Multimedia, AV Archive

The GIMP will never magically become software beloved by artists—not without radically changing its culture, and making the artists the ones who call the shots. The GIMP will remain what it has always set out to be: a tinkerer’s toolbox, more concerned with the purity of its software politics than with garnering a loyal userbase of photographers and designers. But because everyone insisted to poise it as a viable Photoshop killer, Linux is left with an obvious hole in its software offering, a hole nobody managed to fill with their own challenger. ↫ Aria Salvatrice Excellent article, and spot-on conclusion.

Virtually all laptop speakers suck. It’s the one area where even really expensive laptops tend to fall on their ass, leaving users with a tinny, harsh, and hollow sound experience. While you can’t exactly overcome physics – laptop speakers are necessarily small and thus just cannot ever sound as good as proper speakers – there’s a lot you can do with proper tuning and software magic. If you’re a desktop Linux user, you actually already possess all the plumbing needed to fix your audio; it’s just not exposed to you in any way. Luckily, an application called EasyEffects allows you to actually make use of desktop Linux’ advanced audio features to massively improve the sound quality of your laptop’s speakers. EasyEffects’ own description on its GitHub page doesn’t really explain what it does or what it’s capable of, so here’s the description from Wikipedia instead. EasyEffects uses PipeWire to process incoming and outgoing audio streams independently and can apply various sound effects in the form of plug-ins made by different developer teams such as Calf Studio Gear, MDA.LV2 and GStreamer. All plugins have their own presets and can be applicable inside the suite rather than having to use a different mixer or executing a script from the command line. Available output effects are limiter, auto volume, compressor of dynamic range, filter, 30 bands parametric equalizer, bass enhancer, exciter, reverbation, crossfeed, delay, maximizer and spectrum analyzer. Available input effects are WebRTC, limiter, compressor, filter, equalizer, de-esser, reverbation, pitch shift and spectrum analyzer. ↫ EasEffects’ Wikipedia page None of this matters, and you can forget everything from these two paragraphs. What matters is that using EasyEffects, you can tune the audio coming out of your speakers to make them sound a lot better. The few laptops on the market that do have decent audio – MacBooks, some Dell XPS laptops, and surely a few more – aren’t magically defying physics. While they probably do have objectively higher-quality speakers, the main difference between those laptops and laptops with crappy-sounding speakers is that the former come with built-in tuning from the factory to make them sound much better than they would without any software trickery. If you know your way around audio, you can very much use EasyEffects and tune your laptop speakers from scratch to massively improve how they sound. However, that requires time, experience, knowledge, and expertise that most people lack, including myself. Lucky for us, though, there are countless downloadable presets out there for EasyEffects designed specifically to make laptops sound better. In an ideal world, you’d pick a preset created specifically for your laptop make and model, but odds are you won’t find one, so for most laptops you’ll have to settle for a generic preset that tries to do its best. I’ve long settled on the Advanced Auto Gain.json preset from JackHack96, which greatly improves the audio performance on any laptops I’ve tried it on, but of course, there’s countless other presets for you to try to see if there’s anything that suits your particular laptop and ears better. Getting all of this up and running is really easy. EasyEffects is most likely packaged by your Linux distribution, and the latest version is always available as a Flatpak from Flathub. Download the preset(s) you want to try, copy them either to ~/.config/easyeffects (if you use your distribution’s package) or to ~/.var/app/com.github.wwmm.easyeffects/data/easyeffects/output/ (if you use the Flatpak version). They’ll show up right away in the Presets tab in EasyEffects, ready to be turned on and off whenever you want, making it very easy to compare and contrast to find the one you like best. EasyEffects can live in your system tray giving you easy access to your presets without having to open the main window, and it can be set to start automatically at boot. EasyEffects can also be turned on and off on the fly. There’s obvious downsides to all of this, too, of course. First, since you’re most likely going to be using a generic preset not specifically crafted for your laptop, there’s no guarantee the results will be positive for you. Second, not every preset is ideal for every type of audio. Most of my audio consists of YouTube videos with mostly speech; if you listen mostly to music, different presets may yield better results. Third, audio quality is deeply subjective, and what sounds good to my ears may sound like total garbage to yours. Fourth, EasyEffects does take up a tiny fraction of CPU power (I’m talking 0.1-0.2% according to KDE’s System Monitor), but I have never seen it have any noticeable performance impact on anything. Even the generic preset I use makes such a massive difference for me on every laptop I’ve ever tried it on, that I’ve become convinced EasyEffects and a few of the generic presets should be installed by default by any desktop-oriented Linux distribution. On top of that, Linux laptops OEMs like System76, Nova Custom, Star Labs, and so on, should really take the time to create proper presets for their laptops to improve their sound quality out of the box. I feel like if you’re already designing and selling laptops, you probably also have the skills and means to create a decent preset. In fact, I’d take it a step further and urge desktop environments like KDE and GNOME to properly integrate EasyEffects into their sound settings. They shouldn’t include the entire application and its user interface, but should make it so that you can configure and manage presets right from the sound settings panels, and switch between presets from their volume applets (as well as turn it off entirely, of course). This would leave the full EasyEffects application for people who need more control, manual tuning, and more advanced features. There’s absolutely no reason why speakers on Linux laptops should sound tinny, harsh, and hollow. The Linux desktop has all the technologies and features built right in to make speakers sound much better than they do without any tuning,

The Alliance for Open Media has published the first version of the AV2 specification. AV2 is the next-generation video coding specification from the Alliance for Open Media (AOMedia). Building on the foundation of AV1, AV2 is engineered to provide superior compression efficiency, enabling high-quality video delivery at significantly lower bitrates. It is optimized for the evolving demands of streaming, broadcasting, and real-time video conferencing. This specification serves as the definitive technical reference for AV2 implementations. It outlines the bitstream syntax, semantics, and decoding processes required to ensure full conformance. AV2 provides enhanced support for AR/VR applications, split-screen delivery of multiple programs, improved handling of screen content, and an ability to operate over a wider visual quality range. ↫ AV2 website Do you remember when the video codec wars – open vs. closed – were raging all across the web, for years? Even back then I argued that open would win, as it usually does, and over 15 years later the most widely-used video codecs on the planet being open is just a normal fact of life nobody writes or talks about anymore. VP8, VP9, AV1, and now this upcoming AV2 are all open and royalty-free, the by far largest video platform, YouTube, serves them by default, and the video codec problem is a solved problem, relegated to the spinning disk drive of history. I was told I was an idealist and that this would never happen, and yet, here we are.

I’m not particularly interested in photo editing or management, professional or not, but one thing I do know is that many people who are miss one application in particular: Aperture. Discontinued over a decade ago, people still lament its loss, and Daniel Kennett explains to us layman why that’s the case. Aperture’s technical brilliance is remarkable in how quiet it is. There’s no BEHOLD RAINBOW SPARKLE ANIMATIONS WHILE THE AI MAKES AUNT JANICE LOOK LIKE AN ANTHROPOMORPHISED CARROT, just an understated dedication to making the tool you’re using work for you in exactly the way you want to work. It’s the kind of monumental engineering effort that the user is unlikely to ever notice, simply because of how obvious it is to use — if I want to zoom in to this photo, I point at it with the zoom thing. Duh. Sure, it’s a tiny thumbnail inside a small thumbnail of a page in a book… but how else would it work? And that is why Aperture was so special. It was powered by some of the most impressive technology around at the time, but you’d never even know it because you were too busy getting shit done. ↫ Daniel Kennett I half-expected to get some wishy-washy vibes-based article about some professional photo management tool, but instead, I came away easily and clearly understanding what made Aperture such a great tool. Beng able to access any set of tools wherever you are, without having to take a photo to a certain specific place in the user interface makes perfect sense to me, and the given counterexample from the modern Photos application instantly feels cumbersome and grating. At this point it’s clear Aperture’s never coming back, but I’m rather surprised nobody seems to have taken the effort to clone it. It seems there’s a market out there for something like this, but from what I gather Lightroom isn’t what Aperture fans are looking for, and any other alternatives are simply too limited or unpolished. There’s a market here, for sure. What other alternatives to Aperture exist today?

If you download YouTube videos, there’s a real chance you’re using yt-dlp, the long-running and widely-used command-line program for downloading YouTube videos. Even if you’re not using it directly, many other tools for downloading YouTube videos are built on top of yt-dlp, and even some media players which offer YouTube playback use it in the background. Now, yt-dlp has always had a built-in basic JavaScript “interpreter”, but due to changes at YouTube, yt-dlp will soon require a proper JavaScript runtime in order to function. Up until now, yt-dlp has been able to use its built-in JavaScript “interpreter” to solve the JavaScript challenges that are required for YouTube downloads. But due to recent changes on YouTube’s end, the built-in JS interpreter will soon be insufficient for this purpose. The changes are so drastic that yt-dlp will need to leverage a proper JavaScript runtime in order to solve the JS challenges. ↫ Yt-dlp’s announcement on GitHub The yt-dlp team suggests using Deno, but compatibility with some alternatives has been added as well. The issue is that the “interpreter” yt-dlp already includes consists of a massive set of very complex regex patterns to solve JS challenges, and those are difficult to maintain and no longer sufficient, so a real runtime is necessary for YouTube downloads. Deno is advised because it’s entirely self-contained and sandboxed, and has no network or filesystem access of any kind. Deno also happens to be a single, portable executable. As time progresses, it seems yt-dlp is slowly growing into a web browser just to be able to download YouTube videos. I wonder what kind of barriers YouTube will throw up next, and what possible solutions from yt-dlp might look like.

Jokes aside, this is exciting news. PNG is back to its former glory after its progress stalled for over two decades. Did you know the U.S. Library of Congress, Library and Archives Canada, and the National Archives of Australia recommend PNG? It is important that we keep PNG current and competitive. After 20 years of stagnation, PNG is back with renewed vigor! With these titans behind it, the image format is back with full momentum. Work has already begun on the next two PNG spec updates. ↫ Chris Blume The new PNG specification update adds proper HDR support, which is probably its most important new features. Chris Lilly, one of the original creators of PNG and actively involved in these new updates as well, has a detailed blog post diving into how HDR in PNG works. Other changes include officially adding Mozilla’s animated PNG implementation to PNG, support for EXIF data, and a ton of smaller changes and cleanups.

A new major release, FFmpeg 7.0 “Dijkstra”, is now available for download. The most noteworthy changes for most users are a native VVC decoder (currently experimental, until more fuzzing is done), IAMF support, or a multi-threaded ffmpeg CLI tool. This release is not backwards compatible, removing APIs deprecated before 6.0. The biggest change for most library callers will be the removal of the old bitmask-based channel layout API, replaced by the AVChannelLayout API allowing such features as custom channel ordering, or Ambisonics. Certain deprecated ffmpeg CLI options were also removed, and a C11-compliant compiler is now required to build the code. ↫ FFmpeg website I don’t think many of directly interface with FFmpeg, but we’re most likely all using it one way or another. Even Microsoft (here‘s the referenced bug report).

A few days ago, my former coworker Evan Hahn posted “The world’s smallest PNG”, an article walking through the minimum required elements of the PNG image format. He gave away the answer in the very first line: However (spoilers!) he later points out that there are several valid 67-byte PNGs, such as a 1×1 all-white image, or an 8×1 all-black image, or a 1×1 gray image. All of these exploit the fact that you can’t have less than one byte of pixel data, so you might as well use all eight bits of it. Clever! However again…are we really limited to one byte of pixel data? ↫ Jordan Rose You know where this is going.

When Jean-Baptiste Kempf joined École Centrale Paris as a student in 2003, he was tasked with helping run the university’s computer network. It included an unusual project: student-run open-source software that had been running on a couple of university servers for seven years. To students, the project was known as “Network 2000.” To the rest of the world, it was VLC media player. Kempf—now the president of VLC’s parent organization, the nonprofit VideoLAN—is the person who helped guide VLC’s journey from student project to ubiquitous software. (VideoLAN Client, the original name for the project, is where VLC gets its name.) On the surface, he’s laid-back, casual, and frank, though that belies a steely determination. As the person overseeing the project and its team, he sets the tone for VLC as a whole. VLC is one of those quintessential pieces of software. An outstanding application.

Karl Bode at Techdirt: But we’ve also noted that, ironically, the glut of video choices–more specifically the glut of streaming exclusivity silos–risks driving users back to piracy. Studies predict that every broadcaster and their uncle will have launched their own direct-to-consumer streaming platform by 2022. Most of these companies are understandably keen on locking their own content behind exclusivity paywalls, whether that’s HBO Now’s Game of Thrones, or CBS All Access’s Stark Trek: Discovery. But as consumers are forced to pay for more and more subscriptions to get all of the content they’re looking for, they’re not only getting frustrated by the growing costs (defeating the whole point of cutting the cord), they’re frustrated by the experience of having to hunt and peck through an endlessly shifting sea of exclusivity arrangements and licensing deals that make it difficult to track where your favorite show or film resides this month. With all kinds of series and IPs moving around from company to company these days, it’s getting impossible to keep track of where and how to watch both new and old series. It used to be quite simple – Netflix and your local streaming service for us Europeans – and you’d be pretty well set. Maybe add in HBO for Game of Thrones – usually one person in your group of friends had HBO here in Europe – and everything was covered. Now, though, things are rapidly falling apart in countless different silos, each at anywhere between €5-10/month, which is becoming unjustifiable. Piracy is definitely going to make a major comeback if this continues.

As a little side-project, I have been working on putting the artificial neural networks of AI Gigapixel to the test and having them upscale another favorite thing of mine… Star Trek: Deep Space Nine (DS9). Just like Final Fantasy 7, of which I am upscaling the backgrounds, textures, and videos in Remako mod, DS9 was also relegated to a non-HD future. While the popular Original Series and The Next Generation were mostly shot on film, the mid 90s DS9 had its visual effects shots (space battles and such) shot on video. While you can rescan analog film at a higher resolution, video is digital and can’t be rescanned. This makes it much costlier to remaster this TV show, which is one of the reasons why it hasn’t happened. Fascinating methodology, and the results speak for themselves. Amazing work.

The entire experience of vinyl helps to create its appeal. Vinyl appeals to multiple senses—sight, sound, and touch—versus digital/streaming services, which appeal to just one sense (while offering the delight of instant gratification). Records are a tactile and a visual and an auditory experience. You feel a record. You hold it in your hands. It’s not just about the size of the cover art or the inclusion of accompanying booklets (not to mention the unique beauty of picture disks and colored vinyl). A record, by virtue of its size and weight, has gravitas, has heft, and the size communicates that it matters. Anyone who says vinyl sounds objectively better – using the same amplifier and speaker hardware as modern media – can hardly be taken seriously, but that doesn’t mean vinyl can’t sound subjectively better. When it comes to older music from the ’60s and ’70s, I enjoyed listening to it on vinyl records (I don’t have a record player at this moment), but that had nothing to do with sound quality, and everything to do with the more archaic, unique experience of listening to a vinyl record.

«System Beeps» is a music album in shape of an MS-DOS program that features original music composed for PC Speaker using the same basic old techniques like ones found in classic PC games. It follows the usual retrocomputing demoscene formula — take something rusty and obsolete, and push it to eleven — and attempts to reveal the long hidden potential of this humble little sound device. You can hear it in action and form an opinion on how successful this attempt was at Bandcamp, or in the video below. The following article is an in-depth overview of the original PC Speaker capabilities and making of the project, for those who would like to know more. What an amazing work of art, and I love the detailed description of how it was made using nothing but the PC speaker. This article is quite detailed, and the project itself is released under the CC-BY license.

VLC 4.0 is on the way, and the VLC developers have listed what they have in store for this major new release. The most obvious new user-facing feature is brand new user interfaces for each platform the media player supports, such as KDE, Gnome, Windows, macOS, and more. Work on the new VLC 4.0 user-interface is progressing, there will be GNOME and KDE adaptations, support for both server-side and client-side decorations, and great support for Wayland as well as X11 — including support for macOS, Windows, etc. With VLC 4.0, they intend to gut out support for Windows XP/Vista as well as bumping the macOS, iOS, and Android requirements. On the Linux front, they intend to require OpenGL acceleration for this media player. There’s no information yet on when this new release will be made available.