RealVideo -- Assignment #5

What is RealVideo? It is a computer application that enables someone to view video footage online. It was designed as a "streaming" technology in order to transmit live footage over the internet. Essentially this means that the user does not have to download the footage before being able to watch it. They can simply watch it as it is transmitted. http://www.webopedia.com/TERM/R/RealVideo.html

Some things about RealVideo:

• Made by RealNetworks
• First released in 1997
• The official player is RealPlayer (so RealPlayer is the actual mechanism playing the video footage on your computer screen) and it is currently at version 11. It is also called RealOne.
  
• Supported on Windows, Mac, Linux, Solaris, and several mobile phones
• Usually paired with RealAudio and packaged in a RealMedia container (which is a streaming video application; meaning it does not need to be downloaded)
  
• Works with both normal IP connections as well as multi-cast IP connections
• Uses a proprietatary video codec: Video codec is a type of device/software that enables video compression and decompression for digital video. http://en.wikipedia.org/wiki/Video_codec
  
• To make its real time streaming feature happen, RealVideo uses constant bit rate encoding, so that the same amount of data is sent over the network every second.
  
• RealVideo has come out with a variable bit rate that results in a higher video quality but can be unpredictable with regard to how quickly it will network capacity it will need and can result in an interrupted viewing.
  
• RealPlayer does not record RealVideo streams, this is a feature that RealNetworks has advertised to broadcasting agencies as a good deterrent for users to not illegally copy the content. However, time-shifting (http://en.wikipedia.org/wiki/Time-shifting) software is generally considered legal, and allows a user to save the streaming to other files for future use.
  
• RealPlayer apparently has been complained about with regard to invasiveness on your computer once you've downloaded it and all the advertising that you will deal with once you have it. http://jogin.com/weblog/archives/2004/02/29/real_obnoxious

http://en.wikipedia.org/wiki/RealVideo

Bit depth in relation to the quality of a digitized image

Bit depth in relation to the quality of a digitized image:

Bit depth refers to the number of color combinations available in an image's color pallette in terms of the number of 0's and 1's (or bits). Not all colors may be used in a single given image, but the bit depth still indicates the level of precision possible. The primary colors red, blue and green (known as color channels) are the basis for the combinations formed.
In a grayscale, the bit depth indicates the levels of possible shades.

Most images for digital cameras have an 8 bits per channel, so they use 8 1's and 8 0's. This consitutes 2 to 8th power which results in 256 total combinations/intensity values of the primary colors. A 24 bit depth pallette results in 16,777,216 different colors/combinations.

The human eye can only discern approximately 1 million different colors, making anything over 24 bit seem excessive. However a higher bit depth will assist of post processing includes enlarging the image for posters or other purposes. Bit depth can be down sized, but not up-sized from it's original image, therefore it is good to start out with a safe bit depth that will allow for some "breathing" room.

http://www.cambridgeincolour.com/tutorials/bit-depth.htm

North Carolina Echo Project

I was really intrigued by the different approach these management guidelines presented. It's true much of what we read or at least think about as newcomers to digitization is indeed the cost of equipment first and storage/upkeep costs second. The way in which the guidelines deal with "human resources," was information I have not yet encountered in my readings for digitization. I liked how detailed they were in breaking down percentages and timelines for planning a project. Lastly, I have to say I've never even considered "disaster preparedness" before. It was interesting to look over, especially in light of the impending inclement weather on its way. 

Cornell Tutorial

This tutorial has been saved into my delicious tags and will probably be referred to with frequency. I thought it was very well organized and written in a way that allowed for easy understanding of the digitization process. I have trouble with the technical elements of digitization (and technology in general), so it's helpful to have this resource online with visual aids. For example, the chart that laid out the various file types was helpful for me. 

I feel like I need the most "work" on conversion and benchmarking. I haven't worked with many different types of formats or materials, so I need more practice/understanding with how each one has its own set of unique concerns. I'm also sketchy about preservation, but I'm wondering how much of that we will have to actually do ourselves while working on digitization initiatives...

Nitrate Negative

• Following information found on: http://en.wikipedia.org/wiki/Film_base
• The first transparent flexible plasticized base that was commercially available
• This was made possible through celluloid developments in the 1880's by John Carbutt, Hannibal Goodwin, & Eastman Kodak
• Drawbacks:
  
• Very flammable -- and nitrate fires are very difficult to extinguish
  
• Decomposed after a few decades (and was still flammable) and left the film sticky and gooey
• As the film aged, it became more likely to spontaneously catch fire
  
• Projection booth fires were common if the film had been exposed to too much heat while passing through the gate
  
• There were documented audience member deaths from the flames, smoke, or stampedes that ensued
• Jan. 9, 1927 - Montreal - Laurier Palace- Fire broke out during a children's film and resulted in 77 deaths of children ages 4-18.
• 1978 Both the National Archives (lost 12.6 million feet of newsreel footage) and the Eastman House (lost 329 original camera negatives) lost their nitrate film vaults when it auto-ignited.
• Most have been converted into polyester copies and originals are stored away from other non-nitrate items
• Any theaters certified to run nitrate film must pass through rigorous requirements including a fire-proof projection booth, fire chambers surrounding the feed and take-ups reels, several fire extinguishers built into the projector and aimed at the film gate should it piece ignite.
  
• Following information found on: http://palimpsest.stanford.edu/byauth/messier/negrmcc.html
• For ALL cellulosic plastic materials: The rate of deterioration is highly temperature and humidity dependant. The age and type of film base has little bearing on its condition or future potential for deterioration.
  
• The chemical reactions driving deterioration of nitrate are autocatalytic - meaning chemical degradation accumulates and catalyzes further deterioration.
  
• Once deterioration starts, is gains momentum. To prevent the build up of gaseous by-products, negtatives should be removed from sealed air-tight containers such as metal film canisters or plastic bags. A well-ventilated facility is needed to inhibit the concentration of these by-products.