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Jigsaw: Robust Live 4K Video Streaming
Jigsaw: Robust Live 4K Video Streaming Ghufran Baig1∗, Jian He1∗, Mubashir Adnan Qureshi1, Lili Qiu1, Guohai Chen2, Peng Chen2, Yinliang Hu2 1University of Texas at Austin, 2Huawei ABSTRACT KEYWORDS The popularity of 4K videos has grown significantly in the 4k Video; Live streaming; 60 GHz; Layered coding past few years. Yet coding and streaming live 4K videos incurs ACM Reference Format: prohibitive cost to the network and end system. Motivated Ghufran Baig1∗, Jian He1∗, Mubashir Adnan Qureshi1, Lili Qiu1, by this observation, we explore the feasibility of supporting Guohai Chen2, Peng Chen2, Yinliang Hu2 . 2019. Jigsaw: Robust Live live 4K video streaming over wireless networks using com- 4K Video Streaming. In The 25th Annual International Conference modity devices. Given the high data rate requirement of 4K on Mobile Computing and Networking (MobiCom ’19), October 21– videos, 60 GHz is appealing, but its large and unpredictable 25, 2019, Los Cabos, Mexico. ACM, New York, NY, USA, 16 pages. throughput fluctuation makes it hard to provide desirable https://doi.org/10.1145/3300061.3300127 user experience. In particular, to support live 4K video stream- ing, we should (i) adapt to highly variable and unpredictable 1 INTRODUCTION wireless throughput, (ii) support efficient 4K video coding on commodity devices. To this end, we propose a novel sys- Motivation: The popularity of 4K videos has grown rapidly, tem, Jigsaw. It consists of (i) easy-to-compute layered video thanks to a wide range of display options, more affordable coding to seamlessly adapt to unpredictable wireless link displays, and widely available 4K content. The first 4K TVs fluctuations, (ii) efficient GPU implementation of video cod- cost $20K in 2012, but now we can buy a good 4K TV under ing on commodity devices, and (iii) effectively leveraging $200. -
4K Resolution in a Compact and Flexible Package
4K LCOS PROJECTOR PROJECTORS.USA.CANON.COM Markets/Applications recommended for: • Simulation and Training • Museums and Galleries • Design and Engineering • Higher Education • Corporate • Houses of Worship • Medical Education and Training • Film and TV • Government • Rental and Staging 4K RESOLUTION IN A COMPACT AND FLEXIBLE PACKAGE The REALiS 4K501ST Pro AV LCOS Projector brings true-to-life 4K resolution to the top of KEY FEATURES Canon’s LCOS projector line. A high level of detail and clarity is achieved by combining Canon’s • 4K Resolution (4096 x 2400) LCOS Technology with AISYS-enhancement, as well as a Genuine Canon 4K Lens, all within a • 5000 Lumens* compact and lightweight design. All of this as well as two HDMI 2.0 inputs provide versatile • Throw Ratio 1.0 – 1.3:1 connectivity that make the 4K501ST ideal for a variety of applications that demand highly • LCOS Technology with detailed, realistic images and video, from simulation and training to museums and galleries. AISYS-enhancement • Genuine Canon 4K Lens NATIVE 4K RESOLUTION (4096 X 2400) MARGINAL FOCUS • Marginal Focus for Projecting Canon 4K (4096 x 2400) on Spherically Domed Surfaces Center area DCI (4096 x 2160) • Dual Image Processing Engines for QFHD (3840 x 2160) Uncompressed 4K 60p Playback • Advanced Professional Installation Corner area and Calibration Settings Full HD (1920 x 1080) • HDMI 2.0 x2, DVI-D x4 With Marginal Without • Crestron Room View, AMX Device Focus Marginal Focus Adjustment Discovery and PJLink • DICOM® Simulation Mode** At 4096 x 2400, Canon’s 4K resolution generates a The Marginal Focus feature helps to ensure that bigger, richer picture made up of more than 9.8 million images projected onto a spherically domed surface * When in Presentation Mode and lamp is set to pixels – higher than the Digital Cinema Initiative (DCI) are kept in focus right up to the very edges. -
Abbey Theatre's
Under the leadership of Artistic Director Barbara Gaines and Executive Director Criss Henderson, Chicago A NOTE FROM DIRECTOR CAITRÍONA MCLAUGHLIN Shakespeare has redefined what a great American Shakespeare theater can be—a company that defies When Neil Murray and Graham McLaren (directors of theatrical category. This Regional Tony Award-winning the Abbey Theatre) asked me to direct Roddy Doyle’s theater’s year-round season features as many as twenty new play Two Pints and tour it to pubs around productions and 650 performances—including plays, Ireland, I was thrilled. As someone who has made musicals, world premieres, family programming, and presentations from around the globe. theatre in an array of found and site-sympathetic The work is enjoyed by 225,000 audience members annually, with one in four under the age of spaces, including pubs, shops, piers, beneath eighteen. Chicago Shakespeare is the city’s leading producer of international work, and touring flyovers, and one time inside a de-sanctified church, its own productions across five continents has garnered multiple accolades, including the putting theatre on in pubs around Ireland felt like a prestigious Laurence Olivier Award. Emblematic of its role as a global theater, the company sort of homecoming. I suspect every theatre director spearheaded Shakespeare 400 Chicago, celebrating Shakespeare’s legacy in a citywide, based outside of Dublin has had a production of yearlong international arts and culture festival, which engaged 1.1 million people. The Theater’s some sort or another perform in a pub, so why did nationally acclaimed arts in literacy programs support the work of English and drama teachers, this feel different? and bring Shakespeare to life on stage for tens of thousands of their students each school year. -
Latest Camerahobby Newsletter
THE CAMERAHOBBY NEWSLETTER #5 08/01/2015 Introduction With apologies to all, this newsletter is a lot later than I had planned due in no small part to my own laziness, but also because of a mid-spring time rumor that Canon was planning to roll out a firmware update that would address some of my misgivings about the 7D Mk II I purchased last year. I thought I would have some opportunities to test out the new firmware, but summer doesn’t always present much opportunity for action/sports photography, i.e., none! In the meantime, as I was prepping the articles in this issue, I read with interest, Oleg’s dive into large format photography. Goodness, first 35mm then medium format for many years and now large format. The way Oleg is trending, in about 10 years’ time, he’ll be discussing his foray into using glass plates and will need a pack mule to haul his gear, just like Ansel Adams did nearly 100 years ago. For his back’s sake, I hope he won’t feel the need to try out the 20x24 inch Polaroid large format monsters, which Ansel Adams used to take the official portrait of US President Jimmy Carter, back in the late 1970s. Coincidentally, a couple of early summer posts on the Luminous Landscape website also had Michael Reichmann dabble with film using a new Rollei twin-lens 6x6 medium format camera. Reichmann also profiled his friend Nick Devlin getting serious with 8x10 large format photography <https://luminous-landscape.com/rediscovering-8x10/> (I provide the full URL as the link is lost when I “save as” from Word to PDF). -
Piranha4 Camera User’S Manual Monochrome 2K and 4K
Piranha4 Camera User’s Manual Monochrome 2K and 4K sensors | cameras | frame grabbers | processors | software | vision solutions 03-032-20176-06 www.teledynedalsa.com 2 Piranha4 2K and 4K Dual Line Monochrome CMOS Camera N oti ce © 2018 Tel ed y ne DA L SA All information provided in this manual is believed to be accurate and reliable. No responsibility is assumed by Tel ed yne DA L SA f or i ts use. Tel ed yne DA L SA r eser v es the r i ght t o m ake changes t o thi s information without notice. Reproduction of this manual in whole or in part, by any means, is prohibited without prior permission having been obtai ned f r om Tel ed yne DA L SA . M icrosoft and Windows are registered trademarks of M icrosoft Corporation in the United States and other countries. Window s, Windows 7, Windows 8 are trademarks of M icrosoft Corporation. All other trademarks or intellectual pr oper ty ment i oned her ei n bel ong t o thei r r especti v e ow ner s. Docu ment Date: 15 August 2018 Docu ment N umber : 03-032-20176-06 About Teledyne DALSA Teledyne DALSA is an international high performance semiconductor and Electronics Company that d esi gns, d ev el ops, manuf actur es, and mar k ets d i gi t al i magi ng pr od uct s and sol uti ons, i n ad d i ti on to providing wafer foundry services. Teledyne DALSA Digital Imaging offers the widest range of machine vision components in the world. -
JOSEPH HENRY PERRY When the Murrumbeena Studio Was Not Appropriate, Despite It Being a Rain Perry Simply Upped His Crew and Went on Location
Perry’s skills as a publicist and technician led him to Perry’s Legacy setting up and operating the famous Limelight Department of the Salvation Army in Melbourne. This n the March 2006 edition, the lead article was was the film production unit that played the leading Ititled OUR BIRTHING SUITE . It detailed a visit by role in the pioneering and development of the the editor to the birth place of the Australian moving Australian film industry from 1894 to 1909. The film image industries – the headquarters of the Salvation sequences of SOLDIERS OF THE CROSS was the Army’s Limelight unit in Bourke St. Melbourne. The first use of moving-pictures for a feature-length visit was facilitated by the Salvo’s Territorial Archivist narrative drama in Australia, and possibly the world. and AMMPT Member, Lindsay Cox and proved to be a very moving experience for the visitor as he The Salvation Army’s Murrumbeena Girls home had entered rooms which were virtually untouched since been transformed into a 14-acre studio, where the they were used in the production of some of the Roman Colosseum was photographed on painted world’s earliest feature films such as the Australian backdrops hung on the adjoining tennis courts. Major icon SOLDIERS OF THE CROSS . The following article Perry’s production and art departments produced is from Adelaide based AMMPT Member Michael written scripts, a range of highly detailed and Wollenberg , great grandson of an industry pioneer. elaborate sets and an extensive range of impressive period costumes and props. Smaller sets were Re-discovering the film legacy of purposely built on the roof of Salvation Army Headquarters at 69 Bourke Street, and today, is Australian cinema pioneer, probably the world’s oldest surviving film studio in the Southern Hemisphere, if not the world. -
Extending 8K Over a Single, Cost-Effective Wire at the Speed of Light with TICO Lightweight Compression
Extending 8K over a single, cost-effective wire at the speed of light with TICO lightweight compression Jean-Baptiste Lorent, Director of Marketing & Sales at intoPIX Introduction With HD omnipresent and 4K seemingly still in its early stages, an even higher resolution, namely 8K (or UHDTV2) is arising. Display and projection manufacturers are already presenting their first 8K-capable products and the 2018 Winter Olympics were partly filmed in this currently largest video resolution format. Taking a peek into the future, Japan’s national TV “NHK” has even announced to broadcast the full Olympic games on home turf in 2020 in glorious 8K. Together with other rapid improvements in video quality such as HDR and higher frame rates, data amounts are skyrocketing. Increasing your resolution from HD (1920x1080) to 4K (3840x2160) already quadruples the total pixel count to 8,294,400 pixels. Doubling the height and width of 4K again, total pixels reach a whooping 33.2 million pixel per image. At 60 frames per second that leads to 120 billion pixel to be transported, managed and stored every minute. That’s 8K. Currently the industry is struggling to upgrade their infrastructures to handle 4K video, which at 60fps, 4:2:2,10bit requires nearly 12Gbps. With 8K on the verge, a future-proof solution has to be found. What challenge derives from that? Uncompressed storage and transmission becomes unaffordable and unmanageable within systems and infrastructures. Moving to UHDTV2 requires an expensive hardware upgrade, a heavy renewal of infrastructure and will increase the power consumption notably. The table below shows the required bandwidth arriving with a transition to 8K and higher quality video. -
KIDS EAT FREE!! & Corn on the Cob Snow Crab Grouper EVERYDAY! Shrimp Open Mon - Sat @11 Am Sunday 9:00Am Servetf with French Fries & Com on the Cob 2330 Palm Ridge Rd
Official • Shell Fair Guide Inside DAY NIGHT IS PRIME TIME!! Served with baked Idaho potato KIDS EAT FREE!! & corn on the cob Snow Crab Grouper EVERYDAY! Shrimp Open Mon - Sat @11 am Sunday 9:00am Servetf with French Fries & com on the cob 2330 Palm Ridge Rd. Sanibel Island With the Purchase of One '15* and up Adult Entrei You Receive One Kids Meal for Children 10 & unde 37 items on the "Consider the Kids" menu. Not good with any other promotion or discount. All specials subject to* availability. This promotion good through March 10,2006 and subject to change at any time Sunday 9:00-12:00 noon Master Card, Visa, Discover Credit Cards Accepted No Holidays. Must present ad. 2 • Week of February 24 - March 2, 2006 ISLANDER Yes Virginia, there really is a Green Flash When people come to these barrier islands one of the can't buy one in a store — you can't even buy a photograph first phenomena they hear about is the Green Flash — no, of it, although you can find a restaurant which bears the not a comic book character, it's a bit of nature found at sun- name. And so the myth lives on... set only in certain parts of the world, under just the right Or does it? John Hicks is a Canadian amateur conditions. astronomer and a regular visitor to these islands who has Some residents have been known to consider the junon- been pursuing the subject for many years.Undaunted by the ia a mythical beast simply because they are so rarely found scepticism of beachgoers at sunset, he has kept after his on the beach — but it can be found in a shell store, so myth quarry with camera, tripod and filter and 2006 is his year —• gives way to reality fairly quickly. -
PT-RQ22K / PT-RZ21K Series
PT-RQ22K/PT-RZ21K Series 3-Chip DLP™ Projectors PT-RQ22K PT-RZ21K/RS20K * * PT-RQ22K only Resolution 5120 x 3200 Pixels (QUAD PIXEL DRIVE: ON) MAKE YOUR AUDIENCE GO WILD. Lenses sold separately. For more information about Panasonic projectors, please visit: Introducing the PT-RQ22K/PT-RZ21K Series. Projector Global Website – panasonic.net/cns/projector Facebook – www.facebook.com/panasonicprojector Panasonic’s dynamic new showstopping laser projector for large venues. YouTube – www.youtube.com/user/PanasonicProjector Weights and dimensions shown are approximate. Specifications and appearance are subject to change without notice. Product availability differs depending on region and country. This product may be subject to export control regulations. DLP, DLP logo and DLP Medallion logo are trademarks or registered trademarks of Texas Instruments. The terms HDMI and HDMI High-Definition Multimedia Interface, and the HDMI Logo are trademarks or registered trademarks of HDMI Licensing Administrator, Inc. in the United States and other countries. PJLink™ is a registered trademark or pending All information included here is valid as of May 2019. trademark in Japan, the United States, and other countries and regions. All other trademarks are the property of their Graphic is simulated. respective trademark owners. © 2019 Panasonic Corporation. All rights reserved. PT-RQ22K/PT-RZ21Kseries_G2 Printed in Japan. 3-Chip DLP™ Projector Explore New Possibilities with the World’s Smallest and World's PT-RZ21K Series 1 PT-RQ22K *1 Lightest 20,000-lm-class Laser Phosphor Projectors* PT-RZ21K PT-RS20K smallest and lightest Inside the 4K+ Image The PT-RQ22K/PT-RZ21K Series gives staging innovators an edge where the limits of projection are routinely tested. -
AMMPT Newsletter July No 22 2010
Edition Twenty Two July 2010 the official publication of The Australian Museum of Motion Picture & Television (Inc.) Preserving the proud heritage of Australia’s moving image industries for future generations For a full colour, high quality copy of this publication, download from our website; www.ammpt.asn.au Notice the change? New Members n our last Newsletter ( No, you haven’t missed any – the he President and Committee welcome our new Ilast one was edition 21 in December 2009 ) the T Members; Committee invited feedback on a proposal to include the • George Florence name “Television” in our official name. Response to the • Bill Gaynor request was better than anticipated, with the majority of the • Australian Centre for the Moving Image membership expressing strong and passionate views on • Channel Ten Perth why or why not we should make the change. It became • ABC Television Perth obvious to the Committee that the majority of members • Damien Taylor wanted to move with the times. A motion was put for • Liverpool Plains Shire Council consideration. The vote was almost unanimous in adopting the new name, which now appears above. We are currently going through the process of submitting the myriad of forms required by various statutory bodies to AMMPT Contact details: comply with required legal processes. In due course all our The Australian Museum of Motion Picture stationery and art work will reflect this change. & Television ( Inc.) ABN 73 111 667 924 Observant members will have noticed our humble journal and also bears a new name. While only a small step above a AMMPT Western Region ( Inc.) few stapled A4 sheets of our original format, and nowhere P.O Box 476, LEEDERVILLE,W.A. -
Salvation and the Silver Screen’ Lindsay Cox Office Was Set up at the Salvation Army’S Australasian Headquarters, 02
which has been extravagantly claimed as the first story film produced anywhere in the world2 or even the world’s first feature film.3 However, by the accepted definition, Soldiers of the Cross was not a feature film but a two-and-a-half-hour multi-media event consisting of an ingenious mix of sixteen 90-second motion picture segments, over 200 magic lantern slides, music from Mozart’s masses by an orchestra and choir and rousing oratory by Herbert Booth.4 Soldiers of the Cross was an extraordinary achievement for its time, a startling, stiring and often brutal portrayal of the sufferings of the early Christian martyrs. The film segments of Soldiers of the Cross are amongst the earliest use of motion picture film for narrative drama and are certainly the first Australasian use of costumed actors performing on elaborate studio sets.5 The story of how The Salvation Army in Melbourne came to be the leading pioneer motion picture producer began with Major Frank Barritt’s visit to the Ballarat Prison-Gate Brigade Home in 1891. He was impressed with a magic lantern projector and its accessories being prepared by Captain Joseph Perry as a SALVATION AND THE sort of advertising agency for SILVER SCREEN Lindsay Cox The story of The Salvation Army’s Limelight Department reveals both an amazing use of up-to-the-minute technology and insight into what would attract people to hear the gospel. A Christian woman, with a babe in her arms, was being pursued by Roman soldiers. The path lay across a series of wooden planks forming a narrow bridge. -
Ned Kelly & the Movies 1906-2003
Ned Kelly & the Movies 1906-2003: Representation, Social Banditry & History A thesis submitted in total fulfilment of the requirements for the degree of Doctor of Philosophy Stephen Gaunson Bachelor of Arts (Honours) School of Media and Communication Design and Social Context Portfolio RMIT University April 2010 Declaration I certify that except where due acknowledgement has been made, the work is that of the author alone; the work has not been submitted previously, in whole or in part, to qualify for any other academic award; the content of the thesis is the result of work which has been carried out since the official commencement date of the approved research program; any editorial work, paid or unpaid, carried out by a third party is acknowledged; and, ethics procedures and guidelines have been followed. Stephen Gaunson April 5, 2010 i Acknowledgments This thesis would not have been completed without the support and encouragement from my wife, Lauren-Eve Purdey. Her many cups of tea, patience, positive attitude and osteopathic treatments allowed me to forge ahead when the end was in sight. This thesis is hugely indebted to my supervisors Dr Adrian Danks and Professor Ina Bertrand, who consistently provided encouragement, reliable direction, academic and practical support, access to resources, funding and academic opportunities. I am forever grateful to Ina who taught me the importance of „doing things correctly‟, and welcoming me into her country home. I also am thankful to Adrian for his meticulous concentration to detail and encyclopaedic breadth of cinema knowledge. I finish this study a better writer and researcher because of the care taken by Adrian and Ina.