Lossless Compression Catalyst Based on Binary Allocation Via Modular Arithmetic
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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 . -
Digital Speech Processing— Lecture 17
Digital Speech Processing— Lecture 17 Speech Coding Methods Based on Speech Models 1 Waveform Coding versus Block Processing • Waveform coding – sample-by-sample matching of waveforms – coding quality measured using SNR • Source modeling (block processing) – block processing of signal => vector of outputs every block – overlapped blocks Block 1 Block 2 Block 3 2 Model-Based Speech Coding • we’ve carried waveform coding based on optimizing and maximizing SNR about as far as possible – achieved bit rate reductions on the order of 4:1 (i.e., from 128 Kbps PCM to 32 Kbps ADPCM) at the same time achieving toll quality SNR for telephone-bandwidth speech • to lower bit rate further without reducing speech quality, we need to exploit features of the speech production model, including: – source modeling – spectrum modeling – use of codebook methods for coding efficiency • we also need a new way of comparing performance of different waveform and model-based coding methods – an objective measure, like SNR, isn’t an appropriate measure for model- based coders since they operate on blocks of speech and don’t follow the waveform on a sample-by-sample basis – new subjective measures need to be used that measure user-perceived quality, intelligibility, and robustness to multiple factors 3 Topics Covered in this Lecture • Enhancements for ADPCM Coders – pitch prediction – noise shaping • Analysis-by-Synthesis Speech Coders – multipulse linear prediction coder (MPLPC) – code-excited linear prediction (CELP) • Open-Loop Speech Coders – two-state excitation -
Audio Coding for Digital Broadcasting
Recommendation ITU-R BS.1196-7 (01/2019) Audio coding for digital broadcasting BS Series Broadcasting service (sound) ii Rec. ITU-R BS.1196-7 Foreword The role of the Radiocommunication Sector is to ensure the rational, equitable, efficient and economical use of the radio- frequency spectrum by all radiocommunication services, including satellite services, and carry out studies without limit of frequency range on the basis of which Recommendations are adopted. The regulatory and policy functions of the Radiocommunication Sector are performed by World and Regional Radiocommunication Conferences and Radiocommunication Assemblies supported by Study Groups. Policy on Intellectual Property Right (IPR) ITU-R policy on IPR is described in the Common Patent Policy for ITU-T/ITU-R/ISO/IEC referenced in Resolution ITU-R 1. Forms to be used for the submission of patent statements and licensing declarations by patent holders are available from http://www.itu.int/ITU-R/go/patents/en where the Guidelines for Implementation of the Common Patent Policy for ITU-T/ITU-R/ISO/IEC and the ITU-R patent information database can also be found. Series of ITU-R Recommendations (Also available online at http://www.itu.int/publ/R-REC/en) Series Title BO Satellite delivery BR Recording for production, archival and play-out; film for television BS Broadcasting service (sound) BT Broadcasting service (television) F Fixed service M Mobile, radiodetermination, amateur and related satellite services P Radiowave propagation RA Radio astronomy RS Remote sensing systems S Fixed-satellite service SA Space applications and meteorology SF Frequency sharing and coordination between fixed-satellite and fixed service systems SM Spectrum management SNG Satellite news gathering TF Time signals and frequency standards emissions V Vocabulary and related subjects Note: This ITU-R Recommendation was approved in English under the procedure detailed in Resolution ITU-R 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. -
TMS320C6000 U-Law and A-Law Companding with Software Or The
Application Report SPRA634 - April 2000 TMS320C6000t µ-Law and A-Law Companding with Software or the McBSP Mark A. Castellano Digital Signal Processing Solutions Todd Hiers Rebecca Ma ABSTRACT This document describes how to perform data companding with the TMS320C6000 digital signal processors (DSP). Companding refers to the compression and expansion of transfer data before and after transmission, respectively. The multichannel buffered serial port (McBSP) in the TMS320C6000 supports two companding formats: µ-Law and A-Law. Both companding formats are specified in the CCITT G.711 recommendation [1]. This application report discusses how to use the McBSP to perform data companding in both the µ-Law and A-Law formats. This document also discusses how to perform companding of data not coming into the device but instead located in a buffer in processor memory. Sample McBSP setup codes are provided for reference. In addition, this application report discusses µ-Law and A-Law companding in software. The appendix provides software companding codes and a brief discussion on the companding theory. Contents 1 Design Problem . 2 2 Overview . 2 3 Companding With the McBSP. 3 3.1 µ-Law Companding . 3 3.1.1 McBSP Register Configuration for µ-Law Companding. 4 3.2 A-Law Companding. 4 3.2.1 McBSP Register Configuration for A-Law Companding. 4 3.3 Companding Internal Data. 5 3.3.1 Non-DLB Mode. 5 3.3.2 DLB Mode . 6 3.4 Sample C Functions. 6 4 Companding With Software. 6 5 Conclusion . 7 6 References . 7 TMS320C6000 is a trademark of Texas Instruments Incorporated. -
Bit Rate Adaptation Using Linear Quadratic Optimization for Mobile Video Streaming
applied sciences Article Bit Rate Adaptation Using Linear Quadratic Optimization for Mobile Video Streaming Young-myoung Kang 1 and Yeon-sup Lim 2,* 1 Network Business, Samsung Electronics, Suwon 16677, Korea; [email protected] 2 Department of Convergence Security Engineering, Sungshin Women’s University, Seoul 02844, Korea * Correspondence: [email protected]; Tel.: +82-2-920-7144 Abstract: Video streaming application such as Youtube is one of the most popular mobile applications. To adjust the quality of video for available network bandwidth, a streaming server provides multiple representations of video of which bit rate has different bandwidth requirements. A streaming client utilizes an adaptive bit rate (ABR) scheme to select a proper representation that the network can support. However, in mobile environments, incorrect decisions of an ABR scheme often cause playback stalls that significantly degrade the quality of user experience, which can easily happen due to network dynamics. In this work, we propose a control theory (Linear Quadratic Optimization)- based ABR scheme to enhance the quality of experience in mobile video streaming. Our simulation study shows that our proposed ABR scheme successfully mitigates and shortens playback stalls while preserving the similar quality of streaming video compared to the state-of-the-art ABR schemes. Keywords: dynamic adaptive streaming over HTTP; adaptive bit rate scheme; control theory 1. Introduction Video streaming constitutes a large fraction of current Internet traffic. In particular, video streaming accounts for more than 65% of world-wide mobile downstream traffic [1]. Commercial streaming services such as YouTube and Netflix are implemented based on Citation: Kang, Y.-m.; Lim, Y.-s. -
Netflix and the Development of the Internet Television Network
Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation. -
The H.264 Advanced Video Coding (AVC) Standard
Whitepaper: The H.264 Advanced Video Coding (AVC) Standard What It Means to Web Camera Performance Introduction A new generation of webcams is hitting the market that makes video conferencing a more lifelike experience for users, thanks to adoption of the breakthrough H.264 standard. This white paper explains some of the key benefits of H.264 encoding and why cameras with this technology should be on the shopping list of every business. The Need for Compression Today, Internet connection rates average in the range of a few megabits per second. While VGA video requires 147 megabits per second (Mbps) of data, full high definition (HD) 1080p video requires almost one gigabit per second of data, as illustrated in Table 1. Table 1. Display Resolution Format Comparison Format Horizontal Pixels Vertical Lines Pixels Megabits per second (Mbps) QVGA 320 240 76,800 37 VGA 640 480 307,200 147 720p 1280 720 921,600 442 1080p 1920 1080 2,073,600 995 Video Compression Techniques Digital video streams, especially at high definition (HD) resolution, represent huge amounts of data. In order to achieve real-time HD resolution over typical Internet connection bandwidths, video compression is required. The amount of compression required to transmit 1080p video over a three megabits per second link is 332:1! Video compression techniques use mathematical algorithms to reduce the amount of data needed to transmit or store video. Lossless Compression Lossless compression changes how data is stored without resulting in any loss of information. Zip files are losslessly compressed so that when they are unzipped, the original files are recovered. -
A Predictive H.263 Bit-Rate Control Scheme Based on Scene
A PRJ3DICTIVE H.263 BIT-RATE CONTROL SCHEME BASED ON SCENE INFORMATION Pohsiang Hsu and K. J. Ray Liu Department of Electrical and Computer Engineering University of Maryland at College Park College Park, Maryland, USA ABSTRACT is typically constant bit rate (e.g. PSTN). Under this cir- cumstance, the encoder’s output bit-rate must be regulated For many real-time visual communication applications such to meet the transmission bandwidth in order to guaran- as video telephony, the transmission channel in used is typ- tee a constant frame rate and delay. Given the channel ically constant bit rate (e.g. PSTN). Under this circum- rate and a target frame rate, we derive the target bits per stance, the encoder’s output bit-rate must be regulated to frame by distribute the channel rate equally to each hme. meet the transmission bandwidth in order to guarantee a Ffate control is typically based on varying the quantization constant frame rate and delay. In this work, we propose a paraneter to meet the target bit budget for each frame. new predictive rate control scheme based on the activity of Many rate control scheme for the block-based DCT/motion the scene to be coded for H.263 encoder compensation video encoders have been proposed in the past. These rate control algorithms are typically focused on MPEG video coding standards. Rate-Distortion based rate 1. INTRODUCTION control for MPEG using Lagrangian optimization [4] have been proposed in the literature. These methods require ex- In the past few years, emerging demands for digital video tensive,rate-distortion measurements and are unsuitable for communication applications such as video conferencing, video real time applications. -
A Comparison of Video Formats for Online Teaching Ross A
Contemporary Issues in Education Research – First Quarter 2017 Volume 10, Number 1 A Comparison Of Video Formats For Online Teaching Ross A. Malaga, Montclair State University, USA Nicole B. Koppel, Montclair State University, USA ABSTRACT The use of video to deliver content to students online has become increasingly popular. However, educators are often plagued with the question of which format to use to deliver asynchronous video material. Whether it is a College or University committing to a common video format or an individual instructor selecting the method that works best for his or her course, this research presents a comparison of various video formats that can be applied to online education and provides guidance in which one to select. Keywords: Online Teaching; Video Formats; Technology Acceptance Model INTRODUCTION istance learning is one of the most talked-about topics in higher education today. Online and hybrid (or blended) learning removes location and time-bound constraints of the traditional college classroom to a learning environment that can occur anytime or anywhere in a global environment. DAccording to research by the Online Learning Consortium, over 5 million students took an online course in the Fall 2014 semester. This represents an increase in online enrollment of over 3.9% in just one year. In 2014, 28% of higher education students took one or more courses online (Allen, I. E. and Seaman, J, 2016). With this incredible growth, albeit slower than the growth in previous years, institutions of higher education are continuing to increase their online course and program offerings. As such, institutions need to find easy to develop, easy to use, reliable, and reasonably priced technologies to deliver online content. -
WILL Youtube SAIL INTO the DMCA's SAFE HARBOR OR SINK for INTERNET PIRACY?
THE JOHN MARSHALL REVIEW OF INTELLECTUAL PROPERTY LAW WILL YoUTUBE SAIL INTO THE DMCA's SAFE HARBOR OR SINK FOR INTERNET PIRACY? MICHAEL DRISCOLL ABSTRACT Is YouTube, the popular video sharing website, a new revolution in information sharing or a profitable clearing-house for unauthorized distribution of copyrighted material? YouTube's critics claim that it falls within the latter category, in line with Napster and Grokster. This comment, however, determines that YouTube is fundamentally different from past infringers in that it complies with statutory provisions concerning the removal of copyrighted materials. Furthermore, YouTube's central server architecture distinguishes it from peer-to-peer file sharing websites. This comment concludes that any comparison to Napster or Grokster is superficial, and overlooks the potential benefits of YouTube to copyright owners and to society at large. Copyright © 2007 The John Marshall Law School Cite as Michael Driscoll, Will YouTube Sail into the DMCA's Safe Harboror Sink for Internet Piracy?, 6 J. MARSHALL REV. INTELL. PROP. L. 550 (2007). WILL YoUTUBE SAIL INTO THE DMCA's SAFE HARBOR OR SINK FOR INTERNET PIRACY? MICHAEL DRISCOLL* 'A sorry agreement is better than a good suit in law." English Proverb1 INTRODUCTION The year 2006 proved a banner year for YouTube, Inc. ("YouTube"), a well- known Internet video sharing service, so much so that Time Magazine credited YouTube for making "You" the Person of the Year. 2 Despite this seemingly positive development for such a young company, the possibility of massive copyright 3 infringement litigation looms over YouTube's future. For months, YouTube was walking a virtual tightrope by obtaining licensing agreements with major copyright owners, yet increasingly gaining popularity through its endless video selection, both legal and otherwise. -
MPEG Standardization Roadmap October 2017 Version Why a Standardisation Roadmap?
MPEG Standardization Roadmap October 2017 Version Why a Standardisation Roadmap? • MPEG has created, and is still producing, media standards that enable huge markets to flourish • MPEG works on requirements from industry • Many industries represented in MPEG, but not all of MPEG’s customers can or need to participate in the process • MPEG wants to inform its customers about its long- term plans (~ 5 years out) • … and collect feedback and requirements from these customers • … including in this session What is in the Roadmap • Our roadmap is a short document. • It briefly outlines MPEG’s most important standards MPEG Standards 1990 1995 2000 2005 2010 2015 Digital Music Custom Fonts on Television Distribution Web & DigiPub Internet Mobile Video HD Distribution UHD & Immersive Audio Services MPEG-2 MP3 Video & MPEG-4 AAC AVC OFF HEVC 3D Audio Systems Video MP4 FF DASH MMT MLAF Media Storage and Unified Media Second Streaming Streaming Screen New Forms of Digital Television What is in the Roadmap • Our roadmap is a short document. • It briefly outlines MPEG’s most important standards • It then gives an overview of MPEG’s activities Multimedia Platform MPEG’s Areas Systems, video, Technologies MPEG- audio and U,V of Activity transport MPEG- E,M Technologies MPEG- for content B,C,D, Device and e-commerce application DASH interfaces MPEG-A Multimedia Application Compression of Formats (combinations video, audio MPEG-21 of content formats) and 3DG MPEG-7 Description of video, MPEG- audio and multimedia 1,2,4,H,I for content search What is in the Roadmap • Our roadmap is a short document.