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plays Windows Media files; AVItoWMV, which converts files from the AVI format to the WMV (Windows Media Video) format; WMAPlay, which plays windows audio files under command line control; WMVAppend, which creates a single Windows Media Format from two of the same format butted together end-to-end; WMVNetWrite, which is used to show how a Windows Media file is streamed across the Internet by displaying each streamed sample, the time at which it starts playing, and its duration; and WMSProxy, which converts a multicast stream to a unicast stream. Content creation tools include Movie Maker, a non-linear editing tool for editing videos shipped with Microsoft Windows XP; Producer for PowerPoint 2002, which allows users to create synchronized multimedia presentations for display in a Web browser; and Windows Media On Demand Producer, which was developed by Sonic Foundry Inc., to encode digital content, synchronize markers and script commands, and enhance video. Although the selection of available encoding tools looks overwhelming, the actual process of content creation, including encoding, is actually relatively straightforward. The first step is to capture the audio and/or video digitally. To do this, you need a capture card, such as a Viewcast Osprey 100 for video, or a Creative Labs SoundBlaster for audio and a capture program. The usual file format for capture is AVI, but you can stream from live sources, without saving the captured material to a file at all. It would be useful, at this juncture, to explain a file format and what s in it. A file format is just a set of rules that govern how things are written down in a file. It tells the order you will find information and what the individual parts of the file will mean. For example, there is a need to write down the sampling rate and quantization setting in a digital audio file. If you don t include those pieces of information, it is impossible to interpret the payload, binary digits which represent the audio samples. Some files write their data in human-readable form. XML is an example of a human-readable file format. These files can be opened with a text editor, like the Notepad editor shipped with Microsoft Windows, and the person reading the data will be able to read and understand the content of the file. Other files are purely binary, containing only ones and zeros. The only way to interpret a binary file is with a program that understands the format. Microsoft s media files are based on the company s earlier RIFF or Resource Interchange File Format. This was a general-purpose format for describing interleaved digital media data. In the one file, you
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could include chunks of video interspersed with chunks of audio, for example. AVI is a specific type of RIFF file, in that the header content and data payload are given specific definitions for interleaving audio and video (tagged with the suffix .avi). A WAV file is another type of RIFF file that contains only audio (tagged with a .wav suffix). The RIFF file format resembles Apple s AIFF (Apple Interchange File Format). For streaming media use, Microsoft supports several file formats, which are optimized to deliver streaming data. The first streaming file format was ASF (Advanced Streaming Format tagged with the suffix .asf). However, because several media players registered themselves as players for ASF files, when installed, the situation arose where audio players were being called upon to attempt to play video streams (and obviously failing). To get around this problem, Microsoft created the WMF (Windows Media Format designated by the .wm suffix), the WMA (Windows Media Audio or .wma), and WMV (Windows Media Video or .wmv) formats, allowing streaming media players to claim to be able to play the correct media types. The ASX (.asx) file format is human readable and is used to write down information about an ASF file. Called a stream redirector file, it is actually a flavor of XML file. The equivalents to ASX files for WMF are called WAX (.wax) files. It is interesting to understand how a media player interprets the stream of bits that it receives from a streaming media server. In the first place, the raw binary stream that enters the machine must be stripped of its transport headers, revealing the transport payload. So, for every packet of data that is received, the header information must be discarded, to get to the data of interest. Sometimes the payload is encrypted, so that as you collect the data from successive data packets into a contiguous file in memory, you have an encrypted version of the data you want. Once that payload is decrypted, you have data formatted according to a streaming file format, such as ASF. To get to the actual audio and video data, you must read and interpret the file data, separating the binary that represents information on how to decode and play the media from the binary that represents the actual video and audio. The audio and video payloads found are compressed, so they must be decompressed. The result of the decompression process, a series of mathematical operations that recreates an approximation to the original audio and video, is a data set representing the pixels comprising the moving images and another data set representing the accompanying audio samples. To get down to the data that will actually be painted on screen and converted into sound, the bit stream has had to be interpreted and decoded at various levels (Figure 2.15).
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