Showing posts with label Standards. Show all posts
Showing posts with label Standards. Show all posts

Friday, October 18, 2013

What is a streaming server?

What is a streaming server? | wolfcrow:
If you want to understand video streaming over the Internet, you must first have a solid grasp on what a Streaming Server is, and how it works. This article provides a simple overview of the entire chain of events, and is written for the absolute newbie.

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Saturday, October 12, 2013

Frame rate

Frame rate:
There are three main frame rate standards in the TV and digital cinema business: 24p, 25p, and 30p. However, there are many variations on these as well as newer emerging standards.

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Thursday, October 3, 2013

Neil Sadwelkar's musings on Digital: 24-25 fps in the digital age

Neil Sadwelkar's musings on Digital: 24-25 fps in the digital age:
There's still a fair bit of confusion in the minds of professionals who work in cinema about this '24-25thing'. By cinema, I  mean movies that get made for showing in theatres. And this confusion is deep amongst sound recordists and sound engineers. And to a smaller extent, with VFX and DI 'artists'.

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Sunday, September 29, 2013

EBU unveils QC Criteria

EBU Technology & Innovation - News - EBU unveils QC Criteria:
Last week, at IBC 2013, the EBU published the first release of its QC Criteria (EBU Tech 3363) developed by its Strategic Programme on Quality Control. EBU Tech 3363 is a large collection of QC checks that can be applied to file-based audiovisual content. Examples include the detection of visual test patterns, loudness level compliance checks, colour gamut verification, looking for image sequences that may trigger epileptic seizures, etc. This collection of QC tests can be seen as a 'shopping list' which media professionals can use to, for example, create their own delivery specifications or establish test protocols for archive transfer projects.

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Friday, August 30, 2013

Monitoring in the real world (Using the Blackmagic Cinema Camera as an example)

Blackmagic's cameras are bringing a raw workflow to an uprecedented number of people, and also highllighting the difference between raw and "standard" ("Rec 709) video - the stuff we've been used to up to now. If it seems complicated, it will be a little bit less so once you've read Phil Rhodes' article.

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Monday, August 26, 2013

Open Source DPP creation - Open Broadcast Encoder

Open Source DPP creation - Open Broadcast Encoder:
From time to time we work on other things beyond DVB broadcast encoding where Open Source can be used to transform closed broadcast workflows. The file delivery specification from the Digital Production Partnership (DPP) is one such area. However, the AVC-Intra codec used in DPP is effectively a proprietary codec with implementation in the real world being more complex than the SMPTE RP2027 that AS-11 recommends and in a number of areas implemented incorrectly. However, we have now successfully reverse engineered AVC-Intra from available samples which allows a fully open source DPP creation workflow. Along with existing Open Source projects for manipulation and creation of mxf files, a fully compliant DPP file can be delivered to UK broadcasters.

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Saturday, August 17, 2013

Ultimate Aspect Ratio Guide

Ultimate Aspect Ratio Guide - by Vashi Nedomansky:
The boundaries of the canvas that filmmakers use can take many forms. The Aspect Ratio of the frame size varies from The Kid’s 1.33 to Ben Hur’s 2.67 and everything between and beyond. There is the Academy Standard of 1.37, the HDTV standard of 1.78, Vistavision’s 1.85 and more. I would like to share a plethora of aspect ratios (with examples) so you, as a filmmaker, can decide which one will best serve your story. At the bottom of this post…I’m including a FREE template package that covers just about every aspect ratio ever used. Feel free to use them on your own project or share it with other filmmakers, so they too can harness the power of the frame.

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Saturday, June 15, 2013

Technicolor's Color Certified Program ensures consistency across displays (video)

Technicolor's Color Certified Program ensures consistency across displays (video):
There's THX certification for TVs, ensuring potential buyers that they'll get solid home-theater visuals, so why shouldn't there be an equivalent for your gadgets' displays? Technicolor, along with software company Portrait Displays, is stepping up to the plate with a new standard for guaranteeing hue quality across PC and mobile panels. The Technicolor Color Certified Program will award screens that meet its requirements with a seal -- or logo, as it were -- of approval. What are the qualifications, you ask? Technicolor's spec is based on software from Portrait Displays, which works with OEMs to fine-tune screens for color accuracy. For the end user, the result should be consistent tones across all certified devices either automatically or when the Technicolor color setting is enabled for specific programs or apps. Head past the break for our eyes-on impressions.

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Wednesday, May 22, 2013

Rec.ommendations for Display Gamma

Rec.ommendations for Display Gamma - NegativeSpaces - Ben Cain:
Old news really as this white paper from the International Telecommunications Union (ITU) standardizing gamma for reference monitors in HDTV was released in March 2011! But the topic of Gamma Correction as it pertains to Display Gamma is one that comes up constantly in conversation with colleagues in both post and acquisition. So much so that as I was combing through old NegativeSpaces articles detailing monitor calibration, I felt that a post on Gamma for broadcast monitors is one well warranted.

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Monday, April 8, 2013

EBU, SMPTE and VSF form Joint Task Force on Networked Media

EBU Technology & Innovation - News - EBU, SMPTE and VSF form Joint Task Force on Networked Media:
The Task Force’s primary objective is to ensure interoperability in packet-based systems (networking, equipment and software) for professional media. This implies defining an agile, on-demand, packet-based network infrastructure that supports a variety of distributed, automated, professional media (file- and stream-based) workflows for local, regional and global standards-based production, supporting any format, to reduce cost of ownership and content time-to-market.

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Friday, April 5, 2013

AMWA Releases ‘MXF for Production’ Specification | Advanced Media Workflow Association

AMWA Releases ‘MXF for Production’ Specification | Advanced Media Workflow Association:
AMWA Releases ‘MXF for Production’ Specification
AS-10 details an interoperable format for end-to-end workflows based on long GOP MPEG-2 coding.
Atlanta, GA – April 3 2013: The Advanced Media Workflow Association (AMWA) has released Application Specification, AS-10, “MXF for Production”. This specification, built on the Sony XDCAM HD Format (SMPTE RDD-9), allows an end-to-end workflow to use a single file.
Dan Shockley, Chief Video Engineer at CNN, explains the need for the Specification: “While CNN’s news production workflows operate at a very high scale and rate of throughput, the need for efficiency and interoperability is the same as virtually every news production operation. With AS-10, we maintain interoperability between systems with a single file, eliminating the need for transcoding or rewrapping, and ultimately achieving higher levels of speed and quality in our production processes. Less tightly specified MXF implementations provided by vendors to date have not delivered this level of interoperability.”
AS-10 is a MXF file format for typical end to end production workflows including camera acquisition, server acquisition, editing, play-out, digital distribution and archive. AS-10 is compatible with existing MXF based systems & devices that a broadcaster may already have deployed.
Previous specifications had ambiguities that could lead to inconsistent implementations. AS-10 adds details to facilitate the design of interoperable products supporting the codec family.
Shockley, who was the AMWA Product Owner for AS-10 said, “We have added support for recordings that span several files, for example across multiple camera cards. The Specification also details how to access growing files for edit during ingest, both essential features for fast-paced news operations.”
AS-10 does not require Descriptive Metadata. However Descriptive Metadata may be useful as part of a production workflow and is supported by the Specification AS-10 adds support for descriptive metadata, removing the need for XML sidecars to carry metadata.
Shockley added, “In addition to this specification a reference implementation including a validator and golden files is available to AMWA members.”
Brad Gilmer, Executive Director of the AMWA, said, “This Specification, MXF for Production, is another step in our mission to create interoperable media applications that see ‘MXF at Work’.”

Saturday, February 16, 2013

Pitch Perfect takes advantage of P3 Colorspace

Pitch Perfect takes advantage of P3 Colorspace:
Targeting the DCI-P3 color spec, which is the native colorspace for digital cinema projection, allows for a much wider contrast and color gamut than a traditional film-targeted workflow, and we took full advantage of that for this film.  The highlights of the film take place on a colorful stage with moving lights and flashy performances.  With all the saturated blues and reds, film prints can’t always handle that kind of rich color detail.

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Friday, February 8, 2013

Log vs. Raw: The Simple Version by Art Adams

Log vs. Raw: The Simple Version by Art Adams:
Raw is all the rage, but should it be? Log gives us 99% of the benefit of a raw file in a grade but with much smaller files.

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Log Gamma Vs. Linear Gamma: A Primer

Log Gamma Vs. Linear Gamma: A Primer:
Log_vs._lin_lin_624_440 With the Sony F5 and F55 coming down the pipeline, cinematographer Art Adams, on behalf of Pro Video Coalition, decided to revisit the differences between log gamma and linear gamma in a simple and informative way.
While Sony’s cameras may use S-Log and S-Log2, you’ll run into log encoding in other formats like DPX/Cineon. It’s important to get a grip on why log encoding out of the camera is useful and why we need viewing LUTs for the footage to look normal on a Rec. 709 monitor.


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Monday, December 3, 2012

MXF and AAF

MXF and AAF | Distribution content from Broadcast Engineering:
Many broadcasters know about MXF, and they have heard of things such as MXF for Finished Programs (AS-03) and MXF for Commercials (AS-12). But, this month, I want to focus on MXF’s bigger brother, AAF.

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Friday, November 16, 2012

Progressive, Interlaced, PsF... How did we get to this?

Progressive, Interlaced, PsF... How did we get to this?:
Progressive, Interlaced, PsF... How did we get to this?If you or I were asked, given current technology, to create a system to record and display moving images, we probably wouldn’t build what actually exists right now. We'd do it completely differently, says Phil Rhodes.




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Friday, October 5, 2012

Reliable UDP (RUDP): The Next Big Streaming Protocol?

Reliable UDP (RUDP): The Next Big Streaming Protocol? - Streaming Media Magazine:
Those who have had a little experience will probably have heard of TCP (transmission control protocol) and UDP (user datagram protocol). They are transport protocols that run over IP links, and they define two different ways to send data from one point to another over an IP network path. TCP running over IP is written TCP/IP; UDP in the same format is UDP/IP.

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