HD Voice and Wideband Codecs (HD-02) Panel Discussion (ITEXPO West 2009) September 02, 2009 Los Angeles, CA

Total Page:16

File Type:pdf, Size:1020Kb

HD Voice and Wideband Codecs (HD-02) Panel Discussion (ITEXPO West 2009) September 02, 2009 Los Angeles, CA A World Leader and Innovator In Wireless Technologies HD Voice and Wideband Codecs (HD-02) Panel Discussion (ITEXPO West 2009) September 02, 2009 Los Angeles, CA A. Ryan Heidari Director, Technology Marketing [email protected] HD Voice and Wideband Codecs (HD-02) Wednesday - 09/02/09, 9:30-10:15am Historically high-quality voice codecs have been compute intensive and complicated to license due to multiple ownership of intellectual property. This has now changed. Moore’s Law has made the compute requirements easily manageable, and several vendors have released state of the art royalty-free codecs, for example Polycom, Skype and Speex. This session explains the benefits of each. Presented by: Jeffrey Rodman Founder, Polycom, and CTO, Polycom Voice Solutions Group Polycom Jan Linden VP, Engineering Global IP Solutions Julian Spittka Product Manager and Senior Engineer - Audio/Video Group Skype A. Ryan Heidari (Moderator) Director, Technology and Product Marketing Qualcomm Inc. Evolution in Wireless Modem LTE 10,000 DO-rev B HSPA+ DOrB HSDPA 1000 HSDPA 7.2 3.6 DO-rev A EVDO WCDMA 100 (Kbps) EDGE CDMA 1x Average Throughput Average GPRS 10 GSM CDMA AMPS 1 1980 1985 1990 1995 2000 2005 2010 Qualcomm Multimedia Codecs Video Codecs: – MPEG-4 Simple Profile – H.263 Profile 0/3 – H.264 Baseline – RealVideo v10* – Windows Media v9* Audio Codecs: – EFR – AMR-NB – all rates – AMR-WB – all rates* – AAC – up to 128kbps @ 48kHz* – AAC Plus - up to 128kbps @ 48kHz* – Enhanced AAC Plus - up to 128kbps @ 48kHz* – QCELP -- 13kbps fixed full and half rates – EVRC -- 8kbps fixed full rate – EVRC-B--new NB extension of EVRC – EVRC-WB* -- new WB extension of EVRC – Real Audio v8* – Windows Media Audio v9* * Not available on all MSM platforms. For a detailed feature release plan by chipset, please refer to “Mobile Video SW Release Plan” What is in a QUALCOMM chipset? • A Leader in Delivering Wireless Solutions • Always Striving to Achieve Semiconductor Excellence CDMA Micro- Processor GSM/GPRS RF PM GPS DSP 3D Graphics • Smaller Form Factor Video • Enhanced System Performance DSP • Highly Integrated Applications Audio • Greater Quality & Reliability • Reduced Power Consumption Memory Imaging • Lower Overall Costs • Faster Time to Market Snapdragon Will Enable the Next Generation of Consumer Electronic Devices Snapdragon pairs industry-leading processing capabilities with QUALCOMM’s proven wireless leadership Things you always wanted to know, but were afraid to ask Dad, where do There is an evil monster, who lives codecs come from? across the ocean, in the land of MENS. He makes up new codecs whenever he is angered by the X-Men Speech Codecs Landscape Fragmented and mostly driven by fixed network service providers Wireless Wireline Proprietary ISAC-WB iLBC RNA-10 RT-Audio WMA-WB SILK IP-MR SVOPC Speex BV16 BV32 3GPP2 EVRC-WB EVRC-B EVRC QC8 QC13 3GPP AMR-WB AMR HR EFR ITU-T G.728 G.729.1 G.729 G.722.1 G.722 G.728 G.723 G.726 G.711 4kbps 8kbps 16kbps 32kbps 64kbps Linux Operating System is cheap or even free as compared with Sun’s own Solaris OS or Microsoft’s Windows “Open source 'is free like a puppy is free' says” Scott McNealy Sun Chief Executive = Hinting at long-term costs and hassles, and occasional clean-up jobs. This is despite of the fact that Sun later released Solaris under an open source licensing as well! ITExpo Introduction Jeffrey Rodman CTO/Co-Founder August 2009 Polycom’s Vision: A Phone Call can be… an HD Voice an HD Video A phone call … session… session… Polycom’s Vision: A Phone Call can be… a gaming an HD Voice an HD Video session… session… session… Polycom’s Vision: A Phone Call can be… a gaming an applications an HD Video session… session… session… Polycom’s Vision: A Phone Call can be… a gaming an applications an astronomy session… session… lesson… Polycom’s Vision: And all unified via the IP network Who is Polycom? Founded in 1990 HQ in San Francisco Bay area, global presence Pioneer in Voice, Video, Data, Web conferencing Leader in conferencing and personal communication 2,400+ employees, worldwide Financially strong, publicly traded (NASDAQ: PLCM) >2x the installed base of nearest competition 600+ patents registered or pending What Polycom Does What Polycom Does Wireless Infrastructure 12% 14% Telepresence/Video 18% 50% Polycom Collaboration: From the endpoints Telepresence PERSONAL IMMERSIVE - - - 128 Voice Polycom Collaboration: To The Infrastructure Telepresence Recording & Conference Platforms Management Security Streaming Infrastructure and RSS 2000 Applications RMX MGC Family SE200 VMC 1000 VBP Voice Human Collaboration: HD Voice From the Start Telepresence 2005: 2003: 1988: HD Voice over IP Desk HD Voice over POTS VIDEO with HD Voice - - - 128 Voice Thank You! • Global IP Solutions (GIPS) – Recognized leader in world class voice and video processing technology for IP networks – GIPS s/w is deployed in over 800 million end-points – Enables developers to offer the highest quality regardless of network conditions – HD Voice since 2001 • Jan Linden – Vice President Engineering – GIPS – R&D in speech and video processing for more than 15 years Get the Most Out of HD Voice 1. HD capable microphone Just getting an HD Voice 2. High quality HD Voice codec codec is not enough! – Suitable for usage scenario 3. HD Voice Quality Enhancement – Echo cancellation, noise suppression, gain control,… 4. End-to-end network HD Voice support – Preferably no transcoding – Absolutely no narrowband 5. Network clean-up – Jitter buffer and packet loss concealment 6. HD capable speaker So Many Codec Options iSAC RTAudio G.729.1 iPCM-WB G.719 BV 32 G.722.1 (Siren) Speex G.722.2 (AMR-WB) AAC-LD G.722 SILK G.718 SVOPC G.711.1 EVRC-WB Choosing Speech Codec • Many conflicting parameters Packet-loss Complexity affect codec choice Complexity Robustness • Determines upper limit of Memory quality Delay • Support of several codecs Speech Codec necessary Cost Bit-rate – Interoperability Bit-rate – Usage scenario Sampling • IPR issues a significant Quality Rate concern Cost of a Codec • Implementation – Optimized implementation on a specific platform – For speech codecs rarely any IPR issues Codec IPR B ? • Video and music codecs very different ? A • IPR licensing ? C – Pay patent holders licensing fees – “One-stop-shopping” licensing possible but usually, not all IPR holders represented – Only this part is usually free for a “royalty free codec” • Indemnification – Pay your vendor for indemnification or risk paying unknown IPR holders HD Voice and Wideband Codecs Julian Spittka Skype Wednesday - 09/02/09, 9:30-10:15am Bio • Product Manager and Senior Engineer – Skype Audio / Video Group • Co-Founder of Camino Networks (acquired by Skype) • Co-Author of iLBC codec standard (IETF RFC 3951 and CableLabs) • 8+ years of experience in IP Communications • Master’s degree from RWTH Aachen University Commoditization of Communications 1. Move from Circuit Switched Voice to VoIP 2. Move from Firmware/Hardware to Software New Communications World • New applications require scalability (e.g. video chat, mobile VoIP, telepresence, in- game chat, live music performances) • New distribution models require simple licensing models (e.g. free download) What is needed? • Commoditization through codecs that are: – Scalable (speech quality, bit rate, complexity) – Widely and easily distributable • Accessible codec technology • Interoperability • Minimal number of codecs that cover the operating space What can be done? • In May 2009, Skype proposed to IETF to form a working group with the agenda to standardize a wideband codec • Skype has submitted its signature default super wideband codec SILK to IETF • SILK is available today royalty free to 3rd party developers SILK • Scalable – Variable and adaptive bit rate: 6 - 40kbit/s – Sampling rate: 8 - 24 kHz – Complexity • Portable (Fixed point ANSI C) • Lightweight (CPU, memory, code size) • Robust to jitter and packet loss • Low delay (25ms) • More info: https://developer.skype.com/silk SILK Speech Quality MOS scores for wideband speech signals at different MOS scores for wideband speech signals at different bit rates. packet loss rates. All codecs were operated at a bit rate of 18.25 kbps. MOS (Mean Opinion Score) listening test was performed by Dynastat, an independent 3rd party laboratory. Confidence intervals (95%) are +/- 0.1 MOS. All bitrates are measured and averaged over frames containing active speech. All audio signals are wideband. SILK and Speex were run in the highest complexity mode. Thank You!.
Recommended publications
  • Proceedings 2005
    LAC2005 Proceedings 3rd International Linux Audio Conference April 21 – 24, 2005 ZKM | Zentrum fur¨ Kunst und Medientechnologie Karlsruhe, Germany Published by ZKM | Zentrum fur¨ Kunst und Medientechnologie Karlsruhe, Germany April, 2005 All copyright remains with the authors www.zkm.de/lac/2005 Content Preface ............................................ ............................5 Staff ............................................... ............................6 Thursday, April 21, 2005 – Lecture Hall 11:45 AM Peter Brinkmann MidiKinesis – MIDI controllers for (almost) any purpose . ....................9 01:30 PM Victor Lazzarini Extensions to the Csound Language: from User-Defined to Plugin Opcodes and Beyond ............................. .....................13 02:15 PM Albert Gr¨af Q: A Functional Programming Language for Multimedia Applications .........21 03:00 PM St´ephane Letz, Dominique Fober and Yann Orlarey jackdmp: Jack server for multi-processor machines . ......................29 03:45 PM John ffitch On The Design of Csound5 ............................... .....................37 04:30 PM Pau Arum´ıand Xavier Amatriain CLAM, an Object Oriented Framework for Audio and Music . .............43 Friday, April 22, 2005 – Lecture Hall 11:00 AM Ivica Ico Bukvic “Made in Linux” – The Next Step .......................... ..................51 11:45 AM Christoph Eckert Linux Audio Usability Issues .......................... ........................57 01:30 PM Marije Baalman Updates of the WONDER software interface for using Wave Field Synthesis . 69 02:15 PM Georg B¨onn Development of a Composer’s Sketchbook ................. ....................73 Saturday, April 23, 2005 – Lecture Hall 11:00 AM J¨urgen Reuter SoundPaint – Painting Music ........................... ......................79 11:45 AM Michael Sch¨uepp, Rene Widtmann, Rolf “Day” Koch and Klaus Buchheim System design for audio record and playback with a computer using FireWire . 87 01:30 PM John ffitch and Tom Natt Recording all Output from a Student Radio Station .
    [Show full text]
  • Microsoft Powerpoint
    Development of Multimedia WebApp on Tizen Platform 1. HTML Multimedia 2. Multimedia Playing with HTML5 Tags (1) HTML5 Video (2) HTML5 Audio (3) HTML Pulg-ins (4) HTML YouTube (5) Accessing Media Streams and Playing (6) Multimedia Contents Mgmt (7) Capturing Images 3. Multimedia Processing Web Device API Multimedia WepApp on Tizen - 1 - 1. HTML Multimedia • What is Multimedia ? − Multimedia comes in many different formats. It can be almost anything you can hear or see. − Examples : Pictures, music, sound, videos, records, films, animations, and more. − Web pages often contain multimedia elements of different types and formats. • Multimedia Formats − Multimedia elements (like sounds or videos) are stored in media files. − The most common way to discover the type of a file, is to look at the file extension. ⇔ When a browser sees the file extension .htm or .html, it will treat the file as an HTML file. ⇔ The .xml extension indicates an XML file, and the .css extension indicates a style sheet file. ⇔ Pictures are recognized by extensions like .gif, .png and .jpg. − Multimedia files also have their own formats and different extensions like: .swf, .wav, .mp3, .mp4, .mpg, .wmv, and .avi. Multimedia WepApp on Tizen - 2 - 2. Multimedia Playing with HTML5 Tags (1) HTML5 Video • Some of the popular video container formats include the following: Audio Video Interleave (.avi) Flash Video (.flv) MPEG 4 (.mp4) Matroska (.mkv) Ogg (.ogv) • Browser Support Multimedia WepApp on Tizen - 3 - • Common Video Format Format File Description .mpg MPEG. Developed by the Moving Pictures Expert Group. The first popular video format on the MPEG .mpeg web.
    [Show full text]
  • Realaudio and Realvideo Content Creation Guide
    RealAudioâ and RealVideoâ Content Creation Guide Version 5.0 RealNetworks, Inc. Contents Contents Introduction......................................................................................................................... 1 Streaming and Real-Time Delivery................................................................................... 1 Performance Range .......................................................................................................... 1 Content Sources ............................................................................................................... 2 Web Page Creation and Publishing................................................................................... 2 Basic Steps to Adding Streaming Media to Your Web Site ............................................... 3 Using this Guide .............................................................................................................. 4 Overview ............................................................................................................................. 6 RealAudio and RealVideo Clips ....................................................................................... 6 Components of RealSystem 5.0 ........................................................................................ 6 RealAudio and RealVideo Files and Metafiles .................................................................. 8 Delivering a RealAudio or RealVideo Clip ......................................................................
    [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]
  • 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]
  • REALNETWORKS PRODUCTION GUIDE with Realone Player Last Update: 1 October 2002 Realnetworks, Inc
    REALNETWORKS PRODUCTION GUIDE With RealOne Player Last Update: 1 October 2002 RealNetworks, Inc. PO Box 91123 Seattle, WA 98111-9223 U.S.A. http://www.real.com http://www.realnetworks.com ©2002 RealNetworks, Inc. All rights reserved. Information in this document is subject to change without notice. No part of this document may be reproduced or transmitted in any form or by any means, electronic or mechanical, for any purpose, without the express written permission of RealNetworks, Inc. Printed in the United States of America. Helix, The Helix Logo, RBN, the Real "bubble" (logo), Real Broadcast Network, RealAudio, Real.com, RealJukebox, RealMedia, RealNetworks, RealPlayer, RealOne, RealPresenter, RealSlideshow, RealSystem, RealText, RealVideo, SureStream, and Surreal.FX Design are trademarks or registered trademarks of RealNetworks, Inc. Other product and corporate names may be trademarks or registered trademarks of their respective companies. SUMMARY OF CONTENTS DOCUMENTATION RELEASE NOTE .......................................................................................1 INTRODUCTION.....................................................................................................................5 PART I: GETTING STARTED WITH STREAMING MEDIA 1 NEW FEATURES .........................................................................................................17 2 PRESENTATION PLANNING.......................................................................................27 PART II: PRODUCING CLIPS 3 AUDIO PRODUCTION ...............................................................................................59
    [Show full text]
  • Can Skype Be More Satisfying? a Qoe-Centric Study of the FEC
    HUANG LAYOUT 2/22/10 1:14 PM Page 2 Could Skype Be More Satisfying? A QoE-Centric Study of the FEC Mechanism in an Internet-Scale VoIP System Te-Yuan Huang, Stanford University Polly Huang, National Taiwan University Kuan-Ta Chen, Academia Sinica Po-Jung Wang, National Taiwan University Abstract The phenomenal growth of Skype in recent years has surpassed all expectations. Much of the application’s success is attributed to its FEC mechanism, which adds redundancy to voice streams to sustain audio quality under network impairments. Adopting the quality of experience approach (i.e., measuring the mean opinion scores), we examine how much redundancy Skype adds to its voice streams and systematically explore the optimal level of redundancy for different network and codec settings. This study reveals that Skype’s FEC mechanism, not so surprisingly, falls in the ballpark, but there is surprisingly a significant margin for improvement to ensure consistent user satisfaction. here is no doubt that Skype is the most popular VoIP data, at the error concealment level. service. At the end of 2009, there were 500 million Hereafter, we refer to the redundancy-based error conceal- users registered with Skype, and the number of concur- ment function of the system as the forward error correction rent online users regularly exceeds 20 million. Accord- (FEC) mechanism. There are two components in a general Ting to TeleGeography, in 2008 8 percent of international FEC mechanism: a redundancy control algorithm and a redun- long-distance calls were made via Skype, making Skype the dancy coding scheme. The control algorithm decides how largest international voice carrier in the world.
    [Show full text]
  • Audio and Video Standards for Online Learning Kevin Reeve, Utah State University
    ... from the Dr. C Library Audio and Video Standards for Online Learning Kevin Reeve, Utah State University Introduction Digital media is a powerful tool that can enhance your online course. Recent devel- opments and market trends have changed the rules and media formats that need to be considered when creating media for your course. Choosing the correct video and audio format is the first step to insuring a successful experience for both instructor and student. Podcasts, a form of digital media meant for downloading to a portable media device are included in this discussion. Video and Audio Formats Popular media formats for audio and video include RealAudio® and RealVideo®, Win- dows Media®, MPEG 3, and MPEG 4. Each requires software that will encode video/ audio to that format, and also a player that will decode the video/audio for playback. All these formats are currently being used in e-learning with great success. The latest market trends are now suggesting that MPEG 4 for video and audio and MPEG 3 for audio only are “the” standards for digital media. Why MPEG 4 and MPEG 3? MPEG 4 and MPEG 3 are the standard because of consumer response. Apple ad- opted MPEG 4 early on as the video format for playback on their iPod®s that support video. Apple and YouTube worked together to allow YouTube video to be accessed by an Apple TV®, iPhones®, and the iPod® Touch. YouTube moved from Flash Video to MPEG 4 to accommodate these devices, and Adobe soon followed by updating its Flash Player to play MPEG 4 video and audio.
    [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]
  • Document Title
    Video-conference system based on open source software Emanuel Frederico Barreiros Castro da Silva Dissertation submitted to obtain the Master Degree in Information Systems and Computer Engineering Jury Chairman: Prof. Doutor Joao Paulo Marques da Silva Supervisor: Prof. Doutor Nuno Filipe Valentim Roma Co-supervisor: Prof. Doutor Pedro Filipe Zeferino Tomas Member: Prof. Doutor Luis Manuel Antunes Veiga June 2012 Acknowledgments I would like to thank Dr. Nuno Roma for the patience in guiding me through all the research, implementation and writing phase of this thesis. I would also like to thank Dr. Pedro Tomas´ for the Latex style sheet for this document and for the final comments and corrections on this thesis. I would also like to thank all my colleagues that helped me and supported me in hard times when i though it was impossible to implement the proposed work and was thinking in giving up. I would like to mention: Joao˜ Lima, Joao˜ Cabral, Pedro Magalhaes˜ and Jose´ Rua for all the support! Joao˜ Lima and Joao˜ Cabral were also fundamental for me, since they discussed different possibilities in the proposed solution with me and gave me fundamental support and feedback on my work! You guys were really the best friends i could had in the time being! I do not have enough thank words for you! Andre´ Mateus should also be mentioned due to all the patience and support for installing, uninstalling, installing, uninstalling and installing different Virtual Machines with Linux some more times. I would like to thank my family, specially my mother, for all the support and care they gave me for almost two years.
    [Show full text]
  • A Game Engine for the Blind
    Bachelor in Computer Science and Engineering 2016/2017 Bachelor Thesis Designing User Experiences: a Game Engine for the Blind Álvaro Cáceres Muñoz Tutor/s: Teresa Onorati Thesis defense date: July 3rd, 2017 This work is subject to the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International Public License. Abstract Video games experience an ever-increasing interest by society since their incep- tion on the 70’s. This form of computer entertainment may let the player have a great time with family and friends, or it may as well provide immersion into a story full of details and emotional content. Prior to the end user playing a video game, a huge effort is performed in lots of disciplines: screenwriting, scenery design, graphical design, programming, opti- mization or marketing are but a few examples. This work is done by game studios, where teams of professionals from different backgrounds join forces in the inception of the video game. From the perspective of Human-Computer Interaction, which studies how people interact with computers to complete tasks [9], a game developer can be regarded as a user whose task is to create the logic of a video game using a computer. One of the main foundations of HCI1. is that an in-depth understanding of the user’s needs and preferences is vital for creating a usable piece of technology. This point is important as a single piece of technology (in this case, the set of tools used by a game developer) may – and should have been designed to – be used on the same team by users with different knowledge, abilities and capabilities.
    [Show full text]
  • DCP-O-Matic Users' Manual
    DCP-o-matic users’ manual Carl Hetherington DCP-o-matic users’ manual ii Contents 1 Introduction 1 1.1 What is DCP-o-matic?.............................................1 1.2 Licence.....................................................1 1.3 Acknowledgements...............................................1 1.4 This manual...................................................1 2 Installation 2 2.1 Windows....................................................2 2.2 Mac OS X....................................................2 2.3 Debian, Ubuntu or Mint Linux........................................2 2.4 Fedora, Centos and Mageia Linux.......................................2 2.5 Arch Linux...................................................3 2.6 Other Linux distributions...........................................3 2.7 ‘Simple’ and ‘Full’ modes...........................................4 3 Creating a DCP from a video 5 3.1 Creating a new film..............................................5 3.2 Adding content.................................................6 3.3 Making the DCP................................................7 4 Creating a DCP from a still image9 5 Manipulating existing DCPs 12 5.1 Importing a DCP into DCP-o-matic..................................... 12 5.2 Decrypting encrypted DCPs.......................................... 12 5.3 Making a DCP from a DCP.......................................... 12 5.3.1 Re-use of existing data......................................... 13 5.3.2 Making overlay files.........................................
    [Show full text]