General and News Thu, 13 Dec 18 17:17:18 -0700 General and News en-CA All about 8K format, Super-Hi, H.264 and HEVC Sat, 25 Aug 2012 06:38:36 -0600 stelldust 4364@/talks/discussions ITU has just approved the new Super-Hi format. I expect we will first see TVs with the new format. Any speculations on how long it may take to see consumer products for this format?

The 8K format will host a resolution of 7,680 by 4,320 pixels, which is 16 times as sharp as current HD TVs and offers resolutions of around 2MP. This is approximately the equivalent of a 32 megapixel photo. A new high-resolution tv format that is 16x sharper than today's HDTV has been approved. A new high-resolution tv format that is 16x sharper than today's HDTV has been approved.

Japanese broadcaster NHK has developed three cameras able to film in this Super Hi-Vision resolution at 120 frames per second.

net SE who stood behind Meyer Optik Görlitz and similar kickstarter things can be scammers Fri, 10 Aug 2018 22:24:05 -0600 Vitaliy_Kiselev 20224@/talks/discussions After collecting all money few things happened

  • company filed for bankruptcy
  • their CEO had some strange car accident after that he just left with nice compensation
  • company shares are delisted from German stock exchange

For me it looks like big organized scam, perfectly executed with support (and may be sponsorship!) of all major photo media.

Apple starts dropping and later restricting supported codecs Tue, 20 Nov 2018 06:55:40 -0700 Vitaliy_Kiselev 20927@/talks/discussions

Legacy media files are compatible with macOS Mojave, but they won't be with future macOS releases. Legacy media can include footage recorded with cameras like Sony HDCAM-SR cameras, footage from GoPro cameras recorded in the CineForm format, video files in the Avid DNxHD/DNxHR format created with software, footage shot with many other older cameras, or files modified with older software.

While your Mac is running macOS High Sierra or macOS Mojave, follow the steps in this article to back up your Final Cut Pro libraries, and complete and update projects that contain legacy media.

As OS being ported to proprietary and closed ARM64 LSIs Apple need to drop support for most codecs as well as minimize support for existing and new codecs for their software.

Big move is expected to happen in next 2-3 years with most professionals abandoning Mac OS X ecosystem and Apple focusing on premium segment of the market with 3-4 waves of 20-35% price increases that will follow each 6 months.

Pixcurve curved sensor technology Thu, 06 Dec 2018 19:28:33 -0700 Vitaliy_Kiselev 21069@/talks/discussions

IBC 2018 Coverage Topic Sat, 25 Aug 2018 04:45:51 -0600 Vitaliy_Kiselev 20327@/talks/discussions image


Canon will have a few cinema and broadcast announcements ahead of the show.

Adobe products get full ProRes export Tue, 11 Dec 2018 11:42:32 -0700 Vitaliy_Kiselev 21102@/talks/discussions

Apple ProRes is a codec technology developed by Apple for high-quality, high-performance editing. It is one of the most popular codecs in professional post-production and is widely used for acquisition, production, delivery, and archive. Adobe has worked with Apple to provide ProRes export to post-production professionals using Premiere Pro and After Effects. Support for ProRes on macOS and Windows helps streamline video production and simplifies final output, including server-based remote rendering with Adobe Media Encoder.

GoPro to move part of production out of China Mon, 10 Dec 2018 21:38:16 -0700 Vitaliy_Kiselev 21100@/talks/discussions

GoPro, Inc. (NASDAQ: GPRO) today announced that it plans to move most of its US-bound camera production out of China by the summer of 2019 to mitigate the potential impact of inclusion on any new tariff lists. International-bound camera production will remain in China.

"Today's geopolitical business environment requires agility, and we're proactively addressing tariff concerns by moving most of our US-bound camera production out of China," said Brian McGee, Executive Vice President and CFO of GoPro. "We believe this diversified approach to production can benefit our business regardless of tariff implications."

McGee added, "It's important to note that we own our own production equipment while our manufacturing partner provides the facilities, so we expect to make this move at a relatively low cost."

GoPro will be showcasing its HERO7 line of cameras, including the best-selling $399 HERO7 Black camera, at CES in Las Vegas from January 8 – 11, 2019.

Sony new marketing - focus on Balanced Steadyshot as gimbal like thing Mon, 10 Dec 2018 14:18:40 -0700 Vitaliy_Kiselev 21096@/talks/discussions

PhotoPlus 2018 Coverage Tue, 23 Oct 2018 23:35:25 -0600 Vitaliy_Kiselev 20719@/talks/discussions image

Coverage: Our new US team, Josh and Bernardo

Apple started being completely thrown off the Chinese market Mon, 10 Dec 2018 11:50:07 -0700 Vitaliy_Kiselev 21092@/talks/discussions

Apple Inc. was ordered by a Chinese court to stop selling iPhone X, 8, 7 and 6 models. Order doesn't include Apple’s newest devices—the XS, XS Max and XR. RBC Capital Markets on Monday estimated older models account for about 40% of sales in China, and that the ban could have an impact on about $12 billion in sales.

Qualcomm said the Fuzhou Intermediate People’s Court in China found Apple had infringed on two patents: one related to photo editing and another to swiping on a touch-screen device.

I love patents. :-) Look how innovative this ones are.

It is for now very light version, very light warning, as Apple declares they hope to get around this. But next round will be harder.

The Photography Show 2019 UK Exhibition Mon, 10 Dec 2018 14:01:58 -0700 Vitaliy_Kiselev 21095@/talks/discussions

The Photography Show returns to the NEC for its sixth year from 16-19 March 2019, alongside The Video Show.

Aimed at everyone from enthusiastic amateurs to seasoned professionals, The Photography Show puts the latest kit from the leading brands under the spotlight alongside demonstrations and inspirational talks and masterclasses from experts. There are also numerous opportunities for show visitors to practice skills and put the tech through its paces, whatever their age, gender or ability.

The Photography Show is endorsed by a number of key associations, including the Association of Photographers, the Master Photographers Association, the Royal Photographic Society, the British Institute of Professional Photography, the Photographic Alliance of Great Britain, The Societies and the Disabled Photographers' Society.

8K 51MP 80fps Global Shutter Full Frame Sensor Sat, 08 Dec 2018 14:56:46 -0700 Vitaliy_Kiselev 21082@/talks/discussions image

The GMAX4651 is a really unique addition to our GMAX series, outperforming existing CCD solutions on all performance levels,” commented Wim Wuyts, Chief Commercial Officer of Gpixel. “It combines the dual gain HDR used in our successful GSENSE sensors, with excellent global shutter pixel technology and unprecedented frame rates. All together this will set a new industry standard for high-end industrial inspection and the video industry


GoPro will be bough by Canon or other camera company Fri, 07 Dec 2018 12:45:14 -0700 Vitaliy_Kiselev 21075@/talks/discussions It is strong rumors in the industry that GoPro is looking for bigger brother to cover their ass.

Someone tells that it'll be Canon who has ton of troubles himself.

Can be also Sony or Samsung who briefly looked at GoPro intellectual properly and some engineers.

Expect more news on this topic after CES.

Cameras and lenses cut in half Tue, 19 Jul 2011 17:08:03 -0600 Vitaliy_Kiselev 429@/talks/discussions



Pentax K-5]]>
Xiaomi AI Exposure Wed, 05 Dec 2018 14:01:05 -0700 Vitaliy_Kiselev 21055@/talks/discussions image

The accurate exposure is the key of capturing high-quality photos in computational photography, especially for mobile phones that are limited by sizes of camera modules. Inspired by luminosity masks usually applied by professional photographers, in this paper, we develop a novel algorithm for learning local exposures with deep reinforcement adversarial learning. To be specific, we segment an image into sub-images that can reflect variations of dynamic range exposures according to raw low-level features. Based on these sub-images, a local exposure for each sub-image is automatically learned by virtue of policy network sequentially while the reward of learning is globally designed for striking a balance of overall exposures. The aesthetic evaluation function is approximated by discriminator in generative adversarial networks. The reinforcement learning and the adversarial learning are trained collaboratively by asynchronous deterministic policy gradient and generative loss approximation. To further simply the algorithmic architecture, we also prove the feasibility of leveraging the discriminator as the value function. Further more, we employ each local exposure to retouch the raw input image respectively, thus delivering multiple retouched images under different exposures which are fused with exposure blending. The extensive experiments verify that our algorithms are superior to state-of-the-art methods in terms of quantitative accuracy and visual illustration.



NAB New York 2018 and AES 2018 Exhibitions coverage Fri, 12 Oct 2018 14:21:39 -0600 Vitaliy_Kiselev 20655@/talks/discussions Made by our US team.

Will post all details on weekend.

NAB 2019 Topic Wed, 14 Nov 2018 19:38:48 -0700 Vitaliy_Kiselev 20891@/talks/discussions Las Vegas, USA, April 6, 2019 – April 11, 2019

Possible new released from Canon

  • Canon XC style 4K 60fps camera with RF mount
  • Canon C300 Mk III presentations (can be in Panasonic EVA1 style)
  • Canon C500 Mk II possible with jump to RF mount
Another patented and closed RAW format - BlackMagic RAW Fri, 14 Sep 2018 02:40:41 -0600 Vitaliy_Kiselev 20433@/talks/discussions image

Following in the footsteps of Apple's ProRes RAW, Blackmagic Design has launched its own RAW video codec into a public beta. Blackmagic RAW "combines the quality and benefits of RAW with the ease of use, speed and file sizes of traditional video formats," the company says. It arrives today on Blackmagic's URSA Mini Pro cameras (in beta) and DaVince Resolve 15.1, and developers can grab the SDK for macOS, Windows and Linux.

You can trade file size for quality by using different settings: Blackmagic RAW Q0 and Q5 offer the best quality, while the 3:1, 5:1, 8:1 and 12:1 codecs let you save space while still shooting RAW. "RAW 8:1 and 12:1 offer high quality and speed, making it suitable for productions that wouldn't normally consider shooting RAW," says Blackmagic.

Full PR

Blackmagic Design today announced the public beta of Blackmagic RAW, a new and very modern codec that combines the quality and benefits of RAW with the ease of use, speed and file sizes of traditional video formats. Blackmagic RAW is a more intelligent format that gives customers stunning images, incredible performance, cross platform support and a free developer SDK.

The Blackmagic RAW public beta will be demonstrated on the Blackmagic Design IBC 2018 booth at #7.B45. Customers can download the public beta for use with URSA Mini Pro cameras via the Blackmagic Camera 6.0 Beta Update. In addition, DaVinci Resolve 15.1 Update, which includes support for Blackmagic RAW, is also available free of charge from the Blackmagic Design website.

Blackmagic RAW has been in development for years and is a next generation hybrid codec that features multiple new technologies such as an advanced de-mosaic algorithm, extensive metadata support, highly optimized GPU and CPU accelerated processing and more. It can be used from acquisition throughout post production for editing and color grading, all from a single file.

Traditional RAW codecs have large file sizes and are processor intensive, making them hard to work with. Video file formats are faster, but suffer quality problems due to the use of 4:2:2 video filters that reduce color resolution. Blackmagic RAW solves these problems with an intelligent design that moves part of the de-mosaic process into the camera where it can be hardware accelerated by the camera itself. This results in incredibly efficient encoding that gives customers the same quality, bit depth, dynamic range and controls as RAW, but with much better performance and smaller file sizes than most popular video codecs. Because the processor intensive partial de-mosaic is done by the camera hardware, software such as DaVinci Resolve doesn’t have to do as much work decoding the files. In addition, GPU and CPU acceleration make decoding of frames incredibly fast, so you get extremely smooth performance for editing and grading.

Blackmagic RAW is much more than a simple RAW container format. Its intelligent design actually understands the camera and the sensor. This means the image data, along with the unique characteristics of the image sensor, are encoded and saved into the Blackmagic RAW file, giving customers much better image quality, even at higher compression settings, as well as total control over features such as ISO, white balance, exposure, contrast, saturation and more.

In addition, Blackmagic RAW uses Blackmagic Design Generation 4 Color Science for superior imaging that results in reproducing extremely accurate skin tones and gorgeous, lifelike colors that rival those of cameras costing tens of thousands of dollars more. Images are encoded using a custom non-linear 12-bit space designed to provide the maximum amount of color data and dynamic range.

Blackmagic RAW also makes it easy for any software developer to access all this technology. The free developer SDK lets any third party software application add Blackmagic RAW support on Mac, Windows and Linux. The Blackmagic RAW developer SDK automatically handles the embedded sensor profile metadata, along with Blackmagic Design color science, for predictable and accurate image rendering that yields consistent color throughout the entire pipeline.

Blackmagic RAW features two types of file compression. Customers can choose either constant quality or constant bitrate encoding options, depending on the kind of work they are doing. This lets them prioritize image quality or file size. Constant quality uses variable bitrate encoding so complex frames are encoded at higher data rates to preserve detail and maintain the highest possible quality. Blackmagic RAW Q0 has minimum quantization and yields the highest quality, while Blackmagic RAW Q5 uses moderate quantization for more efficient encoding and a smaller file size. Blackmagic RAW 3:1, 5:1, 8:1 and 12:1 use constant bitrate encoding to give customers the best possible images with predictable and consistent file sizes. The ratios are based on the unprocessed file size of a single frame from the camera’s sensor, making it easy to understand the relative amount of compression being used.

The pristine camera native quality of Blackmagic RAW Q0 and 3:1 are perfect for effects heavy feature film and commercial work. Blackmagic RAW Q5 and 5:1 are extremely high quality making them great for episodic television and independent films. Blackmagic RAW 8:1 and 12:1 offer high quality and speed, making it suitable for productions that wouldn’t normally consider shooting RAW. Now, more customers than ever will be able to use high quality RAW images in an incredibly efficient way that was impossible before.

“Blackmagic RAW could entirely change the workflow going from camera through post production,” said Kees Van Oostrum, Director of Photography and President of the American Society of Cinematographers. “A superb image quality, fine detail and incredibly small file sizes could possibly make Blackmagic RAW the go to format for filmmakers. It will be an important change for post because the editorial team can work with the camera original files, which are fast enough to use for everyday editing. That means less confusion in regards to creative choices I make at the camera. The images can now travel throughout the entire workflow because we’re shooting, editing and grading with the same files! Blackmagic RAW could be a game changer in the way films, television shows and commercials are made.”

Blackmagic RAW dramatically simplifies and speeds up post production workflows. DaVinci Resolve 15.1, which was also released today, includes full support for Blackmagic RAW. The performance of Blackmagic RAW is much faster in DaVinci Resolve than any other RAW format. This makes editing, color correction and visual effects incredibly fast. In addition, working with single files instead of folders full of still image sequences greatly simplifies media management. When the RAW settings are changed in DaVinci Resolve, a .sidecar file can be generated or updated if one already exists. When opened in other software applications that support Blackmagic RAW, the .sidecar file, which contains the RAW settings made in DaVinci Resolve, will be automatically used to display the image. If the .sidecar file is removed then the file will be displayed using the embedded metadata instead. This innovative new workflow gives customers a non-destructive way to change RAW settings while working between different applications.

Featuring a fully scalable design and completely modern CPU and GPU acceleration, Blackmagic RAW is optimized for AVX, AVX2 and SSE4.1 enabled processors, multi-threaded, works across multiple CPU cores and is GPU accelerated with support for Apple Metal, CUDA and OpenCL. Frame decoding and image processing is extremely fast, making it super smooth for editing, color correction and visual effects in DaVinci Resolve. Another benefit of media being stored as single files, and not image sequences, is it makes media management easier and file copying much faster.

The free Blackmagic RAW Developer SDK is available on Mac OS, Windows and Linux. This SDK takes care of all the work for developers, so adding support for Blackmagic RAW to third party software applications is easy and fast. Developers get access to GPU and CPU accelerated algorithms for decoding files, along with unique information about the camera’s image sensor so their applications can accurately decode and display the files. The SDK features highly descriptive and flexible metadata options designed to support today’s modern workflows. Metadata is embedded directly in the .braw file or it can be stored in a .sidecar file. Metadata is important because it contains the RAW settings along with information for the slate, iris, focus, focal length, white balance and a lot more. The metadata in .sidecar files can be used on top of the embedded metadata without overwriting it. Blackmagic RAW also supports frame based metadata so customers can access values, such as focus distance, that often change on a frame by frame basis.

“Blackmagic RAW is the world’s only truly modern, high performance, professional RAW codec that is open, cross platform and free,” said Grant Petty, Blackmagic Design CEO. “It’s exciting because customers can get the visually lossless image quality of RAW with the speed of traditional video workflows. Best of all, there are no hidden licenses or ongoing fees. Blackmagic RAW has been designed to provide the industry with an open, elegant and standardized high quality image format that can be used across products and in customer workflows absolutely free!”

Availabilty and price

Blackmagic RAW is available today as a public beta via the Blackmagic Camera 6.0 Beta Update for URSA Mini Pro. The final release of Blackmagic RAW is expected to ship in several weeks’ time once further testing is complete.

The DaVinci Resolve 15.1 Update, which features support for Blackmagic RAW, has also been released and can be downloaded today free of charge from the Blackmagic Design website.

CES 2019 Coverage Topic Mon, 03 Dec 2018 13:42:42 -0700 Vitaliy_Kiselev 21041@/talks/discussions Coming soon.

Panasonic will have a CES conference on January 7.

New fast Sony FF sensors coming Fri, 23 Nov 2018 09:57:22 -0700 Vitaliy_Kiselev 20967@/talks/discussions Sensor 1 - 60MP CMOS FF, 16 channels

  • 60MP 4.6FPS@16bit
  • 60MP 12FPS@14bit
  • 8k30P@12bit
  • 8K60p@10bit
  • 4k60p@12bit
  • FHD 300P@10bit

Sensor 2 - 36MP CMOS FF

  • 36MP 10FPS@16bit
  • 36MP 60FPS@10bit
  • on-chip PDAF

Both offer

  • Weighted pixel binning for less aliasing
  • Dual-gain ADC mode (aka dual ISO) improve the dynamic range by almost 2 stops at high ISO. 1/2 sensor speed if use it.
  • Digital Overlap HDR

via sonyalpharumors

Canon, Nikon, Sony, Olympus and other companies interviews Wed, 24 Dec 2014 02:28:28 -0700 Vitaliy_Kiselev 12024@/talks/discussions In Japanese (use google to translate)

Photokina 2019 Topic Wed, 14 Nov 2018 19:43:16 -0700 Vitaliy_Kiselev 20892@/talks/discussions Cologne, Germany; May 8, 2019 – May 11, 2019

New stuff

  • Official presentation of Panasonic L mount bodies
  • New L mount lenses
  • Cheaper Nikon mirrorless camera
  • Photo oriented mirrorless canon FF camera
  • New Canon lenses - RF 16-35mm f/2.8L, RF 24-70mm f/2.8L IS and RF 70-200mm f/2.8L IS
  • Few entry cheap DSLRs or one-two top DSLRs
Photokina 2019 cancelled, exhibition will be in 2020 only Mon, 03 Dec 2018 09:45:28 -0700 Vitaliy_Kiselev 21038@/talks/discussions PR

The next photokina will take place in May 2020

Imaging industry and Koelnmesse decide on new starting point for the new annual cycle

Following a successful photokina 2018, the German Photo Industry Association (PIV), as conceptual sponsor of the trade fair, and the event's organiser Koelnmesse have agreed not to organise the next leading global trade fair in May 2019, as initially planned, but in May 2020. From Wednesday 27 May 2020 to Saturday 30 May 2020, all the market leaders in the imaging industry are expected once again in Cologne. The decision to postpone the start of the announced annual cycle by one year is intended to give all participants the opportunity to further develop the new concept for photokina and to tap into new target groups among exhibitors and visitors in order to heighten the status of the trade fair as a global platform for the photography and imaging industry. "photokina 2018 clearly exceeded our already optimistic expectations with groundbreaking innovations and 180,000 visitors from 127 countries," explained PIV's CEO Rainer Führes. "As a result, we set the bar very high for the next event. It is therefore unlikely that, in May 2019 after just over seven months, we will once again be able to create the same enthusiastic atmosphere that characterised photokina 2018. This is why we have decided to start the planned annual cycle in 2020. The Photoindustrie-Verband would like to thank Koelnmesse for its willingness to quickly comply with this request. This shows once again the great professionalism and excellent customer orientation that has characterised our trusting partnership for decades now."

"We understand that even the most powerful technology companies cannot ensure that they will once again be able to bring such innovative strength to the exhibition halls as we experienced at photokina 2018 within an extremely short lead time of just seven months," added Koelnmesse's CEO Gerald Böse. "It is precisely these innovations, however, that shape the character of photokina as the world's leading trade fair - as does the presence of all the leading suppliers in the industry as well as important users, retailers and service providers worldwide. In order to make sure we can continue to fulfil this requirement in the future and meet the expectations of exhibitors and visitors with every event, we have responded flexibly to PIV's wishes. This will ensure the continued unique impact and public appeal of one of our flagship trade fairs in the future."

This year, photokina had successfully presented itself with a new concept, which included the increased involvement of new exhibitors from innovative areas such as mobile, imaging analytics, digital workflow and moving images, as well as a stronger focus on experience for visitors. This combination of experience and product presentation, which was very well received by younger target groups in particular, ensured full halls, overcrowded workshops and spectacular presentations on the event areas, in front of which large crowds of people repeatedly formed, despite the trade fair being shortened by two days. As a result, the trade fair was mentioned not only in conventional media but also in digital and social channels such as Instagram, YouTube, Facebook and Twitter to a greater extent than in previous years. The newly created Imaging Lab, in which start-ups, investors and scientists presented and discussed new imaging applications, also proved to be an important impetus for the entire industry. Together with numerous groundbreaking innovations from established imaging companies, this resulted in a showcase of the great dynamism with which the imaging industry is positioning itself for the digital future and which will also shape photokina 2020.

Parallel Structured Light 3D camera Sun, 02 Dec 2018 11:27:54 -0700 Vitaliy_Kiselev 21033@/talks/discussions image





4K TV sales will pass 100 million units this year Sat, 01 Dec 2018 05:42:16 -0700 Vitaliy_Kiselev 21027@/talks/discussions

Shipments and sales for 4K Ultra HDTVs continue to push higher in the critical fourth-quarter selling period, as average retail prices reach parity with older 1080p HDTV sets.

“This year, we’re expecting annual 4K UHD TV shipments to power past 100 million units,” said Tristan Veale, market analyst at Futuresource in latest market tracking study, “and the market will continue to grow with double-digit CAGR throughout our forecasting period to 2022".

“What’s more, high dynamic range – HDR – is beginning to make its presence felt and will be included in over half of all 4K UHD TVs sold worldwide in 2018, though consumer understanding remains limited,”

Broadcast India Show 2018 Coverage Thu, 25 Oct 2018 02:52:29 -0600 Vitaliy_Kiselev 20735@/talks/discussions image

Coverage: Anmol Mishra, India team


Red Gemini Sensor Thu, 29 Mar 2018 01:09:49 -0600 Vitaliy_Kiselev 19302@/talks/discussions


  • 5K S35 sensor optimized for low-light performance
  • 15.4 Megapixel Dual Sensitivity CMOS Sensor
  • 30.72 mm x 18 mm (Diagonal: 35.61 mm)
  • Seamless switching between Standard and Low Light modes
  • 5K up to 96 fps Full Format
  • 16.5 stops of DR
  • 4K upto 30fps and 2K upto 120fps using ProRes or Avid
  • Simultaneously record REDCODE plus ProRes or Avid
  • Up to 275 MB/s write speeds
  • Interchangeable lens mount

HDMI 2.1 released, 8K and 10K oriented, 48Gbit cables now Wed, 04 Jan 2017 14:26:56 -0700 Vitaliy_Kiselev 16274@/talks/discussions

HDMI Forum, Inc. today announced the upcoming release of Version 2.1 of the HDMI Specification. This latest HDMI Specification supports a range of Higher Video Resolutions and refresh rates including 8K60 and 4K120, Dynamic HDR, and increased bandwidth with a new 48G cable. Version 2.1 of the HDMI Specification is backward compatible with earlier versions of the Specification, and was developed by the HDMI Forum’s Technical Working Group whose members represent some of the world’s leading manufacturers of consumer electronics, personal computers, mobile devices, cables and components.


“This new release of the Specification offers a broad range of advanced features for enhancing the consumer entertainment experience, as well as providing robust solutions to the commercial AV sector,” said Robert Blanchard of Sony Electronics, president of the HDMI Forum. “This is part of the HDMI Forum’s continuing mission to develop specifications for the HDMI eco-system that meet the growing demand for compelling, high-performance and exciting features.”

HDMI Specification 2.1 Features Include:

  • Higher Video Resolutions support a range of higher resolutions and faster refresh rates including 8K60Hz and 4K120Hz for immersive viewing and smooth fast-action detail.
  • Dynamic HDR ensures every moment of a video is displayed at its ideal values for depth, detail, brightness, contrast, and wider color gamuts—on a scene-by-scene or even a frame-by-frame basis.
  • 48G cables enable up to 48Gbps bandwidth for uncompressed HDMI 2.1 feature support including 8K video with HDR. The cable is backwards compatible with earlier versions of the HDMI Specification and can be used with existing HDMI devices.
  • eARC supports the most advanced audio formats such as object-based audio, and enables advanced audio signal control capabilities including device auto-detect.
  • Game Mode VRR features variable refresh rate, which enables a 3D graphics processor to display the image at the moment it is rendered for more fluid and better detailed gameplay, and for reducing or eliminating lag, stutter, and frame tearing.

The new specification will be available to all HDMI 2.0 Adopters and they will be notified when it is released early in Q2 2017.

Another Apple big problem: Accusation of illegal monopoly by making App market Wed, 28 Nov 2018 08:45:51 -0700 Vitaliy_Kiselev 21009@/talks/discussions

Collective action is underway in the United States, accusing the brand of having set up an illegal monopoly on the sale of mobile apps. Indeed, unlike Android where third-party app stores are allowed next to the Play Store, on iOS no application directory is allowed. This allows the firm to earn 30% commission on (almost) all transactions made via its platform. In 2017 the App Store generated almost 10 billion revenue for Apple. A situation that complainants denounce by explaining that "in a competitive environment" users would not necessarily have to pay so much. It is neither more nor less than the very structure of the software distribution on iOS that is questioned through this legal action.

Destruction of both Apple Store and Play Store are necessary steps for both mobile OS universes.

Deep learning video codecs coming Wed, 28 Nov 2018 10:45:25 -0700 Vitaliy_Kiselev 21010@/talks/discussions


We present a new algorithm for video coding, learned end-to-end for the low-latency mode. In this setting, our approach outperforms all existing video codecs across nearly the entire bitrate range. To our knowledge, this is the first ML-based method to do so.

We evaluate our approach on standard video compression test sets of varying resolutions, and benchmark against all mainstream commercial codecs, in the low-latency mode. On standard-definition videos, relative to our algorithm, HEVC/H.265, AVC/H.264 and VP9 typically produce codes up to 60% larger.


On high-definition 1080p videos, H.265 and VP9 typically produce codes up to 20% larger, and H.264 up to 35% larger. Furthermore, our approach does not suffer from blocking artifacts and pixelation, and thus produces videos that are more visually pleasing.