, no existe posibilidad de detectar errores en la transmisión. Para detectarlos, y posiblemente corregir errores, la secuencia de codificación debe ser mas larga que la secuencia original. Codificación de señales (procesos de digitalización) Es un procedimiento utilizado muy frecuentemente en la actualidad, en el que ante una serie de señales de tipo analógico se transcriben en señales de tipo digital. De modo que de esta manera se facilita su procesamiento posterior, y también se mejoran las características físicas de la misma. Es decir, una señal analógica es muy sensible frente a alteraciones de posibles interferencias, esto se debe a que la señal original (analógica) es muy difícil de recuperar ya que los valores que pueden tener esta señal pueden ser infinitos. -
MPEG-4 AVC/H.264 Video Codecs Comparison Short Version of Report
MPEG-4 AVC/H.264 Video Codecs Comparison Short version of report Project head: Dr. Dmitriy Vatolin Measurements, analysis: Dr. Dmitriy Kulikov, Alexander Parshin Codecs: DivX H.264 Elecard H.264 Intel® MediaSDK AVC/H.264 MainConcept H.264 Microsoft Expression Encoder Theora x264 XviD (MPEG-4 ASP codec) April 2010 CS MSU Graphics&Media Lab Video Group http://www.compression.ru/video/codec_comparison/index_en.html [email protected] VIDEO MPEG-4 AVC/H.264 CODECS COMPARISON MOSCOW, APR 2010 CS MSU GRAPHICS & MEDIA LAB VIDEO GROUP SHORT VERSION Contents Contents .................................................................................................................... 2 1 Acknowledgments ............................................................................................. 4 2 Overview ........................................................................................................... 5 2.1 Sequences .....................................................................................................................5 2.2 Codecs ...........................................................................................................................5 2.3 Objectives and Testing Rules ........................................................................................6 2.4 H.264 Codec Testing Objectives ...................................................................................6 2.5 Testing Rules .................................................................................................................6