Data Capacity of CDs [Tutorial]

Abstract
You can fit on a S/VCD without overburning:
- approx. 735 MB of MPEG data onto a 74min/650MB disc
- approx. 795 MB of MPEG data onto an 80min/700MB disc

You can fit on a CD-ROM without overburning:
- approx. 650 MB of data onto a 74min/650MB disc
- approx. 703 MB of data onto an 80min/700MB disc

—————————————————————-

Introduction
Let us ignore for now the terms of megabyte for CD capacity and try to understand how the data is stored on a CD.

As well all know, the data is stored digitally as binary data. This means, however the actual information is actually kept on the disc, this information is in the form of “1″s and “0″s. Physically, the information on a CD is as pits on a thin sheet of metal (aluminium).

An a CD-R disc, the data is physically on an organic dye layer which simulates the metal layer on a real pressed CD.

—————————————————————-

How is the information structured
Now, on the CD, the information isn’t just organised from beginning to end willy-nilly. Otherwise, it would be really hard to find a useful piece of information on the CD.

Rather, the information is organised in sectors. Consider a sector as like a page in a book. Just like you are able to quickly find something in a book if you know the page number, you can quickly find something on a CD if you know the sector number.

Now, remember that the CD was original made to hold audio data. It was decided, that the CD would would 75 sectors per second of audio. Although I cannot guess where this number comes from, it is quite appropriate for the audio CD. It means that you can “seek” an audio CD accurately to 1/75th of a second — which is more than enough for consumer purposes.

Now, with this in mind, we can work out the total data capacity of user data for 1 sector.

—————————————————————-

The total data capacity of user data of 1 sector on a CD
CD audio uses uncompressed PCM stereo audio, 16-bit resolution sampled at 44.1 kHz.

Thus 1 second of audio contains:
16 bits/channel * 2 channels * 44100 samples/second * 1 second
= 1411200 bits
= 176400 bytes

Since there are 75 sectors per second
1 sector
= 176400 bytes / 75
= 2352 bytes

One sector on a CD contains 2352 bytes max.

—————————————————————-

The concept of different MODES and FORMS of burning
Now, audio CD was well and good, but the medium would become much more useful if you could store other data on the disc as well. This became to be know as CD-ROM of course.

Now, the audio-CD uses the ENTIRE sector for audio data.

However, for CD-ROMs this caused a problem. Simply, CDs and the CD reading mechanisms were not 100% faultless. That is, errors (indeed frequent errors) could be made during the reading. For audio CDs, this does not matter as much as you could simply interpolate from the adjacent audio samples. This will obviously NOT DO for data CDs. A single bit error could lead to a program being unexecutable or ruin an achive file.

Thus, for CD-ROMs, part of each sector is devoted to error correction codes and error detection codes. The CD-R FAQ has the details, but in effect, only 2048 bytes out of a total of 2352 bytes in each sector is available for user data on a data CD.

This burning mode is either MODE1 or MODE2 Form1.

—————————————————————-

MODE2 Form2 sectors of VCDs and SVCDs
Now, for VCDs and SVCDs, the video tracks do not necessarily require the robust error correction as normal data on a CD-ROM. However, there is still some overhead per sector that is used for something other than video data (e.g., sync headers).

S/VCDs video tracks are burnt in what is called MODE2 Form2 sectors. In this mode, only 2324 bytes out of a total of 2352 bytes in each sector is available for user data.

This is MUCH MORE than for CD-ROMs, but still less per sector than audio CD.

—————————————————————-

The disc capacities of CD-ROMs, audio-CDs and VCDs
Now, obviously what ultimately determines the capacity of a disc is the total number of sectors it contains. This is similar to the total number of pages in a blank exercise book (if you recall the book analogy).

The secondary determinant is the burning mode of the disc.

For audio CDs, it is as if you could fill each page from top to bottom with audio data as the entire sector is used for audio data.

For CD-ROMs, it is as if you need to first rule a margin and then leave the bottom part of each page for footnotes (headers + ECC + EDC). The amount of text you can actually write per page is then less due to these other constraints.

For S/VCDs, we still need to rule a margin on the page, but we don’t have to worry about the footnotes (headers). We can fit MORE text than a CD-ROM, but less than an audio-CD.

Now remember, 1 second on a CD = 75 sectors.

Thus:
- 74 min CD = 333,000 sectors
- 80 min CD = 360,000 sectors
Data capacity in Mb for an audio-CD
74 min
= 333,000 sectors * 2352 bytes / sector
= 783216000 bytes
= 746.9 Mb

80 min
= 360,000 sectors * 2352 bytes / sector
= 846720000 bytes
= 807.5 Mb
Data capacity in Mb for a CD-ROM
74 min
= 333,000 sectors * 2048 bytes / sector
= 681984000 bytes
= 650.4 Mb

80 min
= 360,000 sectors * 2048 bytes / sector
= 737280000 bytes
= 703.1 Mb
Data capacity in Mb for a S/VCD
74 min
= 333,000 sectors * 2324 bytes / sector
= 773892000 bytes
= 738.0 Mb

80 min
= 360,000 sectors * 2324 bytes / sector
= 836640000 bytes
= 797.9 Mb

—————————————————————-

Conclusions
As you can see, the often quoted capacities of 650MB and 700MB refer to CD-ROM capacities.

Due to the fact that S/VCDs use a different burning mode where MORE of each sector is available as user data, the relatively capacities are HIGHER.

Now, since S/VCDs are not composed of PURELY video tracks and have some unavoidable overheads, the actually total capacity left for video tracks is a few Mb less for each disc (about 735 Mb for 74min discs and 795 Mb for 80min discs). This is where the often quoted capacities of 740MB and 800MB come from. They are quite accurate.

All these capacities are available BEFORE overburning. Overburning is where you burn MORE sectors than the disc is rated for. If you overburn, you can typically achieve about 1-2 minutes of additional capacity (depending on your drive and media).

—————————————————————-

Не успел еще отшуметь последний хит Рианны Wait Your Turn, как в сети появилось новое видео Russian Roulette. Любуемся новым творением Рианны в HDTV качестве и скачиваем с привычного сервера яндекс.диск.

___________________________________________________________________________________________

• Russian Roulette
• by Rihanna
• from the albom Rated R
• directed by Anthony Mandler
• © 2009 Def Jam

 

• Качество: HDTV
• Формат: MPEG
• Видео кодек: MPEG2 Video
• Аудио кодек: AC3
• Видео: 1280×720 at 59.940 fps ~ 11.8 Mbps
• Аудио: 48000Hz 6ch 384Kbps
• Размер: 328 Mb

Chissa’ quante volte vi sara’ capitato di avere un video AVI e volerlo convertire in formato DVD. Con GNU/Linux e’ una passeggiata, forse il programma piu’ famoso e’ DeVeDe, ma esistono anche altri metodi, si puo’ fare tutto ad esempio da terminale.

Espongo tre metodi: il primo con lo script Bash, il secondo con DeVeDe e altri programmi, il terzo con dvdauthor.

PRIMO METODO - Da riga di comando pero’ il procedimento e’ lungo, e puo’ risultare noioso. Per questo motivo esiste la possibilita’ di creare uno script in Bash. Vediamo come.

Prima di tutto dobbiamo procurarci i programmi necessari:
# apt-get install ffmpeg mencoder lame dvdauthor lame-extras libtwolame0 genisoimage
e’ molto probabile che gran parte di questi pacchetti siano gia’ installati sul vostro computer.

Ora dobbiamo creare lo script:
$ nano /usr/bin/avi2dvd.sh
lo creiamo nella directory /usr/bin/ cosi’ da poterlo richiamare da terminale ovunque ci troviamo.

Dentro il file appena creato ci copiamo questo:

---8<---
#!/bin/bash

output=$1
####################
# avi     Function #
####################

function avi {
    mencoder -oac lavc -ovc lavc -of mpeg -mpegopts format=xvcd -vf scale=352:196,expand=352:240,harddup -srate 44100 -af lavcresample=44100 -lavcopts     vcodec=mpeg1video:keyint=18:vrc_buf_size=327:vrc_minrate=1152:vbitrate=1152:vrc_maxrate=1152:acodec=mp2:abitrate=224 -ofps 30000/1001 -o output.mpg "$output"
}

####################
# vcd     Function #
####################

function vcd {
    ffmpeg -i output.mpg -target ntsc-dvd -aspect 4:3 output2.mpg
}

####################
# rm1mpg Function #
####################

function rm1mpg {
    rm output.mpg
}

####################
# convert Function #
####################

function convert {
    dvdauthor -o dvd -t output2.mpg
}

####################
# rmpg     Function #
####################

function rmpg {
    rm output2.mpg
}

###################
# Rename Function #
###################

function finalize {

dvdauthor -o dvd -T

}

#####################
# ISO Function      #
#####################

function image {

mkisofs -dvd-video -o dvd.iso dvd/

}

#####################
# rm2 Function      #
#####################

function rm2 {

rm -rf dvd/

}

###############
# Script      #
###############

avi ;
vcd ;
rm1mpg ;
convert ;
rmpg ;
finalize ;
image ;
rm2 ;

exit

---8<---

salviamo [Ctrl]+[o] e chiudiamo [Ctrl]+[x].

Rendiamolo eseguibile:
# chmod 777 /usr/bin/avi2dvd.sh
e proviamolo subito su un nostro video in AVI.

Se ad esempio il nostro video si trova nella directory /home/UTENTE/videoavi/ non dobbiamo far altro che aprire un terminale, spostarci nella directory giusta:
$ cd /home/UTENTE/videoavi/
e dare il comando:
$ avi2dvd VIDEO.avi

A tutto il resto pensera’ lo script. Per capire cosa faccia esattamente basta leggerlo.
Fonte: Convert AVI to DVD ISO

SECONDO METODO - Ora vediamo come fare a convertire un video da AVI a DVD con DeVeDe. Prima di tutto dobbiamo installarlo:
# apt-get install devede

Adesso abbiamo due possibilita’, o usiamo DeVeDe con la versione grafica, o facciamo da riga di comando con altri programmi. Per farlo con la versione grafica, aprite semplicemente il programma:
$ devede &
e seguite l’interfaccia intuitiva.

Se invece volete cimentarvi col terminale (bravi, cosi’ vi voglio) vediamo come fare. Prima di tutto ci servono questi programmi:
# apt-get install growisofs mkisofs dvdauthor ffmpeg mencoder

Se il file che volete convertire in DVD e’ uno va tutto bene, se fossero due, e’ il caso di unirli. Un metodo puo’ essere questo:
$ cat VIDEO1.avi VIDEO2.avi > VIDEOUNITO.avi
e poi:
$ mencoder -o VIDEO.avi -noidx -oac copy -ovc copy VIDEOUNITO.avi

Sinceramente e’ un procedimento che non mi piace, in un post ne avevo indicato un altro, questo:
$ mencoder -ovc copy -oac copy VIDEO1.avi VIDEO2.avi -o VIDEO.avi

Ora che abbiamo il nostro file VIDEO.avi possiamo continuare. Cambiamo l’aspetto e la codifica del video con FFmpeg:
$ ffmpeg -i VIDEO.avi -y -target pal-dvd -sameq -aspect 16:9 VIDEO.mpg
lo stiamo codificando nello standard PAL.

Ovviamente se il DVD fosse destinato al nostro zio d’America la codifica la dovremmo fare nello standard NTSC, e quindi il comando sarebbe:
$ ffmpeg -i VIDEO.avi -y -target ntsc-dvd -sameq -aspect 16:9 VIDEO.mpg

Ora non ci resta che creare i titoli:
$ dvdauthor --title -o dvd -f VIDEO.mpg
e la tabella dei contenuti:
$ dvdauthor -o dvd -T

Infine lo masterizziamo cosi’:
$ growisofs -dvd-compat -dvd-video -speed=4 -Z /dev/dvd dvd/*

Anziche’ masterizzarlo subito, possiamo anche creare il file ISO prima:
$ mkisofs -dvd-video -o DVD.iso dvd/
e solo dopo masterizzarlo cosi’:
$ growisofs -dvd-compat -Z /dev/dvd=dvd.iso

Ovviamente al posto di /dev/dvd dovete inserire il percorso giusto del masterizzatore per DVD se non e’ quello.

TERZO MEODO - Per la gioia degli amanti della terza via, esiste anche un altro metodo, che utilizza vari programmi da terminale. Installiamoli:
# apt-get install transcode mplayer mjpegtools ffmpeg dvd+rw-tools dvdauthor

Ipotizziamo di avere il nostro solito file VIDEO.avi. Con questo metodo prima di tutto dobbiamo separare l’audio dal video, e lo facciamo con questo comando:
$ transcode -i VIDEO.avi -y ffmpeg --export_prof dvd-ntsc --export_asr 3 -o VIDEO -D0 -s2 -m VIDEO.ac3 -J modfps=clonetype=3 --export_fps 29.97
Se non vogliamo un output a 16:9 ma a 4:3, il comando sara’:
$ transcode -i VIDEO.avi -y ffmpeg --export_prof dvd-ntsc --export_asr 2 -o VIDEO -D0 -s2 -m VIDEO.ac3 -J modfps=clonetype=3 --export_fps 29.97

L’output sara’ costituito dal file VIDEO.m2v (il video) e VIDEO.ac2 (audio). Se vogliamo strafare, possiamo estrarre dal file VIDEO.avi l’audio 5.1, e lo facciamo cosi’:
$ tcextract -d2 -i VIDEO.avi -a0 -x ac3 | tcextract -d2 -x ac3 -t raw > VIDEO.ac3

Ovviamente solo se il vostro video ha l’audio 5.1. Se non siete sicuri che il vostro file video abbia l’audio in 5.1, potete facilmente scoprirlo dando questo comando:
mplayer -vo dummy -identify VIDEO.avi 2> /dev/null | grep "5.1 ("
se c’e’ il 5.1 l’output sara’ qualcosa tipo:

AC3: 5.1 (3f+2r+lfe) 48000 Hz 384.0 kbit/s

A questo punto riuniamo audio e video:
$ mplex -f 8 -o VIDEO.mpg VIDEO.m2v VIDEO.ac3

Adesso abbiamo un bel video in formato MPEG pronto per essere dato in pasto a dvdauthor. Ma prima dobbiamo creare un file di testo in cui inseriremo i tempi dei capitoli, dunque:
$ nano dvdauthor.xml

e inseriamo questo:

---8<---
<dvdauthor dest="dvd">
  <vmgm />
   <titleset>
     <titles>
       <pgc>
         <vob file="VIDEO.mpg" chapters="0,15:00,30:00,45:00,1:00:00"/>
       </pgc>
      </titles>
   </titleset>
 </dvdauthor>
---8<---

Ovviamente i tempi (0,15:00,30:00,45:00,1:00:00) li cambierete in base a quelli dei capitoli del vostro video. In piu’ se anziche’ avere un DVD ne avessimo due, il testo del file dvdauthor.xml dovra’ essere:

---8<---
<dvdauthor dest="dvd">
  <vmgm />
   <titleset>
     <titles>
       <pgc>
         <vob file="VIDEO1.mpg" chapters="0,15:00,30:00,45:00,1:00:00"/>
       </pgc>
       <pgc>
         <vob file="VIDEO2.mpg" chapters="0,15:00,30:00,45:00,1:00:00"/>
       </pgc>
     </titles>
   </titleset>
 </dvdauthor>
---8<---

Adesso creiamo una directory:
$ mkdir dvd
spostiamoci dentro il file VIDEO.mpg e dvdauthor.xml. Col terminale spostiamoci anche noi dentro la nuova directory:
$ cd dvd

Adesso diamo questo comando:
$ dvdauthor -x dvdauthor.xml
cosi’ all’interno della directory dvd verranno create due sottodirectory: AUDIO_TS e VIDEO_TS.

Proviamo a vedere se tutto funziona:
$ mplayer dvd://home/UTENTE/directory/varie/dvd/VIDEO_TS/

Se tutto funziona correttamente possiamo masterizzare:
$ growisofs -dvd-video -Z /dev/dvd dvd/

Ovviamente al posto di /dev/dvd dovete inserire il percorso giusto del masterizzatore per DVD se non e’ quello.

[^] torna su | post<li> | 

The explosive growth of video on the internet, exemplified by the success of video sharing websites such as YouTube, calls for new ways of indexing and searching audiovisual content. A team of European researchers has developed a groundbreaking solution that is finding commercial applications.

Most video search technologies currently rely on semantic annotation in which videos have to be manually tagged with keywords so they can be found via a text-based search. As most YouTube users will attest, tagging one or two videos in this way is not particularly problematic. However, manually annotating thousands of clips, as content providers and media libraries regularly do, can be extremely time consuming and costly.

A faster alternative is to use software to automatically extract snippets of a video and create a unique identifier based on a variety of audiovisual features, such as scene, motion and music changes. These so-called digital media fingerprints can then be used to index and search full audio/video content. The technology works well for uncompressed, raw audio and video, but it has not been used effectively with the far more common, space-saving compressed files that stream from websites, are stored in media libraries or are broadcast by TV stations. Until now, that is.

“We wanted to develop a way of indexing and searching compressed video files quickly and easily regardless of their compression format or how or where they are stored,” says Nick Achilleopoulos who oversaw development of the technology as manager of the EU-funded DIVAS project.

To achieve that goal, the DIVAS researchers developed two advanced software engines: one to create fingerprints from compressed audio and/or video and another to use these unique identifiers to carry out content-based searches of audiovisual material.

Unlike most digital fingerprinting systems, the DIVAS indexing software does not require video to be uncompressed, reducing the need for computer processing power and storage space, while greatly accelerating the indexing process. For example, whereas other systems would have to generate a fingerprint from 60 gigabytes of raw video, the DIVAS technology can create a fingerprint from the 4GB DVD-quality compressed version. Crucially, it works across most popular video formats, from the DVD and TV broadcast MPEG standard to Microsoft’s WMV and also with standalone audio files in formats such as MP3 and AAC.

“The fingerprint extraction software defines audio and video features much as a human viewer perceives audiovisual elements… It builds the fingerprint based on visual features, such as scene changes, the way the camera cuts and moves, the brightness level, and the movement of people and objects,” the project manager explains.

Audio features such as speech and music also form part of the fingerprint – providing crucial additional information to differentiate between visually similar video content like lectures or music concerts.

The audiovisual fingerprints, each just a tiny fraction of the size of original content, are stored in the XML file format in combination with the MPEG 7 multimedia content description standard, creating an easily accessible and rapidly searchable video index.

“Say you saw a short clip of a TV series and wanted to see more of it but did not know the name. You could easily upload the clip to a DIVAS search engine and then use this to find not only the series, but also the season, episode and the exact minute of a scene the clip is from,” Achilleopoulos explains.

One caveat, however, is that the searcher would have to have an indexed database of video content to compare the fingerprinted clip to. That would prove useful to someone with a lot of digital movies to help them find videos in their collection from trailers on the internet – indeed, the DIVAS team developed an experimental plug-in for the Firefox web browser to that effect.

However, the key commercial market for the technology consists of media companies and internet search providers seeking faster methods of indexing and searching video, production companies scouring the internet for pirated versions of copyrighted works, as well as, interestingly, TV advertisers.

“A lot of companies are interested in monitoring broadcasts to make sure TV stations are airing their adverts in the time slots and with the frequency they pay for. Currently, they do this by recording broadcasts on expensive equipment and even have people watch the TV, but a much cheaper alternative would be to record compressed files and have software automatically creating fingerprints of the content. These could then be matched with the advertiser’s content, letting them know precisely when and how often their adverts are shown,” Achilleopoulos says.

Members of the DIVAS consortium are currently in talks with a large advertising firm with a view to deploying the technology commercially to monitor TV broadcasts. They have also been approached by companies looking to use their technology to improve internet searches of their video databases.

Israeli project partner Optibase, meanwhile, has integrated the DIVAS technology into its EZTV internet video delivery system for corporate, government and educational users in local and wide area network environments.

Achilleopoulos notes that the partners are looking for investors to help develop or support additional commercial applications for the DIVAS technology, which, as a modular system, is easy to integrate with existing systems and can be expanded to offer additional functionality.

This post is after about a month long hibernation from my blog.
I made my mind up to listen songs as i usually do (it contributes to my hobby). In fact, i was suffering with a headburst headache, so i thought songs might be the stress buster and good entertainer too. What striked my mind was why couldn’t i play the tracks on command line rather playing’em in traditional RhythmBox or Amarok etc. The way i thought, the way i found…some googling let me find such a tool named mpg123, which is nothing but a command line player cum MPEG streamer.
Installation on Ubuntu/Debian: sudo apt-get install mpg123
Installation on RedHat/Fedora/Cent OS: For this, we have to first enable the rpmforge repo and try
yum install mpg123
and you are done.

Go to the shell; Move into your songs folder; and type in mpg123 * as below:
neeraj@nee-pc:/media/LEISURE/fun/songs$ mpg123 *
Just press Ctrl+C , if you want to switch onto the next song in the folder.
Have a glimpse of the mpg123 on my UbuntuBox:

Play files on the shell itself

Type man mpg123 and you will see what else can you do with this versatile thing.
Thanks GNU.
!!

I dispositivi mobili di ultima generazione sono divenuti ormai veri e propri player video portabili. Basta caricare in memoria un filmato convertito nel formato corretto ,per riprodurlo ovunque ci si trovi. La rete pullula di convertitori video , ma se cerchiamo un software campione di velocità e semplicità , usiamo pure VIO Mobile Converter , realizzato dagli sviluppatori di The Pirate Bay,il famoso tracker Bit Torrent . Come vedremo una volta installato il programma , è sufficiente selezionare il video sorgente ( AVI,MPEG,MP4) , il modello di cellulare o smatphone ( compresi iPHONE e iPod ) , la qualità desiderata ,dare via alla conversione e in pochi minuti il gioco è fatto.

Cosa ci occorre ? VIO Mobile Converter

Quanto costa ? Gratuito

Sito Internet : http://thepiratebay.org/torrent/4593663/Vio_Video_Converter

Installiamo il programma.

Avviata l’installazione , nella prima schermata clicchiamo su NEXT. Per evitare di installare toolbar e modificare le impostazione del Browser ,deselezioniamo tutte le voci della finestra e premiamo NEXT.Facciamo lo stesso per le voci della finestra successiva e premiamo INSTALL. Al termine clicchiamo NEXT.

Il filmato da convertire

Aperto il programma VIO Mobile Video Converter ,per caricare il file del video da convertire clicchiamo sul pulsante BROWSE situato nella parte superiore dell’interfaccia . Esploriamo le cartelle del disco rigido del nostro computer fino ad individuare il filmato , quindi selezioniamolo e facciamo clic su APRI.

Una codifica ottimizzata

Nel menù nel riquadro OPTIMIZED FOR scegliamo il dispositivo mobile ( ad esempio Nokia N82 ) per il quale vogliamo ottenere un video ottimizzato per il formato  ( mp4,3gp,avi) e risoluzione . In NEW FILE , digitiamo nel box il alto il percorso del filmato da ottenere , e nel menu accanto, selezioniamo la qualità ( nel mio caso good)

Copiamolo sul cellulare

Avviamo la conversione del filmato ciccando CONVERT VIDEO, e attendiamo che venga eseguita l’operazione . Al termine comparirà una schermata con alcuni suggerimenti per la copia del video sul dispositivo mobile . Chiudiamo la finestra con un clic su CLOSE, copiamo il video creato sul cellulare e buona……………..visione

Assim como os Messengers, o Linux ganhou muito terreno na edição de vídeo, do amador ao profissional.

Muitos exemplos podem ser conferidos no site brazuca www.estudiolivre.org, contendo centenas de tutoriais de como utilizar vários softwares, e criar edições avançados, mas como tudo tem uma pitada técnica, aqui vai minha dica para o usuário normal, que quer apenas jogar os vídeos de sua câmera digital no seu linux, juntar tudo e gerar um DVD para galera ver naquele churrasquinho de fim de semana.

Com foco no usuário final, esta abordagem somente avalia e indica softwares com interface gráfica, deixando os de terminais para os mais radicais de lado.

Primeiros passos, o conceito de Edição, Conversão, Ripagem e Captura:

Edição

É a manipulação de efeitos sobre os quadros, efetuar clips e cortes, inserir textos e imagens, criando um novo vídeo à partir de várias fontes.
Considero também montar seu próprio DVD como edição.

Conversão

É transformar um vídeo inteiro ou parte dele, em outro formato para exibição em outros dispositivos.

Ripagem

Parecido com a conversão, mas com uma pitada de edição, normalmente associado à cópia de DVDs para formatos compactados como OGM, XVID, DIVX, MKV, AVI, MPEG, e outros do gêneros que hoje alimentam em larga escala a indústria da pirataria do cinema na internet e na banca de camelo mais próxima de você.

Captura

Obter vídeo de dispositivos digitais, fitas, câmeras profissionais.

Vamos conhecê-los mais a fundo então:

Edição

OpenShot

Certamente o mais fácil de todos os bons editores não lineares, este eu instalaria para minha vovó!
Possui excelentes recursos e efeitos, importa imagens, musicas, vídeos de todos os formatos, e com vasta capacidade de exportação.
Nativo para Gnome, roda em KDE perfeitamente.
Disponível nos repositórios do Ubuntu
Site: http://www.openshotvideo.com/

Kdenlive

Absolutamente completo, perfeito desde a edição caseira até as mais complexas, com criação de clips, importação de diversos formatos de vídeo, imagens e audio;
Roda em praticamente qualquer plataforma, desde Linux, Mac, Windows, VirtalBox, Freebsd entre outros.
Como um usuário um pouco mais experiente, certamente esta seria a escolha perfeita como editor de vídeo padrão.
Nativo para KDE, roda em Gnome perfeitamente.
Disponível nos repositórios do Ubuntu
Site: http://www.kdenlive.org/

Cinelerra-CV

Esse é o sabichão do pedaço, pau-a-pau com Adobe Premier em recursos profissionais, e tão complexo quanto.
Altamente recomendado para pequenas produtoras de vídeo, profissionais do meio e nerds de plantão com tempo sobrando.
Desaconselhável para o usuário comum, devido a longa curva de aprendizado.
Disponível nos repositórios PPA (Ubuntu)
Site: http://cinelerra.org/

Devede

Ideal para montar seu DVD com menus, capítulos, em todos os formatos aceitos pelos aparelhos de DVD.
Operação muito intuitiva e simples, ótimo para ter como padrão no seu computador de casa.
Roda em Linux e Windows.
Nativo Gnome, roda em KDE.
Site: http://www.rastersoft.com/programas/devede.html
Tutoriais: http://www.estudiolivre.org/tiki-index.php?page=DeVeDe

Conversão

Avidemux

Uma delícia de lidar, converte quase tudo em quase todos, com direito a unir vídeos e selecionar na linha do tempo o pedaço desejado.
Ideal para pegar aqueles vídeos de celulares naquele formato que niguém sabe qual é, converter em avi/mpeg para jogar no Youtube.
Versões para Linux e Windows.
Disponível nos repositórios do Ubuntu.
Nativo Gnome, roda em KDE.
Site: http://www.avidemux.org/

Winff

Meio tosco, mas converte de tudo também, inclusive com trabalhos em lote que é seu diferencial, porém sem linha do tempo.
Disponível nos repositórios do Ubuntu
Nativo Gnome, roda em KDE
Site: http://winff.org/

Ripagem/DVD

k9Copy

É o Dvd-Shrink nativo para Linux, ideal para converter num DVD de 4gb aquele filme que alugou na locadora e ficou com dó de devolver.
Muitas opções de menu, linguagens, legendas, altamente configurável e ideal para os mais exigentes, ou daqueles que já utilizavam o DVD-Shrink do Windows.
Disponível nos repositórios do Ubuntu
Nativo KDE, roda em Gnome
Site: http://k9copy.sourceforge.net/

DVD::rip

Lembra o Gordian do Windows? este faz o mesmo serviço!
Converter seus DVDs em Divx e Xvid, MKV, OGG, alem de recursos interessantes com cropar os vídeos.
Requer mais conhecimento técnico, porém nada absurdo para um bom curioso.
Nativo Gnome, roda em KDE.
Site: http://www.exit1.org/dvdrip/

Handbreak

É multiplataforma, roda em Linux, Mac e Windows, quer ser o bam-bam-bam!
Conversão de DVD para MPEG-4,
É compatível com equipamentos como: Apple TV, iPod, iPhone, Xbox 360, PlayStation 3 e PSP.
Ideal para ripar DVDs e séries de televisão e exportar os arquivos de vídeo gerados em formato compatível com o iPod, iPod Touch o iPhone, entre outros.
Disponível nos repositórios do Ubuntu
Site: http://handbrake.fr/ | http://pt.wikipedia.org/wiki/HandBrake

XDVDshrink

Outro clone do DVD Shrink, michuruca mas eficiente, opções básicas e funcionais.
Nativo Gnome, roda em KDE.
Site: http://dvdshrink.sourceforge.net/

DVD95

Minimalista ao extremo, bonitinho, e simples de usar, para quem não quer personalizar demais suas copias de DVD, esta é a opção.
Com certeza, para um usuário iniciante, seria o mais recomendável.
Nativo Gnome, roda em KDE.
Disponível nos repositórios do Ubuntu.
Site: http://dvd95.sourceforge.net/

Captura

Kino

Facilidade de conexão com dispositivos de DV (Digital Vídeo), e transferência pela porta Firewire.
Nativo Gnome, roda em KDE.
Disponível nos repositórios do Ubuntu.
Site: http://sourceforge.net/projects/kino/
Tutorial: http://estudiolivre.org/tiki-index.php?page=KinoManualBasico

Pitivi

Versão mais simples para quem deseja mesmo extrair o filme de sua DV, conexão pela Firewire.
Nativo Gnome, roda em KDE.
Disponível nos repositórios do Ubuntu.
site: http://www.pitivi.org/wiki/Main_Page

Leitura recomendada:

10 programas para transformar seu Ubuntu num Estúdio de Vídeo
http://www.estudiolivre.org/tiki-view_blog_post.php?blogId=42&postId=1044

Top 5 dos editores de vídeo para Linux
http://www.cyberciti.biz/faq/top5-linux-video-editing-system-software/

Top 10 dos editores de vídeo para Windows
http://blog.taragana.com/index.php/archive/top-10-video-editing-software/

Muitos tutoriais sobre vídeo no Linux
http://estudiolivre.org/tiki-index.php?page=V%C3%ADdeo&bl

Adtec’s HD422 Encoders can send Four CONCURRENT (same time) GIGE routes (IP destinations) of the transport stream with unique configuration and FEC (SMPTE 2022) setting per destination! These routes are concurrent with ASI operational and internal constant capture with the hard drive if the TS rate is lower than 40 Mbs (old PATA hard drive limitation).

Adtec HD422 can encode four (4) MPEG 1 Layer 2 {they even support phase alignment of the MPEG 1 Layer 2 audio allowing surround sound without external processors when using the Tandberg TT1290 IRD}. Encoding also supports two (2) Dolby AC3 and two (2) MPEG 1 Layer 2 or any combination up to two each. Example, Encode one (1) Dolby AC3 and encode three (3) MPEG 1 Layer 2 audios.

Adtec can passthrough Dolby AC3/5.1/E, LPCM and Linear Acoustic E2. Passthrough support is via SDI and or AES. We can passthrough up to two (2) compressed Dolby (AC3/5.1/E) or Linear Acoustic E2 or two (2) SMPTE 302M (LPCM) audio streams. Dolby E, E2 and LPCM each take 2.308 Mbs.

Throughput for the 2.308 data rate:
Dolby E supports 4×2 or 5.1+2 (8 channels)
LPCM supports stereo audio (2 channels)
Linear Acoustic Stream Stacker E2 supports two (2) sets 4×2 or 5.1+2 or a total of sixteen (16) channels. E2 is equivalent to two (2) Dolby E boxes.
Base model NTT 9100 can pass one SMPTE 302M (nomenclature they use for Dolby E) and encode 2 MPEG 1 Layer 2. By adding NTTs additional audio board, they can pass two (2) SMPTE302M and even claim to pass four (4) with a very unique method with no audio encode capabilities with either two (2) or four (4) Dolby E passthrough. NTT is limited to TWO PIDs total when in passthrough mode. They claim they can passthrough four (4) Dolby E by combining two Dolby E payloads per AES3. This requires external audio processing to mix two Dolby E payloads onto a 96 Khz AES3 interface and requires sharing a single PID for two (2) Dolby E payloads. NTTs four (4) Dolby E passthrough lacks interoperability and Adtec deems it as very fragile because there is no control or monitoring at the transport layer nor lip sync adjustment per Dolby E stream; they are grouped in pairs of Dolby E. Simply put, they adjust the PID therefor both audios get the same adjustment. I would argue that Adtec and NTT can both passthrough two (2) Dolby E payloads. The Adtec advantage is the ability to pass two (2) and still encode two (2) MPEG 1 Layer 2 audios.

…for more on MPEG Encoders

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Todays world is an on line world. Those on line seek to share their experiences with others via images and videos. But this would all not be possible if it wasn’t for the data compression techniques. The reasons for this compression arise from the fact that there are transmission bandwidth limitations in place in order to give everyone fair access to the World Wide Web. Web administrators also look to cut as many costs as possible such as storage capacity in order to hold more for less.

So how do we compress data then? Well the aim is to obtain a more efficient representation of the image while preserving the essential information  contained in the data. This is done by using clever information about how we perceive our environment. In images, not all the information is needed to represent it on a computer screen. This is due to the fact that the human eye is less sensitive to fine color detail than it is to fine brightness details due to the densities of receptors in the eye. The human eye is also good at seeing small differences in brightness over large areas but not exact strengths of high frequency brightness variations. This all simply means that the eye does not see all the colors in the environment and is also more sensitive to different brightness variations. Therefore by removing duplicate and redundant information, we can compress an image or video. However audio is a little more difficult due to the fact that our ears have a far more dynamic range of sounds than the eye has to pictures.

There are two main types of compression being Lossless and Lossy. Lossless compression retains more data at the expensive to lower compression. It also offers the advantage that the image can be encoded/decoded without loss of information. Lossy on the other hand provides higher compression ratios though poorer image quality. Despite the loss of information, the lossy algorithms can encode and decode images without any “visual” difference (for the human eye) from the original image.

To compress data, there are 5 main algorithms that exist. These being Run Length Encoding, Chain Coding, Vector Quantization, Arithmetic Coding, Predictive Coding. I shall not go into how each of these work, but if any of you need an explanation, leave a comment and ill be happy to explain it to you.
In terms of compression, the choice of algorithm depends on 3 factors: compression efficiency, compression complexity and the distortion.

Image Compression
A picture is worth a thousand words. But without compression techniques, how would we display the trillions of images on the WWW today.
JPEG (Joint Photographic Expert Group) is the most popular image compression technique designed for gray scale and full color images of natural world scenes due to the fact more data can be removed and can be either simple or progressive for web pages. JPEG uses a lossy compression technique to exploit the known limitations of the human eye as mentioned above. It allows a trade-off between quality and size. The main disadvantage of this algorithm is the fact that repeated compression and decompression results in increased degradation. Gray scale images compress less than that of color images as the human is more sensitive to the brightness variations than to hue variations. Compression ratios of up to 20 to 1 are possible. The algorithm proceeds as follows:

1. Translate the image into a suitable color
2. Group the pixel values into 8×8 blocks (experiment prove thats the best section size)
3. Apply a Discrete Cosine Transformation (DCT) – I assume you know what that is, if not drop me a comment
4. Divide each block by a separate quantization coefficient based on luminance and round the result to the nearest integer
5. Next to more encoding using either Huffman or arithmetic coding.
6. Output the image

Video Compression
MPEG (Moving Pictures Expert Group) is one of the best compression techniques for videos and draws its inspiration from JPEG. It is used to represent video and audio signals exploiting more perceptual redundancies and allows for up to 30 to 1 compression ratios however audio is less due to the fact explained above. The algorithm basically predicts the  motion from frame to frame in the temporal direction, and then uses discrete cosine transforms to organize the redundancy in the spatial directions.

1. Convert the image to YUV space
2. Apply the discrete cosine transforms (DCTs) to 8×8 blocks and use the luminance channel to predict the motion
3. Quantize the DCT coefficients
4. Encode the DCT coefficients + parameters using Huffman/arithmetic coding

There are many other compression techniques out there but I prefer to narrow it down to the mainstream techniques. For any other questions or more information related to this topic, please do not hesitate to drop us a comment.

Hace poco compré un Nokia 5800, este equipo tienen una buena resolución 640×360 ( en múltiplos de 8 ) y los vídeos se ven muy bien.

Estuve peleando con el avidemux y ffpmeg para poder convertir vídeos que funcionen. Supuestamente soporta H.264/MPEG-4, pero hay algo que no funciona bien, incluso hay vídeos que se ven bien en un N96 pero no en este. Con el avidemux logré hacerlo pero sólo se escuchaba el audio y era necesario avanzar y retroceder el vídeo hasta que muestre una imagen.

Hasta que finalmente di con Handbrake (http://handbrake.fr/), disponible en los repositorios packman (handbrake-gtk), con este software logré codificar vídeos que funcionen sin problema.
La configuración que utilicé es la siguiente:

Format: MP4
Video >
Video Codec: MPEG-4 (ffmpeg)
Bitrate: 700
Audio >
Codec: AAC
Sample rate: 44.1

En las dimensiones (Picture Settings), el Alignment en 8.
En cuanto al tamaño, depende del vídeo origen, como máximo recomiendo 640×360.

Видео, премьера которого состоялась в марте 2009 года, было снято Pussycat Dolls в сотрудничестве с индийским певцом и продюсером A.R.Rahman. Композиция прозвучавшая в клипе является ремиксом популярной в индии песни Jai Ho, а в 2009 году она вошла в переизданный альбом Doll Domination. Скачать клип в HD качестве можно по ссылке, характеристики ниже, а превью можно глянуть тут.

___________________________________________________________________________________________

• Jai Ho! (You Are My Destiny)
• by Pussycat Dolls ft A.R.Rahman
• from the albom Doll Domination
• directed by Thomas Kloss
• © 2009 Interscope

 

• Качество: HD
• Формат: MPEG
• Видео кодек: MPEG2 Video
• Аудио кодек: MPEG1 Audio
• Видео: 1920×1080 at 25.000 fps ~ 15.8 Mbps
• Аудио: 48000 Hz 2ch 384Kbps
• Размер: 415 Mb

Видео на первый сингл американской автора-исполнителя Мадонны из её одиннадцатого студийного альбома Hard Candy, выпущенный 17 марта 2008. Видеоклип снимался в Лондоне с 30 января до 2 февраля 2008 при участии Джастина Тимберлейка и Тимбаланда. Режиссёром выступил французский дуэт Jonas & François (информация для поста позаимствована из русской версии Wikipedia.org) Далее обычный набор информации о качестве записи и ссылка на яндекс.диск.

___________________________________________________________________________________________

• 4 Minutes
• by Madonna ft Justin Timberlake & Timbaland
• from the albom Hard Candy
• directed by Jonas & Francois
• © 2008 Warner Bros. Records

 

• Качество: HDTV
• Формат: MPEG
• Видео кодек: MPEG2 Video
• Аудио кодек: AC3
• Видео: 1920×1080 at 29.970 fps ~ 17.5 Mbps
• Аудио: 48000Hz 2ch 384Kbps
• Размер: 510 Mb

Видео на третий сингл Fergie с её сольного альбома The Dutchess. Режиссером видео стал Dave Meyers, снимающий музыкальные клипы с 1997 года. Описание и иллюстрации под катом, ссылка на скачивание ниже.

___________________________________________________________________________________________

• Glamorous
• by Fergie ft Ludacris
• from the albom The Dutchess
• directed by Dave Meyers
• © 2007 Will I Am/A&M

 

• Качество: HDTV
• Формат: MPEG
• Видео кодек: MPEG2 Video
• Аудио кодек: AC3
• Видео: 1920×1080 at 29.970 fps ~ 17.7 Mbps
• Аудио: 48000Hz 2ch 384Kbps
• Размер: 524 Mb

Клип на песню из дебютного альбома Ashlee Simpson Autobiography. Режиссером видео стал Joseph Kahn, снявший в 2004 году фильм Крутящий момент. Подробное описание и иллюстрации ниже.

___________________________________________________________________________________________

• La La
• by Ashlee Simson
• from the albom Autobiography
• directed by Joseph Kahn
• © 2004 Geffen Records

 

• Качество: HDTV
• Формат: MPEG
• Видео кодек: MPEG2 Video
• Аудио кодек: AC3
• Видео: 1920×1080 at 29.970 fps ~ 18.0 Mbps
• Аудио: 48000Hz 2ch 384Kbps
• Размер: 473 Mb

HDTV версия клипа, снятого режиссером Francis Lawrence, на сингл Let’s Get It Started с нашумевшего альбома Elephunk. Тех. данные и превью ниже.

___________________________________________________________________________________________

• Let’s Get It Started
• by Black Eyed Peas
• from the albom Elephunk
• directed by Francis Lawrence
• © 2004 Interscope

 

• Качество: HDTV
• Формат: MPEG
• Видео кодек: MPEG2 Video
• Аудио кодек: AC3
• Видео: 1920×1080 at 29.970 fps ~18 Mb/s
• Аудио: 48000Hz 2ch 384Kbps
• Размер: 506.6 Mb