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RGB RGB Broadcast Services C0rp. 529 Andalucía San Juan PR 00920 T. 787.793.8091 F. 787.792.1711 [email_address] www.rgbbroadcast.com Ivette Ayala-Trujillo
RGB   BROADCAST RGB   HOSPITALITY RGB   INDUSTRIAL RGB   RF RGB   SIGNAGE RGB   RADIO RGB  SERVICE RGB   CONSULTANTS RGB  INTEGRATIONS
RGB BROADCAST ,[object Object],[object Object],[object Object],[object Object],[object Object]
 
Clients: ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
RGB RF ,[object Object],TELEMUNDO WAPA TV WORA TV  WIPR TV UNIVISION  WOLE TV WMTJ  CADENA NCN  WORO  WECN CAMARERO RACING Microwaves Transmitters WIPR TV  WORA TV  WAPA RADIO RADIO ISLA WDWL
RF
RGB Radio   Recent Projects ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
 
RGB Signage ,[object Object],[object Object],[object Object],[object Object]
 
RGB Audiovisual ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Audio Visual
RGB Hospitality ,[object Object],[object Object]
RGB Health ,[object Object],More than 65 Rooms More than 130  Monitors Digital-To-The-Room In Room Communicator For High Definition and Standard Definition Interactive TV and Video On Demand •  DIGITAL TO THE ROOM •  NON-INTRUSIVE •  TOTALLY SECURED •  DIGITAL CLARITY •  LAPTOP CONNECT ENABLED •  HIGH DEFINITION SUPPORT •  WEB BROWSER BUILT-IN
 
TOOLS ,[object Object],Aspect Ratio  HD TV Display Resolution Ethernet HDMI Component Video Composite Video Compression Audio Compression Video
Aspect Ratio 1. – of pictures. The ratio of length to height of pictures. All TV screens used to be 4:3, i.e. four units across to three units in height, but now almost all new models, especially where there is digital television, are widescreen,16:9. Pictures presented this way are believed to absorb more of our attention and have obvious advantages in certain productions, such as sport. In the change towards 16:9 some in-between ratios have been used for transmission, such as 14:9. See also: Anamorphic, Widescreen, HDTV 2. – of pixels. The aspect ratio of the area of a picture described by one pixel. The ITU-R BT.601 digital coding standard defines luminance pixels which are not square. In the 525/60 format there are 486 active lines each with 720 samples of which 711 may be viewable due to blanking. Therefore the pixel aspect ratios on 4:3 and 16:9 screens are: 486/711 x 4/3 = 0.911 (tall 487/711 x 16/9 = 1.218 (wide) For the 625/50 format there are 576 active lines each with 720 samples of which 702 are viewable so the pixel aspect ratios are: 576/702 x 4/3 = 1.094 (wide) 576/702 x 16/9 = 1.458 (wider) The digital HD image standards all define square pixels. Account must be taken of pixel aspect ratios when, for example, executing DVE moves such as rotating a circle. The circle must always remain circular and not become elliptical. Another area where pixel aspect ratio is important is in the movement of images between platforms, such as computers and television systems. Computers generally use square pixels so their aspect ratio must be adjusted for SD television-based applications.
HDTV ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Display resolutions ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Ethernet ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
HDMI ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Component video ,[object Object],[object Object],Luminance and chrominance are combined along with the timing reference sync and color burst information using one of the coding standards – NTSC, PAL or SECAM – to make composite video. The process, which is an analog form of video compression, restricts the bandwidths (image detail) of the color components. In the composite result color is literally added to the monochrome (luminance or Y) information using a visually acceptable technique. As our eyes have far more luminance resolving power than for color, the color sharpness (bandwidth) of the coded signal is reduced to well below that of the luminance. This provides a good solution for transmission and viewing but it becomes difficult, if not impossible, to accurately reverse the process (decode) back into pure luminance and chrominance. This limits its use in post production as repetitive decode, recode cycles severely impair the pictures. Deriving keys from composite video gives poor results. Composite video
Compression (audio) ,[object Object],[object Object],[object Object],[object Object],Compression (video) Reduction of bandwidth or data rate for audio. Many digital schemes The process of reducing the bandwidth or data rat of a video stream. The analog broadcast standards used today, PAL, NTSC and SECAM are, in fact, compression systems which reduce the information contained in the original RGB sources. Digital compression systems analyze their picture sources to find and remove redundancy both within and across picture frames. The techniques were primarily developed for digital data transmission but have been adopted as a means of reducing broadcast transmission bandwidths and storage requirements on disks and VTRs. A number of compression techniques are in regular use for moving images. These include ETSI, JPEG, Motion JPEG, JPEG 2000, DV, MPEG-1, MPEG-2, MPEG-4, AVC Intra, Windows Media and Real. Where different techniques are used in the same stream, problems can occur and picture quality can suffer more than if the same method is used throughout. The MPEG-2 family of compression schemes, which was originally designed for program transmission, has been adapted for studio use in Betacam SX and IMX recorders. While there is much debate, and new technologies continue to be developed, it remains true that the best compressed results are produced from the highest quality source pictures. Poor inputs do not compress well. Noise, which may be interpreted as important picture detail, is the enemy of compression.
[object Object],Confidential

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RGB Broadcast Company Profile

  • 1. RGB RGB Broadcast Services C0rp. 529 Andalucía San Juan PR 00920 T. 787.793.8091 F. 787.792.1711 [email_address] www.rgbbroadcast.com Ivette Ayala-Trujillo
  • 2. RGB BROADCAST RGB HOSPITALITY RGB INDUSTRIAL RGB RF RGB SIGNAGE RGB RADIO RGB SERVICE RGB CONSULTANTS RGB INTEGRATIONS
  • 3.
  • 4.  
  • 5.
  • 6.
  • 7. RF
  • 8.
  • 9.  
  • 10.
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  • 18. Aspect Ratio 1. – of pictures. The ratio of length to height of pictures. All TV screens used to be 4:3, i.e. four units across to three units in height, but now almost all new models, especially where there is digital television, are widescreen,16:9. Pictures presented this way are believed to absorb more of our attention and have obvious advantages in certain productions, such as sport. In the change towards 16:9 some in-between ratios have been used for transmission, such as 14:9. See also: Anamorphic, Widescreen, HDTV 2. – of pixels. The aspect ratio of the area of a picture described by one pixel. The ITU-R BT.601 digital coding standard defines luminance pixels which are not square. In the 525/60 format there are 486 active lines each with 720 samples of which 711 may be viewable due to blanking. Therefore the pixel aspect ratios on 4:3 and 16:9 screens are: 486/711 x 4/3 = 0.911 (tall 487/711 x 16/9 = 1.218 (wide) For the 625/50 format there are 576 active lines each with 720 samples of which 702 are viewable so the pixel aspect ratios are: 576/702 x 4/3 = 1.094 (wide) 576/702 x 16/9 = 1.458 (wider) The digital HD image standards all define square pixels. Account must be taken of pixel aspect ratios when, for example, executing DVE moves such as rotating a circle. The circle must always remain circular and not become elliptical. Another area where pixel aspect ratio is important is in the movement of images between platforms, such as computers and television systems. Computers generally use square pixels so their aspect ratio must be adjusted for SD television-based applications.
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