mpeg 2 playback component100 results found

If you can't install the QuickTime MPEG-2 Playback Component

QuickTime Player in OS X Lion or later can play back MPEG - 2 media without additional software. It works with most non-encrypted MPEG - 2 file formats containing MPEG layer I or II audio, including . mpg , . mpeg , .m2v, .m2a, and .m2s files. If the QuickTime MPEG - 2 Playback Component is already installed when you upgrade to OS X Lion or alter, the component remains available for use by older QuickTime 7-based applications.

Cameras supported by Final Cut Pro X

ARRI ALEXA1 2 Format: Apple ProRes3 / DNxHD Media: Memory  

iMovie supported cameras

DJI Inspire 1 Format: MPEG -4 Media: Memory Region: Multi-Region DJI Inspire 1 Pro Format: MPEG -4 Media: Memory Region: Multi-Region DJI Inspire 1 v2.0 Format: MPEG -4 Media: Memory Region: Multi-Region DJI Phantom 3 Professional Format: MPEG -4 Media: Memory Region: Multi-Region DJI Phantom 4 Format: MPEG -4 Media: Memory Region: Multi-Region GoPro HERO3+ Black Edition Format: MPEG -4 Media: Memory Region: Multi-Region GoPro HERO4 Black Format: MPEG -4 Media: Memory Region: Multi-Region GoPro HERO4 Silver Format: MPEG -4 Media: Memory Region: Multi-Region Leica D-LUX (Typ 109) Format: MPEG -4 Media: Memory Region: NTSC Leica V-LUX (Typ 114) Format:  MPEG -4 Media: Memory Region: NTSC Panasonic DMC-FZ300 Format: AVCHD / MPEG -4 Media: Memory Region: NTSC, PAL Panasonic DMC-FZ330 Format: AVCHD / MPEG -4 Media: Memory Region: NTSC, PAL Panasonic DMC-FZ1000 Format: AVCHD / MPEG -4 Media: HDD / Memory Region: NTSC, PAL Panasonic DMC-G7 Format: AVCHD / MPEG -4 Media: Memory Region: NTSC, PAL Panasonic DMC-GX8 Format: AVCHD / MPEG -4 Media: Memory Region: NTSC, PAL Panasonic DMC-GF8 Format: AVCHD / MPEG -4 Media: Memory Region: NTSC, PAL Panasonic DMC-GH4 Format: AVCHD / MPEG -4 Media: Memory Region: NTSC, PAL Panasonic DMC-GX7MK2 Format: AVCHD / MPEG -4 Media: Memory Region: NTSC, PAL Panasonic DMC-GX80 Format: AVCHD / MPEG -4 Media: Memory Region: NTSC, PAL Panasonic DMC-GX85 Format: AVCHD / MPEG -4 Media: Memory Region: NTSC, PAL Panasonic DMC-LX100 Format: AVCHD / MPEG -4 Media: Memory Region: PAL NTSC Panasonic DMC-TX1 Format: AVCHD / MPEG -4 Media: Memory Region: NTSC, PAL Panasonic DMC-TZ80 Format: AVCHD / MPEG -4 Media: Memory Region: NTSC, PAL Panasonic DMC-TZ81 Format: AVCHD / MPEG -4 Media: Memory Region: NTSC, PAL Panasonic DMC-TZ85 Format: AVCHD / MPEG -4 Media: Memory Region: NTSC, PAL Panasonic DMC-TZ100 Format: AVCHD / MPEG -4 Media: Memory Region: NTSC, PAL Panasonic DMC-TZ101 Format: AVCHD / MPEG -4 Media: Memory Region: NTSC, PAL Panasonic DMC-TZ110 Format: AVCHD / MPEG -4 Media: Memory Region: NTSC, PAL Panasonic DMC-ZS11 Format: AVCHD / MPEG -4 Media: Memory Region: NTSC, PAL Panasonic DMC-ZS60 Format: AVCHD / MPEG -4 Media: Memory Region: NTSC, PAL

Compressor 4: MPEG-2

MPEG - 2 The built-in MPEG Files settings (including the built-in MPEG - 2 for DVD setting) use the MPEG - 2 transcoding format. This format encodes MPEG - 2 stream files for SD DVD and Blu-ray authoring. Note:   This setting encodes only a video file. Dolby Digital is the recommended audio setting. For more information, see Dolby Digital. You can also create custom settings that use the MPEG - 2 transcoding format. The properties of built-in and custom settings that use this transcoding format are located in the General, Video, and Audio inspectors. These properties are described below. Important:   When you add a setting (or a destination that includes settings) to a job, Compressor analyzes the source media and then automatically assigns the most appropriate setting properties (based on the setting’s transcoding format and the characteristics of your source media file). It’s recommended that you use the automatically assigned setting properties. Setting summary Displays the setting name and transcoding format, as well as an estimated output file size. When you add a setting to a job or change the setting’s properties, this summary automatically updates. General properties Name: Displays the name of the setting. Description: Displays the description of the setting. Extension: Displays the extension of the output file. Allow job segmenting: If you’ve set up distributed processing, select this checkbox to have Compressor process the output file using your shared computer group. For more information, see Transcode batches with multiple computers. Default location: Select an item from the pop-up menu to set the default save location for transcoded files. Format: Use the pop-up menu to set the stream type for the output file. There are three options: Program Stream: This stream type contains only one MPEG - 2 content channel and its associated audio. Program streams require an error-free delivery method and are primarily used for storage or processing within a computer. Elementary Stream: This stream type contains only one MPEG - 2 content channel and no audio. When you select this option, you should also set the “Stream usage” property. Transport Stream: This stream type can contain several MPEG - 2 content channels and associated audio. All the channels are multiplexed together, allowing the receiver to choose which to play back. Compressor supports creating single-channel transport streams that can also include associated audio. Transport streams can also recover from interruptions during playback , making them ideally suited for broadcast and streaming applications where noise or network congestion can lead to interruptions. Stream usage: Use this pop-up menu to specify the MPEG - 2 transcoding output. Compressor modifies the available properties based on the option you choose: Generic: This option allows you complete access to all the MPEG - 2 properties. This is the only option that supports the MPEG - 2 640 x 480 video format in addition to the standard-definition (SD) and high-definition (HD) video formats. It’s also the only option that supports creating transport and program streams. It supports the complete bit rate range of 2.0 Mbps to 40.0 Mbps. DVD: This option restricts the encoding properties to those allowed by the SD DVD specification. These include the NTSC and PAL video formats and a bit rate range of 2.0 Mbps to 9.0 Mbps. Blu-ray: This option restricts the encoding properties to those allowed by Blu-ray video discs. These include the SD and HD video formats and a bit rate range of 10.0 Mbps to 40.0 Mbps. Add Apple metadata: Select this checkbox to have Compressor parse specific MPEG - 2 authoring information during the transcoding process and provide it in the output file. The resulting file will be read faster by other applications. Include chapter markers only: Select this checkbox to include chapter markers, but not unnamed compression markers, in MPEG - 2 output. When this checkbox is deselected, all markers are included in the output file. For more information about chapter markers, see Add markers. Retiming This section contains one property: Set duration to: Sets the processing algorithm used to adjust the frame rate during transcoding. Select one of the following options: [Percentage] of source: Modifies the output clip’s speed by a percentage of the source clip’s speed. Enter a value in the percentage field or choose a preset value from the adjacent pop-up menu (with a downward arrow). [Total duration]: Sets the duration of the clip. Enter a timecode duration in the field or click the arrows to increase or decrease the time. So source frames play at [frame rate] fps: Nondestructively changes the playback speed of the clip, without discarding frames or creating new frames. This setting has no effect unless the “Frame rate” value in the Video inspector is different than the source file’s frame rate. For example, if you add a 10-second source file with a frame rate of 24 fps to Compressor, set the “Frame rate” property in the Video inspector to 25 fps, then select “So source frames play at 25 fps” in the General inspector, the duration of the transcoded clip (at 25 fps) is 9 seconds and 15 frames. For more information, see Retime video and audio. Video properties Frame size: Use the pop-up menu to set the frame size (resolution) for the output file. Pixel aspect ratio: Use the pop-up menu to set the pixel aspect ratio (the ratio between the image frame width and height). You can also modify the aspect ratio of the output file using cropping and padding properties. For more information, see Modify frame size overview. Frame rate: Use this pop-up menu to set the playback rate (the number of images displayed per second) for the output file. For more information, see Frame rate options overview. Field order: Use the pop-up menu to set the output scanning method (either the field dominance or a conversion to progressive scanning). There are four options: Same as Source: Maintains the same scanning method used by the source media file. Progressive: Scans complete frames (not frames divided into interlaced fields). Top First: Scans interlaced fields, giving dominance (field order) to the top field, also known as field two , the upper field, or the odd field. Bottom First: Scans interlaced fields, giving dominance (field order) to the bottom field, also known as field one, the lower field, or the even field. Anamorphic: This setting applies only to standard-definition video. If the source video’s storage aspect ratio doesn’t match its display aspect ratio, you can correct the image so the output does not appear squeezed or stretched. Choose Automatic to have Compressor scale the image based on the frame size, or choose 16:9 or 4:3 to scale the image to a specific aspect ratio. Encoding mode: Choose an option from the pop-up menu to set how Compressor encodes the output file: either faster and lower quality, or slower and better quality. Options include: Single Pass CBR: This is the fastest MPEG - 2 encoding mode. It provides good quality, especially at bit rates between 5 and 9 Mbps. Single Pass VBR: This mode aims to maintain constant quality (at the expense of constant bit rate) for the transcoded video file. For most standard-definition (SD) media files at bit rates of 3.5 Mbps and above, this mode provides good to excellent quality and transcodes quickly. Single Pass VBR (Best): This mode provides the best possible quality output for SD video at bit rates of 3 to 3.5 Mbps and above. Two Pass VBR: This mode uses two passes—one pass to analyze the entire source video stream, and a second pass to compress the file. This mode takes longer and provides a better-quality file than the one-pass modes, and is recommended for source media files with a substantial difference between the most and the least complex scenes. Two Pass VBR (Best): This mode provides the best possible quality output, and outstanding quality at bit rates of 3 to 3.5 Mbps and above for HD and SD video. Motion estimation: This pop-up menu sets the amount of motion processing that will be performed on the file. There are three options: Good: The fastest processing setting. Use this setting when there is relatively low motion between frames. In general, use Good with the one-pass encoding modes. Better: Provides very good results even in the presence of complex interlaced motion. In general, use Better with Single Pass VBR (Best) and Two Pass VBR (Best). Best: The slowest processing setting. Use for the most complex motion and for interlaced source files. In general, use the Best mode to maximize quality when using Single Pass VBR (Best) or Two Pass VBR (Best). GOP structure: This property is available only when the “Frame rate” property is set manually (does not use Automatic). Compressor provides three methods of grouping frames, or “pictures,” in encoded video: as I-frames (intra-frames), P-frames (predictive frames), and B-frames (bidirectional predictive frames). These are collectively called a Group of Pictures (GOP). The “GOP structure” pop-up menu includes several methods of arranging frames: IP: Use IP only if your media contains fast motion that isn’t encoded with sufficient quality using an IBBP or IBP structure. IBP: Use IBP only if your media contains fast motion that isn’t encoded with sufficient quality using an IBBP structure. IBBP: Recommended for the majority of MPEG - 2 encoding situations. Note:   For most MPEG - 2 encoding situations intended for use on a DVD, choose IBBP as the GOP structure setting, and a GOP size of 15 for NTSC, or 12 for PAL. GOP size: This property is available when the “Frame rate” property is set manually (does not use Automatic). This slider specifies how many frames are contained within a GOP (group of pictures). The values available in the slider are determined by the GOP structure property (described above). The maximum GOP size you can choose within Compressor is 15 frames (NTSC) or 12 frames (PAL and 720p

Difficulties playing any MPEG-3 or MPEG-4 audio after upgrading. It could play in Quicktime.

MP3 audio show 00:00 and MPEG -4 show the time but can't play. WAV and WMA can play.

Compressor 4: MPEG-4

MPEG -4 The built-in settings included in the Prepare for HTTP Live Streaming destination and the built-in AAC setting (for audio output) use the MPEG -4 transcoding format, which encodes files using an H.264 encoder. This format encodes files for HTTP live streaming and for AAC audio files used in audio podcasting and digital music playback . To learn more about HTTP Live Streaming, see the HTTP Live Streaming Overview and other related documents available in the Mac Developer Library. You can also create custom settings that use the MPEG -4 transcoding format. The properties of built-in and custom settings that use the MPEG -4 transcoding format are listed below. The list includes properties in the General, Video, and Audio inspectors. Important:   When you add a setting (or a destination that includes settings) to a job, Compressor analyzes the source media and then automatically assigns the most appropriate setting properties (based on the setting’s transcoding format and the characteristics of your source media file). It’s recommended that you use the automatically assigned setting properties. Setting summary Displays the setting name and transcoding format, as well as an estimated output file size. When you add a setting to a job or change the setting’s properties, this summary automatically updates. General properties Name: Displays the name of the setting. Description: Displays the description of the setting. Extension: Displays the extension of the output file (.mp4 or .m4a). Allow job segmenting: If you’ve set up distributed processing, select this checkbox to have Compressor process the output file using your shared computer group. For more information, see Transcode batches with multiple computers. Note:   Job segmenting is not available when outputting an MPEG -4 audio file or when the Multi-pass checkbox is selected in the Video inspector. Default location: Choose an item from the pop-up menu to set the default save location for transcoded files. Format: Use this pop-up menu to set whether the output includes video and audio, video only, or audio only. Optimize for network use: Select this checkbox to create a file that will start playing after only a small portion of the file has been downloaded from the network. Enhanced podcast: Select this checkbox to have Compressor embed podcasting information (annotations, markers, and artwork) into the output media file. For more information about annotations, see Add metadata. For more information about chapter markers, see Add markers. Retiming This section contains one property: Set duration to: Sets the processing algorithm used to adjust the frame rate during transcoding. Select one of the following options: [Percentage] of source: Modifies the output clip’s speed by a percentage of the source clip’s speed. Enter a value in the percentage field or choose a preset value from the adjacent pop-up menu (with a downward arrow). [Total duration]: Sets the duration of the clip. Enter a timecode duration in the field or click the arrows to increase or decrease the time. So source frames play at [frame rate] fps: Nondestructively changes the playback speed of the clip, without discarding frames or creating new frames. This setting has no effect unless the “Frame rate” value in the Video inspector is different than the source file’s frame rate. For example, if you add a 10-second source file with a frame rate of 24 fps to Compressor, set the “Frame rate” property in the Video inspector to 25 fps, then select “So source frames play at 25 fps” in the General inspector, the duration of the transcoded clip (at 25 fps) is 9 seconds and 15 frames. Note:   This option is not available when outputting an MPEG -4 audio file. For more information, see Retime video and audio. Video properties Frame size: Use the pop-up menu to set the frame size (resolution) for the output file. Pixel aspect ratio: Use the pop-up menu to set the pixel aspect ratio (the ratio between the image frame width and height). You can also modify the aspect ratio of the output file using cropping and padding properties. For more information, see Modify frame size overview. Frame rate: Use this pop-up menu to set the playback rate (the number of images displayed per second) for the output file. For more information, see Frame rate options overview. Field order: Use the pop-up menu to set the output scanning method (either the field dominance or a conversion to progressive scanning). There are four options: Same as Source: Maintains the same scanning method used by the source media file. Progressive: Scans complete frames (not frames divided into interlaced fields). Top First: Scans interlaced fields, giving dominance (field order) to the top field, also known as field two , the upper field, or the odd field. Bottom First: Scans interlaced fields, giving dominance (field order) to the bottom field, also known as field one, the lower field, or the even field. H.264 profile: Use the pop-up menu to set the video compression for the output file. There are three options: High: Provides high quality output. Note:   This setting is not compatible with older H.264 playback devices. Main: Similar to the Baseline profile, with additional support for standard-definition (SD) video requirements. Baseline: Primarily for video conferencing and mobile applications. Entropy mode: Use the pop-up menu to set the entropy mode to CABAC, which provides higher-quality output, or CAVLC, which is faster. Key frame interval: Enter a value in the text field to set the key frame interval (number of frames) at which you want key frames created in your output file. Alternatively, you can select Automatic to have Compressor choose the key frame interval rate (the displayed value is 0 with Automatic on; the actual value is determined during the encoding process). Data rate: This pop-up menu allows you to choose a data rate for your video based on any of three options: Custom: Enables a slider to set the number of kilobytes per second (kbps) to which you want to limit your video signal. Higher rates allow higher-quality video, but generate larger files that are slower to download or transmit. Computer playback : Creates a larger file with higher quality. Web publishing: Creates a smaller file (of lower quality) suitable for hosting on a website. Important:   When you set a data rate, you override other codec-quality properties because the codec compresses the file as much as it needs to based on its data-rate limit. Multi-pass: Select this checkbox to turn on multi-pass encoding that uses additional analysis of video frames to produce a high-quality output file. For faster (single-pass) transcoding, turn this feature off by deselecting the checkbox. Allow frame reordering: Select this checkbox to potentially provide a better-quality output file by allowing Compressor to reorder video frames during transcoding. Cropping and padding Customize the final cropping, sizing, and aspect ratio using the Cropping & Padding properties. Cropping removes video content from an image. Padding scales the image to a smaller size while retaining the output image’s frame size. For more information about these properties, see Modify frame size overview. Cropping: This pop-up menu sets the dimension of the output image. The custom option allows you to enter your own image dimensions in the fields; other options use predetermined sizes. The Letterbox Area of Source option detects image edges and automatically enters crop values to match them. This is useful if you want to crop out the letterbox area (the black bars above and below a widescreen image) of a source media file. Padding: This pop-up menu sets the scaling of the output image while retaining the output image’s frame size. The custom option allows you to enter your own scaling dimensions in the fields; other options use predetermined dimensions. Quality The following properties determine how the video will be resized, retimed, and otherwise adjusted when transcoded. Resize filter: This pop-up menu sets the resizing method. There are three options: Fast (Nearest Pixel): Provides the fastest processing time. Better (Linear Filter): Provides a medium trade-off between processing time and output quality. Best (Statistical Prediction): Provides the highest output quality, but takes longer. Retiming Quality: This pop-up menu sets the retiming method. There are four options: Fast (Nearest Frame): Uses a copy of the nearest available frame to fill the new in-between frames. Better (Motion Adaptive): Uses deinterlacing on areas of the source file that contain movement to produce good-quality output. Best (Motion Compensated): Uses deinterlacing on areas of the source file that contain movement to produce high-quality output. Reverse Telecine: Removes the extra fields added during the telecine process to convert the film’s 24 fps to NTSC’s 29.97 fps. Choosing this item disables all the other Quality controls. For more information, see About reverse telecine. Adaptive details: Select this checkbox to use advanced image analysis to distinguish between noise and edge areas during output. Anti-aliasing level: Sets the softness level in the output image. Double-click the value and then manually enter a new value or drag the slider to the right to increase softness. This property improves the quality of conversions when you’re scaling media up. For example, when transcoding SD video to HD, anti-aliasing smooths jagged edges that might appear in the image. Details level: Sets the amount of detail in the output image. Double-click the value and then manually enter a new value or drag the slider to set the value. This sharpening control lets you add detail back to an image being enlarged. Unlike other sharpening operations, the “Details level” property distinguishes between noise and feature details, and generally doesn’t increase unwanted grain. Increasing this value may introduce jagged edges, however, which can

Keynote for iOS 2.x (iPad): Set presentation playback options

Set presentation playback options You can change how your presentation plays, such as having a presentation play as soon as its opened, or play continuously in a loop. Loop (repeat) the presentation By default, when you reach the last slide of your presentation, the presentation ends and Keynote returns to editing view. Instead, you can make the presentation loop, so that it returns to the first slide when it reaches the end. You must set up your presentation to loop before you begin to play it. Tap , then tap Presentation Tools. Tap Presentation Type, then turn on Loop Presentation. Restart an idle presentation If a presentation is playing and there hasn’t been any interaction with the screen after a period of time, you can have the presentation return to the first slide. This feature is useful, for example, if your presentation is in a kiosk at a trade show. One viewer might swipe through just part of the presentation without finishing it. You can set it to go back to the first slide after 15 minutes so it’s ready for another viewer. Tap , then tap Presentation Tools. Tap Presentation Type, then turn on “Restart show if Idle.” Drag the slider to set the amount of idle time before a presentation restarts.

Keynote for iOS 2.x (iPhone, iPod touch): Set presentation playback options

Set presentation playback options You can change how your presentation plays, such as having a presentation play as soon as its opened, or play continuously in a loop. Loop (repeat) the presentation By default, when you reach the last slide of your presentation, the presentation ends and Keynote returns to editing view. Instead, you can make the presentation loop, so that it returns to the first slide when it reaches the end. You must set up your presentation to loop before you begin to play it. Tap , then tap Presentation Tools. Tap Presentation Type, then turn on Loop Presentation. Restart an idle presentation If a presentation is playing and there hasn’t been any interaction with the screen after a period of time, you can have the presentation return to the first slide. This feature is useful, for example, if your presentation is in a kiosk at a trade show. One viewer might swipe through just part of the presentation without finishing it. You can set it to go back to the first slide after 15 minutes so it’s ready for another viewer. Tap , then tap Presentation Tools. Tap Presentation Type, then turn on “Restart show if Idle.” Drag the slider to set the amount of idle time before a presentation restarts. Tap Done to return to your slides.

iMovie is missing audio on import, export, or playback

Make sure the audio track has not been muted in the timeline. Switch to timeline view by clicking the clock button in the iMovie window. There are three checkboxes on the right side of the iMovie window underneath the sound icon. These checkboxes correspond to the video track and two additional audio tracks. Make sure all three tracks are selected. Any deselected tracks are muted. If you are using iMovie 3 or later, check the "Edit Volume" option to see if it is selected. If so, make sure the volume of the affected video clips is not set to its lowest level, or try deselecting the option to Edit Volume. See if the volume in iMovie is set to its lowest setting. Directly under the Preview pane in iMovie is a volume slider. Set this slider to maximum volume. Make sure the computer's audio is not muted. Quit and reopen iMovie, then check the clip to see if it now plays with audio. Check to see if any of the video clips you have imported are in the MPEG -1 format. MPEG -1 clips will lose audio when you export them as part of your iMovie project. Quit and reopen iMovie, then reimport the footage from the camera. Play the newly imported footage and see if you now have audio. If you are using an analog to DV converter instead of a camera, make sure the audio connections are good between your VCR or other analog device and the converter. Check the documentation that came with your converter for more information. Check /Library/QuickTime/ and ~/Library/QuickTime/ for any third-party plugins. Remove them if present, log out, and log back in. Check to see if the issue persists. If not, check with the manufacturer of the disabled plugin to see if an update is available. Note: The tilde (~) represents your Home directory. Note: "Apple Intermediate Codec" and "QuickTimeMPEG2" are Apple components . For more information about a particular plugin, select the item in the Finder and choose File > Get Info. Look at the version string of the Get Info window to see if the plugin developer name is listed.

Final Cut Pro X: About audio channels and audio components

About audio channels and audio components Audio files can contain a single audio channel or multiple audio channels. Channels usually correspond to microphone inputs during recording or to speakers for multichannel output. For example, a stereo audio file usually contains left and right channels that match what you hear from the left and right speakers during playback . Final Cut Pro automatically groups channels into audio components according to how the channels are configured for the clip. You can expand the audio portion of clips to view and edit audio components down to the individual channel level. You can then make separate volume or pan adjustments or apply and keyframe different audio effects for each component . For more information, see Audio editing overview. The number of audio components you see corresponds to the number of channels you’ve configured in your source clip. Note:   Many popular digital audio file formats, such as AAC and MP3, use interleaved stereo files, which do not contain separate left and right channels. A stereo clip with interleaved left and right channels appears as a single audio component in the Audio inspector and the Timeline. If you change the clip’s channel configuration from Stereo to Dual Mono, the channels appear as two separate audio components . For more information, see Configure audio channels.

Compressor 4: QuickTime Export Components

QuickTime Export Components You can use the QuickTime Export Components transcoding format to output files for a variety of additional formats that can play on third-party devices and operating systems, such as mobile phones. You can transcode files for 3G, AVI, and Apple iPod, or transcode using third-party plug-ins that you’ve installed on your system. The properties of custom settings that use this transcoding format are located in the General inspector and Video inspector. These properties are described below. Important:   When you add a setting (or a destination that includes settings) to a job, Compressor analyzes the source media and then automatically assigns the most appropriate setting properties (based on the setting’s transcoding format and the characteristics of your source media file). It’s recommended that you use the automatically assigned setting properties. Setting summary Displays the setting name and transcoding format, as well as an estimated output file size. When you add a setting to a job or change the setting’s properties, this summary automatically updates. General properties Name: Displays the name of the setting. Description: Displays the description of the setting. Extension: Displays the extension of the output file, based on the setting chosen in the “Encoder type” pop-up menu, described below. Allow job segmenting: This option is not available for the default encoder types that are included with Compressor. It may be available for other encoders. Default location: Select an item from the pop-up menu to set the default save location for transcoded files. Encoder type: Use this pop-up menu to choose from the available export component output formats (plug-ins). For some encoder types, you can customize the plug-in via the Settings property, described below. Settings: You can modify the export component output format that you selected in the Encoder type pop-up menu by clicking the Configure button and adjusting the format’s properties in the window that appears. Important:   Use the third-party export module user interface to explicitly enter the image size and frame rate for the output file. Do not leave the Image Size and Frame Rate settings in the third-party user interface at their default values. Video properties The properties in this section are set based on the file format assigned to the setting. You can change the file format in the General pane of the inspector; for more information, see the Settings property in the “General properties” section, above. Frame size: For settings that use the QuickTime Export Component format, this property is set to Automatic. Pixel aspect ratio: For settings that use the QuickTime Export Component format, this property is set to Square. You can also modify the aspect ratio of the output file using cropping and padding properties; for more information, see Modify frame size overview. Frame rate: Use this pop-up menu to set the playback rate (the number of images displayed per second) for the output file. For more information, see Frame rate options overview. Field order: For settings that use the QuickTime Export Component format, the field order is set automatically. Cropping and Padding Customize the final cropping, sizing, and aspect ratio using the Cropping & Padding properties. Cropping removes video content from an image. Padding scales the image to a smaller size while retaining the output image’s frame size. For more information about these properties, see Modify frame size overview. Cropping: This pop-up menu sets the dimension of the output image. The custom option allows you to enter your own image dimensions in the fields; other options use predetermined sizes. The Letterbox Area of Source option detects image edges and automatically enters crop values to match them. This is useful if you want to crop out the letterbox area (the black bars above and below a widescreen image) of a source media file. Padding: For settings that use the QuickTime Export Component format, the Padding property is not available. Video effects For a list of available video effects and instructions on how to add a video effect to a setting, see Add and remove effects.

Final Cut Pro X: Glossary

Glossary 4:3  The aspect ratio for standard-definition (SD) broadcast video. The ratio of the width to the height of the visible area of the video frame is 4:3, or 1.33. See also standard-definition (SD). 16:9  A widescreen aspect ratio for video. The ratio of the width to the height of the visible area of the video frame is 16:9, or 1.78. The 16:9 aspect ratio is used for high-definition video. See also high-definition (HD). AAC (Advanced Audio Coding)  Also called MPEG -4 Audio. A standard way of compressing and encoding digital audio. AAC-encoded files rival the quality of audio CDs and generally sound as good as or better than MP3 files encoded at the same or even a higher bit rate. AC3 (Audio Codec 3, Advanced Codec 3, Acoustic Coder 3)  A Dolby Digital compressed audio format often used for encoding surround sound. AIFF (Audio Interchange File Format)  A cross-platform audio file format developed by Apple. Like WAV files, AIFF files contain “chunks” of information such as the Sound Data Chunk, which contains the actual sample data, and the Common Chunk, which contains sample rate and bit depth information. alpha channel  An image channel in addition to the R, G, and B color channels that is used to store transparency information for compositing. Alpha channels are often 8-bit, but some applications support 16-bit alpha channels. In Final Cut Pro, black represents 100 percent transparency, and white represents 100 percent opacity. Only certain formats, such as Targa, TIFF, PNG, PSD, Apple ProRes 4444, and the QuickTime Animation codec, support alpha channels. See also compositing, RGB. Angle Editor  You can open multicam clips in the Angle Editor to adjust the synchronization and the angle order, or to add or delete angles. You can also use the Angle Editor to make edits to the individual clips inside a multicam clip (such as trimming, making color corrections, adding transitions, and so on). See also multicam clip. Angle Viewer  A viewer used to watch all angles of a multicam clip simultaneously while switching or cutting to different angles in real time. You can cut and switch video and audio at the same time or independently. For example, you can use the audio from angle 1 while switching the video between angles 1 to 4. See also multicam clip. Animation Editors  See Audio Animation Editor, Video Animation Editor. Apple ProRes  Apple codecs that provide an unparalleled combination of multistream, real-time editing performance, impressive image quality, and reduced storage rates. Apple ProRes codecs take full advantage of multicore processing and feature fast, reduced-resolution decoding modes. All Apple ProRes codecs support any frame size (including SD, HD, 2K, and 4K) at full resolution. The data rates vary based on codec type, image content, frame size, and frame rate. Apple ProRes 4444 XQ  The highest-quality version of Apple ProRes for 4:4:4:4 image sources (including alpha channels), with a very high data rate to preserve the detail in high-dynamic-range imagery generated by today’s highest-quality digital image sensors. Apple ProRes 4444 XQ preserves dynamic ranges several times greater than the dynamic range of Rec. 709 imagery—even against the rigors of extreme visual effects processing, in which tone-scale blacks or highlights are stretched significantly. Like standard Apple ProRes 4444, this codec supports up to 12 bits per image channel and up to 16 bits for the alpha channel. Apple ProRes 4444 XQ features a target data rate of approximately 500 Mbps for 4:4:4 sources at 1920 x 1080 and 29.97 fps. Apple ProRes 4444  An extremely high-quality version of Apple ProRes for 4:4:4:4 image sources (including alpha channels). This codec features full-resolution, mastering-quality 4:4:4:4 RGBA color and visual fidelity that is perceptually indistinguishable from the original material. Apple ProRes 4444 is a high-quality solution for storing and exchanging motion graphics and composites, with excellent multigeneration performance and a mathematically lossless alpha channel up to 16 bits. This codec features a remarkably low data rate compared to uncompressed 4:4:4 HD, with a target data rate of approximately 330 Mbps for 4:4:4 sources at 1920 x 1080 and 29.97 fps. It also offers direct encoding of, and decoding to, both RGB and Y’CBCR pixel formats. Apple ProRes 422 HQ  A higher-data-rate version of Apple ProRes 422 that preserves visual quality at the same high level as Apple ProRes 4444, but for 4: 2 : 2 image sources. With widespread adoption across the video post-production industry, Apple ProRes 422 HQ offers visually lossless preservation of the highest-quality professional HD video that a single-link HD-SDI signal can carry. This codec supports full-width, 4: 2 : 2 video sources at 10-bit pixel depths, while remaining visually lossless through many generations of decoding and reencoding. The target data rate of Apple ProRes 422 HQ is approximately 220 Mbps at 1920 x 1080 and 29.97 fps. Apple ProRes 422  A high-quality compressed codec offering nearly all the benefits of Apple ProRes 422 HQ, but at 66 percent of the data rate for even better multistream, real-time editing performance. The target data rate of Apple ProRes 422 is approximately 147 Mbps at 1920 x 1080 and 29.97 fps. Apple ProRes 422 LT  A more highly compressed codec than Apple ProRes 422, with roughly 70 percent of the data rate and 30 percent smaller file sizes. This codec is perfect for environments where storage capacity and data rate are at a premium. The target data rate of Apple ProRes 422 LT is approximately 102 Mbps at 1920 x 1080 and 29.97 fps. Apple ProRes 422 Proxy  An even more highly compressed codec than Apple ProRes 422 LT, intended for use in offline workflows that require low data rates but full-resolution video. The target data rate of Apple ProRes 422 Proxy is approximately 45 Mbps at 1920 x 1080 and 29.97 fps. aspect ratio  A film or video frame’s width-to-height ratio on any viewing screen. Standard-definition (SD) video (used for regular television screens) has an aspect ratio of 4:3. High-definition (HD) video has an aspect ratio of 16:9. Audio Animation Editor  You can show the Audio Animation Editor for clips in the Timeline to adjust effect parameters, create fade-ins or fade-outs, or change effects over time using keyframes. audio components  Audio files can contain a single audio channel or multiple audio channels. Final Cut Pro automatically groups audio channels into audio components according to how the channels are configured for the clip. In Final Cut Pro, you can expand the audio portion of clips to view and edit audio components down to the individual channel level. audio sample rate  The number of times an audio signal is measured, or sampled, per second. A higher sample rate produces higher-quality audio and larger file sizes, and a lower sample rate produces lower-quality audio and smaller file sizes. Audio Units  The standard real-time audio filter format for audio applications used with OS X. audio waveforms  Audio waveforms are visual representations of the actual sound. An audio waveform’s amplitude and length change according to the underlying sound’s volume and duration. A short, loud sound such as a drum beat has a sharp, peaked waveform, whereas low-level crowd noise has a lower, more uniform waveform. These properties make it easier to find specific edit points when trimming clips or keyframing effects. audition  In Final Cut Pro you can organize related clips into sets, called auditions, from which you can choose one clip to use. You can create an audition composed of different clips to try out multiple takes, or you can create an audition composed of multiple versions of the same clip to preview different effects. Auditions appear in the Browser and Timeline as clips with an Audition icon in the upper-left corner. automatic audio sync  The “Use audio for synchronization” option in the multicam clip creation process makes precision sync adjustments using audio waveforms in the angles of a multicam clip. This is the same audio sync technology that you can use to automatically analyze and sync clips together into a compound clip. AVCHD  A high-definition (HD) video format that uses Advanced Video Coding (AVC) compression (also known as MPEG -4 part 10 or H.264). Many Blu-ray players can play red laser discs with AVCHD format content, making this a common way to distribute short HD video projects using a standard red laser disc. Background Tasks window  The Background Tasks window shows the progress of importing, transcoding, analysis, rendering, sharing, and other tasks. batch  Compressor uses a batch to contain one or more source media files that you want to convert, or transcode, to another format. Each source media file creates its own job. This means that a batch can contain multiple jobs, with each job based on its own source media file. Each job also has at least one setting that defines the format of the transcoded file. Bezier curves  A parametric curve used to create smooth movement for keyframes and animated objects in the Viewer. Bezier curves contain two kinds of points: smooth points with handles that can be manipulated to curve the adjacent line segment, and corner points that have no handles and therefore their adjacent line segments are straight (or linear). bit rate  The number of bits per second that makes up a digital video or audio asset. The higher the bit rate, the better the quality. However, higher bit rates require larger file sizes. Blade tool  The editing tool that allows you to cut clips in the Timeline. You can select the Blade tool by pressing the B key. blue laser media  Blu-ray burners and players use a blue laser when working with Blu-ray media. The blue color has a shorter wavelength, making it possible to store more data on a disc when compared to red lasers. blue or green screening  See chroma key. broadcast-safe  Broadcast facilities have limits on the maximum

Remove and reinstall iTunes and related software components for Windows 7 and later

In some rare instances, you might need to remove iTunes and related software components before you reinstall iTunes. If you're directed to reinstall iTunes by AppleCare, an article, or an alert dialog, you can do so by following the steps below. Media that you buy from the iTunes Store or songs that you import from CDs are saved in your My Music folder by default. They won't be deleted when you remove iTunes. Although it's highly unlikely that you'll lose any of your iTunes Library when following the steps below, it's always good practice to make regular backups of your iTunes library. If you have issues installing iTunes, try the options outlined in Issues installing iTunes for Windows.

Apple Watch Series 2 - safety, warranty, and regulatory information

to Settings > General > Regulatory. Additional regulatory information is in “Safety and Handling” in the Apple Watch User Guide. IC and FCC Compliance Statement for Apple Watch and Apple Watch Magnetic Charging Cable This device complies with Industry Canada license-exempt RSS standards. This device complies with part 15 of the FCC rules. Operation is subject to the following two conditions: (1) this device may not cause harmful interference, and ( 2 ) this device must accept any interference

QuickTime Player 10.x: playback controls

playback controls Playback controls, such as Play, Pause, Fast-Forward, and Rewind buttons, allow you to control a video or audio file. On Force Touch trackpads, you can rewind or fast-forward faster or slower through a QuickTime movie based on how hard you press.

DVD Playback Update 4.6.1

DVD Playback Update 4.6.1 addresses a disc validation issue some users may encounter when attempting to play a disc for the first time with DVD Player 4.6. This update is recommended for all users of DVD Player 4.6.

MainStage 3: Use the Playback group functions

Use the Playback group functions If you have multiple instances of the Playback plug-in in a concert, you can use groups to control which instances play together and which instances operate independently. Any Playback instance can either be assigned to one of 100 groups, or not be a member of any group. The linked operation of multiple instances can be used for creative playback purposes, such as alternative versions of a song verse or chorus. Only one group can be active at a time. For example, if two Playback instances are in Group 1, and four Playback instances are in Group  2 , activation of a transport function in any Group 1 member will stop playback of all Group  2 members, and vice versa. Instances that are not in any group are not affected. All Playback instances that belong to a group will switch between states for the following transport functions when changed in any group member: Return to Start Play or Stop Dragging in the waveform display Cycle Fade Out (time and action) Go to Previous (or Next) Marker Important:   Editing a parameter in one member of a group does not automatically update the parameter value in other group members. To change the parameter value in all group members, hold down Shift while you edit the parameter in any group member. This applies to the Meter, Fade Time, Pitch, Sync, Snap To, and Play From parameters. You need to set Sync to the same mode for all group members or you will hear playback drift between grouped instances. Assign a Playback instance to a group Open the Group pop-up menu at the lower right of the interface and choose a letter. Note:   When a Playback instance is added to an existing group, some button states may be different from other group members. If you want all group members to behave identically when a transport button is used in any group member, make sure that the states of all buttons match those of other group members before you add a Playback instance to a group. Remove a Playback instance from all groups Choose the “–” item from the Group pop-up menu.

MainStage 3: Use the Playback Action menu and File field

Use the Playback Action menu and File field The Action menu is found to the top right of the waveform display and contains the following items: Open File: Opens a dialog from which you can preview and choose a file to load into the Playback plug-in. Remove File: Removes the file currently loaded in the Playback plug-in. Flex Mode: For audio files containing tempo information, you can choose one of the following time-stretching modes: Slicing is a good choice for general use, particularly for rhythmic material such as drum parts. It works by dividing the audio material at transient markers. Each slice is played back at its original speed. Rhythmic is best suited for playing polyphonic rhythmic audio material such as rhythm guitar or keyboard parts. Speed is recommended when the concert tempo is the same as (or close to) the recorded tempo of the audio file. It produces an effect like slowing down or speeding up a tape recorder, without the artifacts of time stretching. Polyphonic is designed for complex polyphonic audio material and is a good choice for guitar, piano, and choir parts, or for complete mixes. Start on Patch Change: Starts playback when you select the patch (or set) containing the Playback instance. Start with Play Action: Starts playback of the Playback plug-in when the MainStage clock starts. Start with Play Action follows the current Play From setting—that is, it waits until the next event specified in the Play From setting. The File field, which is located to the left of the Action menu, shows the name of the currently loaded audio file. You can load an audio file in several ways. Load an audio file Do one of the following: Click the File field to show an Open dialog, from which you can choose the file you want to load. Choose Open File from the Action menu to show an Open dialog, from which you can choose the file you want to load. Drag an audio file to the File field. Drag an audio file into the waveform display. Drag an audio file to the Instrument slot containing the Playback plug-in. Drag an audio file between two channel strips. This creates a new channel strip with the Playback plug-in inserted. The (dragged) audio file is automatically loaded into this new Playback instance. You can drag multiple files between channel strips to create a new channel strip for each file. Note:   Using either of the first two methods, you can preview files in the dialog before adding one to the Playback instance. To preview the selected audio file in the dialog, click the Play button. Click the Stop button in the dialog to stop playback .

MainStage 3: Add a Playback plug-in

Add a Playback plug-in The Playback plug-in is an Instrument plug-in and is available only for software instrument channel strips. To use the Playback plug-in, you add it to a software instrument channel strip, then select an audio file to play. You can add a Playback plug-in to a channel strip in a patch or at the set or concert level. Where you add an instance of the Playback plug-in depends on how you want to use it. If you want to play back an audio file while you play a single patch, you can add it to the patch. If you add a Playback plug-in at the set level, you can select different patches in the set and have the audio file continue playing. This can be useful, for example, if the set includes all the patches you will use in a song, and the Playback plug-in plays an audio file with a backing track for the song. If you add a Playback plug-in at the concert level, you can select different patches in the concert and have the audio file continue playing. Being able to use the plug-in at any level gives you a great deal of creative freedom in how you use it. Each instance of the plug-in can play one audio file. You can use audio files in a variety of file formats, including AIFF, WAVE, and CAF. You can play audio files containing marker information, including files exported (bounced) from Logic Pro and Apple Loops, and shift playback to markers located at different time positions in the audio file. There are two ways to add a Playback plug-in:  by dragging an audio file to the Channel Strips area or from the Instrument slot on a channel strip. When you add multiple Playback plug-ins by dragging audio files to the Channel Strips area, the newly added plug-ins are all assigned to the same group. Add a Playback plug-in by dragging an audio file In the Patch List, select the patch to which you want to add a Playback plug-in. You can also select a set or the concert icon. Drag an audio file from the Finder to the space between channel strips in the Channel Strips area. A black line appears between the channel strips, and the pointer becomes an Add File pointer as a new channel strip is created. The new channel strip contains a Playback plug-in with the audio file you dragged to the Channel Strips area. Add a Playback plug-in from the Instrument slot Click the Add Channel Strip button to add a new channel strip to the patch, set, or concert. In the Channel Strip dialog for the new channel strip, select Software Instrument as the type. Leave other settings at their default values, or change them to suit your setup. A new software instrument channel strip appears in the Channel Strips area. In the I/O section of the channel strip, click the Instrument slot, choose Playback from the menu, then choose either Mono or Stereo from the submenu. The Playback plug-in is added to the channel strip, and the plug-in window appears over the MainStage window.

Final Cut Pro X: Playback and skimming overview

Playback and skimming overview Final Cut Pro makes it easy to view and listen to your media, whether it’s located in the Browser or the Timeline. Its dynamic previewing capabilities let you find what you need quickly without being distracted from the task at hand. You use two tools to preview and play back media in Final Cut Pro: The playhead marks the current position in the Timeline or the Browser. You can move the playhead by dragging it or clicking another area of the Timeline or Browser. You use the playhead to scrub, or play back from its current position. The playhead appears as a gray vertical line that is fixed in place unless you move it or click elsewhere. The skimmer lets you preview clips in the Timeline and the Browser without affecting the playhead position. You use the skimmer to skim, or freely move over clips to play back at the position and speed of the pointer. The skimmer appears as a pink vertical line as you move the pointer over the area you’re skimming. If you have snapping turned on, the skimmer turns orange when it snaps to a position. When skimming is turned on, you can skim to see what’s in other clips, but still keep your playhead position in the Timeline. If both the playhead and skimmer are present in the same clip, the skimmer becomes the default position for playback or editing. When skimming is turned off or the skimmer is not present in a clip, the playhead assumes the default position.

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