Cross-Platform Video Publishing Solution for Mobile Devices

Total Page:16

File Type:pdf, Size:1020Kb

Cross-Platform Video Publishing Solution for Mobile Devices Vmoox cross-platform video publishing solution for mobile devices A Thesis Presented to the Faculty of the Department of Computer Science Pace University In Partial Fulfillment of the Requirements for the Degree of Master of Science in Software Development and Engineering by Lior D. Shefer October, 2009 Under the Direction of Professor Francis Marchese - 2 - Table Of Content Table Of Content 3 List Of Figures 6 I. Introduction 7 1. No Longer Science Fiction – Ubiquitous Computing And The Smart 8 Phone Explosion. 2. All Hail The King - The Rise Of The iPhone 9 3. Watch It Online – Video On The Internet 9 4. It's Not Me, It's You – The Flash Problem 10 II. H.264/AVC Smartphone Support 12 III. FFmpeg/libavcodec 14 IV. Software as a Service (SaaS) 15 V. XStream 16 VI. Vmoox Requirements 17 1. Publisher Service Interface 17 a. Account Setup 17 b. Content Input 17 c. Pre-Roll Content Input 17 d. Content Update 18 e. Thumbnail Creation 18 f. Customize Smart Phone Web or Native Application 18 2. Transcoder 19 a. Initial Transcode 19 b. Requested Transcode 19 3. Video Encoding Decision Algorithm (VEDA) 19 a. Fully Transcoded Videos 20 b. Partially Transcoded Videos 20 4. Database 20 a. Original Content Files 20 b. Meta-Data (including thumbnails) 20 c. Fully Transcoded Video Files 20 d. Partially Transcoded Video Files 20 e. Pre-Roll Content 20 - 3 - 5. Web Service/ API 21 a. Featured Video List 21 b. Video Playlist 21 c. Search List 21 6. Ad Engine 21 7. Front End Application (native and/or web based) 21 a. Featured View 22 b. Video View 22 c. Play View 22 8. Loosely Coupled Modular Architecture 22 VII. Vmoox Design 23 1. Vmoox Design Overview 23 2. VPSI - Design 26 3. Transcoder - Design 28 a. Initial Transcode 28 b. Requested Transcode 28 4. Video Encoding Decision Algorithm (VEDA) 29 5. Vmoox Database - Design 31 6. Vmoox Web Service / API - Design 33 7. Ad Engine - Design 35 8. Front End Application - Design 36 VIII. Vmoox Implementation 39 1. Vmoox Implementation Overview 39 2. VPSI - Implementaion 39 a. The Model Objects 39 b. Publisher Service 42 c. Downloader 43 3. Transcoder - Implementation 45 a. Transcoding Using FFmpeg 46 4. VEDA - Implementation 49 5. Database - Implementation 51 a. Video 51 - 4 - b. H264 51 c. Ad 52 6. Vmoox Web Service 55 a. Implementing Get Network Videos Service 56 b. Implementing Get List of Videos Media URLs for a Given Video 59 Id c. Ad Serving 59 7. iPhone Native and Web App 60 a. Web Based App 60 i. The Model 60 ii. The Controller 61 iii. The View 62 IX. Summary and Future Work 69 X. References 70 - 5 - List of Figures Figure 1: Pre-iPhone: BellSouth/IBM Simon Personal Communicator 7 (1993) Figure 2: H.264 Wide Range of Implementations. 11 Figure 3: Top US Smartphones Web Traffic. 12 Figure 4: Supported Formats of Popular Smart Phones in the US 12 Figure 5: Typical Publisher Implementation. 24 Figure 6: A Sample XML Submitted by Client Including Content Meta- 22 Data Figure 7: !!!!!!Transcoder - Initial Transcoding Overview 27 Figure 8: Transcoder - Real Time Transcoding Overview 28 Figure 9: Services VEDA Provides to VPSI 29 Figure 10: VEDA Chapter Name Creation 29 Figure 11: Services VEDA Provides to Vmoox Web Service 30 Figure 12: Services Vmoox Web Service Provides to the iPhone App 33 Figure 13: Vmoox Web Service JSON Formatted Response to a Get 34 Videos’ Media URLs Request, With an “ads” Array Figure 14: MVC Design Pattern 35 Figure 15: Vmoox Controller 36 Figure 16: Video Object UML 39 Figure 17: Video Chapter Object UML 40 Figure 18: Ad Object UML 40 Figure 19: VPSI UML 41 Figure 20: Transformation Class Services 44 Figure 21: Vmoox DB(s) Overview 52 Figure 22: Featured Videos View 62 Figure 23: Video View 65 Figure 24: A Video is Being Played by the iPhone Native Media Player 67 - 6 - I. Introduction This thesis introduces Vmoox [1] - a cross-platform video publishing solution for mobile devices. It will detail the need, timeliness and profit potential of a real-time video transcoding solution for mobile devices as well as the suggested implementation. While this model is intended for use in all smart phones, the current prototype implementation is for the iPhone. This implementation can be modified to fit other and future smart phones. 1. No Longer Science Fiction – Ubiquitous Computing And The Smart Phone Explosion The term Ubiquitous Computing has been growing in popularity in recent years, as has the phenomena it attempts to describe. Simply put, this means that computers are everywhere. More than ever before, computers have ceased to stand alone as “computing devices” but rather, have been integrated into everyday items to help them become “smarter”. We now use computers in our offices, homes, stores, cars, banks, hospitals, kitchens and gyms. From washing machines to coffee makers, to car alarms to defibrillators; like it or not, it is hard to deny that computers have made their way into nearly every aspect and activity of our modern lives. Similarly, the Internet, which 30 [2] years ago seemed to most of us the stuff of science fiction, has become an inseparable part of our lives and culture. As a society, especially in the United States, we have come to expect and rely a great deal on both computers and the Internet. Perhaps the greatest manifestation of this phenomenon is the smart phone explosion. IBM introduced the first smart phone in 1993 [3]. Its then revolutionary features included games, a pager, send and receive fax capabilities, a calculator and a notepad. Costing around $900 [4], this was a gadget that was far from ubiquitous. But it was the beginning of a trend that would change the way we access and use information. - 7 - Figure 1: Pre-iPhone: BellSouth/IBM Simon Personal Communicator (1993) In 2001, RIM introduced the first Blackberry - a device optimized for wireless email use. By June 2007 over 8 million people were hooked. In the 8 years since Blackberries came on to the scene, we have witnessed incredible advances in both the number and functions of smart phones. Today, the vast majority of cellular phones are not just phones. A recent survey showed that around the world, one out of ten phones is a smart phone [5], a number that is expected to double by 2013 [6]. Smart phones have changed the way we access and use information in a drastic way. They have become all-in-one devices that we rely on for a great deal of information, accessible at all times. Email servers, clocks and calendars, maps and navigation software, photo and movie cameras, video games, music players and calculators are just a few of the features that now come standard in every smart phone. Many of these features rely on the Internet to function. It’s the Internet that tells the calendar feature what day and time it is if, lets say, your phone’s battery died last night at 3 am. When your Blackberry buzzes with a new email, it’s because your phone connected to the Internet and retrieved that email from your email server. Until recently, smart phones relied on the Internet for purely ‘behind the scenes’ assistance. Until the iPhone changed everything. 2. All Hail The King – The Rise Of The iPhone Within the smart phone revolution, one major player is widely acknowledged as a game changer – the iPhone. While the Blackberry allowed users to access email on their cell phone, the iPhone brought the Internet in all its glory into the palm of our hand. In no small part thanks to Apple’s signature user-friendly design and aggressive marketing, the iPhone turned the smart phone from a tech-y solution for workaholics, into the must-have gadget for everyone. - 8 - But behind what is, depending on your point of view, either brilliant design or overrated hype was the true technological revolution of the iPhone – the Internet was no longer a background player. It was front and center, just as we were used to seeing it on our desktop computers. On the iPhone, our maps look like the maps we are used to using when looking up directions to our favorite restaurant; we can watch our favorite you Tube videos, check the weather and Google just like we’re used to. The iPhone was no longer a phone with extra capabilities - it was the Internet, in the palm of your hand. Besides being a miniature version of our desktop computers (with a phone and music player built in) the iPhone changed our technological landscape by copying the Internet not only in form but also in concept, it was a device specifically designed for growth and the sharing of information. The iPhone’s true genius lies in its 'apps'. With over 25,000 different downloadable applications and more than 800 million downloads [7], the AppStore allows the community of users to continuously devise and implement new functions for the iPhone. But for all its brilliance, the iPhone (along with its smart-phone counterparts) has hit a major stumbling block as it intersects with the other major Internet revolution of recent years – video content. 3. Watch It Online – Video On The Internet In recent years, online video content has skyrocketed. As of November of 2008, Americans spent 12.5 percent of their time online viewing videos [8], watching over 14 billion clips a month [9]. You Tube’s ‘most watched’ clip has more than 123 million views [10] compared to 2008’s record setting Super Bowl which managed a ‘modest’ audience of 97.5 million [11].
Recommended publications
  • Moderne Audio-Visuelle Datenformate Kundenerwartungen, Übertragungswege Und Technische Standards „„ Impressum
    Moderne audio-visuelle Datenformate Kundenerwartungen, Übertragungswege und technische Standards Impressum Herausgeber: BITKOM Bundesverband Informationswirtschaft, Telekommunikation und neue Medien e. V. Albrechtstraße 10 A 10117 Berlin-Mitte Tel.: 030.27576-0 Fax: 030.27576-400 [email protected] www.bitkom.org Ansprechpartner: Michael Schidlack Tel.: 030.27576-232 [email protected] Autoren:: Dr.-Ing. & MBA Ronald Glasberg, Nadja Feldner (Co-Autor) : Redaktion Arbeitskreis Consumer Content, Vorsitz. Björn Kreutzfeld (Fujitsu), 2. Vorsitz: Wolfgang Neifer (WIBU-Systems), Michael Schidlack (BITKOM) Gestaltung / Layout: Design Bureau kokliko / Anna Müller-Rosenberger (BITKOM) Copyright: BITKOM Febraur 2009 Moderne audio-visuelle Datenformate Moderne audio-visuelle Datenformate Kundenerwartungen, Übertragungswege und technische Standards Inhaltsverzeichnis 1 Einführung 3 2 Was wünschen sich die Endkunden? 4 2.1 Endgeräte & Applikationen 4 2.2 Trends 6 3 Wie gelangt der AV-Content zu den Kunden - Übertragungswege? 8 3.1 Drahtlose Technologien 9 3.2 Drahtgebundene Technologien 10 4 Moderne Codecs 12 4.1 Was ist ein Codec? 12 4.2 Ausgewählte Videocodecs 13 4.3 Ausgewählte Audiocodecs 14 5 Moderne AV-Formate 16 5.1 Ausgewählte Videoformate 16 5.2 Ausgewählte Audioformate 17 5.3 Ausgewählte Bildformate 18 5.4 Ausgewählte Containerformate 2 0 6 Zusammenfassung & Anregungen 23 Anhang: Arbeitskreis Consumer & Content Abbildungen Abb. 1: Schematische Gliederung der Arbeit in „Applikationen, Devices, Übertragungsnetze und AV-Content“ 3 Abb. 2: Haushaltsausstattung mit CE in 06/2008 4 Abb. 3: Interesse der Verbraucher an Applikationen über ihren Fernseher im Wohnzimmer in 06/2008 5 Abb. 4: Darstellung der zur Verfügung stehenden Übertragungswege am Beispiel „Digitale Fotos“ 8 Abb. 5: Vereinfachtes Blockschaltbild eines Codecs „Kodier-Dekodier-System“ zur Übertragung AV-Daten 12 Abb.
    [Show full text]
  • (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.
    [Show full text]
  • Research and Production of a Multi-View Streaming Page
    1J:C:H.VCQ` .V1 V`SJ1H::GV<:`$1CX V`V:`:$SJ `1G:CRQ Q%JR:JRI:$V V:`R "H%VC:J10V`1 :`1:RVJ$VJ1V`3: XHJ1H:RV VCVHQI%J1H:H1SJ J10V`1R:R$QC1 XHJ1H:RV&:R`1R $`Q7VH Q1JRV:``V`:^$C:J_ V`SJ1H::GV<:`$1CX V`V:`:$SJ `1G:CRQ Q%JR:JRI:$V^QJ1RQVI:$VJ_ V:`R 120!2 .V VCVH `QJ1H :JR IVH.:J1H:C IVR1: %H. : `1CI5 VCV011QJ5 ].Q Q$`:].75 Q``V 5 :`V =% V6:I]CV Q` .Q1 `: :JR 1I]Q` :J .V VH.JQCQ$1H:C RV0VCQ]IVJ .:R GVHQIV 1J QH1V 78 V0V` .VCV .V Q% HQI1J$ VH.JQCQ$1V :JR .V HQJ 1J%Q% RV0VCQ]IVJ .:R ]`Q01RVR JV1V` :JR GV V` ]Q1G1C1 1V V0V`7 1IV `Q` .:01J$ :R0:JHVR V`01HV8 Q1:R:7 %C 1R01V1 01RVQ .: GVVJ RV0VCQ]VR11 .R1``V`VJ QQC:JR:]]C1H: 1QJ5.:01J$:I:1J$Q:C QGVIQ`V1JJQ0: 10V:JRG`1J$ 11 .1J VH.J1H:CQ``V`1J$1J:``1VJRC7`Q`:CC%V`1J$VJV`:C51J V`IQ`I:J:$1J$:JR:HHV1G1C1 7^=% 1J V`JV HQJJVH 1QJ1JVVRVR_8.V1J VJ 1QJQ`:CC VH.JQCQ$1V1 Q$VJV`: V:J1JJQ0: 1QJ1JQ`RV` Q $:1J IQ`V %V` :JR :` GV1J$ ]Q]%C:`5 .V`V`Q`V 1 1I]Q` :J Q `V:C1<V :J 1I]CVIVJ : 1QJ 1J .1 H:V8$J%H. V`I`V:C1<1J$:GQ% .VQ% `V:H. .: %C 11V11RVQ5:J1I]Q` :JHV QGVHQIVIQ`V $CQG:C 1J .1 R:75 :J :]]C1H: 1QJ .: %]]Q` .1 :1I%H.
    [Show full text]
  • Compression for Great Video and Audio Master Tips and Common Sense
    Compression for Great Video and Audio Master Tips and Common Sense 01_K81213_PRELIMS.indd i 10/24/2009 1:26:18 PM 01_K81213_PRELIMS.indd ii 10/24/2009 1:26:19 PM Compression for Great Video and Audio Master Tips and Common Sense Ben Waggoner AMSTERDAM • BOSTON • HEIDELBERG • LONDON NEW YORK • OXFORD • PARIS • SAN DIEGO SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier 01_K81213_PRELIMS.indd iii 10/24/2009 1:26:19 PM Focal Press is an imprint of Elsevier 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA Linacre House, Jordan Hill, Oxford OX2 8DP, UK © 2010 Elsevier Inc. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher. Details on how to seek permission, further information about the Publisher’s permissions policies and our arrangements with organizations such as the Copyright Clearance Center and the Copyright Licensing Agency, can be found at our website: www.elsevier.com/permissions . This book and the individual contributions contained in it are protected under copyright by the Publisher (other than as may be noted herein). Notices Knowledge and best practice in this fi eld are constantly changing. As new research and experience broaden our understanding, changes in research methods, professional practices, or medical treatment may become necessary. Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds, or experiments described herein.
    [Show full text]
  • How to Convert AVI to MOV on Mac
    Copy Right www.imelfin.com How to Convert AVI to MOV on Mac Mac QuickTime video player supports MOV instead of Microsoft AVI. By converting AVI to MOV on Mac, people will be able to play AVI videos on Mac. As different operating systems, Windows and Mac provide different video player applications with respective video formats supported. While AVI is an old yet widely used video container format launched by Microsoft, MOV is a relatively modern format exclusively for the Mac platform and can be played by Mac's default player, QuickTime. Although MOV is more advanced with lossy MP4 codecs B-Frames supported, the fact is, people can't play AVI videos on Mac. This post will show you how to convert AVI to MOV on Mac, then you will be able to play AVI on Mac as easily as MOV videos. Here we will use imElfin Video Converter to convert AVI to MOV on Mac, which supports both open AVI files (without DRM) and DRM-protected AVI videos. As a one-stop video converter, it can also be used to convert AVI to MP4, AVI to WMV/WMV to AVI, MOV to AVI, MOV to MP4, FLV to AVI, etc. Download and free-try imElfin Video Converter for Mac 1 Copy Right www.imelfin.com How to convert AVI to MOV on Mac step by step Step 1: Run imElfin Video Converter and add videos. imElfin Video Converter comes with a simple and clear interface. Click the add icon in the middle or drag & drop to add your AVI videos.
    [Show full text]
  • 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.
    [Show full text]
  • About FOSS for Mac OS X (FREE)
    Free and Open Source Software FREE for Mac OS X A selection of some of the best, yet totally free, software that’s available for the Mac, collected together on a single DVD… plus some bonus videos! Audio PrBoom Graphics First Person Shooter based on the Audacity original Doom. We’ve included Blender Simple sound recording and bonus IWADs from Freedoom. Fully integrated 3D graphics editing tool. creation suite allowing modeling, PySol Fan Club Edition animation, rendering, post- iPodDisk Collection of more than 1000 production, realtime interactive 3D Copy music off your iPod in the solitaire card games. There are and game creation and playback finder, just like a regular disk drive. games that use the 52 card with cross-platform compatibility - International Pattern deck, games all in one tidy, package! Games for the 78 card Tarock deck, eight and ten suit Ganjifa games, Seashore Aleph One Hanafuda games, Matrix games, Image editor that aims to serve the Engine for Bungie's free First Mahjongg games, and games for basic image editing needs of most Person Shooter series Marathon. an original hexadecimal-based computer users, but still has Play online, solo play with rich deck. features like gradients, textures and original story, many total Scorched 3D anti-aliasing for both text and conversions and thousands of brush strokes, as well as supporting Simple turn-based artillery game multiple layers and alpha channel maps. Includes Marathon, and also a real-time strategy game Marathon 2 & Marathon Infinity editing. It is based around the in which players can counter each GIMP's technology and uses the Armagetron Advanced others' weapons with other same native file format, but uses Multiplayer game in 3d that creative accessories, shields and Mac OS X native interface.
    [Show full text]
  • Using Digital Video in Early Care and Education and Early Intervention
    Using Digital Video in Early Care and Education and Early Intervention Larry Edelman [email protected] Note: This resource guide accompanies a face‐to‐face workshop and is updated frequently. © 2014 Larry Edelman Suggested citation: Edelman, L. (2014). Using Digital Video in Early Care and Education and Early Intervention. Denver: Author – Self‐published workshop handout. Edelman – Using Digital Video in Early Care and Education and Early Intervention (8/16/14) 1 Contents Introduction The skills that you need to learn ........................................................................................ 4 Many ways to use digital video in early care and education ............................................. 5 Ilustrations of the uses of video in early care and education............................................ 7 Obtaining Consent and Complying with Applicable Policy Assure that families understand and consent to the use of video ................................... 9 Compliance with local, state, and federal policy ............................................................. 10 Sample consent form ...................................................................................................... 11 Choosing Equipment Features to consider ........................................................................................................ 12 Other resources ............................................................................................................... 15 Accessories ......................................................................................................................
    [Show full text]
  • Using ADOBE® MEDIA ENCODER™ CS4 ©Copyright 2008 Adobe Systems Incorporated
    Using ADOBE® MEDIA ENCODER™ CS4 ©Copyright 2008 Adobe Systems Incorporated. All rights reserved. Using Adobe® Media Encoder CS4 If this guide is distributed with software that includes an end user agreement, this guide, as well as the software described in it, is furnished under license and may be used or copied only in accordance with the terms of such license. Except as permitted by any such license, no part of this guide may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, recording, or otherwise, without the prior written permission of Adobe Systems Incorporated. Please note that the content in this guide is protected under copyright law even if it is not distributed with software that includes an end user license agreement. The content of this guide is furnished for informational use only, is subject to change without notice, and should not be construed as a commitment by Adobe Systems Incorporated. Adobe Systems Incorporated assumes no responsibility or liability for any errors or inaccuracies that may appear in the informational content contained in this guide. Please remember that existing artwork or images that you may want to include in your project may be protected under copyright law. The unauthorized incorporation of such material into your new work could be a violation of the rights of the copyright owner. Please be sure to obtain any permission required from the copyright owner. Any references to company names in sample templates are for demonstration purposes only and are not intended to refer to any actual organization.
    [Show full text]
  • USING ADOBE MEDIA ENCODER CS4 2 Resources
    Using ADOBE® MEDIA ENCODER™ CS4 ©Copyright 2011 Adobe Systems Incorporated. All rights reserved. Using Adobe® Media Encoder CS5.5 This user guide is protected under copyright law, furnished for informational use only, is subject to change without notice, and should not be construed as a commitment by Adobe Systems Incorporated. Adobe Systems Incorporated assumes no responsibility or liability for any errors or inaccuracies that may appear in the informational content contained in this guide. This user guide is licensed for use under the terms of the Creative Commons Attribution Non-Commercial 3.0 License. This License allows users to copy, distribute, and transmit the user guide for noncommercial purposes only so long as (1) proper attribution to Adobe is given as the owner of the user guide; and (2) any reuse or distribution of the user guide contains a notice that use of the user guide is governed by these terms. The best way to provide notice is to include the following link. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-sa/3.0/. Adobe, the Adobe logo, Acrobat, Acrobat Capture, Acrobat Connect, Acrobat Messenger, Acrobat 3D Capture, ActionScript, ActiveTest, Adobe ActionSource, Adobe AIR, Adobe AIR logo, Adobe Audition, Adobe Caslon, Adobe Connect, Adobe DataWarehouse, Adobe Dimensions, Adobe Discover, Adobe Financial Services, Adobe Garamond, Adobe Genesis, Adobe Griffo, Adobe Jenson, Adobe Kis, Adobe OnLocation, Adobe Originals logo, Adobe PDF logo, Adobe Premiere, AdobePS, Adobe SiteSearch, Adobe
    [Show full text]
  • Lecture 7 – Basics of Compression (Part 2)
    CS 414 – Multimedia Systems Design Lecture 7 – Basics of Compression (Part 2) Klara Nahrstedt Spring 2010 CS 414 - Spring 2010 Administrative MP1 is posted CS 414 - Spring 2010 Outline Statistical Entropy Coding Huffman coding Arithmetic coding CS 414 - Spring 2010 Huffman Encoding Statistical encoding To determine Huffman code, it is useful to construct a binary tree Leaves are characters to be encoded Nodes carry occurrence probabilities of the characters belonging to the sub-tree CS 414 - Spring 2010 Huffman Encoding (Example) Step 1 : Sort all Symbols according to their probabilities (left to right) from Smallest to largest these are the leaves of the Huffman tree P(B) = 0.51 P(C) = 0.09 P(E) = 0.11 P(D) = 0.13 P(A)=0.16 CS 414 - Spring 2010 Huffman Encoding (Example) Step 2: Build a binary tree from left to Right P(CEDAB) = 1 Policy: always connect two smaller nodes together (e.g., P(CE) and P(DA) had both Probabilities that were smaller than P(B), Hence those two did connect first P(CEDA) = 0.49 P(B) = 0.51 P(CE) = 0.20 P(DA) = 0.29 P(C) = 0.09 P(E) = 0.11 P(D) = 0.13 P(A)=0.16 CS 414 - Spring 2010 Huffman Encoding (Example) Step 3: label left branches of the tree P(CEDAB) = 1 With 0 and right branches of the tree With 1 0 1 P(CEDA) = 0.49 P(B) = 0.51 0 1 P(CE) = 0.20 P(DA) = 0.29 0 1 0 1 P(C) = 0.09 P(E) = 0.11 P(D) = 0.13 P(A)=0.16 CS 414 - Spring 2010 Huffman Encoding (Example) Step 4: Create Huffman Code P(CEDAB) = 1 Symbol A = 011 Symbol B = 1 1 Symbol C = 000 0 Symbol D = 010 Symbol E = 001 P(CEDA) = 0.49 P(B) = 0.51
    [Show full text]
  • Sorenson Broadcaster Is the Easiest Software to Use for Live Internet Streaming
    Macintosh Sorenson BroadcasterTM The Standard for Simplified Live Internet Broadcasting Sorenson Broadcaster is the easiest software to use for live Internet streaming. By harnessing the power and versatility of QuickTime®, Sorenson Broadcaster brings new freedom to live Internet broadcasting. encoding Sorenson Broadcaster’s simple user interface Some of the many ways that Sorenson can help you start broadcasting within minutes Broadcaster is being used include 24x7 hosting of installing the software. With Sorenson Internet TV and radio broadcasts, news events, streaming Broadcaster, you can stream live audio and education, and corporate training. Because video across modem lines, corporate Intranets, of its ease-of-use, quality and flexibility, or broadband Internet connections. From Sorenson Broadcaster is the perfect live low-bandwidth audio to full-motion, high-quality Internet streaming tool for both advanced video, Sorenson Broadcaster does it all. and entry-level users. Using built-in presets, even a beginner can Sorenson Broadcaster Key Features set up a basic broadcast without having to • Ability to stream from dial-up to broadband understand all the intricacies of live Internet connections streaming. Advanced users who demand • Works with any audio or video capture state-of-the-art performance can expand device that supports QuickTime beyond presets into fully customized settings. • Supports industry-standard streaming Sorenson Broadcaster integrates with virtually protocols any audio or video capture device, including • Includes log file to assist with DV cameras. Conveniently, all you need to troubleshooting view any broadcast on either Macintosh or • Supports AppleScript, allowing you to create Windows platforms is QuickTime. scheduled broadcasts • Server not required for multicast On corporate intranets, Sorenson Broadcaster transmissions multicasts to allow live streaming without a server.
    [Show full text]