| Introduction |
| Preface |
|
| Chapter 1: | Seeing and Hearing |
| | | Seeing |
| | | | What Light Is |
| | | | What the Eye Does |
| | | | How the Brain Sees |
| | | | How We Perceive Luminance |
| | | | How We Perceive Color |
| | | | How We Perceive White |
| | | | How We Perceive Space |
| | | | How We Perceive Motion |
| | | Hearing |
| | | | What Sound Is |
| | | | How the Ear Works |
| | | | What We Hear |
| | | | Psychoacoustics |
| | | Summary |
|
| Chapter 2: | Uncompressed Video and Audio: Sampling and Quantization |
| | | Sampling and Quantization |
| | | | Sampling Space |
| | | | Sampling Time |
| | | | Sampling Sound |
| | | | Nyquist Frequency |
| | | | Quantization |
| | | | Gradients and Beyond 8-bit |
| | | Color Spaces |
| | | | RGB |
| | | | RGBA |
| | | | Y′CbCr |
| | | | CMYK Color Space |
| | | Quantization Levels and Bit Depth |
| | | | 8-bit Per Channel |
| | | | 1-bit (Black and White) |
| | | | Indexed Color |
| | | | 8-bit Grayscale |
| | | | 16-bit Color (High Color/Thousands of Colors/555/565) |
| | | | Quantizing Audio |
| | | Quantization Errors |
|
| Chapter 3: | Fundamentals of Compression |
| | | Compression Basics: An Introduction to Information Theory |
| | | | Any Number Can Be Turned Into Bits |
| | | | The More Redundancy in the Content, the More It Can Be Compressed |
| | | | The More Efficient the Coding, the More Random the Output |
| | | Data Compression |
| | | | Well-Compressed Data Doesn’t Compress Well |
| | | | General-Purpose Compression Isn’t Ideal |
| | | | Small Increases in Compression Require Large Increases in Compression Time |
| | | Spatial Compression Basics |
| | | | Spatial Compression Methods |
| | | | Run-Length Encoding |
| | | | Advanced Lossless Compression with LZ77 and LZW |
| | | | Arithmetic Coding |
| | | | Discrete Cosine Transformation (DCT) |
| | | | Chroma Coding and Macroblocks |
| | | | Finishing the Frame |
| | | Temporal Compression |
| | | | Prediction |
| | | | Motion Estimation |
| | | | Bidirectional Prediction |
| | | Rate Control |
| | | | Beyond MPEG-1 |
| | | Perceptual Optimizations |
| | | Alternate Transforms |
| | | | Wavelet Compression |
| | | | Fractal Compression |
| | | Audio Compression |
| | | | Sub-Band Compression |
| | | | Audio Rate Control |
|
| Chapter 4: | The Digital Video Workflow |
| | | Planning |
| | | | Content |
| | | | Communication Goals |
| | | | Audience |
| | | | Balanced Mediocrity |
| | | Production |
| | | Postproduction |
| | | Acquisition |
| | | Preprocessing |
| | | Compression |
| | | Delivery |
|
| Chapter 5: | Production, Acquisition, and Post Production |
| | | Introduction |
| | | Broadcast Standards |
| | | | NTSC |
| | | | PAL |
| | | | SECAM |
| | | | ATSC |
| | | | DVB |
| | | Preproduction |
| | | Production |
| | | | Production Tips |
| | | Picking a Production Format |
| | | | Types of Production Formats |
| | | Acquisition |
| | | | Video Connections |
| | | | Audio Connections |
| | | Frame Sizes and Rates |
| | | | Capturing Analog SD |
| | | | Capturing Component Analog |
| | | | Capturing Digital |
| | | | Capturing from Screen |
| | | | Capture Codecs |
| | | Data Rates for Capture |
| | | | Drive Speed |
| | | Postproduction |
| | | | Postproduction Tips |
|
| Chapter 6: | Preprocessing |
| | | General Principles of Preprocessing |
| | | | Sweat Interlaced Sources |
| | | | Use Every Pixel |
| | | | Only Scale Down |
| | | | Mind Your Aspect Ratio |
| | | | Divisible by 16 |
| | | | Err on the Side of Softness |
| | | | Make It Look Good Before It Hits the Codec |
| | | | Think About Those First and Last Frames |
| | | Decoding |
| | | | MPEG-2 |
| | | | VC-1 |
| | | | H.264 |
| | | Color Space Conversion |
| | | | 601/709 |
| | | | Chroma Subsampling |
| | | | Dithering |
| | | Deinterlacing and Inverse Telecine |
| | | | Deinterlacing |
| | | | Bob |
| | | | Telecined Video—Inverse Telecine |
| | | | Mixed Sources |
| | | | Progressive Source—Perfection Incarnate |
| | | Cropping |
| | | | Edge Blanking |
| | | | Letterboxing |
| | | | Safe Areas |
| | | Scaling |
| | | | Aspect Ratios |
| | | | Downscaling, Not Upscaling |
| | | | Scaling Algorithms |
| | | | Scaling Interlaced |
| | | | Mod16 |
| | | Noise Reduction |
| | | | Sharpening |
| | | | Blurring |
| | | | Low-Pass Filtering |
| | | | Spatial Noise Reduction |
| | | | Temporal Noise Reduction |
| | | | AVISynth |
| | | | FFT3DFilter |
| | | | VagueDenoiser |
| | | | BlindPP |
| | | | Deblock |
| | | Luma Adjustment |
| | | | Normalizing Black |
| | | Brightness |
| | | Contrast |
| | | Gamma Adjustment |
| | | Chroma Adjustment |
| | | | Saturation |
| | | | Hue |
| | | Frame Rate |
| | | Audio Preprocessing |
| | | | Normalization |
| | | | Dynamic Range Compression |
| | | | Audio Noise Reduction |
|
| Chapter 7: | Using Video Codecs |
| | | Bitstream |
| | | Profiles and Level |
| | | | Profile |
| | | | Level |
| | | Data Rates |
| | | | Compression Efficiency |
| | | | Rate Control |
| | | | VBR and CBR |
| | | | 1-Pass versus 2-Pass (and 3-Pass?) |
| | | Frame Size |
| | | Aspect Ratio/Pixel Shape |
| | | Bit Depth and Color Space |
| | | Frame Rate |
| | | | Keyframe Rate/GOP Length |
| | | | Inserted Keyframes |
| | | | B-Frames |
| | | Open/Closed GOP |
| | | Minimum Frame Quality |
| | | Encoder Complexity |
| | | Achieving Balanced Mediocrity with Video Compression |
| | | | Choosing a Codec |
|
| Chapter 8: | Using Audio Codecs |
| | | Choosing Audio Codecs |
| | | | General-Purpose Codecs vs. Speech Codecs |
| | | | Sample Rate |
| | | | Bit Depth |
| | | | Channels |
| | | | Data Rate |
| | | | CBR and VBR |
| | | | Encoding Speed |
| | | Tradeoffs |
| | | | Sample Rate |
| | | | Bit Depth |
| | | | Channels |
| | | | Stereo Encoding Mode |
| | | | Data Rate |
| | | | CBR vs. VBR |
|
| Chapter 9: | MPEG 1 and 2 |
| | | MPEG-1 |
| | | MPEG-2 |
| | | MPEG File Formats |
| | | | Elementary Stream |
| | | | Program Stream |
| | | | Transport Stream |
| | | MPEG-1 Video |
| | | MPEG-2 Video |
| | | | Interlaced Video |
| | | | What Happened to MPEG-3? |
| | | | MPEG-2 Profiles and Levels |
| | | Audio |
| | | | MPEG-1 Audio |
| | | | MPEG-2 Audio |
| | | | Dolby Digital (AC-3) |
| | | | DTS (Digital Theater Systems) |
| | | | MPEG Audio |
| | | MPEG-1 for Universal Playback |
| | | MPEG-2 for Authoring |
| | | MPEG-2 for Broadcast |
| | | | ATSC |
| | | | DVB |
| | | | CableLabs |
| | | MPEG Compression Tips and Tricks |
| | | | 352 from 704 from 720 |
| | | | Slow, High-Quality Modes |
| | | | Use 2-Pass VBR |
| | | | Mind Your Aspect Ratios |
| | | | Get Field Order Straight |
| | | | Progressive Best Effort |
| | | | Minimize Reference Frames |
| | | | Minimum Bitrate |
| | | | Preprocess with a Light Hand |
| | | MPEG-2 Encoding Tools |
| | | | Canopus ProCoder |
| | | | Rhozet Carbon Coder |
| | | | Main Concept |
| | | | Apple’s MPEG-2 |
| | | | HC Encoder |
| | | | CinemaCraft |
|
| Chapter 10: | MP3 |
| | | MP3 Rate Control Modes |
| | | | CBR |
| | | | VBR |
| | | | ABR |
| | | MP3 Modes |
| | | | Mono |
| | | | Mid/Side Encoding |
| | | | Joint Stereo |
| | | | Normal Stereo |
| | | FhG |
| | | Lame |
| | | | –abr (Average Bit Rate) |
| | | | –c Constant Bit Rate |
| | | | –v (Variable Bit Rate) |
| | | | –q (Quality) |
| | | MP3 Encoding Examples |
| | | mp3Pro |
|
| Chapter 11: | MPEG-4 |
| | | MPEG-4 Architecture |
| | | MPEG-4 File Format |
| | | | Boxes |
| | | | Tracks |
| | | | Fast-Start |
| | | | Fragmented MPEG-4 files |
| | | | The tragedy of BIFS |
| | | MPEG-4 Streaming |
| | | MPEG-4 Players |
| | | MPEG-4 Profiles and Levels |
| | | MPEG-4 Video Codecs |
| | | | MPEG-4 Part 2 |
| | | | H.264 |
| | | | VC-1 |
| | | MPEG-4 Audio Codecs |
| | | | Advanced Audio Coding (AAC) |
| | | | Code-Excited Linear Prediction (CELP) |
| | | | Adaptive Multi-Rate (AMR) |
|
| Chapter 12: | MPEG-4 part 2 Video Codec |
| | | | The DivX/Xvid Saga |
| | | Why MPEG-4 Part 2? |
| | | | Consumer Electronics |
| | | | Mobile |
| | | | Low Power PC playback |
| | | Why Not Part 2? |
| | | | H.264 or VC-1 Is Already There |
| | | | Lower Efficiency |
| | | What’s Unique About MPEG-4 Part 2 |
| | | | Custom Quantization Tables |
| | | | B-Frames |
| | | | Quarter-Pixel Motion Compensation |
| | | | Global Motion Compensation |
| | | | Interlaced Support |
| | | | Last Floating-Point DCT |
| | | | No In-Loop Deblocking Filter |
| | | MPEG-4 Part 2 Profiles |
| | | | Short Header |
| | | | Simple Profile |
| | | | Advanced Simple Profile |
| | | | Studio Profile |
| | | MPEG-4 Part 2 Levels |
| | | MPEG-4 Part 2 Implementations |
| | | | DivX |
| | | | Xvid |
| | | | Sorenson Media |
| | | | Telestream |
| | | | QuickTime |
|
| Chapter 13: | Advanced Audio Coding (AAC) and M4A |
| | | M4A File Format |
| | | AAC Profiles |
| | | AAC Encoders |
| | | | Apple (QuickTime and iTunes) |
| | | | Coding Technologies (Dolby) |
| | | | Microsoft |
|
| Chapter 14: | H.264 |
| | | Why H.264? |
| | | | Compression Efficiency |
| | | | Ubiquity |
| | | Why Not H.264? |
| | | | Decoder Performance |
| | | | Older Windows Out of the Box |
| | | | Profile Support |
| | | | Licensing Costs |
| | | What’s Unique About H.264? |
| | | | 4 × 4 blocks |
| | | | Strong In-Loop Deblocking |
| | | | Variable Block-Size Motion Compensation |
| | | | Quarter-Pixel Motion Precision |
| | | | Multiple Reference Frames |
| | | | Pyramid B-Frames |
| | | | Weighted Prediction |
| | | | Logarithmic Quantization Scale |
| | | | Flexible Interlaced Coding |
| | | | CABAC Entropy Coding |
| | | | Differential Quantization |
| | | | Quantization Weighting Matricies |
| | | | Modes Beyond 8-bit 4:2:0 |
| | | H.264 Profiles |
| | | | Baseline |
| | | | Extended |
| | | | Main |
| | | | High |
| | | | Intra Profiles |
| | | | Scalable Video Coding profiles |
| | | Where H.264 Is Used |
| | | | QuickTime |
| | | | Flash |
| | | | Silverlight |
| | | | Windows 7 |
| | | | Portable Media Players |
| | | | Consoles |
| | | Settings for H.264 Encoding |
| | | | Profile |
| | | | Level |
| | | | Bitrate |
| | | | Entropy Coding |
| | | | Slices |
| | | | Number of B-frames |
| | | | Pyramid B-frames |
| | | | Number of Reference Frames |
| | | | Strength of In-Loop Deblocking |
| | | H.264 Encoders |
| | | | Main Concept |
| | | | x264 |
| | | | Telestream |
| | | | QuickTime |
| | | | Microsoft |
| | | H.265 and Next – Generation Video Codec |
|
| Chapter 15: | FLV |
| | | Why FLV? |
| | | | Compatibility with Older Versions of Flash |
| | | | Decoder Performance |
| | | | Alpha Channels |
| | | Why Not FLV? |
| | | | Flash Only |
| | | | Lower Compression Efficiency |
| | | | Fewer and More Expensive Professional Tools for VP6 |
| | | Sorenson Spark (H.263) |
| | | | Quick Compress |
| | | | Minimum Quality |
| | | | Automatic Keyframes |
| | | | Image Smoothing |
| | | | Playback Scalability |
| | | On2 VP6 |
| | | | Alpha Channel |
| | | | VP6-S |
| | | | New VP6 Implementation |
| | | | VP6 Options |
| | | FLV Audio Codecs |
| | | | MP3 |
| | | | Nellymoser/Speech The |
| | | | ADPCM |
| | | | PCM |
| | | FLV Tools |
| | | | Adobe Media Encoder CS4 |
| | | | QuickTime Export Component |
| | | | Flix |
| | | | Telestream Flip4Factory and Episode |
| | | | Sorenson Squeeze |
| | | | ffmpeg |
|
| Chapter 16: | Windows Media |
| | | Why Windows Media |
| | | | Windows Playback |
| | | | Enterprise Video |
| | | | Interoperable DRM |
| | | Why Not Windows Media |
| | | | Not Supported on Target Platform |
| | | The Advanced System Format |
| | | Windows Media Player |
| | | Windows Media Video Codecs |
| | | | Windows Media Video 9 (“WMV3”) |
| | | | Profiles |
| | | | Windows Media Video 9 Advanced Profile (“WVC1”) |
| | | | Windows Media Video 9 Screen |
| | | | Windows Media Video 9.1 Image |
| | | | Legacy Windows Media Video Codecs |
| | | Windows Media Audio Codecs |
| | | Encoding Options in Windows Media |
| | | | Data Rate Modes |
| | | Where Windows Media Is Used |
| | | | Windows Media for ROM Discs and Other Local Playback |
| | | | Windows Media for Progressive Download |
| | | | Windows Media for Streaming |
| | | | Windows Media for Portable Devices |
| | | | Embedding Windows Media in a Web Page |
| | | Windows Media and PlayReady DRM |
| | | Windows Media Encoding Tools |
| | | | VC-1 Encoder SDK |
| | | | Windows Media Format SDK |
| | | | Windows XP, Vista, or Server 2008: Format SDK 11 |
| | | | Windows Server 2003: Format SDK 9.5 |
| | | | Windows 7 |
| | | | Low-Latency Webcasting |
| | | | Encoder Latency |
| | | | Server Latency |
| | | | Player Latency |
| | | Encoders for Windows Media |
| | | | Expression Encoder |
| | | | Windows Media Encoder |
| | | | Flip4Mac |
| | | | Episode |
| | | | WMSnoop |
|
| Chapter 17: | VC-1 |
| | | Why VC-1? |
| | | | Windows Media Compatibility |
| | | | Quality@Perf |
| | | | Smooth Streaming |
| | | | CineVision PSE |
| | | Why Not VC-1? |
| | | | Compression Efficiency Paramount |
| | | | Licensing Costs |
| | | What’s Unique About VC-1? |
| | | VC-1 Profiles |
| | | | Main Profile |
| | | | Simple Profile |
| | | | Advanced Profile |
| | | | Levels in VC-1 |
| | | Where VC-1 Is Used |
| | | | Windows Media |
| | | | Smooth Streaming |
| | | | Blu-Ray |
| | | | IPTV |
| | | Basic Settings for VC-1 Encoding |
| | | | Complexity |
| | | | Buffer Size |
| | | | Keyframe Rate |
| | | Advanced Settings for VC-1 Encoding |
| | | | GOP Settings |
| | | | Lookahead |
| | | | Filter Settings |
| | | | Perceptual Options |
| | | | Motion Estimation Settings |
| | | | Motion Match Method |
| | | | VideoType |
| | | | Number of Threads |
| | | | Encoding Mode Recommendations |
| | | | High-quality live settings |
| | | | High-quality offline |
| | | | Insane offline |
| | | Tools for VC-1 |
| | | | Expression Encoder 3 |
| | | | Inlet Fathom |
| | | | Rhozet Carbon |
| | | | CineVision PSE |
|
| Chapter 18: | Windows Media Audio |
| | | WMA File Format |
| | | Rate Control in Windows Media Audio Codecs |
| | | Windows Media Audio 9.2 “Standard” |
| | | | Windows Media Audio 9 Voice |
| | | | Windows Media Audio 10 Pro (LBR) |
| | | | Windows Media Audio 9.2 Lossless |
| | | | Legacy Windows Media Audio Codecs |
|
| Chapter 19: | Ogg |
| | | Why Ogg? |
| | | | Avoid Licensing Costs |
| | | | Preference for a “Free” Format |
| | | | Native Embedding in Firefox and Chrome |
| | | Why Not Ogg? |
| | | | Lower Compression Efficiency |
| | | | Not Broadly Supported |
| | | Ogg File Format |
| | | | OGV |
| | | | OGM |
| | | | MKV |
| | | Ogg Vorbis |
| | | Ogg Speex |
| | | Ogg FLAC |
| | | Ogg Theora |
| | | Ogg Dirac |
| | | Encoding OGV |
|
| Chapter 20: | RealMedia |
| | | Why RealMedia? |
| | | RealMedia Format |
| | | RealPlayer |
| | | | RealPlayer Mobile |
| | | | Helix DNA Client |
| | | RealVideo for Streaming |
| | | | SureStream |
| | | | RealVideo for Progressive Download |
| | | RealMedia Codecs |
| | | | RealVideo v10 |
| | | | RealVideo NGV |
| | | RealAudio Codecs |
| | | | RealAudio 10 |
| | | | RealAudio Voice |
| | | | Stereo Music: RealAudio 8 |
| | | | RealAudio Surround |
| | | | RealAudio Music |
| | | | Stereo Music |
| | | RealVideo Encoding Tools |
| | | | RealProducer Basic |
| | | | Real Producer Plus |
| | | | Carbon |
| | | | Easy RealMedia Producer |
|
| Chapter 21: | Bink |
| | | Why Bink? |
| | | Why Not Bink? |
| | | | You’re Not Making a Game |
| | | | You Need High-Compression Efficiency |
| | | File Format and Codecs |
| | | Encoder |
| | | Playback |
| | | Business Model |
|
| Chapter 22: | Web Video |
| | | Connection Speeds on the Web |
| | | Kinds of Web Video |
| | | | Downloadable File |
| | | | Progressive Download |
| | | | Real-Time Streaming |
| | | | Peer-to-Peer |
| | | | Adaptive Streaming |
| | | Hosting |
| | | | In-House Hosting |
| | | | Hosting Services |
|
| Chapter 23: | Optical Disc: DVD, Blu-Ray, and ROM |
| | | Introduction |
| | | Characteristics of Disc Playback |
| | | DVD |
| | | | DVD Tech Specs |
| | | | MPEG-2 for DVD |
| | | | Aspect Ratio |
| | | | Progressive DVD |
| | | | Multi-Angle DVD |
| | | | DVD Audio |
| | | | DVD Interactivity |
| | | | DVD Mastering |
| | | Blu-ray |
| | | | Introduction |
| | | | Blu-Ray Tech Specs |
| | | | Blu-Ray Video Codecs |
| | | | Blu-Ray Audio |
| | | | Blu-Ray Interactivity |
| | | | Blu-Ray Mastering |
|
| Chapter 24: | Phones and Devices |
| | | Introduction |
| | | | Phones and Portable Media Players |
| | | | Consumer Electronics |
| | | Why Portable Devices? |
| | | Why CE Devices? |
| | | How Device Video Is Unique |
| | | Getting Content to Devices |
| | | | Attached Storage via USB |
| | | | Sideloaded Content |
| | | | Progressive Download to Devices |
| | | | Standard Streaming to Devices |
| | | | Adaptive Streaming to Devices |
| | | | Sharing to Devices |
| | | | Windows Media Player/Center and Zune |
| | | | iTunes |
| | | | The Walled Garden |
| | | Devices of Note |
| | | | iPod Classic/Nano/Touch and iPhone |
| | | | Apple TV |
| | | | Zune |
| | | | Zune HD |
| | | | Xbox 360 |
| | | | PlayStation Portable |
| | | | PlayStation 3 |
| | | Formats for Devices |
| | | | MPEG-4 |
| | | | Windows Media and VC-1 |
| | | | AVI/DivX/Xvid |
| | | | Audio-Only Files for Devices |
| | | Encoding for Devices |
|
| Chapter 25: | Flash |
| | | Introduction |
| | | | Early Years: Flash 1–5 |
| | | | Video Is Introduced: Flash 6–7 |
| | | | VP6 and the Video Breakout: Flash 8–9 |
| | | | The H.264 Era: Flash 9–10 |
| | | | The Future: Mobile and CE Devices |
|
| | | Why Flash? |
| | | | Ubiquitous Player |
| | | | Uniform Rich Cross-Platform/Browser Experience |
| | | | Excellent Codec Support |
| | | Why Not Flash? |
| | | | Higher Total Cost of Ownership for Streaming |
| | | | Playback Performance |
| | | | Flash for Progressive Download |
| | | | Flash for Real-Time Streaming |
| | | | Dynamic Streaming |
| | | | Authoring Dynamic Streaming |
| | | | Flash for Interactive Media |
| | | | Flash for Conferencing |
| | | Flash for Phones |
| | | Formats and Codecs for Flash |
| | | | FLV |
| | | | MP3 |
| | | | F4V |
| | | | H.264 in Flash |
| | | | AAC in Flash |
| | | | ActionScript Audio Codecs |
| | | Encoding Tools for Flash |
| | | | Adobe Media Encoder |
| | | | Sorenson Squeeze |
| | | Rhozet Carbon/Adobe Flash Media Encoding Server |
| | | Adobe Flash Media Live Encoder |
|
| Chapter 26: | Silverlight |
| | | History of Silverlight |
| | | | NET |
| | | | Silverlight 1.0 |
| | | | Silverlight 2 |
| | | | Silverlight 3 |
| | | | The Future |
| | | Why Silverlight? |
| | | | Uniform Cross-Platform/Browser Experience |
| | | | Broad and Extensible Media Format Support |
| | | | Smooth Streaming |
| | | | .NET Tooling |
| | | | Silverlight Enhanced Movies |
| | | Why Not Silverlight? |
| | | | Ubiquity |
| | | Performance |
| | | Silverlight for Progressive Download |
| | | Silverlight for Real-Time Streaming |
| | | IIS Smooth Streaming |
| | | | The Smooth Streaming File Format |
| | | | CBR Smooth Streaming: v1 |
| | | | VBR Smooth Streaming: v2 |
| | | | Authoring Smooth Streaming |
| | | | Silverlight for Interactive Media |
| | | | Silverlight for Devices |
| | | Formats and Codecs for Silverlight |
| | | | Windows Media |
| | | | MPEG-4 and H.264 |
| | | | Smooth Streaming |
| | | | MP3 |
| | | | Raw AV |
| | | Encoding Tools for Silverlight |
| | | | Expression Encoder |
| | | | Inlet |
| | | | Envivio |
| | | | Carbon |
| | | | Digital Rapids |
| | | | ViewCast |
| | | | Grab Networks |
|
| Chapter 27: | Media on Windows |
| | | Introduction |
| | | A History of Media Features in Windows |
| | | | DOS |
| | | | Windows 1–2 |
| | | | Windows 3.0/3.1 |
| | | | Windows 95/98/Me |
| | | | NetShow |
| | | | Windows NT |
| | | | Windows Media Launches |
| | | | Windows 2000 |
| | | | Windows XP |
| | | | Windows Media 9 Series |
| | | | Ben Waggoner Joins Microsoft |
| | | | Windows Vista |
| | | | Windows 7 |
| | | Windows APIs for Media |
| | | | Video for Windows |
| | | | DirectShow |
| | | | Media Foundation |
| | | | Windows Media Format SDK |
| | | Major Media Players on Windows |
| | | | Windows Media Player |
| | | | Zune Media Player |
| | | | VLC |
| | | | Silverlight (Is Not a Media Player) |
| | | | Windows Media Center |
| | | Media Formats on Windows |
| | | | AVI |
| | | | AVI Versions |
| | | | In-Box AVI Video Codecs of Note |
| | | | In-Box Audio Codecs of Note |
| | | | Third-party AVI Codecs of Note |
| | | | WAV |
| | | | Windows Media |
| | | | DVR-MS |
| | | | MPEG-1 |
| | | | MPEG-2 |
| | | | MPEG-4 |
|
| Chapter 28: | QuickTime and Mac OS |
| | | Introduction to Mac |
| | | History of the Mac as a Media Platform |
| | | | Birth of the Mac |
| | | | Macintosh II |
| | | | Formation of Avid, Digidesign, and Radius |
| | | | Macromind Director |
| | | | System 7 |
| | | | QuickTime 1.0 |
| | | | The Multimedia Mac |
| | | | QuickTime 2 |
| | | | PowerPC Switch |
| | | | The Birth and Death of Mac Clones |
| | | | QuickTime 2.5 and QuickTime Media Layer |
| | | | QuickTime v3 |
| | | | QuickTime Enters the Streaming Wars |
| | | | Mac OS X Begins and Steve Jobs Returns |
| | | | The G3 Era and the PC Convergence |
| | | | QuickTime 4: Streaming and The Phantom Menace |
| | | | Final Cut Pro |
| | | | QuickTime 5 |
| | | | The G4 Era |
| | | | QuickTime 6 and MPEG-4 |
| | | Mac OS X, Finally for Real |
| | | | The G5 Era |
| | | | The Device Revolution |
| | | | QuickTime 7 and H.264 |
| | | | Intel Switch |
| | | | Reduced Focus on the Mac and Professional Content Creation |
| | | | The Future: Snow Leopard and QuickTime X |
| | | Introduction to QuickTime |
| | | The QuickTime Format |
| | | QuickTime Tracks |
| | | | Video |
| | | | Audio |
| | | | Hint |
| | | | MPEG-1 |
| | | | Text |
| | | | QuickTime VR |
| | | | Sprites |
| | | | Flash |
| | | | Skins |
| | | Delivering Files in QuickTime |
| | | | QuickTime for CD-ROM |
| | | | QuickTime for Progressive Download |
| | | | QuickTime for RTSP |
| | | | QuickTime for Live Broadcasting |
| | | | HTTP Live Streaming |
| | | The Standard QuickTime Compression Dialog |
| | | QuickTime Alternate Movies |
| | | | Master Movie |
| | | | Alternates Parameters |
| | | | Authoring Alternates |
| | | QuickTime Delivery Codecs |
| | | | H.264 |
| | | | Legacy Video Delivery Codecs |
| | | QuickTime Authoring Codecs |
| | | | ProRes |
| | | | DV/DVCPRO |
| | | | DVCPRO50 (via Final Cut) |
| | | | DVCPROHD (via Final Cut) |
| | | | HDV (via Final Cut) |
| | | | MPEG IMX (Final Cut) |
| | | | XDCAM EX (Final Cut) |
| | | | Motion-JPEG |
| | | | Animation |
| | | | PNG |
| | | | None |
| | | QuickTime Audio Codecs |
| | | | AAC |
| | | | AMR Narrowband |
| | | | Apple Lossless |
| | | | iLBC |
| | | | Legacy Audio Codecs |
| | | QuickTime Import/Export Components |
| | | | Flip4Mac |
| | | | Perian |
| | | | XiphQT |
| | | | Flash Encoding |
| | | QuickTime Authoring Tools |
| | | | QuickTime Player Pro |
| | | | Compressor |
| | | | Episode |
| | | | Sorenson Squeeze |
| | | | ProCoder/Carbon |
| Index |
| Color versions of some fi gures are included in an insert at the back of the book. The black and white versions appear in their respective chapters, and identify which color fi gure to refer to. |
