Over recent decades, the role of video images has grown steadily. Advances in technologies underlying the capture, transfer, storage, and display of images have created situations where communicating using images has become economically feasible. More importantly, video images are in many situations an extremely efficient way of communicating as witnessed by the proverb “a picture is worth a 1000 words.”

Notwithstanding these technological advances, the current state of the art requires many compromises. Examples of these compromises are temporal resolution versus noise, spatial resolution versus image size, and luminance/color range versus gamut. These choices affect the video quality of the reproduced images. To make optimal choices, it is necessary to have knowledge about how particular choices affect the impression of the viewer. This is the central question of all video quality research.

Current video quality research can be divided into 2 approaches: experimental evaluation and modeling.

Experimental Evaluation
A group of human subjects is invited to judge the quality of video sequences under defined conditions. Several recommendations are found in ITU-R BT.500.10 “Methodology for Subjective Assessment of the quality of Television Pictures” and ITU-T P.9210 “Subjective Video Quality Assessment methods for Multimedia Applications.

The main subjective quality methods are Degradation Category Rating (DCR), Pair Comparison (PC) and Absolute Category Rating (ACR). The human subjects are shown 2 sequences (original and processed) and are asked to assess the overall quality of the processed sequence with respect to the original (reference) sequence. The test is divided into multiple sessions and each session should not last more than 30 minutes. For every session, several dummy sequences are added, which are used to train the human subjects and are not included in the final score. The subjects score the processed video sequence on a scale (usually 5 or 9) corresponding to their mental measure of the quality – this is termed Mean Observer Score (MOS).

Two serious drawbacks of this approach are:
* It is extremely time consuming, and tiresome for the participants.
* The obtained knowledge cannot be generalized because relationships between design choices and video quality are descriptive rather than based on understanding.

As a result, in a single series of experiments only a small fraction of the possible design decisions can be investigated. This makes the process even longer and more tedious.

Modeling
The second approach tries to address these drawbacks by means of developing models that describe the influences of several physical image characteristics on video quality, usually through a set of video attributes thought to determine video quality. When the influence of a set of design choices on physical video characteristics is known, then models can predict video quality. The models express video quality in terms of visible distortions, or artifacts introduced during the design process. Examples of typical distortions include flickering, blockiness, noisiness, or color shifts.

Two types of models exist, where the fundamental difference between them is how the impairment is calculated.

In the first type, physiologically or psychophysically models of early visual processing are used to calculate impairment from a difference between the video sequences. Many well known metrics exist, which compare the “original” to the “processed” output:
* PSNR – Peak Signal to Noise Ratio
* JND – Just noticeable differences
* SSIM – Structural SIMilarity
* VQM – Video Quality Metric
* MPQM – Moving Picture Quality Metric
* NVFM – Normalize Video Fidelity Metric

The two most important drawbacks of this approach are
* It is unclear what exactly the “original” version of a video is.
* These algorithms are measuring visible differences not video quality.

The second type of model tries to estimate visible distortions directly from the “processed” video; instead of comparing it to the “original”. In this type of model, visible distortions of a video, such as unsharpness or noisiness are predicted by estimating physical attributes of the video. The advantage of this approach is that the “original” video sequence is not needed. The uncertain translation from visible distortions to video quality is an important drawback to this approach.

Video Clarity Solution
Regardless of whether experimentation or modeling is chosen, certain features are common:
* Video must be presented in an “unaltered” state.
* Results must be tabulated and preserved.

Since processing video may take many forms: compression, video enhancements, and color space conversions to name a few, a system must be put in place to normalize the video information so that a comparison can be done. It must be remembered that the end consumer does not care if the original video was compressed with Windows Media, DviX, or MPEG-4. All that matters is whether the video left them with the desired impression.

To streamline the process, equipment for video quality testing needs to be defined, which can capture, play, and analyze multiple video sequences. Further, as new input/output interfaces are continuously under development, the test equipment should use an open-architecture approach to ease upgradeability.

Video Clarity defined the ClearView product line with these objectives in mind.
* Capture video sequences in as many formats as possible.
* Matt/Crop all video sequences to user-selectable resolution.
* Translate all video sequences to uncompressed Y’CbCr 4:2:2 or RGB 4:4:4.
* Support 8 and 10-bit data paths with upgradeability to future 12-bit modes.
* Store the video sequences as frames (fields) so that they can be played at any rate.
* Display the video sequences in real time in multiple viewing modes.
* Playback controls include play, shuttle, jog, pause, pan, and zoom.
* Apply objective metrics to the video sequences.
* Export pieces of video sequences to further analyze off-line.
* Use a standard operating system so that the operator can run 3rd party analysis applications.

By working in the uncompressed domain, any two video processing algorithms can be compared independent of compression or other processing.

To further simplify the work flow, any video sequence can be played; while capturing another video sequence, thus, combining the video server and capture device into one unit. By doing this, the original source is already inside the test equipment for easy comparison.

The original and processed video sequences can be displayed – side-by-side, mirrored, or seamless split – on a single display. This eliminates the need to calibrate two separate displays.

ClearView applies various objective metrics to the video sequences, generates graphs, and calculates an objective score. ClearView includes PSNR, Spatial Information and Temporal Information (as proposed in ITU-T P.9210). These metrics are the basis for more sophisticate metrics like VQM, JND, which are being analyzed by organizations like VQEG, VPQM, and SMPTE.

ClearView displays multiple video sequences, even if they are played at different rates (i.e. mobile phone video compared to TV) for the expert viewers; while recording the objective metric scores. While the MOS cannot be repeated, the objective metric can, easily and readily.

Benefits
* Repeatable tests, quantitative results, and a streamlined setup.
* Analyze 2 video sequences in real-time up to 1080P.
* Input virtually any file type or capture from any digital or analog source.
* Multiple viewing modes are presented on a single display – no need to calibrate 2 separate Television displays to compare video sequences.
* Integrated uncompressed, high definition Video Server and Capture Device.
* Ability to Play 2 fully uncompressed, HD Streams in Real-Time.
* Hybrid Solution with Integrated Objective Metrics and Subjective Viewing Modes.

Implementation
ClearView takes advantage of the high-reliability of today’s off-the-shelf, high-performance computer platforms. This ensures that products are made with state-of-the-art hardware, while at the same time avoiding the high cost of custom designs.

ClearView provides broadcasters, researchers, and compression developers with the unique ability to capture, play-out, and analyze video. Objective measurements are generated, graphed, and logged for repeatable tests.

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Coldplay is awesome. This song is awesome. This music video is awesome. I hope you like it! Song: Viva La Vida Artist: Coldplay Here are the lyrics! I used to rule the world Seas would rise when I gave the word Now in the morning I sleep alone Sweep the streets I used to own I used to roll the dice Feel the fear in my enemy’s eyes Listen as the crowd would sing “Now the old king is dead! Long live the king!” One minute I held the key Next the walls were closed on me And I discovered that my …

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About Author

Bill Reckwerdt, Vice President Marketing & Business Development
Bill’s extensive career spans 20 years in the digital video and medical imaging industries. He brings to Video Clarity expertise in compression, digital transmission, and video servers.
To contact Bill directly send an email to bill@videoclarity.com or visit our http://www.videoclarity.com

No matter how much space you may have on your iPod, there is going to come that day that you will want to free up some space by deleting some songs or playlists off of your iPod. Knowing this ahead of time that you cannot delete songs or playlists off of your iPod itself without a computer will help you out in the future. You need to go through your computer and through iTunes to manage your song files. This is the only safe way to really manage your songs and playlists.

In order to do this, you will want to hook up your iPod to your computer. Next, you will then want to delete the songs or playlists in iTunes and revise your iPod. iPod was not designed to delete songs or playlists off manually with out a computer.

There are two different ways to delete songs or playlists and revise your iPod with iTunes. You can do this automatically or manually, whatever type of technique you may choose depends on the preferences that you set up in iTunes. Unless the settings are in iTunes, it will automatically update the iPod when you go to hook it up to your computer after you have followed the steps to delete songs and playlists automatically. If you cannot do this, you should follow the instructions for doing it the manual way.

There is a setting that can be set so that the iPod syncing preference is in iTunes. To do this, you need to connect the iPod to the computer. Open iTunes and select iPod in iTunes source list. Press the option button in far right bottom corner. The option button will not appear if the iPod was not selected in the step from above. iPod preference window appears. Click to select automatic option or manual update option. If the select Automatically Update Selected Playlist Only option is chosen, make sure playlist that you want to delete from your iPod is not selected.

You can have songs or playlists automatically deleted. Open up your iTunes. Pick a song or playlist that you would want to delete from your iPod. Then from the edit menu, choose clear or press the delete key. If a dialog box appears pres yes. Song or playlist should be deleted from iTunes. If the connection from the iPod to the computer chooses to update the songs on your iPod from file menu or the connection from your iPod to the connection to your iTunes will automatically revise iPod and delete songs or playlist that was deleted from above.

When you are ready to delete songs or playlist manually, open iTunes. Select iPod in source list. Choose song or playlist you would want to delete from iPod. Deleting playlist or a song from playlist will now get rid of song from iPod.

Next go to edit menu, choose clear or press delete. Press, yes if dialog box appears. The song or playlist should be deleted from the iPod. Manually deleting songs or playlists from iPod you do not want to delete a song or playlist from iTunes. Deleting a song from playlist will not eliminate song from iPod. Choose iPod in iTunes source list and find song that you would like to delete.

Do not format iPod to erase songs or playlists. Do not use any sort of disk utility programs like Disk Utility, Drive Setup or Windows Explorer to wipe out iPod. Wiping out songs this way can hinder the iPods music playing capabilities and you may have to revise or reset your iPod to get it to work properly again.

To reset iPod with Scroll Wheel and iPod with Touch Wheel:

Connect iPod to power adaptor and plug into an outlet or connect iPod to Macs built in FireWire port.

Press the Hold switch on & off.

For about 6 to 10 seconds press and hold Play/Pause and the menu button until the Apple logo can be seen on the screen. Repeat these steps if necessary.

To reset iPod with Circle Wheel:

Connect iPod to power adaptor and plug into an outlet.

Press the Hold switch on & off.

For about 6 to 10 seconds press and hold play/pause and the menu button until the Apple log can be seen on the screen. Repeat these steps if necessary.

To reset an iPod with a Click Wheel:

Press the Hold switch on and off.

Press and hold for about 6 to 10 seconds the menu and select buttons until the Apple logo appears on the display screen.

With all the tips from above, your iPod will have plenty of free space and work like new.

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For several years now, Jason has been reviewing hundreds of online products and services. Many consider his reviews to be very insightful and reliable. Visit his website Best-MP3-Players-Online.com

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You’re a singer looking for great audience songs for women. Have you thought about a “House song” from a Musical?

A House song bridges the gap between the audience and the singer, when the character comes out of the story on stage and speaks directly to the viewers, know that he (and the drama) is being watched.

In Musical theater there are not many real House songs, but there are a number of songs you can alter to make your performance cross that invisible fourth wall between you and the audience.

In this article I suggest 60 songs for women from the Musical Theater repertoire that could be sung as a House song. They fall into three categories: the true House song, the audience number and the soliloquy.

In the first category, the true House song, the musical is written deliberately for the character to step out of the drama and speak to the viewers. Think of Diva’s Lament from Spamalot, or You Can Always Count On Me from City of Angels. When You’re Good To Mama from Chicago springs to mind immediately. Other true House songs include Big Spender from Sweet Charity (originally a chorus number but can be sung by one person), I’m Still Here from Follies, Broadway Baby from Follies, I Just Wanna Dance from Jerry Springer, Jonny One Note from Babes in Arms, and Nobody Does It Like Me – the Cy Coleman song from the musical SeeSaw. And Miss Byrd from Closer Than Ever shares her secret across the fourth wall.

Many of the songs from the Victorian Music Hall era work as house numbers including Waiting At the Church, If It Wasn’t For the ‘Ouses In Between, and even ballads such as The Boy I Love Is Up In The Gallery. Then there are the songs written in a Musical style such as Girl in 14G, and The Alto’s Lament.

In the second category, the character sings to an audience in her world as part of the plot. Good and Evil from Jekyll and Hyde is a great example as Lucy sings to the drinkers in the pub where she works. Then there’s Don’t Cry For Me Argentina (Evita), I Speak Six Languages from The 25th Annual Putnam County Spelling Bee, Beat Out Dat Rhythm from Carmen Jones, Man Wanted from Copacabana, and Blow Gabriel Blow from Anything Goes. The Saga Of Jenny from Lady in the Dark is sung in a courtroom, and you might just get away with Life of the Party from Wild Party.

The unifocus song is the third type of House number – it’s usually a soliloquy in which the character is asking questions. One of the most well-known songs is I Cain’t Say No from Oklahoma. Then there’s I’m Shy from Once Upon A Mattress, Everybody Says Don’t, and There Won’t Be Trumpets, from Anyone Can Whistle, and I’m A Stranger Here Myself from One Touch of Venus. Check out Holding To The Ground from Falsettos, My Brother Lived In San Francisco from Elegies for Angels Punks and Raging Queens, I Hate Men from Kiss Me Kate, and My Strongest Suit from Aida. For the more old-fashioned amongst you, there’s I Think I May Want To Remember Today from Starting Here, Starting Now, Tale of the Oyster (Fifty Million Frenchmen), and The Physician (Nymph Errant).

You can use a strong story song like Waiting For The Music To Begin (Witches of Eastwick) if you use it to tell the audience your story. Another perfect example comes from A Chorus Line, where Diana Morales sings Nothing to Zach who is seated in the (real) audience throughout the show. It’s therefore very easy to turn it into a house number and address the audience directly and individually. Other songs include Gimme Gimme from Thoroughly Modern Millie, I Know Things Now from Into the Woods, Defying Gravity from Wicked, and Always The Bridesmaid from I Love You, You’re Perfect, Now Change.

Back to Sondheim again for The Ladies Who Lunch from Company, The Story of Lucy and Jessie (from certain productions of Follies), and Can That Boy Foxtrot (a duet that can be sung as a solo) from Marry Me A Little, or cut from Follies, depending on who you read.

Then there’s Everybody’s Girl from Steel Pier, Old Fashioned Love Story from Wild Party, When You Got It, Flaunt It from The Producers, and How Did I End Up Here from Romance Romance. You might consider One Hundred Easy Ways from Wonderful Town, or My New Philosophy from You’re A Good Man Charlie Brown, and experiment with a song like Cockeyed Optimist from South Pacific.

Another great source of House songs is the revue musical. Closer Than Ever by Maltby and Shire is a good example for songs like Back On Base, or The Bear, The Tiger, The Hamster and The Mole. Or you could consider Songs for a New World by Jason Robert Brown for I’m Not Afraid Of Anything. You can also do what the musicals are doing currently and raid the pop/disco/rock scene for suitable songs – Holding Out For A Hero started as a Bonnie Tyler song but is now in both Footloose and Shrek II

It is unusual for a slower song to work as a house number, but here are a few suggestions: Maybe I Like It This Way from Wild Party, That’s Him from One Touch Of Venus, Why Him from Carmelina, Bill (from Oh Lady! Lady! and versions of Showboat) and of course, Funny Girl from Funny Girl.

Remember that the point of a House song is to speak directly to the viewers, so make sure you look your audience in the eye while you perform.

Enjoy.

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Jeremy Fisher coaches singers, actors and dancers in musicals, cabaret and opera. For articles, free downloads and information on Musical Theatre, Successful Singing Auditions repertoire and effective vocal training, check out his voice training company Vocal Process, “revolutionising the way singing is taught” (LINK magazine) http://www.vocalprocess.co.uk