Guru Jambheshwar University of Science & Technology
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Subaligner's Documentation!
subaligner Release 0.2.0 Xi Bai Jul 31, 2021 CONTENTS 1 Installation 3 2 Usage 5 3 Advanced Usage 7 4 Anatomy 11 5 Test 13 6 Acknowledgement 15 7 License 17 8 API Reference 19 8.1 subaligner................................................ 19 9 Indices and tables 41 Python Module Index 43 Index 45 i ii subaligner, Release 0.2.0 Given an out-of-sync subtitle file along with a piece of audiovisual content carrying speeches described by it, Sub- aligner provides a one-stop solution on automatic subtitle synchronisation and translation with pretrained deep neural networks and forced alignments. In essence, aligning subtitles is a dual-stage process with a Bidirectional Long Short- Term Memory network trained upfront. Subaligner helps subtitlers not only in preprocessing raw subtitle materials (outcome from stenographers or STT workflow, etc.) but also in gaining quality control over their work within subtitle post-production. This tool also tolerates errors that occurred in live subtitles which sometimes do not completely or correctly represent what people actually spoke in the companion audiovisual content. Subligner has been shipped with a command-line interface which helps users to conduct various tasks around subtitle synchronisation and multilingual translation without writing any code. Application programming interfaces are also provided to developers wanting to perform those tasks programmatically. Moreover, with existing audiovisual and in-sync subtitle files at hand, advanced users can train their own synchronisers with a single command and zero setup. A handful of subtitle formats are supported and can be converted from one to another either during synchronisation and translation or on on-demand. -
Free Software an Introduction
Free Software an Introduction By Steve Riddett using Scribus 1.3.3.12 and Ubuntu 8.10 Contents Famous Free Software...................................................... 2 The Difference.................................................................. 3 Stallman and Torvalds.......................................................4 The Meaning of Distro......................................................5 Linux and the Holy Grail.................................................. 6 Frequently Asked Questions............................................. 7 Where to find out more.....................................................8 2 Free Software - an Introduction Famous Free Software Firefox is a web browser similar to Microsoft's Internet Explorer but made the Free software way. The project started in 2003 from the source code of the Netscape browser which had been released when Netscape went bust. In April 2009, Firefox recorded 29% use worldwide (34% in Europe). Firefox is standards compliant and has a system of add-ons which allow innovative new features to be added by the community. OpenOffice.org is an office suite similar to Microsoft Office. It started life as Star Office. Sun Microsystems realised it was cheaper to buy out Star Office than to pay Microsoft for licence fees for MS Office. Sun then released the source code for Star Office under the name OpenOffice.org. OpenOffice.org is mostly compatible with MS Office file formats, which allows users to open .docs and .xls files in Open Office. Microsoft is working on a plug-in for MS Office that allows it to open .odf files. ODF (Open Document Format) is Open Office's default file format. Once this plug-in is complete there will 100% compatiblity between the two office suites. VLC is the VideoLAN Client. It was originally designed to allow you to watch video over the network. -
Open Source Subtitle Editor Software Study for Section 508 Close Caption Applications
https://ntrs.nasa.gov/search.jsp?R=20140002618 2019-08-29T14:44:57+00:00Z Open Source Subtitle Editor Software Study for Section 508 Close Caption Applications Brandon F. Murphy NASA. John F. Kennedy Space Center Major: Computer Science USRP Summer 2013 Session Date: July 30 2013 NASA USRP - Internship Final Report Open Source Subtitle Editor Software Study for Section 508 Close Caption Applications Brandon F. Murphy North Carolina Agricultural and Technical State University Greensboro, North Carolina. 27411 Nomenclature cc = Closed Captioning !TAW = IT Accessibility and Workforce GSA = General Services Administration EfT = Electronic and Information Technology .srt = the file extension for Sub Rip subtitle files oss = Open Source Software .ssa = SubStation Alpha .ass = Advanced SubStation Alpha Subtitle .sub = Subtitling file .txt = Text File .idx = Index file I. Introduction Government agencies are required by law under the Section 508 policy to provide any tools or services for their employees who may need them. For those who need special assistance these tools and services help them do their job to the best of their ability. With these tools and services a person with disabilities will have equal opportunities for advancing in their company, as others do. This research and implementation was used to find cost effective solutions to make information available to all Government employees as required by law, Section 508. II. Abstract This paper will focus on a specific item within the NASA Electronic Information Accessibility Policy - Multimedia Presentation shall have synchronized caption; thus making information accessible to a person with hearing impairment. This synchronized caption will assist a person with hearing or cognitive disability to access the same information as everyone else. -
Blender Instructions a Summary
BLENDER INSTRUCTIONS A SUMMARY Attention all Mac users The first step for all Mac users who don’t have a three button mouse and/or a thumb wheel on the mouse is: 1.! Go under Edit menu 2.! Choose Preferences 3.! Click the Input tab 4.! Make sure there is a tick in the check boxes for “Emulate 3 Button Mouse” and “Continuous Grab”. 5.! Click the “Save As Default” button. This will allow you to navigate 3D space and move objects with a trackpad or one-mouse button and the keyboard. Also, if you prefer (but not critical as you do have the View menu to perform the same functions), you can emulate the numpad (the extra numbers on the right of extended keyboard devices). It means the numbers across the top of the standard keyboard will function the same way as the numpad. 1.! Go under Edit menu 2.! Choose Preferences 3. Click the Input tab 4.! Make sure there is a tick in the check box for “Emulate Numpad”. 5.! Click the “Save As Default” button. BLENDER BASIC SHORTCUT KEYS OBJECT MODE SHORTCUT KEYS EDIT MODE SHORTCUT KEYS The Interface The interface of Blender (version 2.8 and higher), is comprised of: 1. The Viewport This is the 3D scene showing you a default 3D object called a cube and a large mesh-like grid called the plane for helping you to visualize the X, Y and Z directions in space. And to save time, in Blender 2.8, the camera (left) and light (right in the distance) has been added to the viewport as default. -
VLC User Guide
VLC user guide Henri Fallon Alexis de Lattre Johan Bilien Anil Daoud Mathieu Gautier Clément Stenac VLC user guide by Henri Fallon, Alexis de Lattre, Johan Bilien, Anil Daoud, Mathieu Gautier, and Clément Stenac Copyright © 2002-2004 the VideoLAN project This document is the complete user guide of VLC. Permission is granted to copy, distribute and/or modify this document under the terms of the GNU General Public License as published by the Free Software Foundation; either version 2 of the License, or (at your option) any later version. The text of the license can be found in the appendix. GNU General Public License. Table of Contents 1. Introduction.........................................................................................................................................................................1 What is the VideoLAN project ?.....................................................................................................................................1 What is a codec ?............................................................................................................................................................3 How can I use VideoLAN ?............................................................................................................................................3 Command line usage.......................................................................................................................................................4 2. Modules and options for VLC...........................................................................................................................................8 -
Frogpond 37.1 • Winter 2014 (Pdf)
F ROGPOND T HE JOURNAL OF THE HAIKU SOCIETY OF AMERICA V OLUME 37:1 W INTER 2014 About HSA & Frogpond Subscription / HSA Membership: For adults in the USA, $35; in Canada/Mexico, $37; for seniors and students in North America, $30; for everyone elsewhere, $47. Pay by check on a USA bank or by International Postal Money Order. All subscriptions/memberships are annual, expiring on December 31, and include three issues of Frogpond as well as three newsletters, the members’ anthology, and voting rights. All correspondence regarding new and renewed memberships, changes of address, and requests for information should be directed to the HSA secretary (see the list of RI¿FHUVS). Make checks and money orders payable to Haiku Society of America, Inc. Single Copies of Back Issues: For USA & Canada, $14; for elsewhere, $15 by surface and $20 by airmail. Older issues might cost more, depending on how many are OHIW3OHDVHLQTXLUH¿UVW0DNHFKHFNVSD\DEOHWR+DLNX6RFLHW\RI America, Inc. Send single copy and back issue orders to the Frogpond editor (see p. 3). Contributor Copyright and Acknowledgments: All prior copyrights are retained by contributors. Full rights revert to contributors upon publication in Frogpond. Neither the Haiku 6RFLHW\RI$PHULFDLWVRI¿FHUVQRUWKHHGLWRUDVVXPHUHVSRQVLELOLW\ IRUYLHZVRIFRQWULEXWRUV LQFOXGLQJLWVRZQRI¿FHUV ZKRVHZRUNLV printed in Frogpond, research errors, infringement of copyrights, or failure to make proper acknowledgments. Frogpond Listing and Copyright Information: ISSN 8755-156X Listed in the MLA International Bibliography, Humanities Interna- tional Complete, Poets and Writers. © 2014 by the Haiku Society of America, Inc. Francine Banwarth, Editor Michele Root-Bernstein, Associate Editor Cover Design and Photos: Christopher Patchel. -
Interactive Music Visualization – Implementation, Realization and Evaluation MASTER DISSERTATION
DM DM Interactive Music Visualization – Implementation, Realization and Evaluation MASTER DISSERTATION Nome Autor do Marco Filipe Ganança Vieira MASTER IN INFORMATICS ENGINEERING Interactive Music Visualization – Implementation, Interactive Music Visualization Realization and Evaluation Marco Filipe Ganança Vieira September | 2012 Nome do Projecto/Relatório/Dissertação de Mestrado e/ou Tese de Doutoramento | Nome do Projecto/Relatório/Dissertação de Mestrado e/ou Tese DIMENSÕES: 45 X 29,7 cm NOTA* PAPEL: COUCHÊ MATE 350 GRAMAS Caso a lombada tenha um tamanho inferior a 2 cm de largura, o logótipo institucional da UMa terá de rodar 90º , para que não perca a sua legibilidade|identidade. IMPRESSÃO: 4 CORES (CMYK) ACABAMENTO: LAMINAÇÃO MATE Caso a lombada tenha menos de 1,5 cm até 0,7 cm de largura o laoyut da mesma passa a ser aquele que consta no lado direito da folha. Interactive Music Visualization – Implementation, Realization and Evaluation MASTER DISSERTATION Marco Filipe Ganança Vieira MASTER IN INFORMATICS ENGINEERING ORIENTAÇÃO Mon-Chu Chen Abstract This thesis describes all process of the development of music visualization, starting with the implementation, followed by realization and then evaluation. The main goal is to have to knowledge of how the audience live performance experience can be enhanced through music visualization. With music visualization is possible to give a better understanding about the music feelings constructing an intensive atmosphere in the live music performance, which enhances the connection between the live music and the audience through visuals. These visuals have to be related to the live music, furthermore has to quickly respond to live music changes and introduce novelty into the visuals. -
User Manual 19HFL5014W Contents
User Manual 19HFL5014W Contents 1 TV Tour 3 13 Help and Support 119 1.1 Professional Mode 3 13.1 Troubleshooting 119 13.2 Online Help 120 2 Setting Up 4 13.3 Support and Repair 120 2.1 Read Safety 4 2.2 TV Stand and Wall Mounting 4 14 Safety and Care 122 2.3 Tips on Placement 4 14.1 Safety 122 2.4 Power Cable 4 14.2 Screen Care 123 2.5 Antenna Cable 4 14.3 Radiation Exposure Statement 123 3 Arm mounting 6 15 Terms of Use 124 3.1 Handle 6 15.1 Terms of Use - TV 124 3.2 Arm mounting 6 16 Copyrights 125 4 Keys on TV 7 16.1 HDMI 125 16.2 Dolby Audio 125 5 Switching On and Off 8 16.3 DTS-HD (italics) 125 5.1 On or Standby 8 16.4 Wi-Fi Alliance 125 16.5 Kensington 125 6 Specifications 9 16.6 Other Trademarks 125 6.1 Environmental 9 6.2 Operating System 9 17 Disclaimer regarding services and/or software offered by third parties 126 6.3 Display Type 9 6.4 Display Input Resolution 9 Index 127 6.5 Connectivity 9 6.6 Dimensions and Weights 10 6.7 Sound 10 7 Connect Devices 11 7.1 Connect Devices 11 7.2 Receiver - Set-Top Box 12 7.3 Blu-ray Disc Player 12 7.4 Headphones 12 7.5 Game Console 13 7.6 USB Flash Drive 13 7.7 Computer 13 8 Videos, Photos and Music 15 8.1 From a USB Connection 15 8.2 Play your Videos 15 8.3 View your Photos 15 8.4 Play your Music 16 9 Games 18 9.1 Play a Game 18 10 Professional Menu App 19 10.1 About the Professional Menu App 19 10.2 Open the Professional Menu App 19 10.3 TV Channels 19 10.4 Games 19 10.5 Professional Settings 20 10.6 Google Account 20 11 Android TV Home Screen 22 11.1 About the Android TV Home Screen 22 11.2 Open the Android TV Home Screen 22 11.3 Android TV Settings 22 11.4 Connect your Android TV 25 11.5 Channels 27 11.6 Channel Installation 27 11.7 Internet 29 11.8 Software 29 12 Open Source Software 31 12.1 Open Source License 31 2 1 TV Tour 1.1 Professional Mode What you can do In Professional Mode ON, you can have access to a large number of expert settings that enable advanced control of the TV’s state or to add additional functions. -
Introduction Infographics 3D Computer Graphics
Planetary Science Multimedia Animated Infographics for Scientific Education and Public Outreach INTRODUCTION INFOGRAPHICS 3D COMPUTER GRAPHICS Visual and graphic representation of scientific knowledge is one of the most effective ways to present The production of infographics are made by using software creation and manipulation of vector The 3D computer graphics are modeled in CAD software like Blender, 3DSMax and Bryce and then complex scientific information in a clear and fast way. Furthermore, the use of animated infographics, graphics, such as Adobe Illustrator, CorelDraw and Inkscape. These programs generate SVG files to be rendered with plugins like Vray, Maxwell and Flamingo for a photorealistic finish. Terrain models are video and computerized graphics becomes a vital tool for education in Planetary Science. Using viewed in the multimedia. taken directly from DTM (Digital Terrain Models) data available of Solar System objects in various infographics resources arouse the interest of new generations of scientists, engineers and general official sources as NASA, ESA, JAXA, USGS, Google Mars and Google Moon. The DTM can also be raised public, and if it visually represents the concepts and data with high scientific rigor, outreach of from topographic maps available online from the same sources, using GIS tools like ArcScene, ArcMap infographics resources multiplies exponentially and Planetary Science will be broadcast with a precise and Global Mapper. conceptualization and interest generated and it will benefit immensely the ability to stimulate the formation of new scientists, engineers and researchers. This multimedia work mixes animated infographics, 3D computer graphics and video with vfx, with the goal of making an introduction to the Planetary Science and its basic concepts. -
Live Performance Where Congruent Musical, Visual, and Proprioceptive Stimuli Fuse to Form a Combined Aesthetic Narrative
Soma: live performance where congruent musical, visual, and proprioceptive stimuli fuse to form a combined aesthetic narrative Ilias Bergstrom UCL A thesis submitted for the degree of Doctor of Philosophy 2010 1 I, Ilias Bergstrom, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 2 Abstract Artists and scientists have long had an interest in the relationship between music and visual art. Today, many occupy themselves with correlated animation and music, called ‗visual music‘. Established tools and paradigms for performing live visual music however, have several limitations: Virtually no user interface exists, with an expressivity comparable to live musical performance. Mappings between music and visuals are typically reduced to the music‘s beat and amplitude being statically associated to the visuals, disallowing close audiovisual congruence, tension and release, and suspended expectation in narratives. Collaborative performance, common in other live art, is mostly absent due to technical limitations. Preparing or improvising performances is complicated, often requiring software development. This thesis addresses these, through a transdisciplinary integration of findings from several research areas, detailing the resulting ideas, and their implementation in a novel system: Musical instruments are used as the primary control data source, accurately encoding all musical gestures of each performer. The advanced embodied knowledge musicians have of their instruments, allows increased expressivity, the full control data bandwidth allows high mapping complexity, while musicians‘ collaborative performance familiarity may translate to visual music performance. The conduct of Mutable Mapping, gradually creating, destroying and altering mappings, may allow for a narrative in mapping during performance. -
Post-Cinematic Affect
Post-Cinematic Affect Steven Shaviro 0 BOO KS Winchester, UK Washington, USA r First published by 0-Books, 2010 O Books ls an imprint of John Hunt Publishing Ltd., The Bothy, Deershot Lodge, Park Lane, Ropley, CONTENTS Hants, S024 OBE, UK [email protected] www.o-books.com For distributor details and how to order please visit the 'Ordering' section on oUr website. Text copyright Steven Shaviro 2009 Preface vii ISBN: 978 1 84694 431 4 1 Introduction All rights reserved. Except for brief quotations in critical articles or reviews, no part of 1 this book may be reproduced in any manner without prior written permission from 2 Corporate Cannibal the publishers. 11 3 Boarding Gate The rights of Steven Shaviro as author have been asserted in accordance with the Copyright, 35 1988. 4 Designs and Patents Act Southland Tales 64 5 A CIP catalogue record for this book is available from the British Library. Gamer 93 6 Coda Design: Stuart Davies 131 Printed In the UK by CPI Antony Rowe Works Cited 140 Endnotes 153 We operate a distinctive and ethical publishing philosophy in all areas of its business, from its global network of authors to production and worldwide distribution. Preface This book is an expanded version of an essay that originally appeared in the online journal Film-Philosophy. Earlier versions of portions of this book were delivered as talks sponsored by the Affective Publics Reading Group at the University of Chicago, by the film and media departments at Goldsmiths College, Anglia Ruskin University, University of the West of England, and Salford University, by the "Emerging Encounters in Film Theory" conference at Kings College, by the Experience Music Project Pop Conference, by the Nordic Summer University, by the Reality Hackers lecture series at Trinity University, San Antonio, and by the War and Media Symposium and the Humanities Center at Wayne State University. -
Soloud Audio Engine
SoLoud Audio Engine Jari Komppa February 7, 2020 i These pages were intentionally left blank. ii (Except for this text) iii © 2020 Komppa, Jari Contents 1 Introduction 1 1.1 Quick Start. 4 1.2 Frequently Asked Questions . 7 1.2.1 What does it play? . 7 1.2.2 What dependencies does it have? . 7 1.2.3 Is there a DLL / C-Interface? . 7 1.2.4 What’s the animal in the logo? . 7 1.2.5 Is there a mailing list? . 7 1.2.6 No doxygen docs? . 8 1.2.7 Why not use this superior fork of libmodplug? . 8 1.2.8 Why did SoLoud move to libmodplug? . 8 1.2.9 Can SoLoud do HRTF? . 8 1.2.10 What about surround speakers? . 8 1.2.11 Are these real questions? . 8 1.3 Directory Structure . 9 1.3.1 Overview. 9 1.3.2 src . 10 1.3.3 demos . 10 1.4 Premake / GENie . 11 1.5 Legal . 13 1.5.1 SoLoud Proper . 13 1.5.2 OGG Support . 13 1.5.3 MP3 Support . 13 1.5.4 Wav Support . 14 1.5.5 Speech Synthesizer . 14 1.5.6 Vizsn . 14 1.5.7 Fast Fourier Transform (FFT) . 14 1.5.8 Sfxr . 14 1.5.9 RPGMaker Wrapper Generator. 15 1.5.10 TED and SID support . 17 1.5.11 Vic . 18 1.5.12 Openmpt . 18 1.5.13 FreeVerb . 18 2 Concepts 19 2.1 Generic Audio Concepts . 19 2.1.1 Audio Source and Instance.