DASH-IF Interoperability: Guidelines for Implementations
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Virtualization of Audio-Visual Services
Software Defined Media: Virtualization of Audio-Visual Services Manabu Tsukada∗, Keiko, Ogaway, Masahiro Ikedaz, Takuro Sonez, Kenta Niwax, Shoichiro Saitox, Takashi Kasuya{, Hideki Sunaharay, and Hiroshi Esaki∗ ∗ Graduate School of Information Science and Technology, The University of Tokyo Email: [email protected], [email protected] yGraduate School of Media Design, Keio University / Email: [email protected], [email protected] zYamaha Corporation / Email: fmasahiro.ikeda, [email protected] xNTT Media Intelligence Laboratories / Email: fniwa.kenta, [email protected] {Takenaka Corporation / Email: [email protected] Abstract—Internet-native audio-visual services are witnessing We believe that innovative applications will emerge from rapid development. Among these services, object-based audio- the fusion of object-based audio and video systems, including visual services are gaining importance. In 2014, we established new interactive education systems and public viewing systems. the Software Defined Media (SDM) consortium to target new research areas and markets involving object-based digital media In 2014, we established the Software Defined Media (SDM) 1 and Internet-by-design audio-visual environments. In this paper, consortium to target new research areas and markets involving we introduce the SDM architecture that virtualizes networked object-based digital media and Internet-by-design audio-visual audio-visual services along with the development of smart build- environments. We design SDM along with the development ings and smart cities using Internet of Things (IoT) devices of smart buildings and smart cities using Internet of Things and smart building facilities. Moreover, we design the SDM architecture as a layered architecture to promote the development (IoT) devices and smart building facilities. -
DVD850 DVD Video Player with Jog/Shuttle Remote
DVD Video Player DVD850 DVD Video Player with Jog/Shuttle Remote • DVD-Video,Video CD, and Audio CD Compatible • Advanced DVD-Video technology, including 10-bit video DAC and 24-bit audio DAC • Dual-lens optical pickup for optimum signal readout from both CD and DVD • Built-in Dolby Digital™ audio decoder with delay and balance controls • Digital output for Dolby Digital™ (AC-3), DTS, and PCM • 6-channel analog output for Dolby Digital™, Dolby Pro Logic™, and stereo • Choice of up to 8 audio languages • Choice of up to 32 subtitle languages • 3-dimensional virtual surround sound • Multiangle • Digital zoom (play & still) DVD850RC Remote Control • Graphic bit rate display • Remote Locator™ DVD Video Player Feature Highlights: DVD850 Component Video Out In addition to supporting traditional TV formats, Philips Magnavox DVD Technical Specifications: supports the latest high resolution TVs. Component video output offers superb color purity, crisp color detail, and reduced color noise– Playback System surpassing even that of S-Video! Today’s DVD is already prepared to DVD Video work with tomorrow’s technology. Video CD CD Gold-Plated Digital Coaxial Cables DVD-R These gold-plated cables provide the clearest connection possible with TV Standard high data capacity delivering maximum transmission efficiency. Number of Lines : 525 Playback : NTSC/60Hz Digital Optical Video Format For optimum flexibility, DVD offers digital optical connection which deliv- Signal : Digital er better, more dynamic sound reproduction. Signal Handling : Components Digital Compression : MPEG2 for DVD Analog 6-Channel Built-in AC3 Decoder : MPEG1 for VCD Dolby® Digital Sound (AC3) gives you dynamic theater-quality sound DVD while sharply filtering coding noise and reducing data consumption. -
An Introduction to MPEG Transport Streams
An introduction to MPEG-TS all you should know before using TSDuck Version 8 Topics 2 • MPEG transport streams • packets, sections, tables, PES, demux • DVB SimulCrypt • architecture, synchronization, ECM, EMM, scrambling • Standards • MPEG, DVB, others Transport streams packets and packetization Standard key terms 4 • Service / Program • DVB term : service • MPEG term : program • TV channel (video and / or audio) • data service (software download, application data) • Transport stream • aka. « TS », « multiplex », « transponder » • continuous bitstream • modulated and transmitted using one given frequency • aggregate several services • Signalization • set of data structures in a transport stream • describes the structure of transport streams and services MPEG-2 transport stream 5 • Structure of MPEG-2 TS defined in ISO/IEC 13818-1 • One operator uses several TS • TS = synchronous stream of 188-byte TS packets • 4-byte header • optional « adaptation field », a kind of extended header • payload, up to 184 bytes • Multiplex of up to 8192 independent elementary streams (ES) • each ES is identified by a Packet Identifier (PID) • each TS packet belongs to a PID, 13-bit PID in packet header • smooth muxing is complex, demuxing is trivial • Two types of ES content • PES, Packetized Elementary Stream : audio, video, subtitles, teletext • sections : data structures Multiplex of elementary streams 6 • A transport stream is a multiplex of elementary streams • elementary stream = sequence of TS packets with same PID value in header • one set of elementary -
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 -
XMP SPECIFICATION PART 3 STORAGE in FILES Copyright © 2016 Adobe Systems Incorporated
XMP SPECIFICATION PART 3 STORAGE IN FILES Copyright © 2016 Adobe Systems Incorporated. All rights reserved. Adobe XMP Specification Part 3: Storage in Files NOTICE: All information contained herein is the property of Adobe Systems Incorporated. No part of this publication (whether in hardcopy or electronic form) may be reproduced or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written consent of Adobe Systems Incorporated. Adobe, the Adobe logo, Acrobat, Acrobat Distiller, Flash, FrameMaker, InDesign, Illustrator, Photoshop, PostScript, and the XMP logo are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. MS-DOS, Windows, and Windows NT are either registered trademarks or trademarks of Microsoft Corporation in the United States and/or other countries. Apple, Macintosh, Mac OS and QuickTime are trademarks of Apple Computer, Inc., registered in the United States and other countries. UNIX is a trademark in the United States and other countries, licensed exclusively through X/Open Company, Ltd. All other trademarks are the property of their respective owners. This publication and the information herein is furnished AS IS, 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, makes no warranty of any kind (express, implied, or statutory) with respect to this publication, and expressly disclaims any and all warranties of merchantability, fitness for particular purposes, and noninfringement of third party rights. Contents 1 Embedding XMP metadata in application files . -
BDP9100/05 Philips Blu-Ray Disc Player
Philips Blu-ray Disc player BDP9100 True cinema experience in 21:9 ultra-widescreen The perfect companion for the Cinema 21:9 TV. Unlike normal Blu-ray players, the BDP9100 is the only Blu-ray player allowing you to shift subtitles in the 21:9 screen aspect ratio, to retain the subtitles without the black bars. See more • 21:9 movie aspect ratio, no black bars bottom and top • Blu-ray Disc playback for sharp images in full HD 1080p • 1080p at 24 fps for cinema-like images • DVD video upscaling to 1080p via HDMI for near-HD images • DivX® Ultra for enhanced playback of DivX® media files • x.v.Colour brings more natural colours to HD camcorder videos Hear more • Dolby TrueHD and DTS-HD MA for HD 7.1 surround sound Engage more • BD-Live (Profile 2.0) to enjoy online Blu-ray bonus content • AVC HD to enjoy high definition camcorder recordings on DVD • Hi-Speed USB 2.0 Link plays video/music from USB flash drives • Enjoy all your movies and music from CDs and DVDs • EasyLink controls all EasyLink products with a single remote Blu-ray Disc player BDP9100/05 Highlights 21:9 movie aspect ratio BD-Live (Profile 2.0) resolution - ensuring more details and more true-to-life pictures. Progressive Scan (represented by "p" in "1080p') eliminates the line structure prevalent on TV screens, again ensuring relentlessly sharp images. To top it off, HDMI makes a direct digital connection that can carry uncompressed digital HD video as well as digital multi-channel audio, without conversions to analogue - delivering perfect picture and sound quality, completely free Be blown away by movies the way they are BD-Live opens up your world of high definition from noise. -
Audio Coding for Digital Broadcasting
Recommendation ITU-R BS.1196-7 (01/2019) Audio coding for digital broadcasting BS Series Broadcasting service (sound) ii Rec. ITU-R BS.1196-7 Foreword The role of the Radiocommunication Sector is to ensure the rational, equitable, efficient and economical use of the radio- frequency spectrum by all radiocommunication services, including satellite services, and carry out studies without limit of frequency range on the basis of which Recommendations are adopted. The regulatory and policy functions of the Radiocommunication Sector are performed by World and Regional Radiocommunication Conferences and Radiocommunication Assemblies supported by Study Groups. Policy on Intellectual Property Right (IPR) ITU-R policy on IPR is described in the Common Patent Policy for ITU-T/ITU-R/ISO/IEC referenced in Resolution ITU-R 1. Forms to be used for the submission of patent statements and licensing declarations by patent holders are available from http://www.itu.int/ITU-R/go/patents/en where the Guidelines for Implementation of the Common Patent Policy for ITU-T/ITU-R/ISO/IEC and the ITU-R patent information database can also be found. Series of ITU-R Recommendations (Also available online at http://www.itu.int/publ/R-REC/en) Series Title BO Satellite delivery BR Recording for production, archival and play-out; film for television BS Broadcasting service (sound) BT Broadcasting service (television) F Fixed service M Mobile, radiodetermination, amateur and related satellite services P Radiowave propagation RA Radio astronomy RS Remote sensing systems S Fixed-satellite service SA Space applications and meteorology SF Frequency sharing and coordination between fixed-satellite and fixed service systems SM Spectrum management SNG Satellite news gathering TF Time signals and frequency standards emissions V Vocabulary and related subjects Note: This ITU-R Recommendation was approved in English under the procedure detailed in Resolution ITU-R 1. -
(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. -
Preview - Click Here to Buy the Full Publication
This is a preview - click here to buy the full publication IEC 62481-2 ® Edition 2.0 2013-09 INTERNATIONAL STANDARD colour inside Digital living network alliance (DLNA) home networked device interoperability guidelines – Part 2: DLNA media formats INTERNATIONAL ELECTROTECHNICAL COMMISSION PRICE CODE XH ICS 35.100.05; 35.110; 33.160 ISBN 978-2-8322-0937-0 Warning! Make sure that you obtained this publication from an authorized distributor. ® Registered trademark of the International Electrotechnical Commission This is a preview - click here to buy the full publication – 2 – 62481-2 © IEC:2013(E) CONTENTS FOREWORD ......................................................................................................................... 20 INTRODUCTION ................................................................................................................... 22 1 Scope ............................................................................................................................. 23 2 Normative references ..................................................................................................... 23 3 Terms, definitions and abbreviated terms ....................................................................... 30 3.1 Terms and definitions ............................................................................................ 30 3.2 Abbreviated terms ................................................................................................. 34 3.4 Conventions ......................................................................................................... -
Game Audio Via Openal
Game Audio via OpenAL Summary In the Graphics For Games module, you learnt how to use OpenGL to create complex graphical scenes, improving your programming skills along the way, and learning about data structures such as scene graphs. In this workshop, you'll see how to add sounds to your game worlds using the OpenAL sound library. New Concepts Sound in games, OpenAL, PCM audio, binary file formats, FourCC codes, WAV files, limited resource management Introduction Audio has played an important part in gaming almost as long as there have been games to play - even Pong back in 1972 had simple sound effects. We've moved a long way from then; the 80s brought dedicated audio hardware such as the Commodore 64's SID chip that could play 3 simultaneous syn- thesised sounds, and later the Amiga brought the ability to play audio samples to the home gaming market. In modern gaming hardware, we can expect to hear many simultaneous sounds and music tracks, often in surround sound. Game developers now employ dedicated sound engineers that will carefully adjust the sounds in each game release to create an immersive aural experience - making sure that each individual sound is uniquely identifiable and correctly equalised, and that every music track suits the situation they will be played in. At the heart of a game's audio experience is the code that plays back the game sounds, and cal- culates which speakers they should use - the sound system. Although we can't hope to compete with the complex sound systems of AAA games, we should still be able to make a robust, simple system for the addition of sound in our 3D games, and that's what this workshop will assist you in creating. -
Lossless Compression of Audio Data
CHAPTER 12 Lossless Compression of Audio Data ROBERT C. MAHER OVERVIEW Lossless data compression of digital audio signals is useful when it is necessary to minimize the storage space or transmission bandwidth of audio data while still maintaining archival quality. Available techniques for lossless audio compression, or lossless audio packing, generally employ an adaptive waveform predictor with a variable-rate entropy coding of the residual, such as Huffman or Golomb-Rice coding. The amount of data compression can vary considerably from one audio waveform to another, but ratios of less than 3 are typical. Several freeware, shareware, and proprietary commercial lossless audio packing programs are available. 12.1 INTRODUCTION The Internet is increasingly being used as a means to deliver audio content to end-users for en tertainment, education, and commerce. It is clearly advantageous to minimize the time required to download an audio data file and the storage capacity required to hold it. Moreover, the expec tations of end-users with regard to signal quality, number of audio channels, meta-data such as song lyrics, and similar additional features provide incentives to compress the audio data. 12.1.1 Background In the past decade there have been significant breakthroughs in audio data compression using lossy perceptual coding [1]. These techniques lower the bit rate required to represent the signal by establishing perceptual error criteria, meaning that a model of human hearing perception is Copyright 2003. Elsevier Science (USA). 255 AU rights reserved. 256 PART III / APPLICATIONS used to guide the elimination of excess bits that can be either reconstructed (redundancy in the signal) orignored (inaudible components in the signal). -
Frequently Asked Questions Dolby Digital Plus
Frequently Asked Questions Dolby® Digital Plus redefines the home theater surround experience for new formats like high-definition video discs. What is Dolby Digital Plus? Dolby® Digital Plus is Dolby’s new-generation multichannel audio technology developed to enhance the premium experience of high-definition media. Built on industry-standard Dolby Digital technology, Dolby Digital Plus as implemented in Blu-ray Disc™ features more channels, less compression, and higher data rates for a warmer, richer, more compelling audio experience than you get from standard-definition DVDs. What other applications are there for Dolby Digital Plus? The advanced spectral coding efficiencies of Dolby Digital Plus enable content producers to deliver high-resolution multichannel soundtracks at lower bit rates than with Dolby Digital. This makes it ideal for emerging bandwidth-critical applications including cable, IPTV, IP streaming, and satellite (DBS) and terrestrial broadcast. Dolby Digital Plus is also a preferred medium for delivering BonusView (Profile 1.1) and BD-Live™ (Profile 2.0) interactive audio content on Blu-ray Disc. Delivering higher quality and more channels at higher bit rates, plus greater efficiency at lower bit rates, Dolby Digital Plus has the flexibility to fulfill the needs of new content delivery formats for years to come. Is Dolby Digital Plus content backward-compatible? Because Dolby Digital Plus is built on core Dolby Digital technologies, content that is encoded with Dolby Digital Plus is fully compatible with the millions of existing home theaters and playback systems worldwide equipped for Dolby Digital playback. Dolby Digital Plus soundtracks are easily converted to a 640 kbps Dolby Digital signal without decoding and reencoding, for output via S/PDIF.