Confocal Microscopic Image Sequence Compression Using Vector Quantization and 3D Pyramids
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Music 422 Project Report
Music 422 Project Report Jatin Chowdhury, Arda Sahiner, and Abhipray Sahoo October 10, 2020 1 Introduction We present an audio coder that seeks to improve upon traditional coding methods by implementing block switching, spectral band replication, and gain-shape quantization. Block switching improves on coding of transient sounds. Spectral band replication exploits low sensitivity of human hearing towards high frequencies. It fills in any missing coded high frequency content with information from the low frequencies. We chose to do gain-shape quantization in order to explicitly code the energy of each band, preserving the perceptually important spectral envelope more accurately. 2 Implementation 2.1 Block Switching Block switching, as introduced by Edler [1], allows the audio coder to adaptively change the size of the block being coded. Modern audio coders typically encode frequency lines obtained using the Modified Discrete Cosine Transform (MDCT). Using longer blocks for the MDCT allows forbet- ter spectral resolution, while shorter blocks have better time resolution, due to the time-frequency trade-off known as the Fourier uncertainty principle [2]. Due to their poor time resolution, using long MDCT blocks for an audio coder can result in “pre-echo” when the coder encodes transient sounds. Block switching allows the coder to use long MDCT blocks for normal signals being encoded and use shorter blocks for transient parts of the signal. In our coder, we implement the block switching algorithm introduced in [1]. This algorithm consists of four types of block windows: long, short, start, and stop. Long and short block windows are simple sine windows, as defined in [3]: (( ) ) 1 π w[n] = sin n + (1) 2 N where N is the length of the block. -
High Level Architecture Framework
Java Media Framework Multimedia Systems: Module 3 Lesson 1 Summary: Sources: H JMF Core Model H JMF 2.0 API Programmers m Guide from Sun: Architecture http://java.sun.com/products/java-media/jmf/2.1/guide/ m Models: time, event, data H JMF 2.0 API H JMF Core Functionality H JMF White Paper from IBM m Presentation http://www- 4.ibm.com/software/developer/library/jmf/jmfwhite. m Processing html m Capture m Storage and Transmission H JMF Extensibility High Level Architecture H A demultiplexer extracts individual tracks of media data JMF Applications, Applets, Beans from a multiplexed media stream. A mutliplexer performs the JMF Presentation and Processing API opposite function, it takes individual tracks of media data and merges them into a single JMF Plug-In API multiplexed media stream. H A codec performs media-data Muxes & Codecs Effects Renderers Demuxes compression and decompression. Each codec has certain input formats that it can handle and H A renderer is an abstraction of a certain output formats that it can presentation device. For audio, the generate presentation device is typically the H An effect filter modifies the computer's hardware audio card track data in some way, often to that outputs sound to the speakers. create special effects such as For video, the presentation device is blur or echo typically the computer monitor. Framework JMF H Media Streams m A media stream is the media data obtained from a local file, acquired over the network, or captured from a camera or microphone. Media streams often contain multiple channels of data called tracks. -
Capabilities of the Horchow Auditorium and the Orientation
Performance Capabilities of Horchow Auditorium and Atrium at the Dallas Museum of Art Horchow Auditorium Capacity and Stage: The auditorium seats 333 people (with a 12 removable chair option in the back), maxing out the capacity at 345). The stage is 45’ X 18’and the screen is 27’ X 14’. A height adjustable podium, microphone, podium clock and light are standard equipment available. Installed/Available Equipment Sound: Lighting: 24 channel sound board 24 fixed lights 4 stage monitors (with up to 4 Mixes) 5 movers (these give a wide array of lighting looks) 6 hardwired microphones 4 wireless lavaliere microphones 2 handheld wireless microphones (with headphone option) 9-foot Steinway Concert Grand Piano 3 Bose towers (these have been requested by Acoustic performers before and work very well) Music stands Projection Panasonic PTRQ32 4K 20,000 Lumen Laser Projector Preferred Video Formats in Horchow Blu Ray DVD Apple ProRes 4:2:2 Standard in a .mov wrapper H.264 in a .mov wrapper Formats we can use, but are not optimal MPEG-1/2 Dirac / VC-2 DivX® (1/2/3/4/5/6) MJPEG (A/B) MPEG-4 ASP WMV 1/2 XviD WMV 3 / WMV-9 / VC-1 3ivX D4 Sorenson 1/3 H.261/H.263 / H.263i DV H.264 / MPEG-4 AVC On2 VP3/VP5/VP6 Cinepak Indeo Video v3 (IV32) Theora Real Video (1/2/3/4) Atrium Capacity and Stage: The Atrium seats up to 500 people (chair rental required). The stage available to be installed in the Atrium is 16’ x 12’ x 1’. -
(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. -
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. -
Directshow Codecs On
DirectShow Codecs (Reported) Version RVG 0.5754 Windows Vista X86 Windows Vista X64 Codec Company Description Reported Windows XP Pro WindowsXP Starter Business N Business HomeBasic N HomeBasic HomePremium Ultimate Business N Business HomeBasic N HomeBasic HomePremium Ultimate AVI Decompressor Microsoft Corporation DirectShow Runtime AVI Draw Microsoft Corporation DirectShow Runtime Cinepak Codec by Radius Radius Inc. Cinepak® Codec DV Splitter Microsoft Corporation DirectShow Runtime DV Video Decoder Microsoft Corporation DirectShow Runtime DV Video Encoder Microsoft Corporation DirectShow Runtime Indeo® video 4.4 Decompression Filter Intel Corporation Intel Indeo® Video 4.5 Indeo® video 5.10 Intel Corporation Intel Indeo® video 5.10 Indeo® video 5.10 Compression Filter Intel Corporation Intel Indeo® video 5.10 Indeo® video 5.10 Decompression Filter Intel Corporation Intel Indeo® video 5.10 Intel 4:2:0 Video V2.50 Intel Corporation Microsoft H.263 ICM Driver Intel Indeo(R) Video R3.2 Intel Corporation N/A Intel Indeo® Video 4.5 Intel Corporation Intel Indeo® Video 4.5 Intel Indeo(R) Video YUV Intel IYUV codec Intel Corporation Codec Microsoft H.261 Video Codec Microsoft Corporation Microsoft H.261 ICM Driver Microsoft H.263 Video Codec Microsoft Corporation Microsoft H.263 ICM Driver Microsoft MPEG-4 Video Microsoft MPEG-4 Video Decompressor Microsoft Corporation Decompressor Microsoft RLE Microsoft Corporation Microsoft RLE Compressor Microsoft Screen Video Microsoft Screen Video Decompressor Microsoft Corporation Decompressor Video -
Center for Signal Processing
21 3. LOSSLESS/LOSSY COMPRESSION Overview of Lossless Compression: It is also known as: • Noiseless coding • Lossless coding • Invertible coding • Entropy coding • Data compaction codes. They can perfectly recover original data (if no storage or transmission bit errors, i.e., noiseless channel). 1. They normally have variable length binary codewords to produce variable numbers of bits per symbol. 2. Only works for digital sources. Properties of Variable rate (length) systems: • They can more efficiently trade off quality/distortion (noise) and rate. • They are generally more complex and costly to build. • They require buffering to match fixed-rate transmission system requirements. • They tend to suffer catastrophic transmission error propagation; in other words, once in error then the error grows quickly. 3. But they can provide produce superior rate/distortion (noise) trade-off. For instance, in image compression we can use more bits for edges, fewer for flat areas. Similarly, more bits can be assigned for plosives, fewer for vowels in speech compression. General idea: Code highly probable symbols into short binary sequences, low probability symbols into long binary sequences, so that average is minimized. Most famous examples: • Morse code: Consider dots and dashes as binary levels “0” and “1”. Assign codeword length inversely proportional to letter relative frequencies. In other words, most frequent letter (message) is assigned the smallest number of bits, whereas the least likely message has the longest codeword, such as “e” and “”z” in English alphabet. Total number of bits per second would much less than if we have used fixed-rate ASCII representation for alphanumerical data. • Huffman code 1952, employed in UNIX compact utility and many standards, known to be optimal under specific constraints. -
USERGUIDE Version 6.0 © 2001-2016 DIGITAL AUDIO CORPORATION
SALIENT SCIENCES VFCAPTURE USERGUIDE Version 6.0 © 2001-2016 DIGITAL AUDIO CORPORATION. ALL RIGHTS RESERVED. Windows, Windows XP, Windows 7 and Windows 10 are registered trademarks of Microsoft Corporation. Quicktime is a registered trademark of Apple Computer, Inc. PhotoShop and Acrobat are registered trademarks of Adobe Systems Incorporated. Documentation Version 6.0.2016.07.21 CONTENTS CHAPTER 1 INTRODUCTION AND TUTORIAL.......................................................... 5 User Guide .................................................................................. 5 Sample Movies ............................................................................. 6 VFCAPTURE: A QUICK TOUR ............................................................. 7 Capturing Media ........................................................................... 7 Importing Video & Still Images .......................................................... 7 Exporting Session Movies ................................................................. 8 Setting Preferences ....................................................................... 9 CHAPTER 2 ORGANIZING, CAPTURING & IMPORTING MEDIA....................................10 Overview ...................................................................................10 Working with Cases ......................................................................10 Capturing Video ..........................................................................11 Capture Panel Information ..............................................................13 -
"Digital Video and Graphics for Planetaria and Exhibits" © Jeff Bowen
3924 Pendleton Way • Indianapolis, IN• 46226• 317-536-1283 www.bowentechnovation.com "Digital Video and Graphics for Planetaria and Exhibits" © Jeff Bowen. June 25, 2004 [email protected] Section 1.0 Workshop Synopsis As we are heading into an era in which all visual media in the planetarium will be digital, attendees will learn what are current and forthcoming visual file formats and production methodologies. What is MPEG...DVI...when do you import an avi or mov? What are SD files...is 16:9 HD? Why is editing MPEG a bad idea? How do you archive and access digital files? What formats will soon be obsolete and which new ones will stay? Which of the new DVD formats will stick around? Jeff Bowen will share his extensive experience in producing award-winning digital media for education, planetariums, exhibits and broadcast. Section 2.0 Qualification of Attendees Number who have worked with video editing? Number who have worked with Photoshop? Number who have worked with digital video editing? Number who use digital playback in the dome? Number who have worked with digital audio editing? Number who have worked with digital editing? Created by Jeff Bowen Page 1 7/6/2004 Section 3.0 Digital Video Terminology and Specs Analog Video is represented as a continuous (time varying) signal. Digital Video is represented as a sequence of digital images. NTSC Video- 525 scan lines per frame, 30 frames per second (or be exact, 29.97 fps, 33.37 msec/frame) Interlaced, each frame is divided into 2 fields, 262.5 lines/field. -
Input Formats & Codecs
Input Formats & Codecs Pivotshare offers upload support to over 99.9% of codecs and container formats. Please note that video container formats are independent codec support. Input Video Container Formats (Independent of codec) 3GP/3GP2 ASF (Windows Media) AVI DNxHD (SMPTE VC-3) DV video Flash Video Matroska MOV (Quicktime) MP4 MPEG-2 TS, MPEG-2 PS, MPEG-1 Ogg PCM VOB (Video Object) WebM Many more... Unsupported Video Codecs Apple Intermediate ProRes 4444 (ProRes 422 Supported) HDV 720p60 Go2Meeting3 (G2M3) Go2Meeting4 (G2M4) ER AAC LD (Error Resiliant, Low-Delay variant of AAC) REDCODE Supported Video Codecs 3ivx 4X Movie Alaris VideoGramPiX Alparysoft lossless codec American Laser Games MM Video AMV Video Apple QuickDraw ASUS V1 ASUS V2 ATI VCR-2 ATI VCR1 Auravision AURA Auravision Aura 2 Autodesk Animator Flic video Autodesk RLE Avid Meridien Uncompressed AVImszh AVIzlib AVS (Audio Video Standard) video Beam Software VB Bethesda VID video Bink video Blackmagic 10-bit Broadway MPEG Capture Codec Brooktree 411 codec Brute Force & Ignorance CamStudio Camtasia Screen Codec Canopus HQ Codec Canopus Lossless Codec CD Graphics video Chinese AVS video (AVS1-P2, JiZhun profile) Cinepak Cirrus Logic AccuPak Creative Labs Video Blaster Webcam Creative YUV (CYUV) Delphine Software International CIN video Deluxe Paint Animation DivX ;-) (MPEG-4) DNxHD (VC3) DV (Digital Video) Feeble Files/ScummVM DXA FFmpeg video codec #1 Flash Screen Video Flash Video (FLV) / Sorenson Spark / Sorenson H.263 Forward Uncompressed Video Codec fox motion video FRAPS: -
Coding and Compression
Chapter 3 Multimedia Systems Technology: Co ding and Compression 3.1 Intro duction In multimedia system design, storage and transport of information play a sig- ni cant role. Multimedia information is inherently voluminous and therefore requires very high storage capacity and very high bandwidth transmission capacity.For instance, the storage for a video frame with 640 480 pixel resolution is 7.3728 million bits, if we assume that 24 bits are used to en- co de the luminance and chrominance comp onents of each pixel. Assuming a frame rate of 30 frames p er second, the entire 7.3728 million bits should b e transferred in 33.3 milliseconds, which is equivalent to a bandwidth of 221.184 million bits p er second. That is, the transp ort of such large number of bits of information and in such a short time requires high bandwidth. Thereare two approaches that arepossible - one to develop technologies to provide higher bandwidth of the order of Gigabits per second or more and the other to nd ways and means by which the number of bits to betransferred can be reduced, without compromising the information content. It amounts to saying that we need a transformation of a string of characters in some representation such as ASCI I into a new string e.g., of bits that contains the same information but whose length must b e as small as p ossible; i.e., data compression. Data compression is often referred to as co ding, whereas co ding is a general term encompassing any sp ecial representation of data that achieves a given goal. -
Experiment 7 IMAGE COMPRESSION I Introduction
Experiment 7 IMAGE COMPRESSION I Introduction A digital image obtained by sampling and quantizing a continuous tone picture requires an enormous storage. For instance, a 24 bit color image with 512x512 pixels will occupy 768 Kbyte storage on a disk, and a picture twice of this size will not fit in a single floppy disk. To transmit such an image over a 28.8 Kbps modem would take almost 4 minutes. The purpose for image compression is to reduce the amount of data required for representing sampled digital images and therefore reduce the cost for storage and transmission. Image compression plays a key role in many important applications, including image database, image communications, remote sensing (the use of satellite imagery for weather and other earth-resource applications), document and medical imaging, facsimile transmission (FAX), and the control of remotely piloted vehicles in military, space, and hazardous waste control applications. In short, an ever-expanding number of applications depend on the efficient manipulation, storage, and transmission of binary, gray-scale, or color images. An important development in image compression is the establishment of the JPEG standard for compression of color pictures. Using the JPEG method, a 24 bit/pixel color images can be reduced to between 1 to 2 bits/pixel, without obvious visual artifacts. Such reduction makes it possible to store and transmit digital imagery with reasonable cost. It also makes it possible to download a color photograph almost in an instant, making electronic publishing/advertising on the Web a reality. Prior to this event, G3 and G4 standards have been developed for compression of facsimile documents, reducing the time for transmitting one page of text from about 6 minutes to 1 minute.