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In video art, one technique used is datamoshing, where two videos are interleaved so intermediate frames are interpolated from two separate sources. Another technique involves simply transcoding from one lossy video format to another, which exploits the difference in how the separate video codecs process motion and color information. [ 19 ]
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In 1996 Eric Kemp [clarification needed] proposed adding a 128-byte suffix to MP3 files, which would store useful information such as an artist's name or a related album title. Kemp deliberately placed the tag data (which is demarcated with the 3-byte string TAG ) at the end of the file as it would cause a short burst of static to be played by ...
Digital watermarking is the process of embedding information into a signal (e.g. audio, video or pictures) in a way that is difficult to remove. If the signal is copied, then the information is also carried in the copy.
ExifTool is commonly incorporated into different types of digital workflows and supports many types of metadata including Exif, IPTC, XMP, JFIF, GeoTIFF, ICC Profile, Photoshop IRB, FlashPix, AFCP and ID3, as well as the manufacturer-specific metadata formats of many digital cameras. It's also important to note that there are other apps related ...
The compression ratio (that is, the size of the compressed file compared to that of the uncompressed file) of lossy video codecs is nearly always far superior to that of the audio and still-image equivalents. Video can be compressed immensely (e.g., 100:1) with little visible quality loss
An audio codec, or audio decoder is a device or computer program capable of encoding or decoding a digital data stream (a codec) that encodes or decodes audio. [1] [2 ...
A sound file, such as an .ape- or .mp3-formatted file, may, in addition to its payload audio data, also contain metadata that provide descriptive or statistical information about its audio content. When APE (v1) tags are used, they will appear at the end of the file, following the data; i.e., the digitized audio stream.