Shallow Discussion 4 K Video Technology
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V-Tune Pro 4K AV Tuner Delivers Exceptional HD Tuning Solutions
V-Tune Pro 4K AV Tuner Delivers Exceptional HD Tuning Solutions Corporate • Hotels • Conference Centers • Higher Education 800.245.4964 | [email protected] | www.westpennwire.com Tune Into HDTV 4K Distribution AV Tuner Provides HDMI 2.0, 1G BaseT Port & 3-Year Warranty The V-Tune Pro 4K offers a 4K2K high definition solution for Video outputs are HDMI 2.0 to reflect the latest in integrated systems that conform to NTSC (North America) connectivity technology, and composite YPbPr video or PAL (Europe) standards, or QAM schemes, and feature: to accommodate legacy systems. > ATSC Receivers > DVB Devices Audio is provided through unbalanced stereo RCA connectors, as well as through S/PDIF and optical > IPTV Systems fiber connectors. The tuner is capable of decoding video in these formats with resolutions up to 4K@60Hz via RF & LAN: The V-Tune Pro 4K’s versatility enables it to fit with > H.264 almost any integrated system’s topology. It’s the only > H.265 tuner on the market which can support a wide range of standards, formats, controls and connectivity > MPEG2 technologies cost-effectively. > MPEG4 > VC-1 The V-Tune Pro-4K AV Tuner may be integrated with these types of controls: > IP-Based > IR > RS-232 More Features to Maximize Functionality The V-Tune Pro-4K AV Tuner has many characteristics that make it ideal for any environment requiring superior HD tuning solutions. FEATURE V-TUNEPRO-4K 232-ATSC-4 4k x 2k Resolution YES NO (1080P Max) PAL YES NO DVB-T YES NO ISDB-T YES NO IPTV YES (UDP/RTP/RTSP Multicast & Unicast) NO 1G LAN PORT -
Paul Hightower Instrumentation Technology Systems Northridge, CA 91324 [email protected]
COMPRESSION, WHY, WHAT AND COMPROMISES Authors Hightower, Paul Publisher International Foundation for Telemetering Journal International Telemetering Conference Proceedings Rights Copyright © held by the author; distribution rights International Foundation for Telemetering Download date 06/10/2021 11:41:22 Link to Item http://hdl.handle.net/10150/631710 COMPRESSION, WHY, WHAT AND COMPROMISES Paul Hightower Instrumentation Technology Systems Northridge, CA 91324 [email protected] ABSTRACT Each 1080 video frame requires 6.2 MB of storage; archiving a one minute clip requires 22GB. Playing a 1080p/60 video requires sustained rates of 400 MB/S. These storage and transport parameters pose major technical and cost hurdles. Even the latest technologies would only support one channel of such video. Content creators needed a solution to these road blocks to enable them to deliver video to viewers and monetize efforts. Over the past 30 years a pyramid of techniques have been developed to provide ever increasing compression efficiency. These techniques make it possible to deliver movies on Blu-ray disks, over Wi-Fi and Ethernet. However, there are tradeoffs. Compression introduces latency, image errors and resolution loss. The exact effect may be different from image to image. BER may result the total loss of strings of frames. We will explore these effects and how they impact test quality and reduce the benefits that HD cameras/lenses bring telemetry. INTRODUCTION Over the past 15 years we have all become accustomed to having television, computers and other video streaming devices show us video in high definition. It has become so commonplace that our community nearly insists that it be brought to the telemetry and test community so that better imagery can be used to better observe and model systems behaviors. -
Image Resolution
Image resolution When printing photographs and similar types of image, the size of the file will determine how large the picture can be printed whilst maintaining acceptable quality. This document provides a guide which should help you to judge whether a particular image will reproduce well at the size you want. What is resolution? A digital photograph is made up of a number of discrete picture elements, known as “pixels”. We can see these elements if we magnify an image on the screen (see right). Because the number of pixels in the image is fixed, the bigger we print the image, then the bigger the pixels will be. If we print the image too big, then the pixels will be visible to the naked eye and the image will appear to be poor quality. Let’s take as an example an image from a “5 megapixel” digital camera. Typically this camera at its maximum quality setting will produce images which are 2592 x 1944 pixels. (If we multiply these two figures, we get 5,038,848 pixels, which approximately equates to 5 million pixels/5 megapixels.) Printing this image at various sizes, we can calculate the number of pixels per inch, more commonly referred to as dots per inch (dpi). Just note that this measure is dependent on the image being printed, it is unrelated to the resolution of the printer, which is also expressed in dpi. Original image size 2592 x 1944 pixels Small format (up to A3) When printing images onto A4 or A3 pages, aim for 300dpi if at all Print size (inches) 8 x 6 16 x 12 24 x 16 32 x 24 possible. -
The Strategic Impact of 4K on the Entertainment Value Chain
The Strategic Impact of 4K on the Entertainment Value Chain December 2012 © 2012 Futuresource Consulting Ltd, all rights reserved Reproduction, transfer, distribution or storage of part or all of the contents in this document in any form without the prior written permission of Futuresource Consulting is prohibited. Company Registration No: 2293034 For legal limitations, please refer to the rear cover of this report 2 © 2012 Futuresource Consulting Ltd Contents Section Page 1. Introduction: Defining 4K 4 2. Executive Summary 6 3. 4K in Digital Cinema 9 4. 4K in Broadcast 12 5. 4K Standards and Delivery to the Consumer 20 a) Pay TV 24 b) Blu-ray 25 c) OTT 26 6. Consumer Electronics: 4K Issues and Forecasts 27 a) USA 31 b) Western Europe 33 c) UK, Germany, France, Italy and Spain 35 7. 4K in Professional Displays Markets 37 8. Appendix – Company Overview 48 3 © 2012 Futuresource Consulting Ltd Introduction: Defining 4K 4K is the latest resolution to be hailed as the next standard for the video and displays industries. There are a variety of resolutions that are claimed to be 4K, but in general 4K offers four times the resolution of standard 1080p HD video. A number of names or acronyms for 4K are being used across the industry including Quad Full HD (QFHD), Ultra HD or UHD and 4K2K. For the purposes of this report, the term 4K will be used. ● These terms all refer to the same resolution: 3,840 by 2,160. ● The EBU has defined 3,840 by 2,160 as UHD-1. -
POST PRODUCTION 373 800-947-1175 | 212-444-6675 Video Editing Software
POST PRODUCTION 373 800-947-1175 | 212-444-6675 Video Editing Software After Effects CS6 Premiere Elements 12 Premiere Pro CS6 2D/3D Compositing and Animation Software Video Editing Software • Import/export from other NLEs • Native 64-bit support • Drag & Drop HD/SD video editing • Script-to-screen workflow • Motion graphics and visual effects • InstantMovie auto-editing • Tapeless camera support • 2D/3Dcompositing & animation • Color-correction pesets & fine-tuning • Native DSLR support • Fast rotoscoping with rotobrush • Burn HD content to standard DVDs • Improved Metadata • Work with HD, 2K, & 4Kprojects • Automated sharing to YouTube & Facebook • Ultra Keyer • 64-bit compatibility • AVC-Intra & enhanced RED support • Photo Pan & Zoom • Hundreds of effects & transitions For Windows (ADPPCS6WW) ..................................Call or Log-on • Color LUT support #ADPE12WM (Mac/Windows) ...................................................89.99 For Mac (ADPPCS6MW) .........................................Call or Log-on For Mac (ADAECS6MW) ...........Log-on Production Premium Media Composer 7 Davinci Resolve 9 • Premiere Pro with Expanded Multicam For Mac and PC Color Correction Software • After Effects with 3D Camera Tracker The industry-standard, provides The name behind more feature • SpeedGrade Color Grading 64-bit performance, easy-to-use films, TV commercials and • Photoshop Extended / Illustrator video editing tools, built-in effects, episodes,documentaries, and • Prelude / Audition / Encore / Bridge transitions, and streamlined -
Preparing Images for Powerpoint, the Web, and Publication a University of Michigan Library Instructional Technology Workshop
Preparing Images for PowerPoint, the Web, and Publication A University of Michigan Library Instructional Technology Workshop What is Resolution? ....................................................................................................... 2 How Resolution Affects File Memory Size ................................................................... 2 Physical Size vs. Memory Size ...................................................................................... 3 Thinking Digitally ........................................................................................................... 4 What Resolution is Best For Printing? ............................................................................ 5 Professional Publications ............................................................................................................................. 5 Non-Professional Printing ........................................................................................................................... 5 Determining the Resolution of a Photo ........................................................................ 5 What Resolution is Best For The Screen? ..................................................................... 6 For PowerPoint ............................................................................................................................................. 6 For Web Graphics ........................................................................................................................................ -
A Subjective Study for the Design of Multi-Resolution ABR Video Streams with the VP9 Codec
©2016 Society for Imaging Science and Technology DOI: 10.2352/ISSN.2470-1173.2016.2.VIPC-235 A Subjective Study for the Design of Multi-resolution ABR Video Streams with the VP9 Codec Chao Chen, Sasi Inguva, Andrew Rankin and Anil Kokaram, YouTube, Google Incorporated, 1600 Amphitheatre Parkway, Mountain View, California, United States Abstract Another important advantage of multi-resolution ABR Adaptive bit rate (ABR) streaming is one enabling technol- streaming is its rate-quality performance. In general, high res- ogy for video streaming over modern throughput-varying com- olution videos have better visual quality at high bit rates and low munication networks. A widely used ABR streaming method is resolution videos have better quality at low bit rate (see next to adapt the video bit rate to channel throughput by dynamically section for explanations). As shown in Figure 1, with multi- changing the video resolution. Since videos have different rate- resolution ABR streaming, users could always switch to the reso- quality performances at different resolutions, such ABR strategy lution with the best visual quality according to their available data can achieve better rate-quality trade-off than single resolution throughput[4]. ABR streaming. The key problem for resolution switched ABR is to work out the bit rate appropriate at each resolution. In this paper, we investigate optimal strategies to estimate this bit rate using Multi-resolution ABR both quantitative and subjective quality assessment. We use the Single-resolution ABR design of bitrates for 2K and 4K resolutions as an example of the Quality performance of this strategy. We introduce strategies for selecting an appropriate corpus for subjective assessment and find that at this high resolution there is good agreement between quantitative 4K and subjective analysis. -
Technologies Journal of Research Into New Media
Convergence: The International Journal of Research into New Media Technologies http://con.sagepub.com/ HD Aesthetics Terry Flaxton Convergence 2011 17: 113 DOI: 10.1177/1354856510394884 The online version of this article can be found at: http://con.sagepub.com/content/17/2/113 Published by: http://www.sagepublications.com Additional services and information for Convergence: The International Journal of Research into New Media Technologies can be found at: Email Alerts: http://con.sagepub.com/cgi/alerts Subscriptions: http://con.sagepub.com/subscriptions Reprints: http://www.sagepub.com/journalsReprints.nav Permissions: http://www.sagepub.com/journalsPermissions.nav Citations: http://con.sagepub.com/content/17/2/113.refs.html >> Version of Record - May 19, 2011 What is This? Downloaded from con.sagepub.com by Tony Costa on October 24, 2013 Debate Convergence: The International Journal of Research into HD Aesthetics New Media Technologies 17(2) 113–123 ª The Author(s) 2011 Reprints and permission: sagepub.co.uk/journalsPermissions.nav DOI: 10.1177/1354856510394884 Terry Flaxton con.sagepub.com Bristol University, UK Abstract Professional expertise derived from developing and handling higher resolution technologies now challenges academic convention by seeking to reinscribe digital image making as a material process. In this article and an accompanying online resource, I propose to examine the technology behind High Definition (HD), identifying key areas of understanding to enable an enquiry into those aesthetics that might derive from the technical imperatives within the medium. (This article is accompanied by a series of online interviews entitled A Verbatim History of the Aesthetics, Technology and Techniques of Digital Cinematography. -
HD Camcorder
PUB. DIE-0508-000 HD Camcorder Instruction Manual COPYRIGHT WARNING: Unauthorized recording of copyrighted materials may infringe on the rights of copyright owners and be contrary to copyright laws. 2 Trademark Acknowledgements • SD, SDHC and SDXC Logos are trademarks of SD-3C, LLC. • Microsoft and Windows are trademarks or registered trademarks of Microsoft Corporation in the United States and/or other countries. • macOS is a trademark of Apple Inc., registered in the U.S. and other countries. • HDMI, the HDMI logo and High-Definition Multimedia Interface are trademarks or registered trademarks of HDMI Licensing LLC in the United States and other countries. • “AVCHD”, “AVCHD Progressive” and the “AVCHD Progressive” logo are trademarks of Panasonic Corporation and Sony Corporation. • Manufactured under license from Dolby Laboratories. “Dolby” and the double-D symbol are trademarks of Dolby Laboratories. • Other names and products not mentioned above may be trademarks or registered trademarks of their respective companies. • This device incorporates exFAT technology licensed from Microsoft. • “Full HD 1080” refers to Canon camcorders compliant with high-definition video composed of 1,080 vertical pixels (scanning lines). • This product is licensed under AT&T patents for the MPEG-4 standard and may be used for encoding MPEG-4 compliant video and/or decoding MPEG-4 compliant video that was encoded only (1) for a personal and non- commercial purpose or (2) by a video provider licensed under the AT&T patents to provide MPEG-4 compliant video. No license is granted or implied for any other use for MPEG-4 standard. Highlights of the Camcorder The Canon XA15 / XA11 HD Camcorder is a high-performance camcorder whose compact size makes it ideal in a variety of situations. -
Introduction to Html5
Image Types Compression Because of data sizes and perceptual issues, compression is typically applied to media data Compression may be lossless or lossy Lossless compression ◦ Data bits can be recovered exactly in the compressed version ◦ Decompressed file has identical bits in identical order to original file before any compression ◦ Example: zip files 2 Lossy Compression Some data bits cannot be recovered after compression ◦ Decompressed file has lost some bits or bytes compared to original file before any compression Goal: Discard data that doesn’t typically affect perception; ◦ Human perception of rendered decompressed data should be similar to perception of rendered data before compression 3 4 Raster File Formats Extension Name Notes Joint Photographic Lossy compression format well suited for .jpg Experts Group photographic images Portable Network Lossless compression image, supporting .png Graphics 16bit sample depth, and Alpha channel Graphics 8bit indexed bitmap format, is superceded .gif Interchange by PNG on all accounts but animation Format Tagged Image lossless compression format (Lempel-Ziv- .tiff Flexible Format Welch – LZW) good for high-res images Google web .webp Lossless compression format Image Sampling Pixels: Small, often square, dots of color or grayscale which merge optically when viewed at a suitable distance to produce the impression of continuous tones 6 Image Resolution Resolution: ◦ Pixel dimensions of image; also: number of pixels that a device can display (render) per unit of length Examples ◦ My laptop -
Post Production FINAL Layout 1 3/25/14 9:53 AM Page 375
375-381 Post Production FINAL_Layout 1 3/25/14 9:53 AM Page 375 POST PRODUCTION 375 800-947-1186 | 212-444-6686 Video Editing Software Photoshop & Premiere Media Composer 7 Premiere Elements 12 Elements 12 For Mac and PC Video Editing Software Software bundle that combines all the The industry-standard, provides 64-bit performance, easy-to-use • Drag & Drop HD/SD video editing tools you need to organize, edit, video editing tools, built-in effects, • InstantMovie auto-editing enhance, and share videos and photos with the world. The Elements versions transitions, and streamlined HD, • Color-correction pesets & fine-tuning file-based, and stereo 3D work- borrow many of the best features from • Burn HD content to standard DVDs flows. Also includes Avid FX; Avid Adobe’s industry-leading professional • Automated sharing to YouTube & Facebook DVD and Sorenson Squeeze software, while adding automated tools. • Photo Pan & Zoom • Hundreds of effects & transitions #AVMC7DEU (with dongle...................................................1149.00 #ADPE12WM (Mac/Windows) ...................................................82.99 #ADPSPEO12MW .......................120.65 Wth Software Licensing (AVMC7SLWMEU)............................874.95 Final Draft 9 Director Suite 2 Davinci Resolve 9 Script Writing Software Video, Audio, Photo, Color Editing Suite ) Color Correction Software • #1 selling program for writing movie Combines the PowerDirector 12 video The name behind more feature scripts, TV episodes and stage plays. editing system with ColorDirector 2, films, TV commercials and AudioDirector 4, and PhotoDirector 5 episodes,documentaries, and • Combines powerful word processing into a complete video/audio/photo music videos than any other with professional script formatting in editing and color grading solution. grading system. There are one easy-to-use package. -
4K Signal Management 4K Is Here!
4K Signal Management 4K is Here! Years ago, the first commercial 4K displays came to market with five-figure price tags. Today, you can buy an Ultra HD television (3840x2160) for as little as $300, and dis- play panel manufacturers are rapidly shifting production from beyond 4K resolution. 4K is now the standard resolution for both display monitors and televisions, and 8K is lurking on the horizon. What you need to know: • 4K@60 • UHD • RGB and YUV color spaces • 4:2:2,4:2:0 and 4:4:4 color sampling • Custom resolutions in regards to inputs and scaled outputs (necessary to match LED wall custom configurations) • HDCP 2.2 What is 4K? 4K resolution is the next evolution in visual quality for screens of all varieties, from smartphones up to impressive in-home entertainment setups to movie screens. Where “HD”, or high definition”used to be the gold standard for image quality at 1280 x 720 pixels-per-square-inch (sometimes called 720p for short), or 1920 x 1080 (1080p), 4K resolution has now assumed the crown. At 3840 x 2160 pixels-per-square-inch, it’s also referred to commercially as UHD, or ultra high definition. A greater pixel density means that images are shown in greater clarity, and mimic the abilities of the healthy human eye more closely: it’s no mystery why this resolution in some computer monitors are sold under the term “retina display.” In television and consumer media, 3840 × 2160 (4K UHD) is the dominant 4K standard. 2 | 4K Signal Management Industry Transition to 4K As 4k-branded screens are overtaking their full HD coun- terparts in the open market, the view from outside-in can feel dizzying.