Current File : //opt/rh/rh-python35/root/lib64/python3.5/__pycache__/aifc.cpython-35.pyc
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Unless explicitly stated otherwise, the description below is true
both for AIFF-C files and AIFF files.
An AIFF-C file has the following structure.
+-----------------+
| FORM |
+-----------------+
| <size> |
+----+------------+
| | AIFC |
| +------------+
| | <chunks> |
| | . |
| | . |
| | . |
+----+------------+
An AIFF file has the string "AIFF" instead of "AIFC".
A chunk consists of an identifier (4 bytes) followed by a size (4 bytes,
big endian order), followed by the data. The size field does not include
the size of the 8 byte header.
The following chunk types are recognized.
FVER
<version number of AIFF-C defining document> (AIFF-C only).
MARK
<# of markers> (2 bytes)
list of markers:
<marker ID> (2 bytes, must be > 0)
<position> (4 bytes)
<marker name> ("pstring")
COMM
<# of channels> (2 bytes)
<# of sound frames> (4 bytes)
<size of the samples> (2 bytes)
<sampling frequency> (10 bytes, IEEE 80-bit extended
floating point)
in AIFF-C files only:
<compression type> (4 bytes)
<human-readable version of compression type> ("pstring")
SSND
<offset> (4 bytes, not used by this program)
<blocksize> (4 bytes, not used by this program)
<sound data>
A pstring consists of 1 byte length, a string of characters, and 0 or 1
byte pad to make the total length even.
Usage.
Reading AIFF files:
f = aifc.open(file, 'r')
where file is either the name of a file or an open file pointer.
The open file pointer must have methods read(), seek(), and close().
In some types of audio files, if the setpos() method is not used,
the seek() method is not necessary.
This returns an instance of a class with the following public methods:
getnchannels() -- returns number of audio channels (1 for
mono, 2 for stereo)
getsampwidth() -- returns sample width in bytes
getframerate() -- returns sampling frequency
getnframes() -- returns number of audio frames
getcomptype() -- returns compression type ('NONE' for AIFF files)
getcompname() -- returns human-readable version of
compression type ('not compressed' for AIFF files)
getparams() -- returns a namedtuple consisting of all of the
above in the above order
getmarkers() -- get the list of marks in the audio file or None
if there are no marks
getmark(id) -- get mark with the specified id (raises an error
if the mark does not exist)
readframes(n) -- returns at most n frames of audio
rewind() -- rewind to the beginning of the audio stream
setpos(pos) -- seek to the specified position
tell() -- return the current position
close() -- close the instance (make it unusable)
The position returned by tell(), the position given to setpos() and
the position of marks are all compatible and have nothing to do with
the actual position in the file.
The close() method is called automatically when the class instance
is destroyed.
Writing AIFF files:
f = aifc.open(file, 'w')
where file is either the name of a file or an open file pointer.
The open file pointer must have methods write(), tell(), seek(), and
close().
This returns an instance of a class with the following public methods:
aiff() -- create an AIFF file (AIFF-C default)
aifc() -- create an AIFF-C file
setnchannels(n) -- set the number of channels
setsampwidth(n) -- set the sample width
setframerate(n) -- set the frame rate
setnframes(n) -- set the number of frames
setcomptype(type, name)
-- set the compression type and the
human-readable compression type
setparams(tuple)
-- set all parameters at once
setmark(id, pos, name)
-- add specified mark to the list of marks
tell() -- return current position in output file (useful
in combination with setmark())
writeframesraw(data)
-- write audio frames without pathing up the
file header
writeframes(data)
-- write audio frames and patch up the file header
close() -- patch up the file header and close the
output file
You should set the parameters before the first writeframesraw or
writeframes. The total number of frames does not need to be set,
but when it is set to the correct value, the header does not have to
be patched up.
It is best to first set all parameters, perhaps possibly the
compression type, and then write audio frames using writeframesraw.
When all frames have been written, either call writeframes(b'') or
close() to patch up the sizes in the header.
Marks can be added anytime. If there are any marks, you must call
close() after all frames have been written.
The close() method is called automatically when the class instance
is destroyed.
When a file is opened with the extension '.aiff', an AIFF file is
written, otherwise an AIFF-C file is written. This default can be
changed by calling aiff() or aifc() before the first writeframes or
writeframesraw.
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Rosenblum TV: Video training, virtual workshops, classes, tutorials
RE-INVENTING THE TELEVISION NEWS BUSINESS*
A revolution in video storytelling
Creating entirely new & cost-effective production methods
From the world leaders in video production training and the creators of Character Driven Storytelling™
*and every other business that uses video
WHAT WE DO
Over the past 35 years, we have designed, built or restructured some of the most powerful news and journalism companies in the world.
We replace the traditional TV news ‘crew’ with one highly trained journalist, working alone with nothing but an iPhone.
No more TV news ‘crews’, no editors and no field producers.
This is television news done the way newspaper journalism is done – one reporter with their electronic pad and pencil.
In doing this, we can cut the cost of production by as much as 75% while increasing ratings and audience engagement.
In the place of conventional TV news ‘packages’ – ie, reporter stand up, interview, b-roll, man on the street, we marry great journalism with Netflix and Hollywood storytelling.
It’s a combination that works.
We have taken most of our clients to #1 in their respective markets.
And it’s not just for news. Any company, any profit, any NGO and anyone else who is online needs to tell their story in compelling yet cost-effective video. We can teach you to do that. Either in person or virtually.
EXAMPLES OF WHAT WE CAN TEACH YOUR STAFF TO PRODUCE
ITAY HOD
Itay Hod, MMJ with KPIX/CBS in San Francisco, took the 5-Day Intensive Video Storytelling Bootcamp in 2018.
Because he works alone, with only an iPhone, he was able to embed himself with a homeless family.
Here’s the story he produced in a one-day turn.
KIET DO
Kiet Do, an MMJ with KPIX/CBS in San Francisco, took the 5-Day Intensive Video Storytelling Bootcamp in 2021.
Here is a story he produced, all on his own, with only an iPhone and in a one-day turn.
TAYLOR SCHAUB
Taylor Schaub, an MMJ with Spectrum News 1 in LA, took the 5-Day Intensive Video Storytelling Bootcamp in 2023.
Here is a story he turned in only one day, using only an iPhone. It was the first video story he ever did and it was nominated for an Emmy.
THE BOOTCAMP
How do we convert stations and whole networks to working in this way?
Since 1988, we have run intensive 5-Day Video Storytelling Bootcamps
We have done these all over the world.
These are hands-on bootcamps, and participants learn an entirely new way of creating TV news stories.
-We shoot at a 3:1 ratio or lower, so turnaround times are fast.
-We go directly from camera to timelilne and edit – no written scripts. We work in the medium of pictures and sound.
-We are entirely character-driven.
-We are driven by pictures and real events.
-We are focused almost entirely on ’the viewer experience’.
Since 1988, more than 70,000 journalists around the world have taken our bootcamps, either in person on virtualy.
We have started to work with CBS News, bringing our ideas of character-driven storytelling to one of the most successful and biggest networks in the United States. Since beginning to work with them ratings have climbed and more importantly, audience engagement is through the ceiling.
We started New York Times Television in 1990 and it was the first paper to be brought into the world of TV. It quickly became one of the most successful non-fiction production companies in the United States. The series and documentaries we produced won many awards including multiple Emmys.
We have been working with the BBC since the year 2000 helping to convert their national news network to our visual storytelling technique. Most recently we have trained teams from their sports, documentaries, and comedy divisions to make character-driven stories using only smartphones.
For the past five years we have worked with Spectrum News to introduce and train their journalists on visual, character driven storytelling using smartphones helping to create a different kind of local news for their network of 24-Hour News Stations across the United States.
In 2006, we were approached by the United Nations. Rather than rely on news outlets, it would be much easier to train the field operatives to produce their own stories. We spent two years working with the UN, training more than 100 of their staff in bootcamps in Geneva and Nairobi.
We trained 50 print reporters at the paper to shoot and tell their own stories, in conjunction with their print work. We built a TV newsroom in their existing print newsroom – you could not ask for a better set and they began to live stream their stories in conjunction with their print work.
We spent two years with McGraw Hill, training more than 150 of their staffers, making them completely video literate. McGraw/Hill media properties we transit included Business Week, Aviation Week, (what was the name of the architecture magazine), and JD Power and Associates.
In 1990, we were approached by The Voice of America, the official broadcasting agency for the United States Government. When we met with VOA, they were only a short wave radio broadcaster, but working with them, we took them into television, launching VOA-TV.
British based Oyster Yachts makes some of the finest yachts in the world. Like every other company, they had to find a way to feed the never-ending video demands of social media – sites like Instagram and TikTok. We trained the Oyster staff to tell their own stories, using only iPhones.
We were approached by SEPA, the Scottish Environmental Protection Agency because they had to continually find a way to ‘feed the media beast’. The result was that SEPA was able to tell their own stories, whenever they wanted, and at almost no additional cost.
Michael Rosenblum has been writing about the media since 1988. His work and ideas have appeared in The Guardian, The Huffington Post, Ilkeston Life and many other publications.
He has been blogging regularly for the past 35 years on this subject. Having taught media studies at Columbia University, NYU and now the University of Oxford, he is considered an expert on this subject.
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