Glossaryvideo Terms and Acronyms This Glossary of Video Terms and Acronyms Is a Compilation of Material Gathered Over Time from Numer- Ous Sources
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Proceedings 2005
LAC2005 Proceedings 3rd International Linux Audio Conference April 21 – 24, 2005 ZKM | Zentrum fur¨ Kunst und Medientechnologie Karlsruhe, Germany Published by ZKM | Zentrum fur¨ Kunst und Medientechnologie Karlsruhe, Germany April, 2005 All copyright remains with the authors www.zkm.de/lac/2005 Content Preface ............................................ ............................5 Staff ............................................... ............................6 Thursday, April 21, 2005 – Lecture Hall 11:45 AM Peter Brinkmann MidiKinesis – MIDI controllers for (almost) any purpose . ....................9 01:30 PM Victor Lazzarini Extensions to the Csound Language: from User-Defined to Plugin Opcodes and Beyond ............................. .....................13 02:15 PM Albert Gr¨af Q: A Functional Programming Language for Multimedia Applications .........21 03:00 PM St´ephane Letz, Dominique Fober and Yann Orlarey jackdmp: Jack server for multi-processor machines . ......................29 03:45 PM John ffitch On The Design of Csound5 ............................... .....................37 04:30 PM Pau Arum´ıand Xavier Amatriain CLAM, an Object Oriented Framework for Audio and Music . .............43 Friday, April 22, 2005 – Lecture Hall 11:00 AM Ivica Ico Bukvic “Made in Linux” – The Next Step .......................... ..................51 11:45 AM Christoph Eckert Linux Audio Usability Issues .......................... ........................57 01:30 PM Marije Baalman Updates of the WONDER software interface for using Wave Field Synthesis . 69 02:15 PM Georg B¨onn Development of a Composer’s Sketchbook ................. ....................73 Saturday, April 23, 2005 – Lecture Hall 11:00 AM J¨urgen Reuter SoundPaint – Painting Music ........................... ......................79 11:45 AM Michael Sch¨uepp, Rene Widtmann, Rolf “Day” Koch and Klaus Buchheim System design for audio record and playback with a computer using FireWire . 87 01:30 PM John ffitch and Tom Natt Recording all Output from a Student Radio Station . -
Comparison of HDTV Formats Using Objective Video Quality Measures
Multimed Tools Appl DOI 10.1007/s11042-009-0441-2 Comparison of HDTV formats using objective video quality measures Emil Dumic & Sonja Grgic & Mislav Grgic # Springer Science+Business Media, LLC 2010 Abstract In this paper we compare some of the objective quality measures with subjective, in several HDTV formats, to be able to grade the quality of the objective measures. Also, comparison of objective and subjective measures between progressive and interlaced video signal will be presented to determine which scanning emission format is better, even if it has different resolution format. Several objective quality measures will be tested, to examine the correlation with the subjective test, using various performance measures. Keywords Video quality . PSNR . VQM . SSIM . TSCES . HDTV. H.264/AVC . RMSE . Correlation 1 Introduction High-Definition Television (HDTV) acceptance in home environments directly depends on two key factors: the availability of adequate HDTV broadcasts to the consumer’s home and the availability of HDTV display devices at mass market costs [6]. Although the United States, Japan and Australia have been broadcasting HDTV for some years, real interest of the general public appeared recently with the severe reduction of HDTV home equipment price. Nowadays many broadcasters in Europe have started to offer HDTV broadcasts as part of Pay-TV bouquets (like BSkyB, Sky Italia, Premiere, Canal Digital ...). Other major public broadcasters in Europe have plans for offering HDTV channels in the near future. The announcement of Blu-Ray Disc and Game consoles with HDTV resolutions has also increased consumer demand for HDTV broadcasting. The availability of different HDTV image formats such as 720p/50, 1080i/25 and 1080p/50 places the question for many users which HDTV format should be used with which compression algorithm, together with the corresponding bit rate. -
Digital Camera RICOH WG-50 Operating Manual
e_kb589_EN.book Page 1 Friday, March 24, 2017 1:49 PM RICOH IMAGING COMPANY, LTD. 1-3-6, Nakamagome, Ohta-ku, Tokyo 143-8555, JAPAN (http://www.ricoh-imaging.co.jp) RICOH IMAGING EUROPE Parc Tertiaire SILIC 7-9, avenue Robert Schuman - S.A.S. B.P. 70102, 94513 Rungis Cedex, FRANCE (http://www.ricoh-imaging.eu) RICOH IMAGING 5 Dedrick Place, West Caldwell, New Jersey 07006, AMERICAS CORPORATION U.S.A. Digital Camera (http://www.us.ricoh-imaging.com) RICOH IMAGING CANADA 5520 Explorer Drive Suite 300, Mississauga, Ontario, INC. L4W 5L1, CANADA (http://www.ricoh-imaging.ca) Operating Manual RICOH IMAGING CHINA 23D, Jun Yao International Plaza, 789 Zhaojiabang CO., LTD. Road, Xu Hui District, Shanghai, 200032, CHINA (http://www.ricoh-imaging.com.cn) http://www.ricoh-imaging.co.jp/english This contact information may change without notice. Please check the latest information on our websites. • Specifications and external dimensions are subject to change without notice. To ensure the best performance from your camera, please read the Operating Manual before using the camera. Copyright © RICOH IMAGING COMPANY, LTD. 2017 R01BAC17 Printed in Japan e_kb589_EN.book Page 2 Friday, March 24, 2017 1:49 PM Thank you for purchasing this RICOH WG-50 Digital Camera. Memo Please read this manual before using the camera in order to get the most out of all the features and functions. Keep this manual safe, as it can be a valuable tool in helping you to understand all the camera’s capabilities. Regarding copyrights Images taken with this digital camera that are for anything other than personal enjoyment cannot be used without permission according to the rights as specified in the Copyright Act. -
ASPECT RATIO Aspect Ratios Are One of the More Confusing Parts of Video
ASPECT RATIO Aspect ratios are one of the more confusing parts of video, although they used to be simple. That's because television and movie content was all about the same size, 4:3 (also known as 1.33:1, meaning that the picture is 1.33 times as long as it is high). The Academy Standard before 1952 was 1.37:1, so there was virtually no problem showing movies on TV. However, as TV began to cut into Hollywood's take at the theater, the quest was on to differentiate theater offerings in ways that could not be seen on TV. Thus, innovations such as widescreen film, Technicolor, and even 3-D were born. Widescreen film was one of the innovations that survived and has since dominated the cinema. Today, you tend to find films in one of two widescreen aspect ratios: 1. Academy Standard (or "Flat"), which has an aspect ratio of 1.85:1 2. Anamorphic Scope (or "Scope"), which has an aspect ratio of 2.35:1. Scope is also called Panavision or CinemaScope. HDTV is specified at a 16:9, or 1.78:1, aspect ratio.If your television isn't widescreen and you want to watch a widescreen film, you have a problem. The most common approach in the past has been what's called Pan and Scan. For each frame o a film, a decision is made as to what constitutes the action area. That part of the film frame is retained, and the rest is lost.. This can often leave out the best parts of a picture. -
Transition to Digital Digital Handbook
TRANSITION TO DIGITAL DIGITAL HANDBOOK Audio's video issues tion within one audio sample, the channels of audio over a fiber-optic in- There can be advantages to locking preambles present a unique sequence terface. This has since been superseded the audio and video clocks, such as for (which violate the Biphase Markby AES 10 (or MADI, Multichannel editing, especially when the audio and Code) but nonetheless are DC -freeAudio Digital Interface), which sup- video programs are related. Althoughand provide clock recovery. ports serial digital transmission of 28, digital audio equipment may provide 56, or 64 channels over coaxial cable or an analog video input, it is usually bet- Like AES3, but not fiber-optic lines, with sampling rates ter to synchronize both the audio and A consumer version of AES3 -of up to 96kHz and resolution of up to the video to a single higher -frequencycalled S/PDIF, for Sony/Philips Digi-24 bits per channel. The link to the IT source, such as a 10MHz master refer-tal Interface Format (more formallyworld has also been established with ence. This is because the former solu- known as IEC 958 type II, part of IEC- AES47, which specifies a method for tion requires a synchronization circuit60958) - is also widely used. Essen- packing AES3 streams over Asynchro- that will introduce some jitter into thetially identical to AES3 at the protocol nous Transfer Mode (ATM) networks. signal, especially because the video it- level, the interface uses consumer - It's also worth mentioning Musical self may already have some jitter. To ac- friendly RCA jacks and coaxial cable.Instrument Digital Interface (MIDI) for broadcast operations. -
24P and Panasonic AG-DVX100 and AJ-SDX900 Camcorder Support in Vegas and DVD Architect Software
® 24p and Panasonic AG-DVX100 and AJ-SDX900 camcorder support in Vegas and DVD Architect Software Revision 3, Updated 05.27.04 The information contained in this document is subject to change without notice and does not represent a commitment on the part of Sony Pictures Digital Media Software and Services. The software described in this manual is provided under the terms of a license agreement or nondisclosure agreement. The software license agreement specifies the terms and conditions for its lawful use. Sound Forge, ACID, Vegas, DVD Architect, Vegas+DVD, Acoustic Mirror, Wave Hammer, XFX, and Perfect Clarity Audio are trademarks or registered trademarks of Sony Pictures Digital Inc. or its affiliates in the United States and other countries. All other trademarks or registered trademarks are the property of their respective owners in the United States and other countries. Copyright © 2004 Sony Pictures Digital Inc. This document can be reproduced for noncommercial reference or personal/private use only and may not be resold. Any reproduction in excess of 15 copies or electronic transmission requires the written permission of Sony Pictures Digital Inc. Table of Contents What is covered in this document? Background ................................................................................................................................................................. 3 Vegas .......................................................................................................................................................................... -
Report on Voting on Document Xx
SMB/5309/R For IEC use only 2014-05-02 INTERNATIONAL ELECTROTECHNICAL COMMISSION STANDARDIZATION MANAGEMENT BOARD SUBJECT SMB meeting 150, agenda item 5.3, Frankfurt Report of SEG-3, AAL, System Evaluation Group – Ambient Assisted Living, following the meeting held on 2014-03-10 to 12 in Brussels, Belgium BACKGROUND SEG-AAL held its first meeting on 2014-03-10 to 12 in Brussels, answering the invitation of its Belgian member. The next date for the meeting of the SEG or the committee succeeding the SEG is planned in conjunction with the general meeting of the European AAL Joint Programme, on 2014-09-08 to 09, in Bucharest, Romania. On March 10, SEG-AAL held a workshop with CENELEC in order to exchange experiences and ongoing actions in the field of AAL. Please see the workshop brochure in annex. SEG-AAL had its plenary session on March 11 and 12. The report is in two parts: Part A – Recommendations submitted to the SMB for formal approval: A1 to A4 Part B – Status of Work Annex 1 – SEG-AAL members attending the meeting Annex 2 – SG 5 membership list Annex 3 – SEG-AAL / CENELEC workshop brochure Annex 4 – SEG-AAL final report ACTION The SMB is invited to decide on the recommendations submitted in Part A, using the Technical Server, before 2014-05-30, and to note Part B. Item 1: A1 Membership of SEG-AAL: Members of the former SG5-AAL Item 2: A2 External membership of SEG-AAL: Continua Health Alliance Item 3: A3 External membership of SEG-AAL: AALIANCE2 Item 4: A4 Transition from SEG-AAL to SYC-AAL Secretariat note: item 4 is not the final decision on creating a SyC on AAL – that decision will be taken at the SMB meeting 150 following discussion on all the comments received, i.e. -
Randomized Lempel-Ziv Compression for Anti-Compression Side-Channel Attacks
Randomized Lempel-Ziv Compression for Anti-Compression Side-Channel Attacks by Meng Yang A thesis presented to the University of Waterloo in fulfillment of the thesis requirement for the degree of Master of Applied Science in Electrical and Computer Engineering Waterloo, Ontario, Canada, 2018 c Meng Yang 2018 I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. ii Abstract Security experts confront new attacks on TLS/SSL every year. Ever since the compres- sion side-channel attacks CRIME and BREACH were presented during security conferences in 2012 and 2013, online users connecting to HTTP servers that run TLS version 1.2 are susceptible of being impersonated. We set up three Randomized Lempel-Ziv Models, which are built on Lempel-Ziv77, to confront this attack. Our three models change the determin- istic characteristic of the compression algorithm: each compression with the same input gives output of different lengths. We implemented SSL/TLS protocol and the Lempel- Ziv77 compression algorithm, and used them as a base for our simulations of compression side-channel attack. After performing the simulations, all three models successfully pre- vented the attack. However, we demonstrate that our randomized models can still be broken by a stronger version of compression side-channel attack that we created. But this latter attack has a greater time complexity and is easily detectable. Finally, from the results, we conclude that our models couldn't compress as well as Lempel-Ziv77, but they can be used against compression side-channel attacks. -
Asi6614, Asi6618 Multistream Pci-Express Sound Card
09 DECEMBER 07 ASI6614, ASI6618 MULTISTREAM PCI-EXPRESS SOUND CARD DESCRIPTION FEATURES The ASI6614 and ASI6618 are professional PCI-Express sound cards • 4 or 12 mono/stereo streams of playback into 4 stereo outputs designed for use in radio broadcast automation. (ASI6614) Providing up to 16 play streams that are mixed to 4 (ASI6614) or 8 • 8 or 16 mono/stereo streams of playback into 8 stereo outputs (ASI6618) stereo outputs and up to 2 record streams fed from one (ASI6618) stereo input, the ASI6614 and ASI6518 feature AudioScience’s unique “anything to anywhere” mixing and routing. • 1 or 2 mono/stereo streams of record from 1 stereo input The ASI6614 and ASI6618 provide both balanced analog and AES/EBU • Formats include PCM, MPEG layer 2 and MP3 with sample rates to inputs and outputs. The maximum analog input and output level is 96kHz +24dBu. • MRX™ technology supports digital mixing of multiple stream A choice of uncompressed PCM, MPEG layer 2 and MP3 is available for formats and sample rates both recording and playback. All compression is handled by an on- board floating point DSP, allowing the host computer to focus on other • TSX™ time scaling allows compression/expansion of play streams tasks. by up to +/-20% with no pitch shift ASI6614 and ASI6618 functionality includes MRX™ multi-rate mixing • SSX™ mode for multichannel playback and mixing technology that allows streams of different sample-rates and formats to be mixed digitally. TSX™ time scaling allows compression/expansion of • Balanced stereo analog inputs and outputs with levels to +24dBu any or all playback streams in real time with no change in pitch. -
BA(Prog)III Yr 14/04/2020 Displays Interlacing and Progressive Scan
BA(prog)III yr 14/04/2020 Displays • Colored phosphors on a cathode ray tube (CRT) screen glow red, green, or blue when they are energized by an electron beam. • The intensity of the beam varies as it moves across the screen, some colors glow brighter than others. • Finely tuned magnets around the picture tube aim the electrons onto the phosphor screen, while the intensity of the beamis varied according to the video signal. This is why you needed to keep speakers (which have strong magnets in them) away from a CRT screen. • A strong external magnetic field can skew the electron beam to one area of the screen and sometimes caused a permanent blotch that cannot be fixed by degaussing—an electronic process that readjusts the magnets that guide the electrons. • If a computer displays a still image or words onto a CRT for a long time without changing, the phosphors will permanently change, and the image or words can become visible, even when the CRT is powered down. Screen savers were invented to prevent this from happening. • Flat screen displays are all-digital, using either liquid crystal display (LCD) or plasma technologies, and have replaced CRTs for computer use. • Some professional video producers and studios prefer CRTs to flat screen displays, claiming colors are brighter and more accurately reproduced. • Full integration of digital video in cameras and on computers eliminates the analog television form of video, from both the multimedia production and the delivery platform. • If your video camera generates a digital output signal, you can record your video direct-to-disk, where it is ready for editing. -
Conversion Principles and Circuits
Interfacing Analog and Digital Worlds: Conversion Principles and Circuits Nimal Skandhakumar Faculty of Technology University of Sri Jayewardenepura 2019 1 From Analog to Digital to Analog 2 Analog Signal ● A continuous signal that contains 1. Continuous time-varying quantities, such as 2. Infinite range of values temperature or speed, with infinite 3. More exact values, but more possible values in between difficult to work with ● Can be used to measure changes in some physical phenomena, such as light, sound, pressure, or temperature. 3 Analog Signal ● Advantages: 1. Major advantages of the analog signal is infinite amount of data. 2. Density is much higher. 3. Easy processing. ● Disadvantages: 1. Unwanted noise in recording. 2. If we transmit data at long distance then unwanted disturbance is there. 3. Generation loss is also a big con of analog signals. 4 Digital Signal ● A type of signal that can take on a 1. Discrete set of discrete values (a quantized 2. Finite range of values signal) 3. Not as exact as analog, but easier ● Can represent a discrete set of to work with values using any discrete set of waveforms; and we can represent it like (0 or 1), (on or off) 5 Difference between analog and digital signals Analog Digital Signalling Continuous signal Discrete time signal Data Subjected to deterioration by noise during Can be noise-immune without deterioration transmissions transmission and write/read cycle. during transmission and write/read cycle. Bandwidth Analog signal processing can be done in There is no guarantee that digital signal real time and consumes less bandwidth. processing can be done in real time and consumes more bandwidth to carry out the same information. -
Introduction
CINEMATOGRAPHY Mailing List the first 5 years Introduction This book consists of edited conversations between DP’s, Gaffer’s, their crew and equipment suppliers. As such it doesn’t have the same structure as a “normal” film reference book. Our aim is to promote the free exchange of ideas among fellow professionals, the cinematographer, their camera crew, manufacturer's, rental houses and related businesses. Kodak, Arri, Aaton, Panavision, Otto Nemenz, Clairmont, Optex, VFG, Schneider, Tiffen, Fuji, Panasonic, Thomson, K5600, BandPro, Lighttools, Cooke, Plus8, SLF, Atlab and Fujinon are among the companies represented. As we have grown, we have added lists for HD, AC's, Lighting, Post etc. expanding on the original professional cinematography list started in 1996. We started with one list and 70 members in 1996, we now have, In addition to the original list aimed soley at professional cameramen, lists for assistant cameramen, docco’s, indies, video and basic cinematography. These have memberships varying from around 1,200 to over 2,500 each. These pages cover the period November 1996 to November 2001. Join us and help expand the shared knowledge:- www.cinematography.net CML – The first 5 Years…………………………. Page 1 CINEMATOGRAPHY Mailing List the first 5 years Page 2 CINEMATOGRAPHY Mailing List the first 5 years Introduction................................................................ 1 Shooting at 25FPS in a 60Hz Environment.............. 7 Shooting at 30 FPS................................................... 17 3D Moving Stills......................................................