User Manual Thank You for Choosing Ross
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
An Introduction to Mpeg-4 Audio Lossless Coding
« ¬ AN INTRODUCTION TO MPEG-4 AUDIO LOSSLESS CODING Tilman Liebchen Technical University of Berlin ABSTRACT encoding process has to be perfectly reversible without loss of in- formation, several parts of both encoder and decoder have to be Lossless coding will become the latest extension of the MPEG-4 implemented in a deterministic way. audio standard. In response to a call for proposals, many com- The MPEG-4 ALS codec uses forward-adaptive Linear Pre- panies have submitted lossless audio codecs for evaluation. The dictive Coding (LPC) to reduce bit rates compared to PCM, leav- codec of the Technical University of Berlin was chosen as refer- ing the optimization entirely to the encoder. Thus, various encoder ence model for MPEG-4 Audio Lossless Coding (ALS), attaining implementations are possible, offering a certain range in terms of working draft status in July 2003. The encoder is based on linear efficiency and complexity. This section gives an overview of the prediction, which enables high compression even with moderate basic encoder and decoder functionality. complexity, while the corresponding decoder is straightforward. The paper describes the basic elements of the codec, points out 2.1. Encoder Overview envisaged applications, and gives an outline of the standardization process. The MPEG-4 ALS encoder (Figure 1) typically consists of these main building blocks: • 1. INTRODUCTION Buffer: Stores one audio frame. A frame is divided into blocks of samples, typically one for each channel. Lossless audio coding enables the compression of digital audio • Coefficients Estimation and Quantization: Estimates (and data without any loss in quality due to a perfect reconstruction quantizes) the optimum predictor coefficients for each of the original signal. -
Free Lossless Image Format
FREE LOSSLESS IMAGE FORMAT Jon Sneyers and Pieter Wuille [email protected] [email protected] Cloudinary Blockstream ICIP 2016, September 26th DON’T WE HAVE ENOUGH IMAGE FORMATS ALREADY? • JPEG, PNG, GIF, WebP, JPEG 2000, JPEG XR, JPEG-LS, JBIG(2), APNG, MNG, BPG, TIFF, BMP, TGA, PCX, PBM/PGM/PPM, PAM, … • Obligatory XKCD comic: YES, BUT… • There are many kinds of images: photographs, medical images, diagrams, plots, maps, line art, paintings, comics, logos, game graphics, textures, rendered scenes, scanned documents, screenshots, … EVERYTHING SUCKS AT SOMETHING • None of the existing formats works well on all kinds of images. • JPEG / JP2 / JXR is great for photographs, but… • PNG / GIF is great for line art, but… • WebP: basically two totally different formats • Lossy WebP: somewhat better than (moz)JPEG • Lossless WebP: somewhat better than PNG • They are both .webp, but you still have to pick the format GOAL: ONE FORMAT THAT COMPRESSES ALL IMAGES WELL EXPERIMENTAL RESULTS Corpus Lossless formats JPEG* (bit depth) FLIF FLIF* WebP BPG PNG PNG* JP2* JXR JLS 100% 90% interlaced PNGs, we used OptiPNG [21]. For BPG we used [4] 8 1.002 1.000 1.234 1.318 1.480 2.108 1.253 1.676 1.242 1.054 0.302 the options -m 9 -e jctvc; for WebP we used -m 6 -q [4] 16 1.017 1.000 / / 1.414 1.502 1.012 2.011 1.111 / / 100. For the other formats we used default lossless options. [5] 8 1.032 1.000 1.099 1.163 1.429 1.664 1.097 1.248 1.500 1.017 0.302� [6] 8 1.003 1.000 1.040 1.081 1.282 1.441 1.074 1.168 1.225 0.980 0.263 Figure 4 shows the results; see [22] for more details. -
TS 101 499 V2.2.1 (2008-07) Technical Specification
ETSI TS 101 499 V2.2.1 (2008-07) Technical Specification Digital Audio Broadcasting (DAB); MOT SlideShow; User Application Specification European Broadcasting Union Union Européenne de Radio-Télévision EBU·UER 2 ETSI TS 101 499 V2.2.1 (2008-07) Reference RTS/JTC-DAB-57 Keywords audio, broadcasting, DAB, digital, PAD ETSI 650 Route des Lucioles F-06921 Sophia Antipolis Cedex - FRANCE Tel.: +33 4 92 94 42 00 Fax: +33 4 93 65 47 16 Siret N° 348 623 562 00017 - NAF 742 C Association à but non lucratif enregistrée à la Sous-Préfecture de Grasse (06) N° 7803/88 Important notice Individual copies of the present document can be downloaded from: http://www.etsi.org The present document may be made available in more than one electronic version or in print. In any case of existing or perceived difference in contents between such versions, the reference version is the Portable Document Format (PDF). In case of dispute, the reference shall be the printing on ETSI printers of the PDF version kept on a specific network drive within ETSI Secretariat. Users of the present document should be aware that the document may be subject to revision or change of status. Information on the current status of this and other ETSI documents is available at http://portal.etsi.org/tb/status/status.asp If you find errors in the present document, please send your comment to one of the following services: http://portal.etsi.org/chaircor/ETSI_support.asp Copyright Notification No part may be reproduced except as authorized by written permission. -
High Level Architecture Framework
Java Media Framework Multimedia Systems: Module 3 Lesson 1 Summary: Sources: H JMF Core Model H JMF 2.0 API Programmers m Guide from Sun: Architecture http://java.sun.com/products/java-media/jmf/2.1/guide/ m Models: time, event, data H JMF 2.0 API H JMF Core Functionality H JMF White Paper from IBM m Presentation http://www- 4.ibm.com/software/developer/library/jmf/jmfwhite. m Processing html m Capture m Storage and Transmission H JMF Extensibility High Level Architecture H A demultiplexer extracts individual tracks of media data JMF Applications, Applets, Beans from a multiplexed media stream. A mutliplexer performs the JMF Presentation and Processing API opposite function, it takes individual tracks of media data and merges them into a single JMF Plug-In API multiplexed media stream. H A codec performs media-data Muxes & Codecs Effects Renderers Demuxes compression and decompression. Each codec has certain input formats that it can handle and H A renderer is an abstraction of a certain output formats that it can presentation device. For audio, the generate presentation device is typically the H An effect filter modifies the computer's hardware audio card track data in some way, often to that outputs sound to the speakers. create special effects such as For video, the presentation device is blur or echo typically the computer monitor. Framework JMF H Media Streams m A media stream is the media data obtained from a local file, acquired over the network, or captured from a camera or microphone. Media streams often contain multiple channels of data called tracks. -
Camera Raw Workflows
RAW WORKFLOWS: FROM CAMERA TO POST Copyright 2007, Jason Rodriguez, Silicon Imaging, Inc. Introduction What is a RAW file format, and what cameras shoot to these formats? How does working with RAW file-format cameras change the way I shoot? What changes are happening inside the camera I need to be aware of, and what happens when I go into post? What are the available post paths? Is there just one, or are there many ways to reach my end goals? What post tools support RAW file format workflows? How do RAW codecs like CineForm RAW enable me to work faster and with more efficiency? What is a RAW file? In simplest terms is the native digital data off the sensor's A/D converter with no further destructive DSP processing applied Derived from a photometrically linear data source, or can be reconstructed to produce data that directly correspond to the light that was captured by the sensor at the time of exposure (i.e., LOG->Lin reverse LUT) Photometrically Linear 1:1 Photons Digital Values Doubling of light means doubling of digitally encoded value What is a RAW file? In film-analogy would be termed a “digital negative” because it is a latent representation of the light that was captured by the sensor (up to the limit of the full-well capacity of the sensor) “RAW” cameras include Thomson Viper, Arri D-20, Dalsa Evolution 4K, Silicon Imaging SI-2K, Red One, Vision Research Phantom, noXHD, Reel-Stream “Quasi-RAW” cameras include the Panavision Genesis In-Camera Processing Most non-RAW cameras on the market record to 8-bit YUV formats -
Wowza Media Server® - Overview
Wowza Media Server® - Overview Wowza® Media Systems, LLC. June 2013, Wowza Media Server version 3.6 Copyright © 2006 – 2013 Wowza Media Systems, LLC. All rights reserved. Wowza Media Server version 3.6 Overview Copyright © 2006 - 2013 Wowza Media Systems, LLC. All rights reserved. This document is for informational purposes only and in no way shall be interpreted or construed to create any warranties of any kind, either express or implied, regarding the information contained herein. Third-Party Information This document contains links to third party websites that are not under the control of Wowza Media Systems, LLC ("Wowza") and Wowza is not responsible for the content on any linked site. If you access a third party website mentioned in this document, then you do so at your own risk. Wowza provides these links only as a convenience, and the inclusion of any link does not imply that Wowza endorses or accepts any responsibility for the content on third party sites. Trademarks Wowza, Wowza Media Systems, Wowza Media Server and related logos are either registered trademarks or trademarks of Wowza Media Systems, LLC in the United States and/or other countries. Adobe and Flash are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. Microsoft and Silverlight are either registered trademarks or trademarks of Microsoft Corporation in the United States and/or other countries. QuickTime, iPhone, iPad and iPod touch are either registered trademarks or trademarks of Apple, Inc. in the United States and/or other countries. Other product names, logos, designs, titles, words or phrases mentioned may be third party registered trademarks or trademarks in the United States and/or other countries. -
Implementing Object-Based Audio in Radio Broadcasting
Object-based Audio in Radio Broadcast Implementing Object-based audio in radio broadcasting Diplomarbeit Ausgeführt zum Zweck der Erlangung des akademischen Grades Dipl.-Ing. für technisch-wissenschaftliche Berufe am Masterstudiengang Digitale Medientechnologien and der Fachhochschule St. Pölten, Masterkalsse Audio Design von: Baran Vlad DM161567 Betreuer/in und Erstbegutachter/in: FH-Prof. Dipl.-Ing Franz Zotlöterer Zweitbegutacher/in:FH Lektor. Dipl.-Ing Stefan Lainer [Wien, 09.09.2019] I Ehrenwörtliche Erklärung Ich versichere, dass - ich diese Arbeit selbständig verfasst, andere als die angegebenen Quellen und Hilfsmittel nicht benutzt und mich auch sonst keiner unerlaubten Hilfe bedient habe. - ich dieses Thema bisher weder im Inland noch im Ausland einem Begutachter/einer Begutachterin zur Beurteilung oder in irgendeiner Form als Prüfungsarbeit vorgelegt habe. Diese Arbeit stimmt mit der vom Begutachter bzw. der Begutachterin beurteilten Arbeit überein. .................................................. ................................................ Ort, Datum Unterschrift II Kurzfassung Die Wissenschaft der objektbasierten Tonherstellung befasst sich mit einer neuen Art der Übermittlung von räumlichen Informationen, die sich von kanalbasierten Systemen wegbewegen, hin zu einem Ansatz, der Ton unabhängig von dem Gerät verarbeitet, auf dem es gerendert wird. Diese objektbasierten Systeme behandeln Tonelemente als Objekte, die mit Metadaten verknüpft sind, welche ihr Verhalten beschreiben. Bisher wurde diese Forschungen vorwiegend -
Linux Sound Subsystem Documentation Release 4.13.0-Rc4+
Linux Sound Subsystem Documentation Release 4.13.0-rc4+ The kernel development community Sep 05, 2017 CONTENTS 1 ALSA Kernel API Documentation 1 1.1 The ALSA Driver API ............................................ 1 1.2 Writing an ALSA Driver ........................................... 89 2 Designs and Implementations 145 2.1 Standard ALSA Control Names ...................................... 145 2.2 ALSA PCM channel-mapping API ..................................... 147 2.3 ALSA Compress-Offload API ........................................ 149 2.4 ALSA PCM Timestamping ......................................... 152 2.5 ALSA Jack Controls ............................................. 155 2.6 Tracepoints in ALSA ............................................ 156 2.7 Proc Files of ALSA Drivers ......................................... 158 2.8 Notes on Power-Saving Mode ....................................... 161 2.9 Notes on Kernel OSS-Emulation ..................................... 161 2.10 OSS Sequencer Emulation on ALSA ................................... 165 3 ALSA SoC Layer 171 3.1 ALSA SoC Layer Overview ......................................... 171 3.2 ASoC Codec Class Driver ......................................... 172 3.3 ASoC Digital Audio Interface (DAI) .................................... 174 3.4 Dynamic Audio Power Management for Portable Devices ...................... 175 3.5 ASoC Platform Driver ............................................ 180 3.6 ASoC Machine Driver ............................................ 181 3.7 Audio Pops -
Datasheet-Smartsignage
Fanless Embedded Box PC with Intel® Celeron® SmartSignage 4-core Processor J1900 EBC-3311 Features Fanless digital signage solution Cableless design Low power consumption 1 x USB 3.0 Line-out 1 x USB 2.0 2 x RJ-45 VGA DC INPUT 12V On board Intel® Celeron® 4-core Processor EBC-3311B High definition video output J1900 (Bay Trail) Supports DDR3L SO-DIMM 1333 max. up to 8GB 1 x High definition video output & 1 VGA or 2 x High definition video output 1 x USB 3.0 Line-out 1 x USB 2.0 2 x RJ-45 DC INPUT 12V Front Side 1 mSATA supported High definition video output Supports VESA mount Rear Side Power Switch Applications Digital Signage Kiosk Engine POS PC IoT Gateway Specifications Image format Jpeg, tiff, png, (anim) gif, bmp System Optional for 802.11 b/g/n CPU Intel® Celeron® 4-core Processor J1900 WiFi (Bay Trail) Expansion Slot 1 x full-size Mini card Chipset SoC integrated (for mSATA) System Memory 1 x DDR3L 1333 max up to 8GB 1 x half-size PCI Express Mini card Storage 1 x mSATA supported for optional WiFi module Watchdog Timer 255 levels, 1-255 sec. Power Supply 12V DC-in I/O 1 x USB 2.0 , 1 x USB 3.0 2 x 10/100/1000Mbps Ethernet Dimensions (W x D x H) 170 x 120 x 40 mm 1 x power on/off button 6.69 x 4.72 x 1.57” 1 x Audio (Line-out) Packing Dimension 320 x 205 x 65 mm Video I/O EBC-3311 EBC-3311B (W x D x H) 12.59 x 8.07 x 2.55” 1 x High 2 x High definition Weight (net/gross) 0.7kg(1.5lb)/1.2kg(2.61b) definition video output video output Environmental 1 x VGA Operation Temperature 0°C – +40°C,(32°F – 104°F) Video MPEG-4, MPEG-2, MPEG-1, H.264, -
Capabilities of the Horchow Auditorium and the Orientation
Performance Capabilities of Horchow Auditorium and Atrium at the Dallas Museum of Art Horchow Auditorium Capacity and Stage: The auditorium seats 333 people (with a 12 removable chair option in the back), maxing out the capacity at 345). The stage is 45’ X 18’and the screen is 27’ X 14’. A height adjustable podium, microphone, podium clock and light are standard equipment available. Installed/Available Equipment Sound: Lighting: 24 channel sound board 24 fixed lights 4 stage monitors (with up to 4 Mixes) 5 movers (these give a wide array of lighting looks) 6 hardwired microphones 4 wireless lavaliere microphones 2 handheld wireless microphones (with headphone option) 9-foot Steinway Concert Grand Piano 3 Bose towers (these have been requested by Acoustic performers before and work very well) Music stands Projection Panasonic PTRQ32 4K 20,000 Lumen Laser Projector Preferred Video Formats in Horchow Blu Ray DVD Apple ProRes 4:2:2 Standard in a .mov wrapper H.264 in a .mov wrapper Formats we can use, but are not optimal MPEG-1/2 Dirac / VC-2 DivX® (1/2/3/4/5/6) MJPEG (A/B) MPEG-4 ASP WMV 1/2 XviD WMV 3 / WMV-9 / VC-1 3ivX D4 Sorenson 1/3 H.261/H.263 / H.263i DV H.264 / MPEG-4 AVC On2 VP3/VP5/VP6 Cinepak Indeo Video v3 (IV32) Theora Real Video (1/2/3/4) Atrium Capacity and Stage: The Atrium seats up to 500 people (chair rental required). The stage available to be installed in the Atrium is 16’ x 12’ x 1’. -
Audio Codecs
Audio Codecs [ AoIP | Leased Line | E1 ] Release date: July 2019 All rights reserved. Permission to reprint or electronically reproduce any document or graphic in whole or in part for any reason is prohibited unless prior written consent is obtained from AVT Audio Video Technolo- gies GmbH. This catalogue has been put together with the utmost digilence. However, no guar- antee for correctness can be given. AVT Audio Video Technologies GmbH cannot be held responsible for any misleading or incorrect information provided throughout this catalogue. AVT Audio Video Technologies GmbH re- serves the right to change specifications at any time without notice. CONTENT General 5 Features & Symbols 6 Overview 8 ISDN + VoIP ● MAGIC D7 XIP & MAGIC DC7 XIP RM Audio Codecs 10 ○ Application: Audio contribution 12 ISDN + AoIP ● MAGIC AC1 XIP & MAGIC AC1 XIP RM Audio Codecs 14 ○ Application: Audio contribution 16 E1 + AoIP ● MAGIC ACip3 & MAGIC ACip3 2M Audio Codecs 18 ○ Application: Audio contribution 20 ○ Application: AoIP distribution 22 ● MAGIC ACip3 (2M) ModNet System 24 ○ Application: Studio-Transmitter-Links 26 Audio Codec Integration ● MAGIC THipPro ACconnect 28 System Manager Upgrade 30 General Audio Codecs are needed for high-quality bitrate, the desired quality and the accept- Audio transmissions over different networks able delay. The EBU names the following Au- like IP, ISDN, 2-Mbit/s (E1) and X.21. Over IP dio algorithms as mandatory to comply with and ISDN, both Leased Line connections as the AoIP standard. G.711, G.722, ISO/MPEG well as temporary dial-up connections can Layer 2 and PCM (for stationary Audio Co- be used. -
Avid DS - Your Future Is Now
DSWiki DSWiki Table Of Contents 1998 DS SALES BROCHURE ............................................. 4 2005 DS Wish List ..................................................... 8 2007 Unfiltered DS Wish List ............................................. 13 2007 Wish Lists ....................................................... 22 2007DSWishListFinalistsRound2 ........................................... 28 2010 Wish List ........................................................ 30 A ................................................................. 33 About .............................................................. 53 AchieveMoreWithThe3DDVE ............................................. 54 AmazonStore ......................................................... 55 antler .............................................................. 56 Arri Alexa ........................................................... 58 Avid DS - Your Future Is Now ............................................. 59 Avid DS for Colorists ................................................... 60 B ................................................................. 62 BetweenBlue&Green ................................................... 66 Blu-ray Copy ......................................................... 67 C ................................................................. 68 ColorItCorrected ...................................................... 79 Commercial Specifications ............................................... 80 Custom MC Color Surface Layouts ........................................