Fast progressive lossless image compression

JPEGExifTIFF格式解读（1）：JEPG图⽚压缩与存储原理分析JPEG⽂件简介JPEG的全称是JointPhotographicExpertsGroup（联合图像专家⼩组），它是⼀种常⽤的图像存储格式， jpg/jpeg是24位的图像⽂件格式，也是⼀种⾼效率的压缩格式，⽂件格式是JPEG（联合图像专家组）标准的产物，该图像压缩标准是国际电信联盟（International Telecommunication Union，ITU）、国际标准化组织（International Organization for Standardization，ISO）和国际电⼯委员会（International Electrotechnical Commission，IEC）共同制定。

JPEG标准正式地称为ISO/IEC IS（国际标准）10918-1：连续⾊调静态图像数字压缩和编码（Digital Compression and Coding of Continuous-tone Still Images）和ITU-T建议T.81。

JPEG是第⼀个国际图像压缩标准，⽤于连续⾊调静态图像（即包括灰度图像和彩⾊图像），其最初⽬的是使⽤64Kbps的通信线路传输720×576 分辨率压缩后的图像。

通过损失极少的分辨率，可以将图像所需存储量减少⾄原⼤⼩的10％。

由于其⾼效的压缩效率和标准化要求，⽬前已⼴泛⽤于彩⾊传真、静⽌图像、电话会议、印刷及新闻图⽚的传送上。

但那些被删除的资料⽆法在解压时还原，所以* .jpg/.jpeg ⽂件并不适合放⼤观看，输出成印刷品时品质也会受到影响。

JPEG⽂件格式JPEG的⽂件格式⼀般有两种⽂件扩展名：.jpg和.jpeg，这两种扩展名的实质是相同的，我们可以把.jpg的⽂件改名为.jpeg，⽽对⽂件本⾝不会有任何影响。

严格来讲，JPEG的⽂件扩展名应该为.jpeg，由于DOS时代的8.3⽂件名命名原则，就使⽤了.jpg的扩展名，这种情况类似于.htm和.html的区别。

数字图像处理中的图像压缩算法随着科技和计算机技术的不断发展，数字图像处理成为了一个非常重要的领域。

数字图像处理技术广泛应用于各个领域，如图像储存、通信、医疗、工业等等。

在大量的图像处理中，图像压缩算法是非常关键的一环。

本文将介绍一些数字图像处理中的图像压缩算法。

一、无损压缩算法1. RLE 算法RLE（Run Length Encoding）算法是常见的图像无损压缩算法之一，它的主要思想是将连续的像素值用一个计数器表示。

比如将连续的“aaaa”压缩成“a4”。

RLE 算法相对比较简单，适用于连续的重复像素值较多的图像，如文字图片等。

2. Huffman 编码算法Huffman 编码算法是一种将可变长编码应用于数据压缩的算法，主要用于图像无损压缩中。

它的主要思想是将频率较高的字符用较短的编码，频率较低的字符用较长的编码。

将编码表储存在压缩文件中，解压时按照编码表进行解码。

Huffman 编码算法是一种效率较高的无损压缩算法。

二、有损压缩算法1. JPEG 压缩算法JPEG（Joint Photographic Experts Group）压缩算法是一种在有损压缩中广泛应用的算法。

该算法主要是针对连续色块和变化缓慢的图像进行处理。

JPEG 压缩算法的主要思想是采用离散余弦变换（DCT）将图像分割成小块，然后对每个小块进行频率分析，去除一些高频信息，再进行量化，最后采用 Huffman 编码进行压缩。

2. MPEG 压缩算法MPEG（Moving Picture Experts Group）压缩算法是一种针对视频压缩的算法，它主要是对视频序列中不同帧之间的冗余信息进行压缩。

该算法采用了空间域和时间域的压缩技术，包括分块变换编码和运动补偿等方法。

在分块变换编码中，采用离散余弦变换或小波变换来对视频序列进行压缩，再通过运动估计和补偿等方法，去除冗余信息。

三、总结数字图像处理中的图像压缩算法有很多种，其中无损压缩算法和有损压缩算法各有特点。

电影专业术语中英文对照AAbove-the-line 线上费用A-B roll A-B 卷AC 交流电Academy ratio 学院标准画框比Adaptation 改编ADR editor ADR 剪辑师Aligator clamp=gaffer grip 固定灯具的弹簧夹，又称鳄鱼夹Ambient Sounds 环境音Amp 安培Amplification 信号放大Amplitude 振幅Analog 模拟Anamorphic lens 变形镜头Aperture 光圈Answer Print 校正拷贝Arc 摄像机的弧度运动Art director 艺术指导Aspect ratio 画框比Atmosphere sound 气氛音Attack 起音Audio board 调音台Audio mixer 混音器，混音师Automatic dialogue replacement 自动对白补录Automatic focus 自动对焦Automatic gain control 自动增益控制Automatic iris 自动光圈（少用）Axis of action 表演轴线BBack light 轮廓光Background light=Scenery light 场景光Balance 平衡Balanced 平衡电缆Barndoor 遮扉（灯具上的黑色金属活动板，遮光用的）Barney 隔音套Base 片基（用来附着感光乳剂的胶片基底）Base plate 底座（固定灯的）Baselight level 基本亮度Batch capturing 批次采集Below-the-line 线下费用Bidirectional 双向麦克风Bit depth 位元深度（在数字声音中每次取样的数目，通常是 8， 12,16 ）Bit player 客串演员Blimp 隔声罩Blocking 走位（几乎等同为“ Staging 排练”） Blue-screen 蓝幕效果Body brace 身体支架Boom 吊杆（也有上，下移动神相机的意思）Boom arm 可伸缩杆Boom operator 吊杆操作员Bounce light 反射光Bracket 括号式曝光Breakdown 剧本分解Brightness 亮度Broad 方灯（泛光灯）Butterfly scrim 顶光棚CCall sheet 通告表Camcorder 摄录一体机Came o浮雕Camera assistant 摄影助理Camera operator 摄影机操作者Camera report 摄影机报表Canted shot 倾斜镜头Capacitor 电容器Carpuring 采集Casting 选角Casting director 选角指导Chroma key 色度键Chrominance 彩色信号Cinematographer 电影摄影师Clip capture 素材段落采集Close-up 特写镜头Color balance 色平衡Colorbars 彩条Color circle 圆形彩图Color corrector 色彩校正器Color compensating filter 色温转换滤镜Color correction 色彩校正Color sampling 色彩取样Color temperature 色温Colorization 调色Coproducer 联合制片Composer 作曲家Composting 合成画面Compression 压缩Compression ratio 压缩比Concept 故事梗概Condenser 电容话筒Conductor 指挥家Conform 套片Construction coordinator 搭景协调Continuity 连续性Continuity editing 连续性剪辑Contrast 对比度Contrast range 最大对比度Contrast ratio 对比度系数Copyright 版权Core 片心Costumer 服装师Costume designer 服装设计师Countdown 倒计时Craft service 膳食服务Crane 摇臂Cross-cutting 交叉剪辑（又称平行剪辑）Cross-fade 交互混音Crystal 晶控同步元件（摄像机里控制速度的一个晶体组件） Cue sheet 混录提示表Cut 卡接（一个画面切换到另一个画面，有一种转场的效果）Cutaway 切离镜头Cut-in 切入镜头Cutting-on-action 剪辑中的“接动作”DD1 一种数字录像带Dailies 工作样片Daily production report 每日拍摄报表 Day-for-night 日间拍夜景 Daylight 日光片Decay 衰减Decibel 分贝 Decompression 解压缩 Depth of field 景深 Dialogue 对白 Diegetic sound 故事中的声音 Diffusion filter 扩散滤镜 Digital 数字Digital autio workstation 数字声音工作站 Digital audiotape 数字录音带Digital film printer 数字胶片印片机Digitalize 数字化Dimmer board 调光控制器Diopter 屈光镜Direct capture 直接采集Direct sound 直接声音Directionality 方向性Diretor 's cut 导演剪辑版本Dissolve 叠化Distortion 失真Dolly 轮组Dot 圆形遮光罩Dropouts 断磁（又叫脱音）Dynamic mic 动圈话筒Dynamic range 动态变化范围EEcho 回音Edge numbers 边缘号码（胶片边缘的数字）Editor 's cut 剪辑师版本8mm 8毫米胶片Electromagnetic spectrum 电磁波谱Electronic stabilizer 电子影像稳定器Emulsion 感光乳剂Equalization 均衡Establishing shot 定位镜头Executive producer 执行制片Exposure index 曝光指数Extendable lighting pole 伸缩灯杆Extras 群众演员Eye light 眼神光Eyeline match 视线匹配FFade in 淡入Fade out 淡出Fast film stock 感光快的胶片Fast lens 强光透镜Field 场Fill light 辅助光Filter 滤镜Filter box 滤镜斗Filter factor 滤镜系数Filter wheel 滤镜转轮Final cut 精剪，最后一个剪辑的版本（同名剪辑软件） Finger 狭长挡光板 Firewire 火线接头Fishpole 鱼竿（传声器吊杆） 5.1 sound 5.1 环绕声 Fixed lens 定焦镜头 Flag 旗形挡光板 Flashback 闪回 Flash cut 闪切 Flashforward 闪后 Flat 平线 Flatbed 平台式剪辑机Floodlight 散光 Floor stand 落地式麦克风支架 Fluid head 液压云台 Flying spot scanner 飞点扫描仪 Focal length 焦距 Focus 调焦 Fog filter 雾镜Foley 特殊音效 Foley artist 特殊音效师 Foley editor 特殊音效剪辑师 Foley mixer 特殊音效混音师 Foley walkers 特殊音效师 Font 字体 Footcandle 尺烛光 Forced development 增感冲洗 Formats 格式 Frame 格（画框） Freeze-frame 定格 Frequency 频率 Frequency response 频率响应 Fresnel spotlight 一种有透镜镜片的聚光灯Friction head 摩擦云台 Front focus 前焦点 F-stops 光圈系数 Fundamental 基音GGaffer 电工Gaffer grip 灯光夹Gaffer tape 电工胶布Gain 增益Gelatin filter 明胶滤光片Graduated neutral density filter 中灰渐变滤镜Graphic designer 美术设计Grip 场务HHandle 控制点Hairstylist 发型师Hard effects 动作音效Hard light 硬光，直射光Harmonics 谐音Head 云台，磁头Hertz 赫兹Hidden editing 隐性剪辑Hidden mics 隐藏式麦克风Hi-Fi 高保真音响High hat 仰摄座High-angle shot 俯拍镜头High-frequency fluorescent 高频荧光灯High-key lighting 高调光线Hiss 高频噪音HMI light 太阳灯Horizontal resolution 水平分辨率Hue 色相（颜色特定的色调）Hypercardioid 超指向性麦克风IImage enhancer 图像增强器Image stabilization 影响稳定Imaging device 成像装置Impedance 阻抗Incandescent light 白炽灯Incident light meter 入射式测光表Impoint 开始点Intercutting 交互剪接Interlaced scanning 隔行扫描Internegative 中间负片Interpositive 中间正片Inverse square rule 平方反比率Invisible editing 隐性剪辑Iris 光阑JJib-arm 悬吊手臂Jog 格放Jump cut 跳接KKelvin 开尔文数值 Key light 主光 Key grip 场务 Keyframe 关键影格 Keykode 片边号码 Kicker light 侧光LLatitude 宽容度 Lavaliere 领夹式麦克风 Leader 导带 Leadroom 导引空间 Lens 镜头Lens hood 遮光罩 Letterbox 上下黑框式 Light meter 测光表 Light ratio 光线比例Light stand 灯架 Light-balancing filter 校色温滤镜 Light crew 灯光组 Light-emitting diode 发光二极管 Lighting director 灯光指导 Lighting plot 照明规划图 Lighting ratio 光比 Lighting technician 灯光师 Line inputs 线材输入 Line producer 现场制片人Linear 线性Lin ear CCD array 线状CCD排列（确切意思待进一步查阅）Location manager 场地管理经理 Log 工作记录Long lens 长焦距镜头 Long shot 远景镜头 Look space 视线空间 Loop 循环播放Lossless 无损压缩 Low-angle shot 仰拍镜头 Low-Contrast filter 低反差滤镜 Low-key lighting 低调照明Luminance 亮度MMacro 近摄摄影Magnetic film 磁性声带Makeup artist 化妆师Master scene script 分镜头剧本Master scene shooting method 主场景拍摄法Master shot 主镜头Match cut 匹配剪辑Matte artist 套色绘图师Matte box 遮光斗Matting 套片合成 Meditum shot 中景镜头Mic inputs 麦克风输入接口Midside miking M-S 拾音制式Miniature designer 缩小物设计师 Mini-DV 迷你 DVMiniphone plug 小型耳机Mise-en- sc e ne场面调度Mixed lighting 混合照明 Mixer 混音师Model maker 模型师Modulate 调制Monaural 单声道Monitor 监视器Montage editing 蒙太奇剪辑Morphing 变形Motif 母题Motion capture 运动扑捉Multimedia 多媒体Multitrack audiotape recorder 多轨录音机Music editor 配乐剪辑师Musical Instrument Digital Interface 数字音乐乐器界面（MIDI）Music supervisor 音乐总监NNegative 负片Negative cutter 负片剪辑师Neutral density filter 中灰滤镜Night-for-night 夜间拍夜景Noise 噪波（干扰信号）Nonlinear editing 非线性剪辑（非线编）Normal lens 标准镜头 Noseroom 鼻前空间（视线空间）Off-line 脱机剪辑Offline editor 线外剪辑师Off-screen space 银幕外空间Ohms欧姆Omnidirectional 全方向型麦克风180- degree rule 180 °规则，又称轴线规则On-line 在线剪辑Online editor 线上剪辑师Opacity 暗度On-set editing 现场剪辑On-set editor 现场剪辑师Open casting 公开选角Optical printer 光学印片机Optical stabilization 光学影像稳定器Outpoint 结束点Outttakes 备用镜头Overlap action 重叠表演Overlap cutting 重叠剪接Overmodulation 过度调制Over-the-shoulder shot 过肩镜头 Overtones 泛音Over-under method 上下方式PPan 横移Pan and scan 横摇纵摇法Parabolic reflector 抛物面反射器Parallel editing 平行剪辑 Peaking in the red 指针在红色区域Pedestal 基准黑Perspective 距离感Phase 相位Phone plug 耳机Phono play 莲花接头Photoflood 摄影散光灯Pickup pattern 拾音范围Pitch 音高Pixel 像素Playhead 播放点Point-of-view shot 主观镜头 Polarizing filter 偏光滤镜 Positive 正片Postproduction 后期制作Practical light 实际光源Premix 预先混音 Preproduction 前期制作 Preroll 预卷Presence 表现力Prime lens = Fixed lens 定焦镜头Principal actors 主要演员Prism block 棱镜Producer 制片人Production placement 置入行销（就是在影片中植入广告）Production 拍摄阶段Production assistant Production coordinator 制片助理协调制片Production designer 制作设计师Production manager 制片主任Production schedule 制作日程表Production sound mixer 现场混音师Progressive scanning 逐行扫描 Property master 道具管理 Props 道具Proximity effect 听讲效果 Piblic domain 版权公有 Publicist 宣传人员Pulling focus 移焦 Pushed processing 增感冲洗 Pyro technician 烟火技师QQuartz-halogen lamp 石英灯RRack focus 移焦Radio frequency 射频（简称 RF） Random assess 随机存取 Random-assess memory 内存 RCA plug = Phone plug 莲花插头 Reaction shot 反映镜头 Read through 口念对白Reel 片卷Reflected light meter 反射式测光表 Reflector 反光板Reframing 调整取景范围Release 释放Release print 发行拷贝Render 渲染Resolution 分辨率Reverberation 混响Reversal 反转片Rigging grip 吊具场务Ripple 涟漪效果Room tone 空间音Rough cut 粗剪Rule of thirds 三分规则SSafe area 安全区域（银幕的概念里恒定成像的区域）Sampling rate 取样频率Saturation 饱和度Scanning 扫描Scene 场景Scene outline 分场大纲Scenic artist 布景工S-connector S 端子（一种电子影像接头）Scratch dish 第二空间（非线编系统中的一个可命令分类项目的空间）Scratch track 参考音轨Screen direction 银幕方向Screenplay 剧本Screen test 试镜Scrim 柔光布Script breakdown 剧本分解Script breakdown sheet 剧本分解表Script supervisor 场记Scrubber 处理器Second unit 第二摄制组Separation light 修饰光Sequence 段落Set decorator 场景装饰工Serifs 横细线Server 伺服器70mm 70毫米胶片Set decorations 布景装饰Set designer 布景设计师Shock mount 减震架Shooting schedule 拍摄日程表Shooting script 分镜头剧本Short lens 广角镜头Shot 镜头Shotgun mic 枪式麦克风，一般用来采集比较远的声音 Shot/reaction shot 反应镜头（偶尔也称脸部特写镜头）特效协调者 特效生成器 标准清晰度电视Shot/reverse shot 反打镜头Shutter 快门Shuttle 飞梭Signal-to-noise ratio 信噪比 Silhouette lighting 剪影光线 Single system 单系统 16mm 16 毫米胶片 Sky filter 天空滤镜 Slate 拍板Slow film stock 感光慢的胶片Slow lens 小相对孔径透镜 / 小光强透镜 SMPTE time code SMPTE 时间码Snoot 圆锥形光罩Soft light 柔光 / 散射光Soft-contrast filter软调反差滤镜Softlight reflectorSoftware engineer柔光反射器 美术设计软件工程师 Sound designer 声音设计师Sound editor 声音剪辑师Sound effects 音效Sound effects editor 音效剪辑师 Sound effects mixer 音效混音师 Soundflashback 声音闪回Sound flashforward 声音闪前Sound mix 混音Source lighting 有源光线Space clamp 高空夹Spatial compression 空间压缩 Special assistant 特别助理Special effects 特效 Special effects coordinator Special-effects generatorSpeech bump 语音衰减 Split screen 分割画面 Spot 聚光 Spot meter 点式测光表 Spotlight 聚光灯 Spotting sheet 注记表 Sprocket holes 片孔 Standard definitiontelevision Standby 待机Stand-ins 替身 Star filter 星型条纹滤镜 Steadicam 斯坦尼康30个画 Stereo 立体声Still frame 定格Still photographer 剧照师Storage area network 存储局域网络Storyboard 分镜故事板Storyboard artisit 分镜表绘图师Stream 串流Stripboard 提示板Stunt coordinator 特技指导Stunt people 特技演员Super 8 超 8 毫米胶片Super 16 超 16 毫米胶片Supercardiord 超指向性麦克风Supporting role 配角Surround sound 环绕声Sustain 持续Sweetening 调音Switcher 视频混合处理器Sync 同步信号Synchronous sound 同期声TTable stand 台式麦克风架Take 拍摄次数Technical rehearsal 技术彩排Telecine operator 影视格式转换员Telephoto lens 长焦镜头Template 模板30- degree rule 30 °原则35mm 35毫米胶片3-D computer artist 3-D 电脑立体绘图师Three-point lighting 三点式布光Three-to-one rule 三比一规则Three-two pulldown 三二抓片法 （将每秒 24 格的胶片要转换成每秒 框的电子影像的过程）Threshold of pain 120 分贝的声音（声音达到刺耳程度的临界点）Thumbnail 缩略图Tilt 纵摇 （摄像机垂直上下摇摄）Timbre 音色Time code 时间码Time code generator 时间码生成器Time code reader 时间码读取器Timeline 时间轴Timing 调光Timing sheet 时间表 Title designer 标题设计师 Tonality 色调 Tone 基准音Track 横轨变焦镜头Trailer 预告片 Transitions 镜头转换 Treatment 文学脚本 Trimming 修整Tripod 三角架 Trombone 吊灯栓 Truck 横移T-stop t 光圈 Tungsten 钨丝灯 24P 高分辨率的数字电子影像格式UUltracardiord 锐心型麦克风 / 超指向性麦克风 Ultraviolet filter 紫外线滤镜U-Matic 标准 3/4 英寸录像带 Umbrella reflector 反光伞Unbalanced 不平衡式的 Undo 恢复原状Unit production manager 剧组制片主任 Universal clamp 万能夹 Upright直立式剪辑机 Utility person 剧务VVariable focal length lens = zoom lens Vectorscope 矢量示波器Velocity 速率Vertical resolution 垂直分辨率 Videographer 电子影像摄影师 Video assist录像辅助系统 Video-on-demand 随选视频 Viewfinder 观景器Virtual set 虚拟场景Visual effects 视觉效果Visual effects editor 视觉特效师Voice-over 旁白Volt 伏特Volume unit meter 音量表WWalla walla 背景人声Watt 瓦特Waveform 波形Waveform monitor 波形监视器 White balance 白平衡White reference 白基准 Wide-angle lens 广角镜头 Widescreen 宽银幕 Wild sound 自然音Window dub 视窗剪辑 Windscreen 防风罩Wipe 划像Wireless mic 无线麦克风 Workprint 工作正片Writer 编剧XXLR connector 卡侬插头 X-Y miking X-Y 拾音制式ZZebra stripe 斑马条纹 Zoom 变焦Zoom lens 变焦镜头Zoom mic 指向性可调麦克风附录：一些基本电影词汇 documentary 记录片 , 文献片 filmdom 电影界 literary film 文艺片 musicals 音乐片 comedy 喜剧片 tragedy 悲剧片 dracula movie 恐怖片 sowordsmen film 武侠片 detective film 侦探片 ethical film 伦理片 affectional film 爱情片 erotic film 黄色片 western movies 西部片 film d'avant -garde 前卫片 serial 系列片 trailer 预告片cartoon (film) 卡通片, 动画片footage 影片长度 full-length film, feature film 长片 short(film) 短片colour film 彩色片 (美作 :color film) silent film 默片, 无声片 dubbed film 配音复制的影片 , 译制片 silent cinema, silent films 无声电影 sound motion picture, talkie 有声电影cinemascope, CinemaScope 西涅玛斯科普型立体声宽银幕电影 , 变形镜头式宽银幕电影cinerama, Cinerama 西涅拉玛型立体声宽银幕电影 , 全景电影 title 片名 original version 原著dialogue 对白 subtitles, subtitling 字幕 credits, credit titles 对原作者及其他有贡献者的谢启和姓名 telefilm 电视片演员 actors Starring cast 阵容film star, movie star 电影明星 star, lead 主角 double, stand-in 替身演员 stunt man 特技替身演员 extra, walker-on 临时演员 character actor 性格演员 regular player 基本演员extra 特别客串 film star 电影明星 film actor 男电影明星 film actress 女电影摄影明星 support 配角 util 跑龙套工作人员 technicians adapter 改编 scenarist, scriptwriter 脚本作者 dialogue writer 对白作者 production manager 制片人 producer 制片主任 film director 导演 assistant director 副导演 , 助理导演 cameraman, set photographer director of photography 师 assistant cameraman 摄影助理 property manager, propsman 道具员 art director 布景师（美作 :set decorator） stagehand 化装师 lighting engineer 灯光师film cutter film editor 剪辑师 sound engineer, recording director 录音师 script girl,continuity girl 场记员scenario writer, scenarist 剧作家放映 projection reel, spool （影片的）卷, 本 sound track 音带, 声带 showing, screening, projection 放映 projector 放映机 projection booth, projection room 放映室 panoramic screen 宽银幕 film industry 电影工业cinematograph 电影摄影机 , 电影放映机 cinema, pictures 电影院（美作 :movie theater）first-run cinema 首轮影院 second-run cinema 二轮影院 art theatre 艺术影院continuous performance cinema 循环场电影院 film society 电影协会 , 电影俱乐部（美作 :film club） film library 电影资料馆 premiere 首映式 film festival 电影节 distributor 发行人Board of Censors 审查署 shooting schedule 摄制计划 censor 's certificate 审查级别release 准予上映 banned film 禁映影片A-certificate A 级（儿童不宜）U-certificate U 级X-certificate X 级（成人级）direction 导演 production 制片 adaptation 改编 scenario, screenplay, script编剧scene 场景 exterior 外景 lighting 灯光 shooting 摄制 to shoot 拍摄dissolve 渐隐,化入, 化出 fade-out 淡出 fade-in 淡入special effects 特技 slow motion 慢镜头 editing, cutting 剪接 montage 剪辑 recording, sound recording 录音 sound effects 音响效果 mix, mixing 混录 dubbing 配音postsynchronization 后期录音合成 studio 制片厂 ,摄影棚（motion）film studio 电影制片厂 set, stage, floor 场地 properties, props 道具 dolly 移动式摄影小车 spotlight 聚光灯 clapper boards 拍板 microphone 麦克风 , 话筒 boom 长杆话筒 scenery 布景电影摄制 filming shooting camera 摄影机 shooting angle 拍摄角度high angle shot 俯拍long shot 远景full shot 全景close-up, close shot 特写, 近景medium shot 中景background 背景three-quarter shot 双人近景pan 摇镜头frame, picture 镜头still 静止double exposure 两次曝光superimposition 叠印 exposure meter 曝光表 printing 洗印影片类型 films types film, motion picture 影片,电影（美作:movie）newsreel 新闻片 , 纪录片• 电影名词解释 | 电影名词解释（中英文对照）ABERRATION 像差摄影影头因制作不精密，或人为的损害，不能将一点所发出的所有光线聚焦于底片感光膜上的同一位置，使影像变形，或失焦模糊不清。

ffmpeg webp参数FFmpeg是一款强大的多媒体处理工具，可以用于处理音视频文件。

其中，webp是一种用于图像压缩的开放格式，具有较高的压缩率和质量。

在使用FFmpeg处理webp图像时，掌握一些常用的参数是非常重要的。

本文将详细介绍一些FFmpeg中常用的webp参数，帮助您更加专业地处理webp图像。

1. -loop 参数-loop 参数用于设置webp图像的循环次数。

默认情况下，循环次数为0，即无限循环。

您可以通过以下命令设置循环次数：ffmpeg -i input.webp -loop 3 output.webp上述命令将输入的webp图像循环播放3次，并将结果保存为output.webp。

2. -lossless 参数-lossless 参数用于设置webp图像的压缩模式。

默认情况下，webp图像是有损压缩的，可以通过以下命令进行无损压缩：ffmpeg -i input.webp -lossless 1 output.webp上述命令将输入的webp图像以无损压缩模式保存为output.webp。

3. -qscale 参数-qscale 参数用于设置webp图像的质量等级。

取值范围为0-100，其中0表示最低质量，100表示最高质量。

默认情况下，质量等级为75。

您可以通过以下命令设置质量等级：ffmpeg -i input.webp -qscale 80 output.webp上述命令将输入的webp图像以质量等级80保存为output.webp。

4. -preset 参数-preset 参数用于设置webp图像的预设配置。

预设配置包括default、photo、picture、drawing和icon等，每种预设配置都有不同的参数组合，适用于不同类型的图像。

您可以通过以下命令设置预设配置：ffmpeg -i input.webp -preset photo output.webp上述命令将输入的webp图像使用photo预设配置保存为output.webp。

NAMEcjpeg−compress an image file to a JPEG fileSYNOPSIScjpeg[options][filename]DESCRIPTIONcjpeg compresses the named image file, or the standard input if no file is named, and produces a JPEG/JFIF file on the standard output.The currently supported input file formats are: PPM (PBMPLUS color format), PGM (PBMPLUS gray-scale format), BMP,Targa,and RLE (Utah Raster Toolkit format).(RLE is sup-ported only if the URT library is available.)OPTIONSAll switch names may be abbreviated; for example,−grayscale may be written−gray or−gr.Most of the "basic" switches can be abbreviated to as little as one letter.Upper and lower case are equivalent (thus −BMP is the same as−bmp). British spellings are also accepted (e.g.,−greyscale), though for brevity these are not mentioned below.The basic switches are:−quality NScale quantization tables to adjust image quality.Quality is 0 (worst) to 100 (best); default is 75.(See below for more info.)−grayscaleCreate monochrome JPEG file from color input.Be sure to use this switch when compressing agrayscale BMP file, because cjpeg isn’t bright enough to notice whether a BMP file uses onlyshades of gray.By saying−grayscale,you’ll get a smaller JPEG file that takes less time to pro-cess.−optimizePerform optimization of entropy encoding parameters.Without this, default encoding parametersare used.−optimize usually makes the JPEG file a little smaller,but cjpeg runs somewhat slowerand needs much more memory.Image quality and speed of decompression are unaffected by−optimize.−progressiveCreate progressive JPEG file (see below).−targa Input file is Targa format. Targa files that contain an "identification" field will not be automatically recognized by cjpeg;for such files you must specify−targa to make cjpeg treat the input as Targaformat. For most Targa files, you won’t need this switch.The−quality switch lets you trade off compressed file size against quality of the reconstructed image: the higher the quality setting, the larger the JPEG file, and the closer the output image will be to the original input. Normally you want to use the lowest quality setting (smallest file) that decompresses into something visually indistinguishable from the original image.For this purpose the quality setting should be between50 and 95; the default of 75 is often about right.If you see defects at−quality75, then go up 5 or 10counts at a time until you are happy with the output image.(The optimal setting will vary from one image to another.)−quality100 will generate a quantization table of all 1’s, minimizing loss in the quantization step (but there is still information loss in subsampling, as well as roundoff error). This setting is mainly of interest for experimental purposes.Quality values above about 95 are not recommended for normal use; the com-pressed file size goes up dramatically for hardly any gain in output image quality.In the other direction, quality values below50will produce very small files of low image quality.Settings around 5 to 10 might be useful in preparing an index of a large image library,for example. Try−quality2 (or so) for some amusing Cubist effects. (Note:quality values below about 25 generate 2-byte quantization tables, which are considered optional in the JPEG standard.cjpeg emits a warning message when you give such a quality value, because some other JPEG programs may be unable to decode the resulting fie−baseline if you need to ensure compatibility at low quality values.)The−progressive switch creates a "progressive JPEG" file.In this type of JPEG file, the data is stored in multiple scans of increasing quality.If the file is being transmitted over a slow communications link, the decoder can use the first scan to display a low-quality image very quickly,and can then improve the display with each subsequent scan.The final image is exactly equivalent to a standard JPEG file of the same qual-ity setting, and the total file size is about the same --- often a little smaller.Caution:progressive JPEG is not yet widely implemented, so many decoders will be unable to view a progressive JPEG file at all. Switches for advanced users:−dct intUse integer DCT method (default).−dct fastUse fast integer DCT (less accurate).−dct floatUse floating-point DCT method.The float method is very slightly more accurate than the int method, but is much slower unless your machine has very fast floating-point hardware. Also note that results of the floating-point method may vary slightly across machines, while the integer methods should give the same results everywhere. The fast integer method is much less accurate than the other two.−restart NEmit a JPEG restart marker every N MCU rows, or every N MCU blocks if "B" is attached to the number.−restart 0(the default) means no restart markers.−smooth NSmooth the input image to eliminate dithering noise.N, ranging from 1 to 100, indicates the strength of smoothing.0(the default) means no smoothing.−maxmemory NSet limit for amount of memory to use in processing large images.Value is in thousands of bytes, or millions of bytes if "M" is attached to the number.For example,−max 4m selects 4000000 bytes. If more space is needed, temporary files will be used.−outfile nameSend output image to the named file, not to standard output.−verboseEnable debug printout.More−v’s giv e more output.Also, version information is printed at startup.−debugSame as−verbose.The−restart option inserts extra markers that allow a JPEG decoder to resynchronize after a transmission error.Without restart markers, any damage to a compressed file will usually ruin the image from the point of the error to the end of the image; with restart markers, the damage is usually confined to the portion of the image up to the next restart marker.Of course, the restart markers occupy extra space.We recommend −restart 1for images that will be transmitted across unreliable networks such as Usenet.The−smooth option filters the input to eliminate fine-scale noise.This is often useful when converting dithered images to JPEG: a moderate smoothing factor of 10 to 50 gets rid of dithering patterns in the input file, resulting in a smaller JPEG file and a better-looking image.Too large a smoothing factor will visibly blur the image, however.Switches for wizards:−baselineForce baseline-compatible quantization tables to be generated.This clamps quantization values to 8bits even at low quality settings.(This switch is poorly named, since it does not ensure that theoutput is actually baseline JPEG.For example, you can use−baseline and−progressive together.)−qtablesfileUse the quantization tables given in the specified text file.−qslots N[,...]Select which quantization table to use for each color component.−sample HxV[,...]Set JPEG sampling factors for each color component.−scansfileUse the scan script given in the specified text file.The "wizard" switches are intended for experimentation with JPEG.If you don’t know what you are doing, don’t use them.These switches are documented further in the file wizard.doc.EXAMPLESThis example compresses the PPM file foo.ppm with a quality factor of 60 and saves the output as foo.jpg: cjpeg −quality60 foo.ppm>foo.jpgHINTSColor GIF files are not the ideal input for JPEG; JPEG is really intended for compressing full-color (24-bit) images. In particular,don’t try to convert cartoons, line drawings, and other images that have only a few distinct colors.GIF works great on these, JPEG does not.If you want to convert a GIF to JPEG, you should experiment with cjpeg’s−quality and−smooth options to get a satisfactory conversion.−smooth 10or so is often helpful.Av o id running an image through a series of JPEG compression/decompression cycles. Image quality loss will accumulate; after ten or so cycles the image may be noticeably worse than it was after one cycle. It’s best to use a lossless format while manipulating an image, then convert to JPEG format when you are ready to file the image away.The−optimize option to cjpeg is worth using when you are making a "final" version for posting or archiv-ing. It’s also a win when you are using low quality settings to make very small JPEG files; the percentage improvement is often a lot more than it is on larger files.(At present,−optimize mode is always selected when generating progressive JPEG files.)ENVIRONMENTJPEGMEMIf this environment variable is set, its value is the default memory limit.The value is specified asdescribed for the−maxmemory switch.JPEGMEM overrides the default value specified whenthe program was compiled, and itself is overridden by an explicit−maxmemory.SEE ALSOdjpeg(1),jpegtran(1),rdjpgcom(1),wrjpgcom(1)ppm(5),pgm(5)Wallace, Gregory K."The JPEG Still Picture Compression Standard", Communications of the ACM, April 1991 (vol. 34, no. 4), pp. 30-44.AUTHORIndependent JPEG GroupBUGSArithmetic coding is not supported for legal reasons.GIF input files are no longer supported, to avoid the Unisys LZW e a Unisys-licensed program if you need to read a GIF file.(Conversion of GIF files to JPEG is usually a bad idea anyway.)Not all variants of BMP and Targa file formats are supported.The−targa switch is not a bug, it’s a feature. (It would be a bug if the Targa format designers had not been clueless.)Still not as fast as we’d like.。

jpg的格式基线
当我们提到“jpg的格式基线”，我们实际上是在讨论JPEG（Joint Photographic Experts Group）图像格式的两种压缩标准之一。

JPEG是一种广泛使用的图像压缩标准，它允许用户以不同的压缩率保存图像，从而在文件大小和图像质量之间取得平衡。

在JPEG中，有两种主要的压缩方法：基线（Baseline）和渐进式（Progressive）。

1.基线压缩（Baseline JPEG）：这是JPEG最基本的压缩方法。

它逐行处理
图像，每行独立于其他行进行压缩。

这意味着，在解压缩时，您可以从第一行开始查看已压缩的图像，即使后面的行还没有被完全解压。

这种方法的优点是实现简单，兼容性好。

但缺点是压缩率相对较低，生成的图像文件较大。

2.渐进式压缩（Progressive JPEG）：这种格式采用更复杂的算法，逐级改
善图像质量。

当解压时，可以从一个非常粗糙的低分辨率版本开始，然后逐渐显示更高质量的版本。

这对于网络传输特别有用，因为用户可以快速看到一个大致的图像，然后随着数据流的继续，图像质量逐渐提高。

但这种方法的缺点是实现复杂，兼容性较差。

总结：jpg的格式基线指的是JPEG图像格式中的一种压缩标准，其特点是逐行独立进行压缩。

基线JPEG是JPEG中最简单和最传统的方法，兼容性好但压缩率相对较低。

这种格式适用于不需要高级压缩效果或网络传输的场景，因为它允许从部分解压中快速查看图像。

常用图像压缩算法对比分析1. 引言图像压缩是一种将图像数据进行有损或无损压缩的方法，旨在减少图像数据的存储空间和传输带宽需求，同时尽可能保持原始图像的质量。

随着数字图像的广泛应用，图像压缩算法成为了计算机科学领域的重要研究领域。

本文将对目前常用的图像压缩算法进行比较和分析。

2. JPEG压缩算法JPEG（Joint Photographic Experts Group）是一种广泛使用的无损压缩算法，适用于彩色图像。

该算法通过对图像在频域上的离散余弦变换（DCT）进行分析，将高频成分进行舍弃，从而实现图像的压缩。

JPEG算法可以选择不同的压缩比，从而平衡图像质量和压缩率。

3. PNG压缩算法PNG（Portable Network Graphics）是一种无损压缩算法，适用于压缩有颜色索引的图像。

该算法基于LZ77压缩算法和哈夫曼编码，将图像中的相似数据进行压缩存储。

相比于JPEG算法，PNG 算法可以实现更好的图像质量，但压缩率较低。

4. GIF压缩算法GIF（Graphics Interchange Format）是一种无损压缩算法，适用于压缩简单的图像，如卡通图像或图形。

该算法基于LZW压缩算法，通过建立字典来实现图像的压缩存储。

GIF算法在保持图像质量的同时，能够实现较高的压缩率。

5. WEBP压缩算法WEBP是一种无损压缩算法，由Google开发，适用于网络上的图像传输。

该算法结合了有损压缩和无损压缩的特点，可以根据需要选择不同的压缩模式。

相比于JPEG和PNG算法，WEBP算法可以实现更好的压缩率和图像质量，但对浏览器的兼容性有一定要求。

6. 对比分析从图像质量、压缩率和兼容性等方面对比分析上述四种常用图像压缩算法。

- 图像质量：JPEG算法在高压缩比下会引入一定的失真，适合于要求相对较低的图像质量；PNG和GIF算法在无损压缩的情况下能够保持较好的图像质量；WEBP算法在高压缩比下相对其他算法都具有更好的图像质量。

图像压缩算法的研究近年来，随着网络的发展，越来越多的人使用互联网。

因此，图像压缩算法已成为现今研究的热点。

图像压缩算法可以对图像的存储和传输进行有效的控制，从而缩短传输时间，节省网络流量，提高网络性能。

因此，研究图像压缩算法已成为图像处理领域的重要研究领域。

图像压缩算法可以分为无损和有损压缩两种。

无损压缩算法能够将图像大小减少到一定范围，同时不会对图像的原始信息造成任何损失。

例如，JPEG 2000和JPEG-LS无损压缩算法可以有效地减少图像的体积，并且能够保留图像的清晰度和细节信息。

有损压缩算法可以将图像大小减少到最低水平，但是在压缩过程中会有一定的信息损失。

JPEG和DCT是流行的有损压缩算法，它们可以将图像大小显著减小，但会对图像细节信息有一定的损失。

此外，也有一些基于压缩感知的图像压缩算法，它们能够将图像大小减少到接近无损压缩的程度，并且能够有效的减少图像的体积，尤其是一些复杂的图像。

例如，SPIHT和EZW算法可以有效地压缩图像，而且在减少体积的同时能够保留较高的图像质量。

除了直接的图像压缩算法外，对图像进行预处理和重建也可以实现图像压缩。

图像预处理在有限数据情况下可以加快传输速度，准确地表示原始图像，可以有效地改善图像压缩效果。

图像重建是一种基于原始图像信息的压缩技术，可以准确表示原始图像信息，缩小图像体积。

在研究图像压缩算法时，除了考虑压缩比率外，还需要考虑复杂度，它决定了系统的运行速度。

将图像的存储和传输从计算机移到其他设备，例如手机，需要考虑复杂度。

因此，在研究图像压缩算法时，除了提高压缩比率，还需要把复杂度作为一个重要考量。

所有这些因素对于研究图像压缩算法都是不可或缺的。

图像压缩算法的研究已经成为现今的热点，研究的目的是提高压缩比率，降低复杂度，改善图像质量，同时尽可能保持图像的原始信息，以满足用户的需求。

在研究图像压缩算法时，需要对图像的基本特征和复杂度进行适当的评估，并对适合当前图像处理应用的合适压缩算法进行探索和改进。

Type of camera Single-lens reflex digital cameraLens mount Nikon F mount (with AF coupling and AF contacts)Effective angle of view Nikon DX format; focal length in 35mm [135] format equivalent to approx. 1.5x that of lenses with FX-format angle of viewEffective pixels 24.1 millionImage sensor 23.5 × 15.6 mm CMOS sensorTotal pixels 24.71 millionDust-reduction system Image Sensor Cleaning, Image Dust Off reference data (optional Capture NX 2 required) Image size (pixels) • DX (24×16) image area: 6000 × 4000 [L], 4494 × 3000 [M], 2992 × 2000 [S] • 1.3× (18×12) image area: 4800 × 3200 [L], 3600 × 2400 [M], 2400 × 1600 [S] • Photographs with imagearea of DX (24×16) taken in movie live view: 6000 × 3368 [L], 4496 × 2528 [M], 2992 × 1680[S] • Photographs with image area of 1.3× (18×12) taken in movie live view: 4800 × 2696 [L],3600 × 2024 [M], 2400 × 1344 [S]File format • NEF (RAW): 12 or 14 bit, lossless compressed or compressed • JPEG: JPEG-Baselinecompliant with fine (approx. 1:4), normal (approx. 1:8) or basic (approx. 1:16) compression(Size priority); Optimal quality compression available • NEF (RAW)+JPEG: Single photographrecorded in both NEF (RAW) and JPEG formatsPicture Control System Standard, Neutral, Vivid, Monochrome, Portrait, Landscape; selected Picture Control can be modified; storage for custom Picture ControlsStorage media SD (Secure Digital) and UHS-I compliant SDHC and SDXC memory cardsDouble slot Slot 2 can be used for overflow or backup storage or for separate storage of copies created using NEF+JPEG; pictures can be copied between cardsFile system DCF (Design Rule for Camera File System) 2.0, DPOF (Digital Print Order Format), Exif(Exchangeable Image File Format for Digital Still Cameras) 2.3, PictBridgeViewfinder Eye-level pentaprism single-lens reflex viewfinderFrame coverage Approx. 100% horizontal and 100% verticalMagnification Approx. 0.94x (50 mm f/1.4 lens at infinity, -1.0 m)Eyepoint 19.5 mm (-1.0 m; from center surface of viewfinder eyepiece lens)Diopter adjustment -2 to +1 mFocusing screen Type B BriteView Clear Matte Mark II s creen with AF area brackets (framing grid can bedisplayed)Reflex mirror Quick returnDepth-of-field preview Pressing depth-of-field preview button stops lens aperture down to value selected by user (A and M modes) or by camera (other modes)Lens aperture Instant return, electronically controlledCompatible lenses Compatible with AF NIKKOR lenses, including type G and D lenses (some restrictions apply to PC lenses) and DX lenses, AI-P NIKKOR lenses, and non-CPU AI lenses (A and M modesonly); IX-NIKKOR lenses, lenses for the F3AF, and non-AI lenses cannot be usedThe electronic rangefinder can be used with lenses that have a maximum aperture of f/5.6or faster (the electronic rangefinder supports the center focus point with lenses that have amaximum aperture of f/8 or faster)Shutter type Electronically controlled vertical-travel focal-plane shutterShutter speed 1/8000 to 30 s in steps of 1/3 or 1/2 EV, bulb, time, X250Flash sync speed X=1/250 s; synchronizes with shutter at 1/320 s or slower (flash range drops at speedsbetween 1/250 and 1/320 s)Release modes S(single frame), C L(continuous low speed), C H(continuous high speed), Q(quiet shutter-release), E (self-timer), M UP (mirror up); interval timer photography supported Approximate frame • JPEG and 12-bit NEF (RAW) images recorded with DX (24×16) selected for image area: advance rate C L 1 to 6 fps, C H 6 fps • JPEG and 12-bit NEF (RAW) images recorded with 1.3× (18×12)selected for image area: C L 1 to 6 fps, C H 7 fps • 14-bit NEF (RAW) images recorded with DX(24×16) selected for image area: C L 1 to 5 fps, C H 5 fps • 14-bit NEF (RAW) images recordedwith 1.3× (18×12) selected for image area: C L 1 to 6 fps, C H 6 fpsSelf-timer 2 s, 5 s, 10 s, 20 s; 1 to 9 exposures at intervals of 0.5, 1, 2 or 3 sRemote control modes Delayed remote, quick-response remote, remote mirror-up(ML-L3)Exposure metering mode TTL exposure metering using 2016-pixel RGB sensorMetering method • Matrix: 3D color matrix metering II (type G and D lenses); color matrix metering II (other CPU lenses); color matrix metering available with non-CPU lenses if user provides lens data• Center-weighted: Weight of75% given to 8-mm circle in center of frame; diameter ofcircle can be changed to 6, 10, or 13 mm, or weighting can be based on average of entireframe (non-CPU lenses use 8-mm circle)• Spot: Meters 3.5-mm circle (about 2.5% of frame) centered on selected focus point (oncenter focus point when non-CPU lens is used)Metering range • Matrix or center-weighted metering: 0 to 20 EV(ISO 100, f/1.4 lens, 68°F/20°C) • Spot metering: 2 to 20 EVExposure meter coupling Combined CPU and AIExposure modes Auto modes (i auto; j auto [flash off]); programmed auto with flexible program ( P );shutter-priority auto ( S ); aperture-priority auto ( A ); manual ( M ); scene modes(k portrait; l landscape; p child; m sports; n close up; o night portrait; r nightlandscape; s party/indoor; t beach/snow; u sunset; v dusk/dawn; w pet portrait;x candlelight; y blossom; z autumn colors; 0 food); special effects modes (% night vision;g color sketch; i miniature effect; u selective color; 1 silhouette; 2 high key; 3 lowkey); U1 (user settings 1); U2 (user settings 2)Exposure compensation Can be adjusted by -5 to +5 EV in increments of 1/3 or 1/2 EV in P, S, A and M modes Exposure bracketing 2 to 5 frames in steps of 1/3, 1/2, 2/3, 1, 2 or 3 EVExposure lock Luminosity locked at detected value with A AE-L/AF-L buttonISO sensitivity ISO 100 to 6400 in steps of 1/3 or 1/2 EV; can also be set to approx. 0.3, 0.5, 0.7, 1 or 2 EV (Recommended Exposure Index)(ISO 25600 equivalent) above ISO 6400; auto ISO sensitivity control availableActive D-Lighting Auto, extra high, high, normal, low, offADL bracketing 2 frames using selected value for one frame or 3 frames using preset values for all frames Autofocus Nikon Advanced Multi-CAM 3500DX autofocus sensor module with TTL phase detection, fine-tuning, 51 focus points (including 15 cross-type sensors; the center point is available atapertures slower than f/5.6 and faster than f/8 or at f/8), and AF-assist illuminator (rangeapprox. 1 ft 8 in. to 9 ft 10 in./0.5 to 3 m)Detection range -2 to +19 EV (ISO 100, 68°F/20°C)Lens servo • Autofocus (AF): Single-servo AF (AF-S); continuous-servo AF (AF-C); auto AF-S/AF-Cselection (AF-A); predictive focus tracking activated automatically according to subjectstatus • Manual focus (M): Electronic rangefinder can be usedFocus point Can be selected from 51 or 11 focus pointsAF-area modes Single-point AF; 9-, 21- or 51-point dynamic-area AF, 3D-tracking, auto-area AFFocus lock Focus can be locked by pressing shutter-release button halfway (single-servo AF) or bypressing A AE-L/AF-L buttonBuilt-in flash i, k, p, n, o, s, w, g: Auto flash with auto pop-upP, S, A, M, 0: Manual pop-up with button releaseGuide number Approx. 39/12, 39/12 with manual flash (ft/m, ISO 100, 68°F/20°C)Flash control TTL: i-TTL flash control using 2016-pixel RGB sensor is available with built-in flash andSB-910, SB-900, SB-800, SB-700, SB-600 or SB-400; i-TTL balanced fill-flash for digital SLRis used with matrix and center-weighted metering, standard i-TTL flash for digital SLR withspot meteringFlash modes Auto, auto with red-eye reduction, auto slow sync, auto slow sync with red-eye reduction, fill-flash, red-eye reduction, slow sync, slow sync with red-eye reduction, rear-curtain withslow sync, rear-curtain sync, off; Auto FP High-Speed Sync supportedFlash compensation -3 to +1 EV in increments of 1/3 or 1/2 EVFlash bracketing 2 to 5 frames in steps of 1/3, 1/2, 2/3, 1, 2 or 3 EVFlash-ready indicator Lights when built-in flash or optional flash unit is fully charged; flashes after flash is fired at full outputAccessory shoe ISO 518 hot-shoe with sync and data contacts and safety lockNikon Creative • Advanced Wireless Lighting supported with: SB-910, SB-900, SB-800 or SB-700 as Lighting System (CLS) a master flash and SB-600 or SB-R200 as remotes or SU-800 as commander; built-in flash can serve as master flash in commander mode• Auto FP High-Speed Sync and modeling illumination supported with all CLS-compatibleflash units except SB-400; Flash Color Information Communication and FV lock supportedwith all CLS-compatible flash unitsSync terminal AS-15 Sync Terminal Adapter (available separately)White balance Auto (2 types), incandescent, fluorescent (7 types), direct sunlight, flash, cloudy, shade,preset manual (up to 6 values can be stored, Spot White Balance measurement availableduring live view), choose color temperature (2500 K to 10000 K), all with fine-tuningWhite balance bracketing2 to 5 frames in steps of 1, 2 or 3Live view modes Live view photography (still images), movie live view (movies)Live view lens servo • Autofocus (AF): Single-servo AF (AF-S); full-time-servo AF (AF-F) • Manual focus (M)AF-area modes Face-priority AF, wide-area AF, normal-area AF, subject-tracking AFAutofocus Contrast-detect AF anywhere in frame (camera selects focus point automatically whenface-priority AF or subject-tracking AF is selected)Movie metering TTL exposure metering using main image sensorMovie metering method MatrixFrame size (pixels) • 1920 × 1080; 60i (59.94 fields/s)/50i (50 fields/s)* • 1920 × 1080; 30p (progressive), 25p, and frame rate 24p • 1280 × 720; 60p, 50pActual frame rates for 60p, 50p, 30p, 25p and 24p are 59.94, 50, 29.97, 25 and 23.976 fps respectively; options support bothH high and normal image quality*Available only when 1.3× (18×12) is selected for image area; sensor output is about 60 or 50 fpsFile format MOVVideo compression H.264/MPEG-4 Advanced Video CodingAudio recording format Linear PCMAudio recording device Built-in or external stereo microphone; sensitivity adjustableMaximum length 29 min. 59 sMonitor 3.2-in./8-cm, approx. 1229k-dot (VGA; 640 × 480 × 4 = 1,228,800 dots), TFT monitor withapprox. 170° viewing angle, approx. 100% frame coverage and brightness adjustment Playback Full-frame and thumbnail (4, 9 or 72 images or calendar) playback with playback zoom, movie playback, photo and/or movie slide shows, histogram display, highlights, photo information,GPS data display and auto image rotationUSB Hi-Speed USBHDMI output HDMI mini connector (Type C)Accessory terminal Wireless remote controller: WR-1 and WR-R10 (available separately), Remote cord: MC-DC2 (available separately), GPS unit: GP-1 (available separately)Audio input Stereo mini-pin jack (3.5-mm diameter; plug-in power supported)Audio output Stereo mini-pin jack (3.5-mm diameter)Supported languages Arabic, Bengali, Chinese (Simplified and Traditional), Czech, Danish, Dutch, English, Finnish, French, German, Greek, Hindi, Hungarian, Indonesian, Italian, Japanese, Korean, Norwegian,Persian, Polish, Portuguese (European and Brazilian), Romanian, Russian, Spanish, Swedish,Tamil, Thai, Turkish, Ukrainian, VietnameseBattery One EN-EL15 Rechargeable Li-ion BatteryBattery pack Optional MB-D15 Multi-Power Battery Pack with one EN-EL15 Rechargeable Li-ion Battery or six AA-size alkaline, Ni-MH or lithium batteriesAC adapter EH-5b AC Adapter; requires EP-5B Power Connector (available separately)Tripod socket 1/4 in. (ISO 1222)Dimensions (W × H × D) Approx. 5.3 × 4.2 × 3.0 in./135.5 × 106.5 × 76 mmWeight Approx. 1 lb 11.0 oz/765 g with battery and memory card but without body cap; approx. 1 lb 7.8 oz/ 675 g (camera body only)Operating environment Temperature: 32 to 104°F/0 to 40°C; humidity: 85% or less (no condensation)Supplied accessories EN-EL15 Rechargeable Li-ion Battery, MH-25 Battery Charger, DK-5 Eyepiece Cap, DK-21 (may differ by country or area)Rubber Eyecup, UC-E6 USB Cable, AN-DC1 BK Camera Strap, BF-1B Body Cap, BS-1Accessory Shoe Cover, ViewNX 2 CD-ROM• The SD, SDHC and SDXC logos are trademark of the SD Card Association.• PictBridge is a trademark.• HDMI, the HDMI logo and High-Definition Multimedia Interface aretrademarks or registered trademarks of HDMI Licensing, LLC.• Products and brand names are trademarks or registered trademarks oftheir respective companies.• Images in viewfinders, on LCDs and monitors shown in this brochure aresimulated.Nikon Digital SLR Camera D7100 Specifications• Lens: AF-S NIKKOR 500mm f/4G ED VR • Image quality: RAW (NEF)• Exposure: [M] mode, 1/500 second, f/11 • White balance: Direct sunlight• Sensitivity: ISO 100• Picture Control: Standard©Koji NakanoTake advantage of the agility and high-performance features built into the compact and lightweight DX-format body of the D7100. Enjoy the kind of breathtaking, high-resolution images that are only possible when the EXPEED 3 image-processing engine is paired with a powerful CMOS image sensor unit that’s designed without an optical low-pass filter. Now you can have all the mobility, resolution and power you need to close in on your target and capture it exquisitely — all yours, via the Nikon DX format. The D7100 is ready to go wherever inspiration calls you. Your hunt for spectacular images starts here.T H E P OW E R A N D A G I L I T Y TO L E A P F O RWA R D• Lens: AF-S NIKKOR 70-200mm f/4G ED VR • Image quality: RAW (NEF)• Exposure: [M] mode, 1/180 second, f/8 • White balance: Direct sunlight • Sensitivity: ISO 100• Picture Control: Landscape ©Koji NakanoWith Nikon’s newly developed Advanced Multi-CAM 3500DXautofocus sensor module featuring a high densityof 51 focus points (including 15 cross-type sensors), the D7100 can focus sharply on some of the most elusive of subjects. This AF system also achieves a wider AF detection range down to -2 EV* and faster initial detection, just like that of the D4. The center cross-type sensor is compatible with f/8, which means that you can autofocus on distant subjects even with an effective aperture of f/8 when a 2.0x teleconverter is attached to a telephoto NIKKOR lens with a maximum aperture of f/4.In addition to the regular DX-format size, that enables shooting at an angle of view equivalent to approx. 1.5x*1 lens focal length, the D7100 also has a 1.3× crop of DX option, which instantly provides an angle of view equivalent to approx. 2.0x*1 lens focal length, while delivering a sufficient image resolution of approx. 15.4 effective megapixels. In this mode, the 51 focus points cover almost the entire frame, realizing extremely high capturing power. Add to this approx. 7-fps continuous shooting*2, and you can see how the D7100 captures fast and erratic subjects with greater efficiency.*1 When converted to 35mm format.*2 In 1.3× crop of DX mode with JPEG/12-bit NEF (RAW).The optical viewfinder, that features clear viewing with approx. 100% frame coverage and magnification ratio of 0.94x*, supportscomfortable and precise composition. The high-intensity, high-contrast, energy-saving organic EL display element, newly employed for the viewfinder information display beneath the image area, also contributes to the excellent visibility. The response of the display in low-temperature conditions has been further improved.Thanks to its new RGBW alignment, the newly employed, large, high-resolution LCD monitor features improved brightness. Combined with the integrated glass-and-panel structure*, it greatly enhances visibility, even under bright conditions.*Equivalent to that utilized in the D4, D800 series and D600.Exquisite Full HD video qualityUsing an image sensor unit with 24.1 effective megapixels, designed without an optical low-pass filter, and employing the EXPEED 3 image-processing engine, the D7100 records Full HD video with exquisite detail reproduction. Y our cinematic potential is expanded further with D-SLR shooting advantages such as the wide range of interchangeable NIKKOR lenses. For the smoothest recordings of fast-moving subjects, use 1280 × 720 at 60p, or try the movie image area based on 1.3× crop of DX with 1920 × 1080 at either 60i or 50i. The D7100 also has a built-in stereo microphone. The file size is compressed in H.264/MPEG-4 AVC format, providing you with a maximum recording time of 29 min. 59 s for a single clip*.*20 min. with H high image quality.Multi-area mode Full HD D-Movie with movie image area based on 1.3× crop of DXThe D7100 offers you two movie image areas: one based on the DX format and the other on the 1.3× crop of DX. Using the 1.3× crop of DX delivers an angle of view equivalent to approx. 2.0x* lens focal length — an amazing amount of reach to the subject. Also helped by the agility of the compact, lightweight DX-format system, you can boldly get closer to even smaller, more distant subjects.*When converted to 35mm format.GET MORE INTIMATE WITH YOUR SUBJECT WITH FULL HD D-MOVIE1. Compact and lightweight body, lighter than the D7000, adopts durable magnesium alloy and superior weather and dust sealing2. High-speed, highly precise sequential control mechanismThe driving mechanism, that powers aperture and mirror independently, enables continuous shooting of up to approx. 7 fps*1, 2, a release time lag of 0.052 s*1 and smooth, quiet live view photography. Incorporating a mirror balancer has contributed to a more stableviewfinder image during high-speed continuous shooting.*1 Based on CIPA Guidelines.*2 In 1.3× crop of DX mode with JPEG/12-bit NEF (RAW).3. Highly accurate and durable shutter unit that achieves shutter speeds up to 1/8000 s and tested over 150,000 cycles on a fully assembled camera4. Your shortcut to frequently used settings: the convenient P button [NEW]When viewing playback images or in viewfinder or live view shooting, the new P buttonalways gives you direct access to frequently used functions.5. Built-in flash with a commander function supports Advanced Wireless Lighting6. Double SD card slots compatible with UHS-IThe D7100’s double SD card slots compatible with the SDXC UHS-I standard support smooth handling of the shooting data. 7. MB-D15 Multi-Power Battery Pack (optional) [NEW]Supports EN-EL15 Rechargeable Li-ionBattery or AA-size alkaline, Ni-MH or lithium batteries.8. Advanced multifunctional, WR-1 Wireless Remote Controller (optional) [NEW]The WR-1 (transceiver) is an advanced multifunctional remote controller thatallows you to view the status of or change settings*1 of the D7100. Utilizing radiowaves, the communication range between WR-1 units is up to 394 ft/120 m*2. Fifteen channels are available. You can not only remotely control a camera with a WR-1(used as a receiver) attached by operation of another WR-1 (used as a transmitter)*3, but also perform simultaneous or synchronized release of shutters on several cameras using the WR-1*4. Furthermore, there is a wide variety of options for remote shooting, which includes dividing remote cameras into groups and controlling each group separately, and Interval Timer Photography. Remote shooting by combining the WR-1 with WR-R10/WR-T10 is also possible*3.*1 Functions limited.*2 Approximate range at height of about 4 ft/1.2 m; varies with weather conditions and presence or absence of obstacles.*3 This requires pairing of the WR-1, WR-R10 and WR-T10 units in use. Maximum number of controllers that can be paired: 20 (WR-1) or 64 (WR-R10).*4 Only a camera with a ten-pin remote terminal can be employed as a master camera for Synchronized Release.24.151High-density 51-point AF system that widely covers the frameGlass pentaprism optical viewfinder realizing approx. 100% frame coverageThe 1.3× crop of DX lets you get closer to distant subjects and achieves fast continuous shooting of up to approx. 7 fps [NEW]Newly employed, wide-viewing-angle, 3.2-in./8-cm, approx. 1229k-dot, LCD monitor with an RGBW alignment for enhanced visibility [NEW]*50mm f/1.4 lens at infinity, -1.0 m -1.Other features:Optional ME-1 Stereo Microphone compatibility/External headphone connector/Flicker reduction function/In-camera movie editing functions/Uncompressed HDMI output of movie live view data12561.3×MB-D15 Multi-Power Battery Pack attached to the D7100WR-1 Wireless RemoteController attached to the D7100*ISO 100, 68˚F/20˚C.。