HDTV hmm harley d +tv?
What?
Connect this stunt HDTV by
broadband to my pc by wifi or what? Nada a chance..
My time is not any nano
speeeed montecarlo game.. as my emails capito?
What is needed than to have fun…???? Does it exist…? Fun do… but the honest healthdeclaration in the IT and electronics industry does
not,
is that not a time for that..?
A switch, a backdoor channel to transport info popup ads etc , blocking functionality and also to take
out messages (theft) etc.., and more over to understand what the viewers see on
the dear tv and computer so dear…
All this letters? To look on tv? And hook it up to my lappy?
Odd? Just gobbeligoktext to
hide “the art of painting in business itself in the corner” due to the need
to pump up figures in bookkeeping and more blocki stuffi etc… aaaaany question? just a simple email kajander1@nodns.org
DDCP in or DHCP? Hmm
Encryption?
H.264 mpeg 4 AVC or SMPTE VC-1
Market
45 miljon hdtv sets in 2008? Que?
720p and 1080i signals?
Lets
understand (as
usual..) backdoor pump in out popup take email etc stunt possible?
Mpeg 2
backdoor stunt is know as most of the rest…
http://www.packetizer.com/codecs/h264/trev_293-schaefer.pdf
Control data
aha…
http://en.wikipedia.org/wiki/H.264
H.264, MPEG-4 Part 10, or AVC,
for Advanced Video Coding, is a digital video codec
standard which is noted for achieving very high data
compression. It was written by the ITU-T
Video Coding Experts Group (VCEG) together with the ISO/IE
C
Moving Picture Experts Group (MPEG)
as the product of a collective partnership effort known as the Joint Video Team
(JVT). The ITU-T H.264
standard and the ISO/IEC MPEG-4 Part 10 standard
(formally, ISO/IEC 14496-10) are technically
identical. The final drafting work on the first version of the
standard was completed in May of 2003’
It is usual to call the standard as H.264/AVC (or AVC/H.264 or
H.264/MPEG-4 AVC or MPEG-4/H.264 AVC)
to emphasize the common heritage
The intent of the H.264/AVC project was to create a standard that would
be capable of providing good video quality at bit rates that are substantially
lower (e.g., half or less) than what previous standards would need (e.g.,
relative to MPEG-2, H.263, or MPEG-4 Part 2), and to do so without so
much of an increase in complexity as to make the design impractical
(excessively expensive) to implement. An additional goal was to do this in a flexible way that would allow the
standard to be applied to a very wide variety of applications (e.g., for both low and high bit rates, and low and high
resolution video) and to work well on a very wide variety of networks and
systems (e.g., for broadcast, DVD storage, RTP/IP packet networks, and ITU-T multimedia telephony systems).
Ok
http://www.packetizer.com/codecs/h264/trev_293-schaefer.pdf
The H.264/AVC
design [2] supports the coding of video (in 4:2:0 chroma
format) that contains either progressive
or interlaced frames, which may be mixed together in the
same sequence.
Generally, a
frame of video contains two interleaved fields, the top and the bottom field.
The two fields of an interlaced frame, which are separated in time
by a field period (half the time of a frame period), may be coded separately as two field pictures or
together as a frame picture. A progressive frame should always be
coded as a single frame picture; however, it is still considered to consist of
two fields at the same instant in time.
The JVT recently completed the
development of some extensions to the
original standard that are known as the Fidelity Range Extensions (FRExt). These extensions support higher-fidelity video coding
by supporting increased sample accuracy (including 10-bit and 12-bit coding) and
higher-resolution color information (including sampling structures known as YUV 4:2:2 and YUV 4:4:4). Hmm 2bits on the loose?
Several other
features are also included in the Fidelity Range Extensions project (such as adaptive switching between 4×4 and
8×8 integer transforms, encoder-specified perceptual-based
quantization weighting matrices, efficient inter-picture lossless coding, support of
additional color spaces, and a residual color transform).
http://www.packetizer.com/codecs/h264/trev_293-schaefer.pdf
The remaining two
slice types are SP (switching P) and SI (switching I),
which are specified for efficient switching
between bitstreams coded at various bit-rates
The Inter
prediction signals of the bitstreams for one selected
SP frame are quantized in the transform domain, forcing them into a coarser range of amplitudes.
This coarser
range of amplitudes permits
a low bit-rate coding of the difference signal between the bitstreams. SI frames are specified to achieve a perfect
match for SP frames in cases where Inter prediction cannot be used
because of transmission errors.
http://www.packetizer.com/codecs/h264/trev_293-schaefer.pdf
Which
pictures are actually located in each reference picture buffer
is an issue for the
multi-picture buffer control, and an operation very similar to the well-known
MPEG-2 B pictures can be enabled.
Man, here I found
a guy in Rethymno Crete over a beer taking about this,
cheeseslices…
The motion
vector coding
is similar to that of P slices with the appropriate
modifications because neighbouring blocks may be coded
using different prediction modes.
Rice engraving???
http://citeseer.ist.psu.edu/context/80207/0
The design work on the Fidelity Range
Extensions was completed in July of 2004, and the drafting was finished in
September of 2004.
-
- Quarter-pixel
precision for motion compensation, enabling very
precise description of the displacements of moving areas. For chroma
the resolution is typically halved (see 4:2:0) therefore the motion compensation precision is down
to one-half pixel.
- Weighted prediction, allowing an encoder to
specify the use of a scaling and offset when performing motion compensation, and providing a
significant benefit in performance in special cases—such as fade-to-black,
fade-in, and cross-fade transitions
- .
- An in-loop deblocking filter which helps prevent the blocking
artifacts common to other DCT-based
image compression techniques.
- http://www.actapress.com/PaperInfo.aspx?PaperID=22823
-
- An
exact-match integer 4×4 spatial block transform (similar to the well-known
DCT design), and in the case of the new FRExt "High" profiles, the
ability for the encoder to adaptively select between a 4×4 and 8×8
transform block size for the integer transform operation.
-
- A
secondary Hadamard transform performed on
"DC" coefficients of the primary spatial transform (for chroma DC coefficients and also luma in
one special case) to obtain even more compression in smooth regions.
-
- Spatial prediction from the edges of neighboring
blocks for "intra" coding (rather than the "DC"-only
prediction found in MPEG-2 Part 2 and the transform
coefficient prediction found in H.263+ and MPEG-4 Part 2).
- Context-adaptive
binary arithmetic coding (CABAC), which is a clever technique to losslessly compress syntax elements in the video
stream knowing the probabilities of syntax elements in a given context.
-
- Context-adaptive variable-length coding (CAVLC), which is a
lower-complexity alternative to CABAC for the
coding of quantized transform coefficient values.
Although lower complexity than CABAC, CAVLC is more elaborate and more efficient than the
methods typically used to code coefficients in other prior designs.
-
- A common
simple and highly-structured variable length coding (VLC)
technique for many of the syntax elements not coded by CABAC
or CAVLC, referred to as Exponential-Golomb (Exp-Golomb) coding.
-
- A network abstraction layer (NAL) definition allowing the same video syntax to be
used in many network environments, including features such as sequence
parameter sets (SPSs) and picture
parameter sets (PPSs) that provide more
robustness and flexibility than provided in prior designs.
We
need a switch 1 or 0
A NAL unit
specifies a generic format for use in both
packet-oriented
and bitstream
systems.
The format of NAL
units for both packet-oriented transport and bitstream
delivery is
identical . except that each NAL unit can be preceded by a start
code prefix in a bitstream-oriented
transport
layer
http://www.packetizer.com/codecs/h264/trev_293-schaefer.pdf
a Network Abstraction
Layer (NAL), which formats the VCL
representation of the video and provides
header information in a manner appropriate for conveyance by
particular transport layers or storage media.
We need a switch 1 or 0
-
- Switching slices (called SP
and SI slices), features that allow an encoder to direct a decoder to jump into an ongoing video stream for such purposes as video streaming bit rate
switching and "trick mode" operation.
-
- When a
decoder jumps into the middle of a video stream using the SP/SI feature, it can get an exact match to the decoded
pictures at that location in the video stream despite using different
pictures (or no pictures at all) as references prior to the switch.
-
- Flexible
macroblock ordering (FMO,
also known as slice groups) and arbitrary slice ordering (ASO), which are techniques for restructuring the
ordering of the representation of the fundamental
regions (called macroblocks) in pictures.
Typically considered an error/loss robustness feature, FMO and ASO can also be
used for other purposes.
-
- Data
partitioning (DP), a feature providing the ability to separate more
important and less important syntax elements into different packets of data, enabling the application of unequal error protection (UEP) and other types of improvement of
error/loss robustness.
-
- Redundant
slices (RS), an error/loss robustness feature allowing an encoder to send an extra representation of a picture
region (typically at lower fidelity) that can be used if the
primary representation is corrupted or lost. Hmm???
-
- A simple
automatic process for preventing the accidental emulation of start codes,
which are special sequences of bits in the coded data that allow random access into the bitstream and recovery of byte alignment
in systems that can lose byte synchronization.
-
- Supplemental
enhancement information (SEI) and video
usability information (VUI), which are extra
information that can be inserted
into the bitstream to enhance the use of the video for a wide variety
of purposes.
- Auxiliary
pictures, which can be used for such purposes as alpha compositing.
- Frame numbering, a feature that allows the
creation of "sub-sequences" (enabling temporal scalability by optional inclusion of extra pictures between other pictures), that the technique to make advertisments in films so fast that the eye can not
see it but it makes an impression in mind and that has earlier been forbidden
due to the method…and the dangers with elepsi (my
note hmm was it wrongspelled..?)
-
- and the
detection and concealment of losses of entire pictures (which can occur
due to network packet losses or channel errors).
-
- Picture order count, a feature that serves to
keep the ordering of the pictures and the values of samples in the decoded
pictures isolated from timing information (allowing timing information to
be carried and controlled/changed separately by a system without affecting
decoded picture content).
These techniques, along with several others, help
H.264 to perform significantly better than any prior standard can, under a wide
variety of circumstances in a wide variety of application environments. H.264
can often perform radically better than MPEG-2 video—typically obtaining the same
quality at half of the bit rate or less.
Like other ISO/IEC MPEG video standards, H.264/AVC has a reference
software implementation that can be freely downloaded. Its main purpose is to
give examples of H.264/AVC features, rather than being a useful application per
se. (See the links section for a pointer to that software.) Some reference
hardware design work is also under way in MPEG.
The standard includes the
following six sets of capabilities, which are referred to as profiles,
targeting specific classes of applications:
Since the completion of
the original version of the standard in May of 2003, the JVT
has also completed two generations of "corrigendum"
errata corrections to the text of the standard.
Ok
http://www.packetizer.com/codecs/h264/trev_293-schaefer.pdf
New application
areas and business models
The increased
compression efficiency of H.264/AVC offers new application areas and business
opportunities.
It is now
possible, to transmit video signals at
about 1 Mbit/s with TV (PAL) quality, which
enables streaming
over xDSL connections. Another
interesting business area is TV
transmission over satellite. By choosing 8-
PSK and turbo coding (as currently under discussion for
DVB-S2) and the usage of H.264/AVC, the
number of
programmes per satellite can be tripled in comparison to the
current DVB-S systems using MPEG-2. Given
this huge amount of additional transmission capacity, even the
exchange of existing set-top boxes might
become an interesting option.
Also for DVB-T, H.264/AVC is an interesting option. Assuming the
transmission parameters which have been
selected for Germany
(8k mode, 16-QAM, code rate 2/3, and ¼
Guard Interval), a bitrate of 13.27 Mbit/s is
available in each 8 MHz
channel.
It now
becomes possible to encode HD
signals at about 8 Mbit/s which fit
onto a conventional DVD.
In October
2002, UBVideo [10] showed (for the H.264/AVC Baseline
profile) CIF-resolution video running
on a 800 MHz Pentium 3 laptop computer. The encoding was at
49 frames per second (fps), decoding at
105 fps, and encoding and decoding together at 33 fps. Their
low-complexity encoding solution . which
is
designed/optimized for real-time conversational video applications . incurred an increase in bit-rate of
approximately 10% against the rate-distortion performance of the
very slow reference software, when encoding
typical video content used in such applications.
My conclusion of
this is…
By using gobbelikok in text (hiding) and the art of nano slicing switching and degradation in signals without
users to see it, it will be possible to transfer data in and out of ATM videosurveilance systems, home computers, videosurveilance systems, wifi
and mobile bankingsystems, and also therefore (bellow)
no answers will be recived of functionality-declaration-equation
scenario, due to the “painting in the business itself in the corner matter stunt need to make
money not so honest maybe it works thingi ?”
Enough?
Market 45 miljon hdtv sets in 2008? Que? Titanic they had no radar also?
A simple
email kajander1@nodns.org or kajander12345@hotmail.com
japan1.freewebspace.com +portals
