Multimédiá a telematika pre mobilné platformy ERIK KUČERA, OTO HAFFNER, PAVOL BISTÁK I-MTMP
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1 Multimédiá a telematika pre mobilné platformy ERIK KUČERA, OTO HAFFNER, PAVOL BISTÁK I-MTMP
2 Video I. OTO HAFFNER
3 Prečo sa učiť o 3 multimédiach/videu? Všeobecný rozhľad Spracujem si video z dovolenky Zhodnotím kvalitu práce svadobného kameramana Odhalím FAKE video na internete... Pracovný potenciál MicroStep Lepšia komunikácia s reklamnou agentúrou Lepšia komunikácia s objednávateľom videa Inžiniersky pohľad na vec Diera na trhu?
4 Prečo sa učiť o 4 multimédiach/videu? Firma Bluefaces Absolventi FEI STU Vizuálne efekty Práca na filmoch z Hollywoodu
5 BlueFaces showreel 5
6 Čo je cieľom tejto časti? 6 Vytvoriť jednoduchý trailer/upútavku na vašu aplikáciu
7 Ukazky z minulych rokov 7
8 Ukazky z minulych rokov 8
9 Ukazky z minulych rokov 9
10 BONUS 10
11 11
12 História Videa(filmu) 12 Sallie Gardner at a Gallop v r Stávka, ako beží kôň Auguste a Louis Lumièr 28. december 1895 v Paříži Prvé verejné predstavenie
13 História Videa(filmu) Najstarší dochovaný film
14 História Videa(filmu) Prvý film Lumièrovcov
15 Video Definícia 15 videografia (z Latinčiny, prvá osoba slovesa vidieť) technika elektronického snímania, záznamu, spracovania, prenosu a rekonštrukcie sekvencie statických obrázkov reprezentujúcich pohyblivé scény vzťahuje na ľubovoľnú metódu používajúcu video pásku alebo televíznu techniku pre tvorbu obrazu séria obrazových rámčekov integrovaná do jedného celku, jeden po druhom ktorá simuluje pohyb
16 Video 16 Čiernobiele video: Obraz je vytvorený iba jasovou zložkou obrazu. Farebné video: Analógové video luminančno-chromatické zložky farebný model - YUV (PAL), YIQ (NTSC) Digitálne video tri chromatické zložky farebný model YCbCr, RGB
17 Video YUV (PAL) k popisu farby sa používa 3 prvkový vektor [Y,U,V] Y- jasová zložka U,V farebné zložky 17 U Y V
18 Video RGB 18 Miešanie aditívnych farieb R- red G- green B- blue 8 bitov pre jeden komponent (0-255) RGBA zložka A (alfa kanál) priesvitnosť
19 Video RGB 19 R G B farba farba čierna čierna červená červená zelená zelená modrá modrá žltá žltá purpurová purpurová azúrová azúrová biela biela
20 Video HSV 20 Tento farebný model najviac zodpovedá ľudskému zraku Pozostáva z 3 hlavných zložiek (nie farieb): H- Hue: farbený tón, odtieň S- Saturation: sýtosť farby, množstvo šedi v odtieni V- Value- hodnota jasu, množstvo bieleho svetla
21 Video HSV 21
22 Video HSL 22 Pozostáva z 3 hlavných zložiek (nie farieb): H- Hue: farbený tón, odtieň S- Saturation: sýtosť farby, množstvo šedi v odtieni L- Lightness/luminosity- svetlosť
23 Video HSL HSV 23
24 Video Snímanie CCD (Charge Coupled Device) CMOS (Complementary Metal Oxide Semiconductor) matica svetlocitlivých prvkov pôsobiacich ako optoelektrické meniče Bayerova maska 24
25 Video Snímanie
26 Video Rušivé javy - Blooming 26 pretečenie fotónov do vedľajších senzorov
27 Video Rušivé javy - Jello effect 27 Rolling shutter vs Global shutter
28 Video Kodek Kóduje a dekóduje video z/do určitého formátu, väčšinou za účelom zmenšenia Stratové/bezstratové Najznámejšie stratové kodeky: H.262/MPEG-2 Part 2 (MPEG-2 Video) H.264/MPEG-4 AVC H.265/HEVC Apple ProRes 422/4444 DNxHD codec 28
29 Video Vzorkovanie Farebný video signál môže mať rôzne formy - kompozitný, prenáša sa jedným káblom a je najmenej kvalitný, S-Video (Y/C)má oddelený jas -Y (luminancia, luma) a farbu - C (chroma, chrominancia). Iný spôsob je prenos troch zložiek R,G,B alebo Y,U,V. Pretože oko je menej citlivé na farbu ako jas, nemusí byť farebná hĺbka taká ako jasová. To redukuje celkové frekvenčné pásmo video signálu. Podvzorkovanie sa vyjadruje tromi číslami vzorkovania - jas (Y), dve farebné komponenty (chroma) U/Cb a V/Cr pre každú vzorkovanú oblasť 29
30 Video Vzorkovanie Používajú sa nasledovné pomery vzorkovania 4:4:4 (najlepšia kvalita), 4:2:2 (postprodukčná kvalita), 4:1:1 (pre konverziu do analógového videa), 4:2:0, 4:1:0. Bitový prúd pri vzorkovaní 4:2:2 je Y 0 U 0 Y 1 V 1 Y 2 U 2 Y 3 V 3 a pri 4:1:0 je Y o0 U o0 Y o1 Y o2 Y o3 Y e0 V e0 Y e1 Y e2 Y e3 30
31 Video Vzorkovanie 31
32 Video Vzorkovanie 32
33 Video Formáty obrazu CIF (Common Intermediate Format) 33 SQCIF 128x96 QCIF 176x144 CIF 360x288 4CIF 720x576 16CIF 1440x1152 CCIR TV 720x576 HDTV 1280x720
34 Video Formáty obrazoviek 34 Štandard Pomer strán Širka Výška SVGA 4: WSVGA ~17: XGA 4: XGA+ 4: WXGA 16: WXGA 5: WXGA 16: SXGA 5: HD ~16: HD ~16: WXGA+ 16: HD+ 16: UXGA 4: WSXGA+ 16: FHD 16: WUXGA 16: WQHD 16: WQXGA 16: K UHD 16: K UHD 16:
35 Video Formáty obrazoviek 35
36 Video Pomer strán 36
37 Video Pomer strán 37
38 Video Pomer strán 38
39 Video pan and scan 39
40 Video pan and scan 40
41 Video pan and scan 41
42 Video anamorphic 42
43 Video anamorphic 43
44 Video Prvý film natočený digitálne (kamera pre spotrebiteľov) The last brodcast (1998) 44
45 Video Prvý film natočený digitálne (profi digitálna kamera) Star Wars: Episode I The Phantom Menace(1999) 45
46 Video Prevod filmu na digitálne video 46
47 Blackmagic Pocket Cinema Camera 47
48 Blackmagic Pocket Cinema Camera 48
49 Blackmagic Pocket Cinema Camera 49
50 Metabones speedbooster 50
51 Metabones speedbooster 51
52 DAVINCI RESOLVE 52
53 DAVINCI RESOLVE 53
54 DAVINCI RESOLVE 54 DAVINCI RESOLVE vs DAVINCI RESOLVE STUDIO Redukcia šumu Stereoscopic 3D HDR
55 DAVINCI RESOLVE 55 Users
56 DAVINCI RESOLVE 56 Users
57 DAVINCI RESOLVE 57 Media
58 DAVINCI RESOLVE 58 Edit
59 DAVINCI RESOLVE 59 Color
60 DAVINCI RESOLVE 60 Deliver
61 DAVINCI RESOLVE 61 RAW súbory
62 DAVINCI RESOLVE 62 Node Editor
63 DAVINCI RESOLVE 63 Automatic Color Match
64 DAVINCI RESOLVE 64 Power Windows
65 DAVINCI RESOLVE 65 Strih
66 DAVINCI RESOLVE 66 Multicam
67 DAVINCI RESOLVE 67 Multi layer Timeline
68 DAVINCI RESOLVE 68 Rendering
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