It Chapter 1 Download Dual Audio

I believe you need to specify the mapping of the audio and subtitle streams to ensure that all of them are copied through rather than the first. To do so you need to add -map 0:a? -map 0:s? -map 0:v before your -c:v

The map command is used to tell it that you definitely want those things to be pulled through to the output. -map 0:a:1 would specify only to copy audio stream number 1, while -map 0:a? should effectively wildcard it and copy them all.

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Hi. If the track is marked as "default" in the media item and you select the option to "Always play default track regardless of language" in your audio language preferences, then that's what you would get.

You can check your MKV files ( I assume that is what you are using) in MKVtoonix and if the the audio track you want to always play is not marked as default you can then mark it as default so the audio track you prefer always also plays by default. Now, if you have a lot of files this can be rather laborious, and you will have to save the file to a new location and then copy it over your existing file.

Only one problem Paul, I have a file open in MKVToolnix header editor because the second audio track is misidentified and I want to change that....but I cannot figure out how to edit anything. For me it appears it is acting as an "header viewer only". Any idea what I'm doing wrong?

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From what I searched for, Chrome has the codecs to play MKV videos.But, so far, I haven't found anything that allows, using Javascript / HTML5, to select the audio tracks available in the MKV and AVI files.

A novel dual watermarking scheme is presented that incorporates two watermarks in a host audio to achieve copyright protection and content authentication. The original audio signal is divided into four parts due to the segmented binary watermark image. Our technique introduces the wavelet packet coefficients to construct zero-watermarking and embed one watermark image block in each part by quantization which is different from the previous system. Moreover, it removes the process converting two-dimensional image to one-dimensional sequence. On one hand, experimental results demonstrate the robustness of zero-watermarking, exposed to a variety of common attacks, has improved. On the other hand, the semi-fragile watermarking can detect and localize malicious attacks in the form of block showing the tampering region of the original audio accurately yet tolerate mild modifications.

The paper proposes a combination of audio watermarking algorithm based on the wavelet transform and the Fourier transform. After the binary watermark image pre-processing, wavelet transform is taken for the audio, then the discrete Fourier transform is taken for the wavelet transform approximation component coefficients. Finally the amplitude of the Fourier transform coefficients is quantized to embed the watermark. In the watermark extraction process, the original audio signal is not require. This paper describes the detailed process. At last, the simulation tests confirm the robustness and transparency.

This paper proposes a combination of audio watermarking algorithm based on the wavelet transform and the Fourier transform. After the binary watermark image preprocessing, wavelet transform is taken for the audio, then the discrete Fourier transform is ...

In this paper, two blind digital audio watermarking technique are proposed according to the payload requirement which uses discrete cosine transform (DCT). In our method the watermark is embedded into the selected mid band coefficients of the DCT ...

The Department also received several comments regarding the exclusion of drive-in movie theaters in the proposed definition. Many commenters agreed that drive-in movie theaters should not be subject to the requirements of paragraph (g) because the technology still does not exist to exhibit movies with closed movie captioning and audio description in this setting. A few commenters pointed out innovative ways for drive-in movie theaters to provide captioning and audio description and argued that such options are feasible. For example, one commenter suggested that drive-in movie theaters provide audio description through a second low-power FM broadcast transmitter or on a second FM channel. However, these commenters did not clearly identify technology that is currently available or under development to provide closed movie captioning in this setting. Finally, one commenter expressed concern that if audio description was broadcast at a drive-in theater, it would likely be heard by patrons who do not require audio description and would result in a fundamental alteration of the movie-going experience for such patrons.

The Department declines to change its position that drive-in movie theaters should be excluded from the requirements of paragraph (g). Given the diminishing number of drive-in movie theaters, the current lack of accessible technology to provide closed movie captioning and audio description in this setting, and the fact that it is unlikely that such technology will be developed in the future, the Department remains convinced that rulemaking regarding drive-in movie theaters should be deferred until the necessary technology becomes commercially available.

Many commenters generally agreed with the provisions as they related to movie theaters displaying digital movies. These commenters stressed, however, that movie theaters should in no way be prohibited or limited from exhibiting a movie that is not available with captioning or audio description, or be required to add captioning and audio description when these features are not available.

The remaining commenters responding to this question stated that the Department should adopt Option 1's 4-year compliance date for movie theaters displaying analog movies. These commenters reasoned that fairness and equality concerns justified adoption of Option 1 because, in their view, Option 2 could incentivize more movie theaters to delay their digital conversion, resulting in fewer movie theaters being subject to the regulation, and individuals with hearing and vision disabilities continuing to face unequal access to movie theaters. A few disability groups argued that because a movie theater is subject to title III of the ADA regardless of whether it displays analog movies or digital movies, adoption of Option 2 could be seen as carving out an exception within the ADA where none exists otherwise.

In consideration of these comments and the Department's independent research, the Department has decided to defer until a later date the decision whether to engage in rulemaking with respect to movie theater auditoriums that exhibit analog movies exclusively. Thus, the final rule makes clear that the requirements of paragraph (g) apply only to movie theaters with auditoriums that show digital movies. The Department agrees with commenters that very few analog movie theaters remain, and that the number of such movie theaters has declined rapidly in recent years. The Department believes that it is prudent to wait until it is clear whether there will be any movie theaters that continue to show analog movies and whether analog movies will continue to be produced at all, or distributed with captioning and audio description. Although movie theater auditoriums that exhibit analog movies exclusively are not subject to the specific requirements of paragraph (g) at this time, such movie theaters are nonetheless public accommodations and subject to the effective communication requirements of title III.

The requirements of paragraph (g) do not in any way prohibit a movie theater from displaying a movie that has not been made available with captioning and audio description features nor do the requirements require a movie theater to independently add such features to a movie that is not distributed with such features. In addition, all movie theaters, regardless of size, status of conversion to digital cinema, or economic viability, continue to have available to them the individualized and fact-specific undue burden limitation specified in 36.303(a). This regulation does not change the availability of this compliance limitation nor the circumstances under which it can be asserted. See 28 CFR 36.104 (defining undue burden and listing factors to be considered in determining whether an action would result in an undue burden). It does, however, provide clarity about how movie theaters can meet their longstanding effective communication obligations under the ADA.

The Department notes that even if a movie theater cannot initially install captioning and audio description equipment in all of its auditoriums because it is an undue burden, the movie theater is still obligated to comply with renumbered 36.303(h) and provide alternatives to full compliance by providing captioning and audio description in some of its auditoriums up to the point where the cost becomes an undue burden. In such a situation, the movie theater should take steps to maximize the range of movie options for customers who are deaf or hard of hearing, or blind or have low vision, by dispersing the available equipment throughout their auditoriums so that the theater is able to exhibit as many movies as possible with captioning and audio description throughout the day and evening on weekdays and weekends. If, for example, a six-auditorium movie theater can only afford to install captioning equipment in half of its auditoriums, and it has auditoriums with different capacities, it should install captioning equipment in a large, a medium, and a small auditorium. This distribution of equipment would permit exhibition of different types of movies, as blockbusters generally are shown in larger auditoriums first and lower budget or older movies may only be shown in medium or small auditoriums. 2351a5e196