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A Digital Cinema Package (DCP) is a collection of digital files used to store and convey digital cinema (DC) audio, image, and data streams. The term was popularized by Digital Cinema Initiatives, LLC in its original recommendation [ 1 ] for packaging DC contents.
The transition from film to digital video was preceded by cinema's transition from analog to digital audio, with the release of the Dolby Digital (AC-3) audio coding standard in 1991. [1] Its main basis is the modified discrete cosine transform (MDCT), a lossy audio compression algorithm. [ 2 ]
A digital media service (DMS) is an online service provider that sells access to digital library of content such as films, software, games, images, literature, etc. While no transfer of property is made, a nearly perfect duplicate of the data (song movie, etc.) is made on a customer's computer.
M2TS supports Digital 3D as multiple files in a specific file structure for encoding stereoscopic video: MVC stereoscopic data is in .ssif files in the /BDMV/STREAM/SSIF/ directory and require a respective base .m2ts file. Digital 3D in QTFF and ASF is possible, but not standard. MP4 only supports Digital 3D at the video format level. [44]
The spread of digital media, and the wide range of literacy and communications skills necessary to use it effectively, have deepened the digital divide between those who have access to digital media and those who do not. [53] The rising of digital media has made the consumer's audio collection more precise and personalized.
Upon ingestion into a DCP server, Key Delivery Messages (KDM) are stored on flash memory in the media block or IMB. A KDM is written to enable the playback of a specific DCP during a specific time window and on a specific media block or IMB, identified by its serial number during the authoring process. Media blocks and IMBs also contain a ...
Electronic sell-through (EST) is a method of media distribution whereby consumers pay a one-time fee to download a media file for storage on a hard drive. [1] Although EST is often described as a transaction that grants content "ownership" to the consumer, the content may become unusable after a certain period and may not be viewable using competing platforms. [2]
The quality the codec can achieve is heavily based on the compression format the codec uses. A codec is not a format, and there may be multiple codecs that implement the same compression specification – for example, MPEG-1 codecs typically do not achieve quality/size ratio comparable to codecs that implement the more modern H.264 specification.