Year: 2009
Type: book-chapter
Abstract: table of contents 95 In today’s digital era, the cultural sector is confronted with a growing demand for making digital recordings – audio, video and still images – of stage performances available over a multitude of channels, including digital television and the internet. Essentially, this can be accomplished in two different ways. A single entity can act as a content aggregator, collecting digital recordings from several cultural partners and making this content available to content distributors or each individual partner can distribute its own recordings via the internet. Both methods (content aggregation and individual internet distribution) imply a different set of requirements for audio-visual compression and container formats. Content aggregation requires high-resolution, high-quality material, suitable for editing/post-processing and conversion to different audio-visual formats tailored to specific distribution channels. Compression and container formats must be chosen so that the content can be processed using (semi)professional production tools. This means that interoperability is essential, which implies the use of internationally standardized solutions. Since the material is typically transferred offline, storage and bandwidth limitations are of secondary importance. However, constantly increasing quality and resolution demands and the need for an efficient production chain prohibit the use of older, sub-optimal compression techniques. detailed approach also when the transfer of rights forms part of an employment contract between the producer of the recording and the live crew.
Institution: Ghent University
Language: English
Subfield: Signal Processing
Field: Computer Science
Domain: Physical Sciences
Open Access status: green
OpenAlex ID: W92632758