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The Hi-Res mode on the Apple II was also peculiar for its 64:1 interleave factor. This was a direct result of Steve Wozniak's chip-saving design. [5] The 64:1 factor resulted in a "Venetian blind" effect when loading a Hi-Res screen into memory from floppy disk (or sometimes RAM disk) with the soft switches already set. "Screen holes" occur in ...
Lossy and lossless Both 8 bpc Yes Yes Yes No Yes No Yes Yes — No AVIF: AV1 Lossy and lossless: Raster 12 bpc No Yes Yes No No Yes No Yes Yes Yes No BMP: None, RLE, JPEG, and PNG Raster 16 bpc Yes Yes No No No No No Yes No No No BPG: HEVC, Lossy and lossless Raster 14 bpc No Yes Yes No No Yes — Yes — — CD5: Lossless, ACSC Both 16 bpc Yes ...
When designed for print, textures are generally high-resolution in order to achieve good results in the final print. If the texture is meant to be used in multimedia, 3D animation or web design , they are created in a maximum resolution equal to that of the final display .
The Apple Lossless Audio Codec (ALAC, / ə ˈ l æ k /), also known as Apple Lossless, or Apple Lossless Encoder (ALE), is an audio coding format, and its reference audio codec implementation, developed by Apple Inc. for lossless data compression of digital music.
The quality the codec can achieve is heavily based on the compression format the codec uses. A codec is not a format, and there may be multiple codecs that implement the same compression specification – for example, MPEG-1 codecs typically do not achieve quality/size ratio comparable to codecs that implement the more modern H.264 specification.
In high bitrate encodings, the content payload is usually large enough to make the overhead data relatively insignificant, but in low bitrate encodings, the inefficiency of the overhead can significantly affect the resulting file size if the container uses large stream packet headers or a large number of packets.
Apple ProRes is a high quality, "visually lossless" lossy video compression format developed by Apple Inc. for use in post-production that supports video resolution up to 8K. It is the successor of the Apple Intermediate Codec and was introduced in 2007 with Final Cut Studio 2. [ 1 ]
Fragment of an Apple II computer screen, showing the actual pixel data composed of vertical stripes (top) and the resulting colors when seen on an NTSC TV (bottom) Color graphics on the Apple II uses a quirk of the NTSC television signal standard, which made color display relatively easy and inexpensive to implement.