How Will Deep Learning Change Internet Video Delivery?
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Video Codec Requirements and Evaluation Methodology
Video Codec Requirements 47pt 30pt and Evaluation Methodology Color::white : LT Medium Font to be used by customers and : Arial www.huawei.com draft-filippov-netvc-requirements-01 Alexey Filippov, Huawei Technologies 35pt Contents Font to be used by customers and partners : • An overview of applications • Requirements 18pt • Evaluation methodology Font to be used by customers • Conclusions and partners : Slide 2 Page 2 35pt Applications Font to be used by customers and partners : • Internet Protocol Television (IPTV) • Video conferencing 18pt • Video sharing Font to be used by customers • Screencasting and partners : • Game streaming • Video monitoring / surveillance Slide 3 35pt Internet Protocol Television (IPTV) Font to be used by customers and partners : • Basic requirements: . Random access to pictures 18pt Random Access Period (RAP) should be kept small enough (approximately, 1-15 seconds); Font to be used by customers . Temporal (frame-rate) scalability; and partners : . Error robustness • Optional requirements: . resolution and quality (SNR) scalability Slide 4 35pt Internet Protocol Television (IPTV) Font to be used by customers and partners : Resolution Frame-rate, fps Picture access mode 2160p (4K),3840x2160 60 RA 18pt 1080p, 1920x1080 24, 50, 60 RA 1080i, 1920x1080 30 (60 fields per second) RA Font to be used by customers and partners : 720p, 1280x720 50, 60 RA 576p (EDTV), 720x576 25, 50 RA 576i (SDTV), 720x576 25, 30 RA 480p (EDTV), 720x480 50, 60 RA 480i (SDTV), 720x480 25, 30 RA Slide 5 35pt Video conferencing Font to be used by customers and partners : • Basic requirements: . Delay should be kept as low as possible 18pt The preferable and maximum delay values should be less than 100 ms and 350 ms, respectively Font to be used by customers . -
Digital Video Quality Handbook (May 2013
Digital Video Quality Handbook May 2013 This page intentionally left blank. Executive Summary Under the direction of the Department of Homeland Security (DHS) Science and Technology Directorate (S&T), First Responders Group (FRG), Office for Interoperability and Compatibility (OIC), the Johns Hopkins University Applied Physics Laboratory (JHU/APL), worked with the Security Industry Association (including Steve Surfaro) and members of the Video Quality in Public Safety (VQiPS) Working Group to develop the May 2013 Video Quality Handbook. This document provides voluntary guidance for providing levels of video quality in public safety applications for network video surveillance. Several video surveillance use cases are presented to help illustrate how to relate video component and system performance to the intended application of video surveillance, while meeting the basic requirements of federal, state, tribal and local government authorities. Characteristics of video surveillance equipment are described in terms of how they may influence the design of video surveillance systems. In order for the video surveillance system to meet the needs of the user, the technology provider must consider the following factors that impact video quality: 1) Device categories; 2) Component and system performance level; 3) Verification of intended use; 4) Component and system performance specification; and 5) Best fit and link to use case(s). An appendix is also provided that presents content related to topics not covered in the original document (especially information related to video standards) and to update the material as needed to reflect innovation and changes in the video environment. The emphasis is on the implications of digital video data being exchanged across networks with large numbers of components or participants. -
(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. -
On the Accuracy of Video Quality Measurement Techniques
On the accuracy of video quality measurement techniques Deepthi Nandakumar Yongjun Wu Hai Wei Avisar Ten-Ami Amazon Video, Bangalore, India Amazon Video, Seattle, USA Amazon Video, Seattle, USA Amazon Video, Seattle, USA, [email protected] [email protected] [email protected] [email protected] Abstract —With the massive growth of Internet video and therefore measuring and optimizing for video quality in streaming, it is critical to accurately measure video quality these high quality ranges is an imperative for streaming service subjectively and objectively, especially HD and UHD video which providers. In this study, we lay specific emphasis on the is bandwidth intensive. We summarize the creation of a database measurement accuracy of subjective and objective video quality of 200 clips, with 20 unique sources tested across a variety of scores in this high quality range. devices. By classifying the test videos into 2 distinct quality regions SD and HD, we show that the high correlation claimed by objective Globally, a healthy mix of devices with different screen sizes video quality metrics is led mostly by videos in the SD quality and form factors is projected to contribute to IP traffic in 2021 region. We perform detailed correlation analysis and statistical [1], ranging from smartphones (44%), to tablets (6%), PCs hypothesis testing of the HD subjective quality scores, and (19%) and TVs (24%). It is therefore necessary for streaming establish that the commonly used ACR methodology of subjective service providers to quantify the viewing experience based on testing is unable to capture significant quality differences, leading the device, and possibly optimize the encoding and delivery to poor measurement accuracy for both subjective and objective process accordingly. -
Netflix and the Development of the Internet Television Network
Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation. -
The H.264 Advanced Video Coding (AVC) Standard
Whitepaper: The H.264 Advanced Video Coding (AVC) Standard What It Means to Web Camera Performance Introduction A new generation of webcams is hitting the market that makes video conferencing a more lifelike experience for users, thanks to adoption of the breakthrough H.264 standard. This white paper explains some of the key benefits of H.264 encoding and why cameras with this technology should be on the shopping list of every business. The Need for Compression Today, Internet connection rates average in the range of a few megabits per second. While VGA video requires 147 megabits per second (Mbps) of data, full high definition (HD) 1080p video requires almost one gigabit per second of data, as illustrated in Table 1. Table 1. Display Resolution Format Comparison Format Horizontal Pixels Vertical Lines Pixels Megabits per second (Mbps) QVGA 320 240 76,800 37 VGA 640 480 307,200 147 720p 1280 720 921,600 442 1080p 1920 1080 2,073,600 995 Video Compression Techniques Digital video streams, especially at high definition (HD) resolution, represent huge amounts of data. In order to achieve real-time HD resolution over typical Internet connection bandwidths, video compression is required. The amount of compression required to transmit 1080p video over a three megabits per second link is 332:1! Video compression techniques use mathematical algorithms to reduce the amount of data needed to transmit or store video. Lossless Compression Lossless compression changes how data is stored without resulting in any loss of information. Zip files are losslessly compressed so that when they are unzipped, the original files are recovered. -
A Comparison of Video Formats for Online Teaching Ross A
Contemporary Issues in Education Research – First Quarter 2017 Volume 10, Number 1 A Comparison Of Video Formats For Online Teaching Ross A. Malaga, Montclair State University, USA Nicole B. Koppel, Montclair State University, USA ABSTRACT The use of video to deliver content to students online has become increasingly popular. However, educators are often plagued with the question of which format to use to deliver asynchronous video material. Whether it is a College or University committing to a common video format or an individual instructor selecting the method that works best for his or her course, this research presents a comparison of various video formats that can be applied to online education and provides guidance in which one to select. Keywords: Online Teaching; Video Formats; Technology Acceptance Model INTRODUCTION istance learning is one of the most talked-about topics in higher education today. Online and hybrid (or blended) learning removes location and time-bound constraints of the traditional college classroom to a learning environment that can occur anytime or anywhere in a global environment. DAccording to research by the Online Learning Consortium, over 5 million students took an online course in the Fall 2014 semester. This represents an increase in online enrollment of over 3.9% in just one year. In 2014, 28% of higher education students took one or more courses online (Allen, I. E. and Seaman, J, 2016). With this incredible growth, albeit slower than the growth in previous years, institutions of higher education are continuing to increase their online course and program offerings. As such, institutions need to find easy to develop, easy to use, reliable, and reasonably priced technologies to deliver online content. -
AVC, HEVC, VP9, AVS2 Or AV1? — a Comparative Study of State-Of-The-Art Video Encoders on 4K Videos
AVC, HEVC, VP9, AVS2 or AV1? | A Comparative Study of State-of-the-art Video Encoders on 4K Videos Zhuoran Li, Zhengfang Duanmu, Wentao Liu, and Zhou Wang University of Waterloo, Waterloo, ON N2L 3G1, Canada fz777li,zduanmu,w238liu,[email protected] Abstract. 4K, ultra high-definition (UHD), and higher resolution video contents have become increasingly popular recently. The largely increased data rate casts great challenges to video compression and communication technologies. Emerging video coding methods are claimed to achieve su- perior performance for high-resolution video content, but thorough and independent validations are lacking. In this study, we carry out an in- dependent and so far the most comprehensive subjective testing and performance evaluation on videos of diverse resolutions, bit rates and content variations, and compressed by popular and emerging video cod- ing methods including H.264/AVC, H.265/HEVC, VP9, AVS2 and AV1. Our statistical analysis derived from a total of more than 36,000 raw sub- jective ratings on 1,200 test videos suggests that significant improvement in terms of rate-quality performance against the AVC encoder has been achieved by state-of-the-art encoders, and such improvement is increas- ingly manifest with the increase of resolution. Furthermore, we evaluate state-of-the-art objective video quality assessment models, and our re- sults show that the SSIMplus measure performs the best in predicting 4K subjective video quality. The database will be made available online to the public to facilitate future video encoding and video quality research. Keywords: Video compression, quality-of-experience, subjective qual- ity assessment, objective quality assessment, 4K video, ultra-high-definition (UHD), video coding standard 1 Introduction 4K, ultra high-definition (UHD), and higher resolution video contents have en- joyed a remarkable growth in recent years. -
WILL Youtube SAIL INTO the DMCA's SAFE HARBOR OR SINK for INTERNET PIRACY?
THE JOHN MARSHALL REVIEW OF INTELLECTUAL PROPERTY LAW WILL YoUTUBE SAIL INTO THE DMCA's SAFE HARBOR OR SINK FOR INTERNET PIRACY? MICHAEL DRISCOLL ABSTRACT Is YouTube, the popular video sharing website, a new revolution in information sharing or a profitable clearing-house for unauthorized distribution of copyrighted material? YouTube's critics claim that it falls within the latter category, in line with Napster and Grokster. This comment, however, determines that YouTube is fundamentally different from past infringers in that it complies with statutory provisions concerning the removal of copyrighted materials. Furthermore, YouTube's central server architecture distinguishes it from peer-to-peer file sharing websites. This comment concludes that any comparison to Napster or Grokster is superficial, and overlooks the potential benefits of YouTube to copyright owners and to society at large. Copyright © 2007 The John Marshall Law School Cite as Michael Driscoll, Will YouTube Sail into the DMCA's Safe Harboror Sink for Internet Piracy?, 6 J. MARSHALL REV. INTELL. PROP. L. 550 (2007). WILL YoUTUBE SAIL INTO THE DMCA's SAFE HARBOR OR SINK FOR INTERNET PIRACY? MICHAEL DRISCOLL* 'A sorry agreement is better than a good suit in law." English Proverb1 INTRODUCTION The year 2006 proved a banner year for YouTube, Inc. ("YouTube"), a well- known Internet video sharing service, so much so that Time Magazine credited YouTube for making "You" the Person of the Year. 2 Despite this seemingly positive development for such a young company, the possibility of massive copyright 3 infringement litigation looms over YouTube's future. For months, YouTube was walking a virtual tightrope by obtaining licensing agreements with major copyright owners, yet increasingly gaining popularity through its endless video selection, both legal and otherwise. -
Video Quality Assessment: Subjective Testing of Entertainment Scenes Margaret H
1 Video Quality Assessment: Subjective testing of entertainment scenes Margaret H. Pinson, Lucjan Janowski, and Zdzisław Papir This article describes how to perform a video quality subjective test. For companies, these tests can greatly facilitate video product development; for universities, removing perceived barriers to conducting such tests allows expanded research opportunities. This tutorial assumes no prior knowledge and focuses on proven techniques. (Certain commercial equipment, materials, and/or programs are identified in this article to adequately specify the experimental procedure. In no case does such identification imply recommendation or endorsement by the National Telecommunications and Information Administration, nor does it imply that the program or equipment identified is necessarily the best available for this application.) Video is a booming industry: content is embedded on many Web sites, delivered over the Internet, and streamed to mobile devices. Cisco statistics indicate that video exceeded 50% of total mobile traffic for the first time in 2012, and predicts that two-thirds of the world’s mobile data traffic will be video by 2017 [1]. Each company must make a strategic decision on the correct balance between delivery cost and user experience. This decision can be made by the engineers designing the service or, for increased accuracy, by consulting users [2]. Video quality assessment requires a combined approach that includes objective metrics, subjective testing, and live video monitoring. Subjective testing is a critical step to ensuring success in operational management and new product development. Carefully conducted video quality subjective tests are extremely reliable and repeatable, as is shown in Section 8 of [3]. This article provides an approachable tutorial on how to conduct a subjective video quality experiment. -
Using H.264 and H.265 Codecs for 4K Transmissions
ISSN 1843-6188 Scientific Bulletin of the Electrical Engineering Faculty – Year 15 No.1 (29) OBJECTIVE VIDEO QUALITY ASSESMENT: USING H.264 AND H.265 CODECS FOR 4K TRANSMISSIONS NICOLETA ANGELESCU Department of Electronics, Telecommunications and Energetics, Valahia University of Targoviste E-mail: [email protected] Abstract. H.265 codecs has attracted a lot of attention solution can be applied only to MPEG 2 video files to for transmission of digital video content with 4k reduce storage space. In [5], the H.265 and H.264 codecs resolution (3840x2160 pixels), since offers necessary are evaluated on video quality for 4k resolution. The bandwidths saving in comparison with H.264 codec. We authors use three objective quality metrics for evaluation. compare both codecs using three objective video quality The authors conclude that H.265 codec offer the best metrics on five standard 4k video test sequences for improvement comparing to H.264 codec for low bit-rate. digital TV transmissions using both codecs. In [6], a solution to reduce bit rate for MPEG 2 and H.264 transmission is proposed. The base layer at MPEG Keywords: H.264, HECV, VQM, SSIM, objective video 2 standard resolution is multiplexed with the enhanced quality layer (which is the difference between scaled MPEG 2 video content and original high resolution video captured) compressed with H.264 codec and transmitted to user 1. INTRODUCTION destination. The same solution can be applied for H.264 and H.265 content. The users with receivers which Nowadays, the majority of video content is stored in support Full HD resolution view the 4K content scaled lossy compressed form. -
MPEG Standardization Roadmap October 2017 Version Why a Standardisation Roadmap?
MPEG Standardization Roadmap October 2017 Version Why a Standardisation Roadmap? • MPEG has created, and is still producing, media standards that enable huge markets to flourish • MPEG works on requirements from industry • Many industries represented in MPEG, but not all of MPEG’s customers can or need to participate in the process • MPEG wants to inform its customers about its long- term plans (~ 5 years out) • … and collect feedback and requirements from these customers • … including in this session What is in the Roadmap • Our roadmap is a short document. • It briefly outlines MPEG’s most important standards MPEG Standards 1990 1995 2000 2005 2010 2015 Digital Music Custom Fonts on Television Distribution Web & DigiPub Internet Mobile Video HD Distribution UHD & Immersive Audio Services MPEG-2 MP3 Video & MPEG-4 AAC AVC OFF HEVC 3D Audio Systems Video MP4 FF DASH MMT MLAF Media Storage and Unified Media Second Streaming Streaming Screen New Forms of Digital Television What is in the Roadmap • Our roadmap is a short document. • It briefly outlines MPEG’s most important standards • It then gives an overview of MPEG’s activities Multimedia Platform MPEG’s Areas Systems, video, Technologies MPEG- audio and U,V of Activity transport MPEG- E,M Technologies MPEG- for content B,C,D, Device and e-commerce application DASH interfaces MPEG-A Multimedia Application Compression of Formats (combinations video, audio MPEG-21 of content formats) and 3DG MPEG-7 Description of video, MPEG- audio and multimedia 1,2,4,H,I for content search What is in the Roadmap • Our roadmap is a short document.