Digital Dilemmas: Dealing with Born-Digital and Digital Surrogate Audio and Audio-Visual Collections

Size: px
Start display at page:

Download "Digital Dilemmas: Dealing with Born-Digital and Digital Surrogate Audio and Audio-Visual Collections"

Transcription

1 Digital Dilemmas: Dealing with Born-Digital and Digital Surrogate Audio and Audio-Visual Collections ARCHIVES 2008 August 28 San Francisco I am Angelo Sacerdote and I am the Preservation manager at the Bay Area Video Coalition here in San Francisco. In addition to audio and video preservation, we also provide post production services, teach electronic media classes and serve Bay Area Youth, both in schools and at BAVC.

2 Born-Digital Video Sources Digital Video Tape Solid State Media Optical Media Hard Drives (computer generated video and devices with built in hard disk) Developing workflows and management schemes for "Born Digital" audio-visual materials helps us to prepare for the much larger task of reformatting and storing analog materials. For instance, the NDIIPP preserving digital public television project focused on Born Digital for it's first phase. Born digital means that the digital object in question was created in the digital realm, not migrated from analog. Today, I am focusing on digital video. There are many different sources of digital video files.

3 Born-Digital Video Sources Digital Video Tape Some common types: Digital Betacam DVCAM Mini DV Also- Octoplex, D1, D2, D3, D5, D6 DCT, DVCPRO, DVCPRO 50, Betacam SX, Digital 8, Digital S, etc. Many types of digital video tape do not enjoy widespread adoption. Betacam SX, for instance, is mostly found in TV news stations. I just found out about the first digital video format, Octoplex, by Ampex that recorded onto 2 tape. D1, D2, D3, D5, D6 and DCT are not nearly as common as DVCAM, DVCPRO, Digibeta and mini DV and should therefore be transferred as soon as possible before there are no more playback machines. At BAVC, we only support Digibeta, DVCAM and DVCPRO as digital tape formats.

4 Born-Digital Video Sources Solid State Media (no moving parts) Sony has SxS Pro to record XDCAM and Panasonic has P2 to record DVCPRO HD. Some consumer camcorders and digital still cameras and cell phones that also record video use SD cards. Each of these formats is proprietary and needs current software to play back. Solid state is very expensive but is coming down in price.

5 Born-Digital Video Sources Optical Media Some consumer video cameras record directly to DVD, as do some set-top video recorders. In addition, Sony has professional cameras that record to the high capacity Professional Disc that can store 50 GB of data.

6 Born-Digital Video Sources Hard Drives (computer generated video and devices with built in hard disk) Software generated video, as well as devices that record to a built in hard drive may also be sources for video files. Hard drives can suffer from data corruption and mechanical failure, although their reliability has increased over the years.

7 Digital Surrogates A digital surrogate is basically a digital copy of the original item. It may be a replacement for the original or it may be an access copy. Due to the march of progress, it is not possible to keep many analog video formats alive. Therefore, it is necessary to reformat analog sources to digital files. Deciding which file format is appropriate can be a formidable task.

8 Digital Video Files Wrappers: AVI MXF Quicktime MPEG2 MP4.divx.flv etc. The ideal would be for open standards that are universally readable. However, the needs of the archival community are not always in agreement with the motives of manufacturers of video equipment and software. The reality we must contend with is a sea of generic and not-so generic files. A wrapper is a binary container that the video essence, encoded in a supported codec, resides. Some of these wrappers are proprietary and some are not. Depending on the wrapper, there will be a certain level of metadata and a certain number of video and audio tracks..

9 Digital Video Files MXF MXF can contain many different codecs but not all flavors of MXF are the same and not all video software can read all MXF files. These are two different versions of mxf. The one on the left is from Panasonic s HVX200 camera, recorded on a P2 card. The one on the right looks more like what might come out of a Samma system or an Avid. Panasonic's P2 card based DVCPROHD format is a proprietary HD format, compressed about 6.7:1 and yields files which are about 40 GB per hour, much smaller than uncompressed standard definition video. The file created on a P2 card is a complex MXF series of folders. If any one of these folders is renamed or lost, the entire package is unreadable. Fortunately, these files can be re-wrapped into a more widely readable Quicktime package. Quicktime is the proprietary wrapper developed by Apple. While not an open standard, it is widely used and can be installed on Windows or Mac based computers. The "Pro" version that can read more codecs costs $30. as you can see the P2 card generated MXF comes as a series of folders. If you move or rename any single file, the whole thing becomes unusable.

10 Digital Video Files Codecs: DV DVCPRO50 DVCPROHD H.264 XDCAM EX XDCAM HD IMX JPEG2000 etc. The codec refers to how the video file is encoded. In order for software or hardware to play back the file, it must be able to open the wrapper and it must have the proper decoder installed. Digital video tape also uses codecs, such as DV. In this case, we could think of the tape as a wrapper. Not all players can play all files. For instance, a DV tape machine cannot play back an HDV tape and Quicktime cannot play back an MXF wrapped JPEG2000 file. It is therefore important to determine which video formats will be supported in your repository and develop a plan for ensuring some degree of uniformity. It will also be important to monitor trends in the technology over time to determine if the files are becoming obsolete and have a plan to transcode to the newer widely supported format when that time arrives. In the case of audio, storage has become so inexpensive that there is widespread agreement on Broadcast Wave Files, an uncompressed universally accepted file format. For images, TIFF is a good uncompressed standard. This is not the case with video. While uncompressed video formats exist, none are universal and require some sort of codec and wrapper that will be read by some but not all systems. In addition to this issue, the vast majority of new digital formats are heavily compressed and proprietary. What is the appropriate preservation format for these files?

11 Digital Video Compression File Size Codec Approximate size per hour of video Approximate storage needed for 100 hours DV 13 GB per hour 1.5 TB DV50 25 GB per hour 2.5 TB MPEG2 DVD quality 2-5 GB per hour 500 GB MPEG2 50 mbps 25 GB per hour 2.5 TB JPEG2000 Lossless 30 GB per hour 3 TB Uncompressed GB per hour 9.5 TB For example, one of the most common digital video formats, DV is compressed 5:1, is abut 13 GB per hour and is widely read by virtually all video software. The DV stream can be captured easily into a computer over a firewire cable. Uncompressed standard definition video can be about 95 GB per hour. Most other compression schemes will yield a file that is larger than the original. It makes sense to keep DV in it's native file format, since it will save storage space and is fairly generic. I am leaving out many options including all HD formats. These are approximate values. There are many factors that may contribute to the ultimate file size, including

12 Digital Video Compression Compression Ratio and Chroma Subsampling DV 5:1 compression ratio, 4:1:1 chroma subsampling Digital Betacam approx. 2:1 compression ratio, 4:2:2 chroma subsampling DV50 3.3:1 compression ratio, 4:2:2 chroma subsampling Motion JPEG2000 lossless at approx. 3:1 compression but not widely supported by hardware or software MPEG2 Interframe, different bitrates possible, 4:2:0 chroma subsampling H.264 mainly used for access, very efficient compression 4:2:0 chroma subsampling, higher quality profiles available Compression ratios are one indication of how much data you may be losing. Chroma subsampling is an indication of color reproduction fidelity. Because human eyes notice subtle differences in color less than in lumanence, some color information may be sacrificed to make best use of limited bandwidth. When the analog source is VHS, video 8 or Umatic, this may not matter. However, when the source is a very high bandwidth analog master or high quality digital master, a difference may be noticed. Some formats, such as DV and DV50 are constant bit-rate while MPEG2, H.264, Motion JPEG 2000 are variable bit rate, meaning their file size will vary depending of the settings used to encode them. All of these compression schemes are lossy except for JPEG 2000, which can be lossy or lossless. Lossy means some data Is discarded in the compression process. Lossless means that no data is discarded and the decoded file is as good as uncompressed. Another lossless codec is Huffy UV, which is also not widely supported in the post production world.

13 Digital Video Compression Intraframe DV DV50 Motion JPEG2000 Interframe MPEG2 (including DVD, HDV, IMX, etc.) H.264 Intraframe compresses each frame individually, while Interframe analyses a Group of Pictures and

14 Digital Video Compression Motion-Compensated Interframe Prediction Group of Pictures (GOP) Usually between 1-15 frames (30 fps in NTSC video) and made up of: I-Frames are intraframe. They refer only to themselves. P-Frames are predictive frames. They refer to the information in the I-Frames and themselves (intraframe) and can be smaller in file size than I-Frames. B-Frames are bi-directional predicted frames. Refers to both I and P- Frames. Requires less data than either I or P-Frames. Cannot be used as a reference frame in MPEG 2. compresses based on I frames, P frames and B frames. I-Frame only, and therefore essentially intraframe is possible with these compression schemes, yielding better quality and higher file sizes than IPB GOPS.

15 Digital Video Compression Compression Artifacts Most video compression schemes use some form of discrete cosine transform (DCT). fr Why not live? Red Cross film from archive.org MPEG2 encoded at 3.7 mbps DCT breaks the image up into discrete areas which are then subjected to calculations which determine how much information can be discarded. At high compression rates, this can result in blockiness, ringing and blurring. JPEG2000 uses wavelettes and in lossy high compression rates, exhibits more blurring and ringing but not blockiness. This image is from a Red Cross film called Why not live from the Prelinger collection at archive.org. It is an MPEG2 file encoded at a low bit rate, about 3.7 mbps.

16 Digital Video Compression Compression Artifacts This close up shows the artifacts more clearly. Moving water suffers a great deal of loss at this data rate.the diagonal lines in the hat have aliasing problems. But the arms and legs are not so bad because they lack detail and complexity.

17 Digital Video Compression When is uncompressed appropriate? Video Formats chart available at When moving from analog to digital it may be overkill to capture as uncompressed digital video files, depending on the original tape format. Does it make sense to store marginal standard definition formats in the highest quality digital format? For instance, VHS has 240 lines of resolution, Umatic has 280 and DV has 480 lines. DV is compressed 5:1 but is a component video format, whereas Umatic and VHS are composite. There is a useful chart available at As stated earlier, uncompressed video can be 95 GB per hour, whereas DV is only 13 GB per hour. There are a wide range of commonly used compression schemes for video. Some are less compressed than DV (DV50, MPEG2 50 mbps, etc.) and some are more heavily compressed (DVD, H.264, etc.) It makes sense to limit the number of formats to a few supported ones or you may run up against unexpected playback problems in the future. In the coming year, BAVC will be investigating which of the most commonly used compression schemes are appropriate for various analog tape sources. This study will be part of a larger project we are working on with the Dance Heritage Coalition and the results and recommendations will be made public at a future date.

18 Storage and Management Which medium? Which system? Once you have your digital assets, you need a place to store them, manage them and access them.

19 Storage Video Tape Optical Media Data Tape Hard drives Servers There are many different forms of media to store files on.

20 Storage Digital Video Tape Robust professional formats are expensive Still need to migrate later Subject to chemical breakdown, physical damage The traditional method is to reformat to another tape. We are comfortable with this way of working and you can put it on the shelf and forget about it. Unfortunately, if you wait too long, you can end up with an expensive reformatting project again in several years, especially if the format becomes obsolete or the tapes get compromised. There is no way to automatically check their integrity over time.

21 Storage Analog Video Tape Dropout The source of this tape is Hi8. A small analog tape format with bad dropout issues. As you can see, though imperfect, analog is forgiving. In less than a second, the dropout has passed and most people won t notice.

22 Storage Analog Video Tape Environmental Damage This is a 1/2 open reel tape that came to us from New Orleans. In addition to the mold, the tape had absorbed a great deal of moisture and had become sticky. It was very labor intensive, but it did play back, albeit imperfectly. If this were a digital tape, I doubt any of it would be retrievable. We have some similarly damaged tapes from Hawaii. We are transferring them to Digital Betacam and DVCAM and I have warned them to store them in a climate controlled facility or they will lose all of the video when those digital tapes get attacked by mold and moisture. By the way, please don t send us moldy tapes. If you have them, we can refer you to the right place. What this means is that your digital video tapes may be in greater danger than analog tapes, depending on format and storage conditions.

23 Storage Digital Video Tape Dropout DV Tape Digital Tape vs. Analog tape - Dropout may be a nuisance in the analog realm, but can be catastrophic in the digital realm. This is a simulation of dropout on DV tape. The block size represents the amount of compression used. Mini DV is very small (about 1/4 ) and easily damaged. Dropout can cause loss of audio information as well.

24 Storage Digital Video Tape Dropout Digital Betacam This is a simulation of dropout on Digital betacam tape. The block size represents the amount of compression used. Digital betacam is more robust (1/2 ) but is also quite thin. To be fair, Digital Betacam has been around since 1993 and I have rarely seen playback problems with it. I have not yet been presented with a moldy or water damaged Digital betacam tape. If I was presented with such a tape, I would send it elsewhere because our Digibeta decks are too expensive to repair to risk damaging them.

25 Storage Optical Media OK as interim access format Damage from scratches, chemical breakdown Limited storage capacity Easy to lose Standard single layer DVDs are 4.7 GB, Dual layer can be about 9 GB. Blu Ray disks can reach up to 50 GB with 100 GB already prototyped, but not yet available.

26 Storage Data Tape Good for data backup, not great for access. Slow to recover files. Unless you store all data tapes in an autoloader, difficult to do error checking.

27 Storage Hard Drives On A Shelf If you have just a few video tapes in your collection, you could get away with a hard drive on a shelf (in an enclosure of course). At this level, without the overhead of a server, it is equivalent in price to digital betacam with potentially better quality and easier access and migration. You just have to remember it is there and check it from time to time.

28 Storage Servers It is my opinion that servers are the way to go for storing files long term. They allow for checksums to be run at regular intervals and DAM software to manage the files. I would recommend servers with tape backup to be safe. Of course, servers require expensive infrastructure and consume large amounts of electricity, especially since they require air conditioning. They also require an IT staff. As the cost continues to drop, this will seem more realistic. These are BAVC servers. Some of them contain media files, others are for admin purposes. Everything is backed up to LTO 4 tapes and taken off site. They are connected to other parts of the facility with 10 gb fiber and 1 gb ethernet.

29 Storage Solid State The future of servers is solid state storage. It is my opinion that future server storage will be made from solid state drives. While they are still too expensive, solid state storage devices consume very little electricity, have no moving parts and are very sturdy. I accidentally ran this thumb drive through the laundry twice and it still works. I lost no data (Probably just a fluke). One downside is excessive heat with heavy duty access. I am confident that this will be resolved in time. They already make full sized hard drives such as this 64 GB Flash SSD laptop drive for only $750. Flash SSD drives as big as 128 GB go for about $450.

30 Metadata The great thing about standards is there are so many to choose from. Metadata. I can t talk about this without talking about metadata a bit. The ideal is for all of the standardized metadata to travel with the digital object. In the world of video, there are greater or fewer fields of metadata available depending on the wrapper. Some wrappers, such as MXF contain an XML element to hold metadata. Unfortunately, MXF has many different flavors and is still not widely used. Most notably, Apple has refused to support it in favor of their own Quicktime. There is no truly generic form of MXF, but if their were, it may solve the embedded metadata problem. AVI files can hold very limited basic metadata and Quicktime files can hold more, but not anything that lives up to library standards. Suffice it to say, as it stands now, some rudimentary metadata can be encoded to the object directly and the rest will happen in your Digital Asset Management system. I am not an authority on metadata, so I can t make strong recommendations, it seems like there is emerging consensus regarding METS with MODS and PREMIS or some variation of that, but I ll bet Hannah can address this better than I can.

31 It would be wise to try to limit the number of formats in your DAM and to make sure that you always have software and/or hardware attached that can read every format you are storing. BAVC is beginning to work with Final Cut Server and we are moving towards a FEDORA implementation in the near future. Final Cut Server uses no recognizable metadata standard, but we are looking into customizing metadata sets. Digital Asset Management Open Source: DSpace Fedora Commons Greenstone Proprietary Canto Cumulus VFinity Final Cut Server etc. When embarking upon a digitization program, it is necessary to first have a strategy for managing the files. This requires the implementation of a Digital Asset Management system and the accompanying infrastructure. There are many choices, both Open Source and proprietary. The advantage to open source is that you are usually staying in a standards based world and not locked into working with a single company. The downside is that you need a higher level of expertise to set up these systems and it may be challenging to find consultants for some of them. Proprietary solutions may come with a service package and skilled people to customize them and you may get up and running more quickly, but you may find yourself stuck within their solution. In addition, many commercial solutions for managing audio and video may not conform to digital library standards. In addition, If you make changes to open source software, they can be shared with the wider community to advance knowledge overall. There are advantages and disadvantages to both options, but this is a discussion for another panel. At present, many DAMs being used for smaller digital files but storing and serving large video files is still in the experimental phase. Storage costs are dropping and will soon be much less of an issue than they are today.

32 Digital Dilemmas: Dealing with Born-Digital and Digital Surrogate Audio and Audio-Visual Collections

Best practices for producing quality digital video files

Best practices for producing quality digital video files University of Michigan Deep Blue deepblue.lib.umich.edu 2011-03-09 Best practices for producing quality digital video files Formats Group, Deep Blue http://hdl.handle.net/2027.42/83222 Best practices for

More information

JPEG2000 in Moving Image Archiving

JPEG2000 in Moving Image Archiving JPEG2000 in Moving Image Archiving The Library of Congress Packard Campus National Audio Visual Conservation Center James Snyder Culpeper, Virginia Senior Systems Administrator, NAVCC Our Mission: Digitize

More information

Understanding HD: Frame Rates, Color & Compression

Understanding HD: Frame Rates, Color & Compression Understanding HD: Frame Rates, Color & Compression HD Format Breakdown An HD Format Describes (in no particular order) Resolution Frame Rate Bit Rate Color Space Bit Depth Color Model / Color Gamut Color

More information

FAQs. Getting started with the industry s most advanced compression technology. when it counts

FAQs. Getting started with the industry s most advanced compression technology. when it counts FAQs Getting started with the industry s most advanced compression technology when it counts AVC-Intra Frequently Asked Questions 1. What is AVC-Intra? AVC-Intra, the industry s most advanced compression

More information

Video compression: Performance of available codec software

Video compression: Performance of available codec software Video compression: Performance of available codec software Introduction. Digital Video A digital video is a collection of images presented sequentially to produce the effect of continuous motion. It takes

More information

Understanding P2 Workflow. Technology Update: USING P2 HD WITH FINAL CUT PRO. when it counts

Understanding P2 Workflow. Technology Update: USING P2 HD WITH FINAL CUT PRO. when it counts Technology Update: Understanding P2 Workflow USING P2 HD WITH FINAL CUT PRO when it counts Computer / OS specs A Macintosh computer with a 500 megahertz (MHz) or faster PowerPC G4 or G5 processor (550

More information

IPI Workshop 2012 Video Profit Center Workflows. Outline

IPI Workshop 2012 Video Profit Center Workflows. Outline Craig Moffat Contact: 714-267-4520 Website: www.appliedmagicvideo.com Email: craig@applied-magic.com IPI Workshop 2012 Video Profit Center Workflows Outline 1. Tape transfers to DVD Create a professional

More information

Awad Mousa Marketing Manager - AV

Awad Mousa Marketing Manager - AV Awad Mousa Marketing Manager - AV Contents t Overview Terminology Stop XDCAM, Professional Disc, Proxy, Metadata, t MXF, The Workflow NLE support Product Line-up The Future Who is using XDCAM? What is

More information

CS-184: Computer Graphics

CS-184: Computer Graphics CS-184: Computer Graphics Lecture #18: Introduction to Animation Prof. James O Brien University of California, Berkeley V2007-F-18-1.0 Introduction to Animation Generate perception of motion with sequence

More information

VASST GearShift User s Guide Version 1.8

VASST GearShift User s Guide Version 1.8 HD Conversion Script for Sony Vegas Pro VASST GearShift User s Guide Version 1.8 2005, 2009 VASST, All Rights Reserved software.htm Last Updated: April 10, 2009 Support: ultimatesupport@vasst.com Table

More information

College Archives Digital Preservation Policy. Created: October 2007 Last Updated: December 2012

College Archives Digital Preservation Policy. Created: October 2007 Last Updated: December 2012 College Archives Digital Preservation Policy Created: October 2007 Last Updated: December 2012 Introduction The Columbia College Chicago Archives Digital Preservation Policy establishes a framework to

More information

Workflow. Ingest. Search/Browse/ Transfer between offices. Supports a variety of formats for ingest. Material and metadata exchange

Workflow. Ingest. Search/Browse/ Transfer between offices. Supports a variety of formats for ingest. Material and metadata exchange XDCAM Archive The XDCAM Archive system is designed for today s rich media industry, enabling a practical yet versatile approach to the management of multi-format content from ingest to archive. This powerful

More information

Understanding Compression Technologies for HD and Megapixel Surveillance

Understanding Compression Technologies for HD and Megapixel Surveillance When the security industry began the transition from using VHS tapes to hard disks for video surveillance storage, the question of how to compress and store video became a top consideration for video surveillance

More information

White paper. An explanation of video compression techniques.

White paper. An explanation of video compression techniques. White paper An explanation of video compression techniques. Table of contents 1. Introduction to compression techniques 4 2. Standardization organizations 4 3. Two basic standards: JPEG and MPEG 4 4. The

More information

Final Cut Pro 6 Workshop http://www.cla.purdue.edu/vpa/etb/ Fabian Winkler

Final Cut Pro 6 Workshop http://www.cla.purdue.edu/vpa/etb/ Fabian Winkler Final Cut Pro 6 Workshop http://www.cla.purdue.edu/vpa/etb/ Fabian Winkler Required software/supplies for this workshop: Description Apple Final Cut Pro http://www.apple.com/finalcutstudio/finalcutpro/

More information

K2 System Ready for Nonlinear Media Production: QOS, Bandwidth and File Compatibility in File-based Workflows

K2 System Ready for Nonlinear Media Production: QOS, Bandwidth and File Compatibility in File-based Workflows K2 System Ready for Nonlinear Media Production: QOS, Bandwidth and File Compatibility in File-based Workflows Karel Rasovsky, Marketing Operations Grass Valley, a Belden Brand August 2013 What makes an

More information

State Library of Queensland - Digital Standard 2 Digital capture & format, version 3.01

State Library of Queensland - Digital Standard 2 Digital capture & format, version 3.01 State Library of Queensland - Digital Standard 2 Digital capture & format, version 3.01 Document Details Document Name: Location: State Library of Queensland Digital Standard 2 Digital capture & format

More information

Video compression. Contents. Some helpful concepts.

Video compression. Contents. Some helpful concepts. Video compression. Uncompressed video is extremely large, which makes it hard to store and move. In most cases we compress video to manage it. The amount of compression depends on the task at hand. Contents

More information

www.blackmagic-design.com > Blackmagic DeckLink Leading the creative video revolution

www.blackmagic-design.com > Blackmagic DeckLink Leading the creative video revolution www.blackmagic-design.com > Blackmagic DeckLink Leading the creative video revolution Blackmagic DeckLink The world s highest quality broadcast video cards with real time effects. Blackmagic DeckLink is

More information

AGP (Accelerated Graphics Port) Quartz Extreme graphics card 512 megabytes (MB) of random-access memory (RAM); 1 gigabyte (GB) recommended

AGP (Accelerated Graphics Port) Quartz Extreme graphics card 512 megabytes (MB) of random-access memory (RAM); 1 gigabyte (GB) recommended Using P2 HD with Computer / OS specs A Macintosh computer with a 500 megahertz (MHz) or faster PowerPC G4 or G5 processor (550 MHz for PowerBook G4) or any dual PowerPC G4 or G5 processors AGP (Accelerated

More information

Digital Video: A Practical Guide

Digital Video: A Practical Guide Digital Video: A Practical Guide Lucid Communications Ltd Prepared by Neil Turner January 2006 Document History Version Author Comments v1.0 Neil Turner Initial Release 1. Executive Summary From time to

More information

Managing video content in DAM How digital asset management software can improve your brands use of video assets

Managing video content in DAM How digital asset management software can improve your brands use of video assets 1 Managing Video Content in DAM Faster connection speeds and improved hardware have helped to greatly increase the popularity of online video. The result is that video content increasingly accounts for

More information

Avid DNxHD Technology

Avid DNxHD Technology www.avid.com Table of Contents Introduction...1 The benefits of Avid DNxHD encoding...1 Avid DNxHD encoding quality...2 Avid DNxHD encoding is open...3 Avid DNxHD encoding: what is high efficiency?...4

More information

The Digital Domain and Media Storage: How the Moving Image Archive Survives in Two Different Worlds

The Digital Domain and Media Storage: How the Moving Image Archive Survives in Two Different Worlds The Digital Domain and Media Storage: How the Moving Image Archive Survives in Two Different Worlds Joshua S. Harris Archives Manager National Geographic Society Film and Audiovisual Archives Digital Media

More information

4K End-to-End. Hugo GAGGIONI. Yasuhiko MIKAMI. Senior Manager Product Planning B2B Solution Business Group

4K End-to-End. Hugo GAGGIONI. Yasuhiko MIKAMI. Senior Manager Product Planning B2B Solution Business Group 4K End-to-End HPA Technology Retreat 2010 Yasuhiko MIKAMI Hugo GAGGIONI Senior Manager Product Planning B2B Solution Business Group Sony Corporation CTO Broadcast & Professional Division Sony Electronics

More information

Media Backbone HDXchange Networked Content Management System

Media Backbone HDXchange Networked Content Management System Media Backbone HDXchange Networked Content Management System More efficient, more creative video production through networking Work faster and smarter. Achieve higher quality at lower cost. Unify and coordinate

More information

How to use Adobe Media Encoder CS6

How to use Adobe Media Encoder CS6 How to use Adobe Media Encoder CS6 Adobe Media Encoder CS6 converts sequences and clips into media suited for distribution on the web or on DVDs, ipods, tablets, cell phones, and other mobile devices.

More information

Portable Video Audio I/O Interface. Quality in a Box. For Mac/PC.

Portable Video Audio I/O Interface. Quality in a Box. For Mac/PC. E D I T Portable Video Audio I/O Interface. Quality in a Box. For Mac/PC. B e c a u s e i t m a t t e r s. Introduction Io Express is the perfect Mac or PC interface for anyone who needs a quality portable

More information

White paper. H.264 video compression standard. New possibilities within video surveillance.

White paper. H.264 video compression standard. New possibilities within video surveillance. White paper H.264 video compression standard. New possibilities within video surveillance. Table of contents 1. Introduction 3 2. Development of H.264 3 3. How video compression works 4 4. H.264 profiles

More information

Sony NXCAM Product Workflows. in Sony Vegas Pro9

Sony NXCAM Product Workflows. in Sony Vegas Pro9 Sony NXCAM Product Workflows in Sony Vegas Pro9 Table of Contents 1 Introduction............................................4 HXR-NX5U and the NXCAM Product Line..........................4 Flexible Selection

More information

ProMedia Carbon Format Guide

ProMedia Carbon Format Guide ProMedia Carbon Format Guide This document provides a complete list of the supported import and export formats for Harmonic Rhozet Carbon products. In order to transcode from one format to another, Carbon

More information

Introduction to Digital Video

Introduction to Digital Video Introduction to Digital Video Significance of the topic With the increasing accessibility of technology for everyday people, things are starting to get digitalized: digital camera, digital cable, digital

More information

Manage Video Clutter and Organize Your Digital Library

Manage Video Clutter and Organize Your Digital Library Learn How To... Manage Video Clutter and Organize Your Digital Library This e-book will help in maintaining your video collection and preserving your family's memories. Table Of Contents INTRODUCTION...1

More information

Wowza Media Systems provides all the pieces in the streaming puzzle, from capture to delivery, taking the complexity out of streaming live events.

Wowza Media Systems provides all the pieces in the streaming puzzle, from capture to delivery, taking the complexity out of streaming live events. Deciding what event you want to stream live that s the easy part. Figuring out how to stream it? That s a different question, one with as many answers as there are options. Cameras? Encoders? Origin and

More information

Final Cut Pro 7. Professional Formats and Workflows

Final Cut Pro 7. Professional Formats and Workflows Final Cut Pro 7 Professional Formats and Workflows Copyright 2009 Apple Inc. All rights reserved. Your rights to the software are governed by the accompanying software license agreement. The owner or authorized

More information

How To Compare Video Resolution To Video On A Computer Or Tablet Or Ipad Or Ipa Or Ipo Or Ipom Or Iporom Or A Tv Or Ipro Or Ipot Or A Computer (Or A Tv) Or A Webcam Or

How To Compare Video Resolution To Video On A Computer Or Tablet Or Ipad Or Ipa Or Ipo Or Ipom Or Iporom Or A Tv Or Ipro Or Ipot Or A Computer (Or A Tv) Or A Webcam Or Whitepaper: The H.264 Advanced Video Coding (AVC) Standard What It Means to Web Camera Performance Introduction A new generation of webcams is hitting the market that makes video conferencing a more lifelike

More information

Sending, Storing & Sharing Video With latakoo

Sending, Storing & Sharing Video With latakoo Sending, Storing & Sharing Video With latakoo Copyright latakoo. All rights reserved. Revised 11/12/2012 Table of contents Table of contents... 1 1. Introduction... 2 2. Sending video & files with latakoo...

More information

Storage Technologies for Video Surveillance

Storage Technologies for Video Surveillance The surveillance industry continues to transition from analog to digital. This transition is taking place on two fronts how the images are captured and how they are stored. The way surveillance images

More information

New LTO Linear Tape File System Helps Make Video Storage Easier

New LTO Linear Tape File System Helps Make Video Storage Easier New LTO Linear Tape File System Helps Make Video Storage Easier Introducing LTO-5 Technology and Linear Tape File System TM Linear Tape-Open, LTO, LTO Logo, Ultrium and Ultrium Logo are registered trademarks

More information

How To Store Large Amounts Of Content On A Computer Or Network At A Large Capacity

How To Store Large Amounts Of Content On A Computer Or Network At A Large Capacity Ultra- HD Digital Storage Innova2ons and Trends for the Professional Media and Entertainment Industry Tom Coughlin Coughlin Associates www.tomcoughlin.com 2014 Coughlin Associates 1 Outline Richer Content

More information

How to Preserve Your Own Digital Materials

How to Preserve Your Own Digital Materials How to Preserve Your Own Digital Materials By the Digital Preservation Office at the University of Michigan Library. Links to web sites and prices current as of May 2014 Our personal photos, letters, movies

More information

The EDCINE Project Enhanced Digital Cinema

The EDCINE Project Enhanced Digital Cinema The EDCINE Project for Archives: A System Architecture for Digital Film Archives using JPEG 2000 and MXF Fraunhofer Institute for Integrated Circuits IIS Dr. Siegfried Foessel, Arne Nowak 1 The EDCINE

More information

Understanding Network Video Security Systems

Understanding Network Video Security Systems Understanding Network Video Security Systems Chris Adesanya Panasonic System Solutions Company adesanyac@us.panasonic.com Introduction and Overview This session will provide vendor neutral introduction

More information

In- house vs. Outsourcing

In- house vs. Outsourcing Catholic Archives in the Digital Age: A Conference for Reporters, Archivists, and Scholars A9ernoon Roundtable/Discussion: What to Digi>ze? How to Digi>ze it? In- house vs. Outsourcing First decision you

More information

GUIDELINES FOR THE CREATION OF DIGITAL COLLECTIONS

GUIDELINES FOR THE CREATION OF DIGITAL COLLECTIONS GUIDELINES FOR THE CREATION OF DIGITAL COLLECTIONS Digitization Best Practices for Moving Images CARLI Digital Collections Users Group Standards Subcommittee Table of Contents Scope 1. Introduction 2.

More information

Cyber Security: Guidelines for Backing Up Information. A Non-Technical Guide

Cyber Security: Guidelines for Backing Up Information. A Non-Technical Guide Cyber Security: Guidelines for Backing Up Information A Non-Technical Guide Essential for Executives, Business Managers Administrative & Operations Managers This appendix is a supplement to the Cyber Security:

More information

Sony HDV Workflows. in Apple Final Cut Pro 6

Sony HDV Workflows. in Apple Final Cut Pro 6 Sony HDV Workflows in Apple Final Cut Pro 6 1 Introduction 2 Workflow Overview 1 Introduction...........................................4 2 Workflow Overview......................................6 CompactFlash

More information

The Life of a Commercial

The Life of a Commercial The Life of a Commercial Application Specification AS-12 provides solutions to the problems that arise in existing workflows As media companies migrate from the old videotape-based systems to use digital

More information

Figure 1: Relation between codec, data containers and compression algorithms.

Figure 1: Relation between codec, data containers and compression algorithms. Video Compression Djordje Mitrovic University of Edinburgh This document deals with the issues of video compression. The algorithm, which is used by the MPEG standards, will be elucidated upon in order

More information

ATLAS.ti 6 Using Video Data

ATLAS.ti 6 Using Video Data ATLAS.ti 6 Using Video Data ATLAS.ti 6 Using Video Data Copyright 2011 by ATLAS.ti Scientific Software Development GmbH, Berlin. All rights reserved. Version: 7.20111212 Author: Clemens Hoffmann, Editor:

More information

General Pipeline System Setup Information

General Pipeline System Setup Information Product Sheet General Pipeline Information Because of Pipeline s unique network attached architecture it is important to understand each component of a Pipeline system in order to create a system that

More information

Video Production Glossary Some of the most common terms used in the industry An ST16 Ltd. White Paper

Video Production Glossary Some of the most common terms used in the industry An ST16 Ltd. White Paper Video Production Glossary Some of the most common terms used in the industry An ST16 Ltd. White Paper V2 SC Action! (From Director) Go / Do it now!. Audio post- production or Audio dubbing Audio sweetening

More information

VTrak G1100 Application and Performance Notes

VTrak G1100 Application and Performance Notes VTrak G1100 Application and Performance Notes Version 1.0 Date: 11/5/2014 Copyright 2014, Promise Technology, Inc. All Rights Reserved Revision History Revision Date Author Description 0.69 10/20/14 Gary

More information

Apple ProRes. White Paper June 2014

Apple ProRes. White Paper June 2014 White Paper June 2014 2 Contents 3 Introduction 4 Authorized Implementations 5 Family Overview 7 Properties of Digital Images Frame Size (Full-Width Versus Partial-Width) Chroma Sampling Sample Bit Depth

More information

A Primer on Codecs for Moving Image and Sound Archives

A Primer on Codecs for Moving Image and Sound Archives for Moving Image and Sound Archives & 10 Recommendations for Codec Selection and Management by chris lacinak president audiovisual preservation solutions AudioVisual Preservation Solutions Media Archiving

More information

From Video to the Web

From Video to the Web From Video to the Web by Chris & Trish Meyer, Crish Design the duration of a single frame. Alternating horizontal lines are taken from these two fields and woven (interlaced) together to create a frame.

More information

Creating Content for ipod + itunes

Creating Content for ipod + itunes apple Apple Education Creating Content for ipod + itunes This guide provides information about the file formats you can use when creating content compatible with itunes and ipod. This guide also covers

More information

Solution Brief: Creating Avid Project Archives

Solution Brief: Creating Avid Project Archives Solution Brief: Creating Avid Project Archives Marquis Project Parking running on a XenData Archive Server provides Fast and Reliable Archiving to LTO or Sony Optical Disc Archive Cartridges Summary Avid

More information

Panasonic DVCPRO from DV to HD. By David Wiswell

Panasonic DVCPRO from DV to HD. By David Wiswell Panasonic DVCPRO from DV to HD By David Wiswell Panasonic DVCPRO from DV to HD The transition to DTV has begun and even consumers realize that DTV does not always mean HDTV. While some broadcasters are

More information

Archives About ARCHOS TV+

Archives About ARCHOS TV+ About ARCHOS TV+ General Questions I have installed a firmware/plug-in/game file on my Archos TV+ but it is not recognized by the device. You may have not correctly copied your file on the device. If it

More information

TECHNICAL SPECIFICATIONS

TECHNICAL SPECIFICATIONS ANNEX II INVITATION TO TECHNICAL SPECIFICATIONS TABLES Audio-photo-video-multimedia laboratory work, and related supplies and services Interinstitutional Open Call for tenders PO/2015-27/A4 Launched by

More information

Using the Digital Preservation Toolkit Mini - Workshop. November 6, 2015 Ern Bieman, Canadian Heritage Information Network

Using the Digital Preservation Toolkit Mini - Workshop. November 6, 2015 Ern Bieman, Canadian Heritage Information Network Using the Digital Preservation Toolkit Mini - Workshop November 6, 2015 Ern Bieman, Canadian Heritage Information Network Learning Objectives of this Workshop In this mini-workshop you will: Learn how

More information

SUBMISSION SPECIFICATIONS

SUBMISSION SPECIFICATIONS SUBMISSION SPECIFICATIONS VERSION 4.0 MARCH 2014 PAGE 2: GENERAL SUBMISSION GUIDELINES / DELIVERY INFORMATION PAGE 3: MUSIC VIDEO CONTENT SPECIFICATIONS PAGE 4: FILM AND TELEVISION CONTENT SPECIFICATIONS

More information

A Look at Emerging Standards in Video Security Systems. Chris Adesanya Panasonic Network Systems Company Chris.Adesanya@us.panasonic.

A Look at Emerging Standards in Video Security Systems. Chris Adesanya Panasonic Network Systems Company Chris.Adesanya@us.panasonic. A Look at Emerging Standards in Video Security Systems Chris Adesanya Panasonic Network Systems Company Chris.Adesanya@us.panasonic.com Standards Standards are published documents that establish specifications

More information

Canon Vixia HFS10 High Definition Camcorder Quick Start Guide

Canon Vixia HFS10 High Definition Camcorder Quick Start Guide School of Communications Design Media Lab Canon Vixia HFS10 High Definition Camcorder Quick Start Guide The Canon HFS10 is a Hard Drive/Flash Memory camera. This means the footage can be recorded to a

More information

Research & Development. White Paper WHP 241. A Guide to Understanding BBC Archive MXF Files BRITISH BROADCASTING CORPORATION.

Research & Development. White Paper WHP 241. A Guide to Understanding BBC Archive MXF Files BRITISH BROADCASTING CORPORATION. Research & Development White Paper WHP 241 April 2013 A Guide to Understanding BBC Archive MXF Files M. Glanville and T. Heritage BRITISH BROADCASTING CORPORATION BBC Research & Development White Paper

More information

Avid ISIS 7000 v2.3 Performance and Redistribution Guide

Avid ISIS 7000 v2.3 Performance and Redistribution Guide Avid ISIS 7000 v2.3 Performance and Redistribution Guide Change History Date Revised 1/27/2011 v2.3 Release 9/16/2010 v2.2.2 Changes Made Avid ISIS 7000 v2.3 provides higher bandwidth on RAID Storage Groups

More information

Introduction to Final Cut Pro 7 - Editing Basics

Introduction to Final Cut Pro 7 - Editing Basics Workshop Objectives Become familiar with the Final Cut Pro workspace, basic editing, capturing footage, using tools, exporting to tape, or QuickTime. Learn effective workflow and file management strategies.

More information

Using Adobe Premiere Pro CS6 with file-based Sony XDCAM content

Using Adobe Premiere Pro CS6 with file-based Sony XDCAM content Using Adobe Premiere Pro CS6 with file-based Sony XDCAM content Adobe Premiere Pro CS6 includes: Adobe Premiere Pro CS6 Adobe Encore CS6 Adobe Media Encoder CS6 Adobe Premiere Pro CS6 is also available

More information

T2 Express 2, Pro 2 and Elite 2 Digital Recorder/Players

T2 Express 2, Pro 2 and Elite 2 Digital Recorder/Players Datasheet T2 Express 2, Pro 2 and Elite 2 Digital Recorder/Players Each of the three T2 digital recorder/players models (T2 Express 2, Pro 2 and Elite 2) brings full high-definition capture and playback

More information

SelenioFlex File Application: Editor Workflow. SelenioFlex TM File. Offline Editor

SelenioFlex File Application: Editor Workflow. SelenioFlex TM File. Offline Editor SelenioFlex File Application: Editor Workflow Workflow driven by the offline editor, exporting reference file into watch folder SelenioFlex File accesses referenced files directly from SAN/NAS o Very high

More information

GUIDELINES FOR THE CREATION OF DIGITAL COLLECTIONS

GUIDELINES FOR THE CREATION OF DIGITAL COLLECTIONS GUIDELINES FOR THE CREATION OF DIGITAL COLLECTIONS Digitization Best Practices for Audio This document sets forth guidelines for digitizing audio materials for CARLI Digital Collections. The issues described

More information

2102642 Computer Vision and Video Electronics

2102642 Computer Vision and Video Electronics What is Video? 2102642 Computer Vision and Video Electronics Chapter 7 Video Signals and Standards Suree Pumrin, Ph.D. 1 Video is a collation of images presented so fast they give the illusion of motion;

More information

PERFORMANCE ANALYSIS OF VIDEO FORMATS ENCODING IN CLOUD ENVIRONMENT

PERFORMANCE ANALYSIS OF VIDEO FORMATS ENCODING IN CLOUD ENVIRONMENT Suresh Gyan Vihar University Journal of Engineering & Technology (An International Bi Annual Journal) Vol. 1, Issue 1, 2015, pp 1 5 ISSN: 2395 0196 PERFORMANCE ANALYSIS OF VIDEO FORMATS ENCODING IN CLOUD

More information

MXF for Program Contribution, AS-11 AMWA White Paper

MXF for Program Contribution, AS-11 AMWA White Paper for Program Contribution, AS-11 AMWA White Paper By Ian Wimsett, Red Bee Media for Program Contribution, AS-11, is a specification that describes a file format for the delivery of finished programming

More information

Jane Zhao Nadalia Liu Digital Media Commons Fondren Library

Jane Zhao Nadalia Liu Digital Media Commons Fondren Library Jane Zhao Nadalia Liu Digital Media Commons Fondren Library Rice projects and activities that have multimedia component Technologies involved and tools used in these projects/ activities o Creation of

More information

Switch. The only tool professionals need to play, inspect and correct all their files

Switch. The only tool professionals need to play, inspect and correct all their files Telestream Switch Product Guide Switch The only tool professionals need to play, inspect and correct all their files Ideal for visual file inspection, QC workflows, itunes content delivery, and rewrapping

More information

PRESERVATION NEEDS ASSESSMENT PRESERVATION 101

PRESERVATION NEEDS ASSESSMENT PRESERVATION 101 Digital Assets If this section is not applicable to the collection(s) being surveyed, please note that here and move to the next section. Digital collections may include born-digital material and digital

More information

4big quadra. Professional 4-Bay RAID. esata 3Gb/s FireWire 800 & 400 USB 2.0 DESIGN BY NEIL POULTON

4big quadra. Professional 4-Bay RAID. esata 3Gb/s FireWire 800 & 400 USB 2.0 DESIGN BY NEIL POULTON 4big quadra DESIGN BY NEIL POULTON Professional 4-Bay RAID esata 3Gb/s FireWire 800 & 400 USB 2.0 Terabytes of Power The LaCie 4big Quadra is the most complete 4-bay RAID solution for professionals who

More information

Video Reformatting Equipment and Workflow Steps

Video Reformatting Equipment and Workflow Steps Video Reformatting Equipment and Workflow Steps Important: Please note that these recommendations for equipment and processing are based on budgetary needs first, and then proximity to best practices given

More information

This is a revised version of an article which first appeared in AMIA Tech Review Volume 2, October 2010 2

This is a revised version of an article which first appeared in AMIA Tech Review Volume 2, October 2010 2 Digital Cinema Technologies from the Archive s Perspective by Arne Nowak, Dep. Moving Picture Technologies 1 Fraunhofer Institute for Integrated Circuits, Germany This is a revised version of an article

More information

Network Security Systems Fundamentals for ITS Professionals

Network Security Systems Fundamentals for ITS Professionals Network Security Systems Fundamentals for ITS Professionals Chris Adesanya Sr. Systems Engineer Panasonic System Solutions Company adesanyac@us.panasonic.com BICSI Southeast Regional Meeting Dulles, VA

More information

MPEG-4. The new standard for multimedia on the Internet, powered by QuickTime. What Is MPEG-4?

MPEG-4. The new standard for multimedia on the Internet, powered by QuickTime. What Is MPEG-4? The new standard for multimedia on the Internet, powered by QuickTime. is the new worldwide standard for interactive multimedia creation, delivery, and playback for the Internet. What MPEG-1 and its delivery

More information

Federal Agencies AV Working Group

Federal Agencies AV Working Group Federal Agencies AV Working Group Notes from the meeting held in conjunction with the IASA/AMIA joint annual conference in Philadelphia, November 1, 2010, with additional notes from related subgroup meetings.

More information

Video and Audio Codecs: How Morae Uses Them

Video and Audio Codecs: How Morae Uses Them Video and Audio Codecs: How Morae Uses Them What is a Codec? Codec is an acronym that stands for "compressor/decompressor." A codec is an algorithm a specialized computer program that compresses data when

More information

A Selection of Questions from the. Stewardship of Digital Assets Workshop Questionnaire

A Selection of Questions from the. Stewardship of Digital Assets Workshop Questionnaire A Selection of Questions from the Stewardship of Digital Assets Workshop Questionnaire SECTION A: Institution Information What year did your institution begin creating digital resources? What year did

More information

Technical Paper. Dolby Digital Plus Audio Coding

Technical Paper. Dolby Digital Plus Audio Coding Technical Paper Dolby Digital Plus Audio Coding Dolby Digital Plus is an advanced, more capable digital audio codec based on the Dolby Digital (AC-3) system that was introduced first for use on 35 mm theatrical

More information

Born-digital media for long term preservation and access: Selection or deselection of media independent music productions

Born-digital media for long term preservation and access: Selection or deselection of media independent music productions Submitted on: 29.07.2015 Born-digital media for long term preservation and access: Selection or deselection of media independent music productions Trond Valberg Head Curator, Music Section, National Library

More information

INFORMATION FOR DELIVERY MATERIALS OF FUNDED PRODUCTIONS

INFORMATION FOR DELIVERY MATERIALS OF FUNDED PRODUCTIONS INFORMATION FOR DELIVERY MATERIALS OF FUNDED PRODUCTIONS Congratulations from the National Film & Sound Archive of Australia (NFSA) on securing funding for your production. You will notice that in your

More information

Motionlink ABN 21 089 713 057 July 2015

Motionlink ABN 21 089 713 057 July 2015 Asset Input Guide Asset Delivery Physical media: All deliveries should be addressed to: Motionlink Pty Ltd Suite 903, 1 Chandos St, St Leonards NSW 2065, Australia t. +612 9439 0133 Please email relevant

More information

Telestream Enhances Avid Workflows

Telestream Enhances Avid Workflows Solution Brief Rev July 2005 Telestream Enhances Avid Workflows Telestream s digital media transcoding and delivery products FlipFactory and ClipMail Pro allow you to re-purpose and deliver inbound media

More information

The Key Elements of Digital Asset Management

The Key Elements of Digital Asset Management The Key Elements of Digital Asset Management The last decade has seen an enormous growth in the amount of digital content, stored on both public and private computer systems. This content ranges from professionally

More information

Vcodes Automated Content Preparation System

Vcodes Automated Content Preparation System Vcodes Automated Content Preparation System Description DATA SHEET v.1.6 July, 2015 Automation Vcodes is a software based platform for creating and managing automated workflows for video content preparation.

More information

CITY AND COUNTY OF SAN FRANCISCO SAN FRANCISCO GOVERNMENT TELEVISION CITY HALL DIGITAL UPGRADE PROJECT PHASE II SCOPE OF WORK

CITY AND COUNTY OF SAN FRANCISCO SAN FRANCISCO GOVERNMENT TELEVISION CITY HALL DIGITAL UPGRADE PROJECT PHASE II SCOPE OF WORK CITY AND COUNTY OF SAN FRANCISCO SAN FRANCISCO GOVERNMENT TELEVISION CITY HALL DIGITAL UPGRADE PROJECT PHASE II SCOPE OF WORK Introduction San Francisco Government Television (SFGovTV) is the government

More information

2big Quadra ENTERPRISE CLASS. Professional 2-Disk RAID DESIGN BY NEIL POULTON. esata 3Gb/s FireWire 800 & 400 USB 2.0

2big Quadra ENTERPRISE CLASS. Professional 2-Disk RAID DESIGN BY NEIL POULTON. esata 3Gb/s FireWire 800 & 400 USB 2.0 2big Quadra ENTERPRISE CLASS DESIGN BY NEIL POULTON Professional 2-Disk RAID esata 3Gb/s FireWire 800 & 400 USB 2.0 The Enterprise Class Difference The LaCie 2big Quadra Enterprise Class has been developed

More information

Recommended codecs: MJPEG, Apple ProRes, H264 (bitrate if possible) > 2MBit/s and uncompressed (very large file)

Recommended codecs: MJPEG, Apple ProRes, H264 (bitrate if possible) > 2MBit/s and uncompressed (very large file) How to prepare a film file for the upload Technical Sepcifications Accepted formats:.mp[e]g /.vob /.avi /.mov /.mp4 (m4v) Recommended codecs: MJPEG, Apple ProRes, H264 (bitrate if possible) > 2MBit/s and

More information

Portable Video Audio I/O Interface. For Mac/PC.

Portable Video Audio I/O Interface. For Mac/PC. E D I T Portable Video Audio I/O Interface. For Mac/PC. B e c a u s e i t m a t t e r s. Introduction Quality in a Box. For Mac/PC. Io Express is the perfect Mac or PC interface for anyone who needs a

More information

HIGH-DEFINITION: THE EVOLUTION OF VIDEO CONFERENCING

HIGH-DEFINITION: THE EVOLUTION OF VIDEO CONFERENCING HIGH-DEFINITION: THE EVOLUTION OF VIDEO CONFERENCING Technology Brief Polycom, Inc. 4750 Willow Road Pleasanton, CA 94588 1.800.POLYCOM This white paper defines high-definition (HD) and how it relates

More information

Digital Asset Management 数 字 媒 体 资 源 管 理 任 课 老 师 : 张 宏 鑫 2015-09-15

Digital Asset Management 数 字 媒 体 资 源 管 理 任 课 老 师 : 张 宏 鑫 2015-09-15 Digital Asset Management 数 字 媒 体 资 源 管 理 任 课 老 师 : 张 宏 鑫 2015-09-15 1. Introduction 1. 导 论 Outline Outline Content management Outline Content management Industrial Analysis Outline Content management Industrial

More information

Digital Disaster Recovery for Audiovisual Collections Testing the Theory

Digital Disaster Recovery for Audiovisual Collections Testing the Theory Digital Disaster Recovery for Audiovisual Collections Testing the Theory Mick Newnham, Trevor Carter, Greg Moss and Rod Butler National Film & Sound Archive of Australia. Abstract If an audiovisual collection

More information