- Early experiments with high definition television transmission began in the 1930s in Britain and France, using 240 lines of resolution.
- The USSR developed the first television capable of 1,125 lines of resolution in 1958 aimed at military teleconferencing.
- In the 1960s, development of what we now consider HDTV began in Japan and was marketed to consumers in 1979.
- Key moments in the 1980s included HDTV demonstrations in the US and the first HDTV broadcasts of the Olympic Games.
The document discusses digital television terrestrial broadcasting standards, focusing on DTMB (Digital Terrestrial Multimedia Broadcast), the standard used in China. DTMB uses Time-domain Synchronous Orthogonal Frequency Division Multiplexing and supports various modulation schemes and frame structures. Field trials showed DTMB provided better picture and sound quality compared to analog transmission under different reception conditions. Hong Kong began official DTV broadcasting using DTMB in 2007.
Digital Television (DTV) is a new type of broadcasting technology that will transform your television viewing experience. DTV enables broadcasters to offer television with movie-quality picture and sound. It can also offer multicasting and interactive capabilities.
This document discusses digital television technology trends. It compares analog and digital television systems, describing improvements in quality for signals, images, sound, and number of channels in digital television. It also covers topics like high dynamic range, resolutions up to 8K, color gamuts, frame rates, and video coding standards. The document outlines roadmaps for ultra high definition television standards and deployments in countries like Korea and Japan.
Digital audio broadcasting (DAB) provides CD-quality sound, many station choices, and interference-free reception. It offers advantages over analog FM like high quality audio, error correction, and reduced multipath interference. DAB uses MPEG audio compression and OFDM modulation to transmit multiple signals over a single frequency band. While DAB coverage is still limited compared to FM in many areas, it provides better sound quality and has the potential to become the future of radio broadcasting worldwide as more countries adopt the technology.
This document provides a history of digital video broadcasting standards and technologies from the late 19th century to present day. It describes early communication technologies like the telegraph, radio, and television. It then outlines the development of key digital standards like DVB-S, DVB-C, DVB-T, and their technical specifications for satellite, cable and terrestrial transmission. The document also discusses newer standards and portable/mobile devices as the technologies evolved to support high definition and internet-based delivery.
Application of Computer in Televison IndustryBasil Mattamana
This document provides information about television, including its history and technology. It discusses how John Logie Baird invented the first television and demonstrated color transmission. It describes the major types of modern televisions like CRT, LCD, plasma, and LED screens. It also discusses how computers are used in broadcasting television programming and managing TV stations through hardware and software.
The document discusses digital television terrestrial broadcasting standards, focusing on DTMB (Digital Terrestrial Multimedia Broadcast), the standard used in China. DTMB uses Time-domain Synchronous Orthogonal Frequency Division Multiplexing and supports various modulation schemes and frame structures. Field trials showed DTMB provided better picture and sound quality compared to analog transmission under different reception conditions. Hong Kong began official DTV broadcasting using DTMB in 2007.
Digital Television (DTV) is a new type of broadcasting technology that will transform your television viewing experience. DTV enables broadcasters to offer television with movie-quality picture and sound. It can also offer multicasting and interactive capabilities.
This document discusses digital television technology trends. It compares analog and digital television systems, describing improvements in quality for signals, images, sound, and number of channels in digital television. It also covers topics like high dynamic range, resolutions up to 8K, color gamuts, frame rates, and video coding standards. The document outlines roadmaps for ultra high definition television standards and deployments in countries like Korea and Japan.
Digital audio broadcasting (DAB) provides CD-quality sound, many station choices, and interference-free reception. It offers advantages over analog FM like high quality audio, error correction, and reduced multipath interference. DAB uses MPEG audio compression and OFDM modulation to transmit multiple signals over a single frequency band. While DAB coverage is still limited compared to FM in many areas, it provides better sound quality and has the potential to become the future of radio broadcasting worldwide as more countries adopt the technology.
This document provides a history of digital video broadcasting standards and technologies from the late 19th century to present day. It describes early communication technologies like the telegraph, radio, and television. It then outlines the development of key digital standards like DVB-S, DVB-C, DVB-T, and their technical specifications for satellite, cable and terrestrial transmission. The document also discusses newer standards and portable/mobile devices as the technologies evolved to support high definition and internet-based delivery.
Application of Computer in Televison IndustryBasil Mattamana
This document provides information about television, including its history and technology. It discusses how John Logie Baird invented the first television and demonstrated color transmission. It describes the major types of modern televisions like CRT, LCD, plasma, and LED screens. It also discusses how computers are used in broadcasting television programming and managing TV stations through hardware and software.
Next Generation of Digital Radio & Mobile TV.
June 19th 2016 | Updated version (# 115) with more DVB-T2 mobile device, more countries case and a section on T2 Lite vs DAB+ plus a new section on HEVC.
Ultra HD, or UHDTV, is the next generation television standard beyond HDTV and 4K. It provides viewers with a superior sense of reality through higher resolution, higher frame rates, more colors, and higher dynamic range. Key aspects of UHDTV include 8K resolution displays and broadcasting, wide color gamut, high dynamic range, and next-generation 22.2 channel surround sound. Standardization efforts are underway to define UHDTV formats, compression, transport, and end-to-end solutions. Early adopters like Japan and Korea are conducting trials of 8K satellite and terrestrial broadcasting using HEVC video coding and DVB transmission standards.
RNE currently operates various digital radio platforms including DAB, DRM, podcasts, and internet. It is moving towards more digital platforms to address deficiencies in analogue radio like audio quality, interference, and limited data capacity. DAB faced stagnation in Spain due to its outdated design from the 1980s, but DAB+ improved efficiency. DRM is positioned as the replacement for MW and SW bands, allowing better quality audio and more robust signals. The document outlines RNE's use of DAB, DAB+, and DRM across various frequency bands and regions to modernize its radio broadcasting capabilities.
This document discusses different types of video signals and coding standards. It describes component video which uses separate signals for red, green, and blue channels, providing the best color reproduction. Composite video mixes color and intensity into a single signal, causing some interference. S-Video uses two signals for luminance and composite chrominance, reducing crosstalk. Digital video allows storage, access and editing of video and is more tolerant of noise. Standards like CCIR 601 set component digital video parameters. High definition TV aims to increase visual field width through greater pixel counts and aspect ratios. The ATSC digital TV standard supports various formats up to 1080p at 60 frames/sec. MPEG-2 is used for video compression and AC-3
VIDEO QUALITY ENHANCEMENT IN BROADCAST CHAIN, OPPORTUNITIES & CHALLENGESDr. Mohieddin Moradi
This document discusses elements of high-quality image production for television broadcasting such as spatial resolution, frame rate, dynamic range, color gamut, quantization, and total quality of experience. It outlines these elements and provides examples of their implementation in HD, UHD1, and UHD2 formats. Motivations for 8K and 4K broadcasting are discussed related to improved image quality, new applications, and bandwidth efficiency trends. Implementation examples of 4K and 8K broadcasting systems from Japan, Korea, Sweden, and the UK are also summarized.
The document discusses the history and development of high-definition television (HDTV) from the 1930s to present day. It covers early HD systems with 240 lines of resolution in the 1930s-1950s, the global development of HD standards in the 1950s-1970s including systems in Germany and the Soviet Union, and Japan's development of the first consumer HD system in 1969. It then discusses the introduction and adoption of HDTV in the United States from the 1980s-1990s and the establishment of the Grand Alliance standard in 1994. Finally, it lists the many HDTV broadcast and cable channels available today globally.
The document provides an overview of analog and digital TV systems. It discusses the evolution from analog black and white TV to digital TV standards like ATSC, DVB, and ISDB. Analog TV systems used technologies like NTSC and PAL to transmit color images in an analog format, while digital TV systems compress and transmit audio and video digitally using standards like MPEG. Digital TV offers benefits like improved picture quality, more efficient use of spectrum, and the ability to deliver additional content like data broadcasting.
At Sveriges Radio, Stockholm February 6th 2015, Mr. Kenneth Wenzel from Open Channel in Denmark shared the experiences gained, from being the world’s first to deploy and trial digital radio based on the new DVB-T2 profile T2 Lite. The presentation proved the superiority and robustness of T2 Lite for digital radio, instead of DAB+, which is widely regarded as obsolete today.
Serial Digital Interface (SDI), From SD-SDI to 24G-SDI, Part 2Dr. Mohieddin Moradi
This document discusses high definition video standards including SMPTE 274M, 292M, 372M and dual link SDI formats. It provides details on:
- The HD-SDI standards that define 1080p and 720p video formats and carriage through 1.5Gb/s serial digital interface.
- The timing reference signal codes used in HD-SDI to identify lines and perform error checking.
- How a 12-bit color depth can be achieved within the dual link standard by mapping the additional bits across both links.
- The benefits of 3Gb/s SDI and dual link formats for working at higher resolutions and color spaces prior to finishing.
This document discusses key elements that contribute to high quality image production, including spatial resolution, frame rate, dynamic range, color gamut, bit depth, and compression artifacts. It examines these elements in the context of 4K and 8K broadcast cameras and their advantages over HD. Factors like wider viewing angles, increased perceived motion, and benefits for nature documentaries are cited as motivations for 8K. Technical details covered include lens flange back distance, flare, shading, chromatic aberration, and testing procedures. Overall quality is represented as a function of these various image quality factors.
In areas where there are multiple original networks (Original Network IDs) as Copenhagen, where you can receive DTT signals from both Denmark (red) and Sweden (green), the DVB-T2 device (NorDig IRD) shall first sort/list all services from Denmark (Original Network ID = 0x20D0), before sorting/listing the next original network, here Sweden (Original Network ID = 0x22F1).
Within DVB’s SI code allocation (ETR162), there is normally an un-written code of practise for digital terrestrial networks that the original network id has been allocated by the DVB office to the value of 0x2000 plus the country’s ISO 3166 Country code value.
This is true for all countries, except three countries DTT network:
› Swedish DTT (0x22F1), Hungarian DTT (0x22C7) & Portugal DTT (0x22C8)
DVB-T2 Lite for Digital Radio by Kenneth WenzelYOZZO
At Thailand’s Engineering Expo 2014, Kenneth Wenzel from Open Channel in Denmark, shared the experiences gained, from being the world’s first to deploy and trial digital radio based on the new DVB-T2 profile T2-Base-Lite. The presentation proved the superiority and robustness of T2 Lite for digital radio, instead of DAB+
The document discusses 4K display technology, including its higher resolution specifications of 3840 x 2160 pixels, which is four times the pixels of 1080p. It also discusses the Rec. 2020 color standard, which defines aspects of ultra high definition TV like wider color gamut. Frame rates for 4K include up to 120p, and the technology allows closer viewing distances without pixels being visible. Implementation of 4K requires upgrades to broadcast and entertainment infrastructure.
This document discusses direct broadcast satellite (DBS) systems. It provides an overview of DBS technology, describing how digitally compressed television signals are transmitted from satellites in geosynchronous orbit to receivers with small dishes. The key components of a DBS system are described, including the uplink station, transponder on the satellite, and receiver components like the tuner and decompression engines. Advantages of DBS services are more channel choices, reliability, and digital picture/sound. Future directions may include advances in encoding, modulation, consumer electronics, and satellite platforms.
This document discusses 12 essential aspects of 4K/UHD video including:
1) Resolution - True resolution is based on number of photosites not pixel count. The next generation 65mm Panavision camera has 24.9 million photosites.
2) Compression formats - Common compression formats for 4K include H.264, XAVC, ProRes, MPEG-4, and wavelet-based formats like JPEG 2000.
3) Connectivity - Interfaces that support high data rates for 4K like 6G-SDI, 12G-SDI, HDMI 2.0, DisplayPort 1.3, and 25G-SDI.
High dynamic range (HDR) provides brighter highlights and more detail in darker and shadow areas compared to standard dynamic range (SDR). HDR offers a more realistic representation of the wide range of brightness levels found in real scenes. Current efforts are focused on standardizing HDR formats, metadata, and compatibility with existing standards like HEVC to support delivery and playback of HDR content on Ultra HD televisions and other devices. Wider adoption of HDR is expected to significantly improve the visual experience for consumers beyond what is possible with SDR.
HDTV, or high-definition television, offers greatly improved picture quality compared to standard television through higher resolution and improved color. It displays either 720 or 1080 interlaced lines of resolution. HDTV provides digital surround sound and requires new production and transmission equipment. While mainly used by companies with large marketing budgets and movie studios, HDTV programming and compatible devices will likely become more widespread and affordable as the technology advances.
Profiles in MPEG-2 limit the compression tools or algorithms that can be used, while levels limit encoding parameters like sample rates and frame sizes. The main profile and main level support standard definition video. Higher profiles add more tools while higher levels support higher resolutions up to high definition. MPEG-2 provides options to suit a wide range of applications from low bit rate streaming to high quality storage and broadcast.
Digital broadcasting makes more efficient use of limited radio spectrum bandwidth than analogue broadcasting. As society demands more choice and content, digital broadcasting allows more channels to be transmitted within the same bandwidth. All broadcasting is expected to transition to digital as analogue TV switch-off begins between 2007-2012, and digital distribution over the internet breaks down traditional broadcasting models.
Next Generation of Digital Radio & Mobile TV.
June 19th 2016 | Updated version (# 115) with more DVB-T2 mobile device, more countries case and a section on T2 Lite vs DAB+ plus a new section on HEVC.
Ultra HD, or UHDTV, is the next generation television standard beyond HDTV and 4K. It provides viewers with a superior sense of reality through higher resolution, higher frame rates, more colors, and higher dynamic range. Key aspects of UHDTV include 8K resolution displays and broadcasting, wide color gamut, high dynamic range, and next-generation 22.2 channel surround sound. Standardization efforts are underway to define UHDTV formats, compression, transport, and end-to-end solutions. Early adopters like Japan and Korea are conducting trials of 8K satellite and terrestrial broadcasting using HEVC video coding and DVB transmission standards.
RNE currently operates various digital radio platforms including DAB, DRM, podcasts, and internet. It is moving towards more digital platforms to address deficiencies in analogue radio like audio quality, interference, and limited data capacity. DAB faced stagnation in Spain due to its outdated design from the 1980s, but DAB+ improved efficiency. DRM is positioned as the replacement for MW and SW bands, allowing better quality audio and more robust signals. The document outlines RNE's use of DAB, DAB+, and DRM across various frequency bands and regions to modernize its radio broadcasting capabilities.
This document discusses different types of video signals and coding standards. It describes component video which uses separate signals for red, green, and blue channels, providing the best color reproduction. Composite video mixes color and intensity into a single signal, causing some interference. S-Video uses two signals for luminance and composite chrominance, reducing crosstalk. Digital video allows storage, access and editing of video and is more tolerant of noise. Standards like CCIR 601 set component digital video parameters. High definition TV aims to increase visual field width through greater pixel counts and aspect ratios. The ATSC digital TV standard supports various formats up to 1080p at 60 frames/sec. MPEG-2 is used for video compression and AC-3
VIDEO QUALITY ENHANCEMENT IN BROADCAST CHAIN, OPPORTUNITIES & CHALLENGESDr. Mohieddin Moradi
This document discusses elements of high-quality image production for television broadcasting such as spatial resolution, frame rate, dynamic range, color gamut, quantization, and total quality of experience. It outlines these elements and provides examples of their implementation in HD, UHD1, and UHD2 formats. Motivations for 8K and 4K broadcasting are discussed related to improved image quality, new applications, and bandwidth efficiency trends. Implementation examples of 4K and 8K broadcasting systems from Japan, Korea, Sweden, and the UK are also summarized.
The document discusses the history and development of high-definition television (HDTV) from the 1930s to present day. It covers early HD systems with 240 lines of resolution in the 1930s-1950s, the global development of HD standards in the 1950s-1970s including systems in Germany and the Soviet Union, and Japan's development of the first consumer HD system in 1969. It then discusses the introduction and adoption of HDTV in the United States from the 1980s-1990s and the establishment of the Grand Alliance standard in 1994. Finally, it lists the many HDTV broadcast and cable channels available today globally.
The document provides an overview of analog and digital TV systems. It discusses the evolution from analog black and white TV to digital TV standards like ATSC, DVB, and ISDB. Analog TV systems used technologies like NTSC and PAL to transmit color images in an analog format, while digital TV systems compress and transmit audio and video digitally using standards like MPEG. Digital TV offers benefits like improved picture quality, more efficient use of spectrum, and the ability to deliver additional content like data broadcasting.
At Sveriges Radio, Stockholm February 6th 2015, Mr. Kenneth Wenzel from Open Channel in Denmark shared the experiences gained, from being the world’s first to deploy and trial digital radio based on the new DVB-T2 profile T2 Lite. The presentation proved the superiority and robustness of T2 Lite for digital radio, instead of DAB+, which is widely regarded as obsolete today.
Serial Digital Interface (SDI), From SD-SDI to 24G-SDI, Part 2Dr. Mohieddin Moradi
This document discusses high definition video standards including SMPTE 274M, 292M, 372M and dual link SDI formats. It provides details on:
- The HD-SDI standards that define 1080p and 720p video formats and carriage through 1.5Gb/s serial digital interface.
- The timing reference signal codes used in HD-SDI to identify lines and perform error checking.
- How a 12-bit color depth can be achieved within the dual link standard by mapping the additional bits across both links.
- The benefits of 3Gb/s SDI and dual link formats for working at higher resolutions and color spaces prior to finishing.
This document discusses key elements that contribute to high quality image production, including spatial resolution, frame rate, dynamic range, color gamut, bit depth, and compression artifacts. It examines these elements in the context of 4K and 8K broadcast cameras and their advantages over HD. Factors like wider viewing angles, increased perceived motion, and benefits for nature documentaries are cited as motivations for 8K. Technical details covered include lens flange back distance, flare, shading, chromatic aberration, and testing procedures. Overall quality is represented as a function of these various image quality factors.
In areas where there are multiple original networks (Original Network IDs) as Copenhagen, where you can receive DTT signals from both Denmark (red) and Sweden (green), the DVB-T2 device (NorDig IRD) shall first sort/list all services from Denmark (Original Network ID = 0x20D0), before sorting/listing the next original network, here Sweden (Original Network ID = 0x22F1).
Within DVB’s SI code allocation (ETR162), there is normally an un-written code of practise for digital terrestrial networks that the original network id has been allocated by the DVB office to the value of 0x2000 plus the country’s ISO 3166 Country code value.
This is true for all countries, except three countries DTT network:
› Swedish DTT (0x22F1), Hungarian DTT (0x22C7) & Portugal DTT (0x22C8)
DVB-T2 Lite for Digital Radio by Kenneth WenzelYOZZO
At Thailand’s Engineering Expo 2014, Kenneth Wenzel from Open Channel in Denmark, shared the experiences gained, from being the world’s first to deploy and trial digital radio based on the new DVB-T2 profile T2-Base-Lite. The presentation proved the superiority and robustness of T2 Lite for digital radio, instead of DAB+
The document discusses 4K display technology, including its higher resolution specifications of 3840 x 2160 pixels, which is four times the pixels of 1080p. It also discusses the Rec. 2020 color standard, which defines aspects of ultra high definition TV like wider color gamut. Frame rates for 4K include up to 120p, and the technology allows closer viewing distances without pixels being visible. Implementation of 4K requires upgrades to broadcast and entertainment infrastructure.
This document discusses direct broadcast satellite (DBS) systems. It provides an overview of DBS technology, describing how digitally compressed television signals are transmitted from satellites in geosynchronous orbit to receivers with small dishes. The key components of a DBS system are described, including the uplink station, transponder on the satellite, and receiver components like the tuner and decompression engines. Advantages of DBS services are more channel choices, reliability, and digital picture/sound. Future directions may include advances in encoding, modulation, consumer electronics, and satellite platforms.
This document discusses 12 essential aspects of 4K/UHD video including:
1) Resolution - True resolution is based on number of photosites not pixel count. The next generation 65mm Panavision camera has 24.9 million photosites.
2) Compression formats - Common compression formats for 4K include H.264, XAVC, ProRes, MPEG-4, and wavelet-based formats like JPEG 2000.
3) Connectivity - Interfaces that support high data rates for 4K like 6G-SDI, 12G-SDI, HDMI 2.0, DisplayPort 1.3, and 25G-SDI.
High dynamic range (HDR) provides brighter highlights and more detail in darker and shadow areas compared to standard dynamic range (SDR). HDR offers a more realistic representation of the wide range of brightness levels found in real scenes. Current efforts are focused on standardizing HDR formats, metadata, and compatibility with existing standards like HEVC to support delivery and playback of HDR content on Ultra HD televisions and other devices. Wider adoption of HDR is expected to significantly improve the visual experience for consumers beyond what is possible with SDR.
HDTV, or high-definition television, offers greatly improved picture quality compared to standard television through higher resolution and improved color. It displays either 720 or 1080 interlaced lines of resolution. HDTV provides digital surround sound and requires new production and transmission equipment. While mainly used by companies with large marketing budgets and movie studios, HDTV programming and compatible devices will likely become more widespread and affordable as the technology advances.
Profiles in MPEG-2 limit the compression tools or algorithms that can be used, while levels limit encoding parameters like sample rates and frame sizes. The main profile and main level support standard definition video. Higher profiles add more tools while higher levels support higher resolutions up to high definition. MPEG-2 provides options to suit a wide range of applications from low bit rate streaming to high quality storage and broadcast.
Digital broadcasting makes more efficient use of limited radio spectrum bandwidth than analogue broadcasting. As society demands more choice and content, digital broadcasting allows more channels to be transmitted within the same bandwidth. All broadcasting is expected to transition to digital as analogue TV switch-off begins between 2007-2012, and digital distribution over the internet breaks down traditional broadcasting models.
The document discusses the hardware, software, and bandwidth requirements for a streaming media server. It recommends a minimum of 2.5 Mbit/s bandwidth for streaming movies and 10 Mbit/s for HD movies. Common audio and video codecs used for streaming include H.264, VP8, MP3, AAC, and buffering helps deal with network congestion.
This document compares various audio file formats including RAW, MP3, AIFF, MPEG, WAV, ACT, and WMA. It discusses the characteristics of each format such as compression, file extensions, advantages like size and limitations like lack of compatibility. Key points covered include how MP3, MPEG, and WMA use lossy compression while WAV and AIFF are uncompressed, and the benefits and drawbacks of each in terms of quality, size, and features.
The document provides information about video compression from production format to distribution format. It discusses various compression techniques including intraframe compression (within a single frame) and interframe compression (between successive frames). It also covers topics like spatial and temporal resolution, color resolution, video and audio signals, video distribution challenges, movie formats, codecs, and tools for video production and compression.
This document discusses digital video codecs and compression. It begins by defining pixel resolutions for standard definition, high definition, and digital cinema. It then covers CMOS image sensors used for HD, 2K and 4K capture and explains intra-frame and inter-frame compression. The document provides an example of the Apple ProRes 422 codec and analyzes its key attributes. It also discusses interlaced vs progressive scanning, picture impairments from compression, digital cinema standards, and predicts that requirements on compression will reduce over time due to technological advances.
RGB Broadcast Services Corp. is a Puerto Rico-based company that provides various services including broadcast, RF, signage, audiovisual, and hospitality solutions. They have completed projects for many Puerto Rican television and radio stations. Their services include digital signage, radio transmitters, microwaves links, and in-room entertainment systems for hotels.
This document summarizes the evolution of television broadcasting from analog to digital formats. It traces some of the key developments in image capturing and reproducing devices from the 1920s to present day. These technological advances drove changes in broadcasting standards around capture, storage, production and transmission of content. The adoption of digital compression standards like MPEG and newer screen formats and resolutions improved the quality of viewing experience. However, these changes also required television broadcasters to evolve their business models and increase revenue from sources like advertising to pay for infrastructure and content investments. The convergence of broadcast, telecom and internet is integrating television across multiple screens. Future trends may include greater adoption of 3D and mobile TV.
The document provides information on various digital television standards and technologies including HDTV, ATSC, DVB, and ISDB. It summarizes:
- HDTV standards define resolutions of 1080 or 720 lines using 16:9 aspect ratio, and can be transmitted using ATSC in North America, DVB-T in Europe, and ISDB-T in Japan.
- The ATSC standard supports resolutions up to 1080p for HDTV and lower resolutions for SDTV, using 8-VSB or 16-VSB modulation. DVB-T uses COFDM modulation and supports QAM. ISDB-T uses BST-COFDM modulation.
- The document also
This document outlines a seminar presentation on 3D TV, HDTV, and UHDTV technologies. It discusses the introduction, history, benefits, and technical workings of each type of television. 3D TV uses parallax barriers or lenticular lenses to provide depth perception. HDTV was developed to overcome limitations of analog TV and provides higher resolution images. UHDTV, also known as 4K, further increases resolution to over 8 million pixels, quadrupling that of 1080p HDTV. The presentation provides details on resolutions, aspect ratios, color spaces and other technical specifications for each television standard.
The document discusses streaming video and digital television. It provides an overview of streaming technology and its benefits for companies, consumers, and academics. It also outlines some challenges around fully implementing digital TV, such as the need for improved network infrastructure and consumer adoption of new technologies. Regulations are aiming to transition the US to fully digital TV by 2006. Interactive TV is growing rapidly and expected to be a major platform. The future of streaming video is promising as technologies advance.
The document discusses different standards for analogue video, including PAL, NTSC, and SECAM. Recordings made using one standard cannot be played on devices that use a different standard without first converting the format. The document also discusses component and composite video signals, high definition standards such as 720p and 1080p, and various digital file formats and compression methods used for video, audio, and images.
DVB-T2 provides significant improvements over first generation digital terrestrial television solutions. It offers higher data rates and robustness, allowing for more programs including HDTV using less spectrum. The improved efficiency also reduces costs for broadcasters through lower infrastructure expenditures and operating expenses. DVB-T2 supports important features like emergency alerting, mobile reception, and pay television, while also maintaining competitive costs for consumer equipment.
Broadcast day-2010-ses-world-skies-sspiSSPI Brasil
The document discusses the growth of digital video and satellites as an enabling technology for broadcasting. Some key points:
- Satellites allow for low-cost point-to-multipoint broadcasting to subscribers. Over 24,000 TV channels are now broadcast by satellite, with 2,900 added in 2008-2009 alone.
- Emerging markets are forecasted to see powerful subscriber growth, driving demand for over 200 additional transponders across regions like Asia-Pacific, Latin America, and the Middle East/Africa through 2016.
- High-definition TV is a major driver of transponder demand, with the number of HD channels projected to grow exponentially from over 300 today to over 3,000 by 2017. Satellite
HD Radio Overview
– HD Radio today
– IBOC Signal review
IBOC Broadcast Equipment
Evolution
– 3rd gen architecture
HD PowerBoost Gen4
– HD PowerBoost vs PAR2
HD Multiplex
– Economic Benefits
– Application Areas
OpenTech 2008 - The Child of Baird and Berners-Leetomski
The document discusses making all television content ever created available, findable, and addressable by building a peer-to-peer network of set-top boxes called "Impossiboxes." Each Impossibox would have 1TB of local storage and a Freeview tuner to record live TV. Together they could store over 120TB of UK TV content per year through real-time transcoding and bittorrent seeding between boxes. This would create an archive of all TV accessible through search and with program metadata. Prototypes have been built and the system could integrate with routers and do popularity-based seeding, targeted ads, or pay-per-view options.
HTML 5 supports live streaming via codecs like H.264 and H.265. It allows media players to be coded directly into HTML 5. The document provides an overview of streaming and broadcasting technologies, including formats like HLS, RTMP, and WebRTC. Diagrams compare image sizes, video quality dimensions, and network layers involved in streaming.
This document provides an overview of high-definition television (HDTV). It describes HDTV as a digital television format with higher resolution of 720p or 1080i and a wider 16:9 aspect ratio compared to standard definition. The document discusses HDTV transmission standards, including MPEG-2 compression, and the components of HDTV transmitters and receivers. It concludes that HDTV will provide a significantly improved television viewing experience over traditional analog formats once implementation is complete.
The document discusses the history and development of 8K resolution technology. It describes how 8K, with a resolution of 7680x4320 pixels, provides image quality equivalent to 35mm film and has been adopted as the standard for digital cinema. Early prototypes from 2001 demonstrated the feasibility of transmitting compressed 8K video over networks in real-time. By 2013, 8K cameras had been developed and 8K content was being experimentally broadcast. Standards organizations continue to refine specifications to expand the applications of 8K video beyond digital cinema.
Ultra high definition television (UHDTV) provides a significant increase in resolution compared to existing high definition television (HDTV) standards. UHDTV doubles the resolution of 4K UHDTV and quadruples it for 8K UHDTV. This allows for much more detailed pictures but requires an enormous amount of bandwidth for transmission. New compression standards like HEVC are helping reduce the bandwidth needs somewhat, but UHDTV will still be challenging to deliver over existing networks. UHDTV also provides a wider color space for more accurate colors and higher frame rates for smoother 3D video. However, widespread adoption of UHDTV will require new display devices, transmission methods, and other upgraded components.
VoIP allows voice calls over the internet using IP packets. It has advantages over traditional telephone networks like lower costs and ability to make calls anywhere internet can reach. Quality of service for VoIP calls can be impacted by packet loss, delay, and jitter. Standards like H.323 and SIP define protocols for call signaling, while RTP and SRTP are used for media transport and security. H.323 specifies components like terminals, gateways, MCUs and gatekeepers that work together to enable VoIP calls.
Enensys -Content Repurposing for Mobile TV NetworksSematron UK Ltd
The document discusses content repurposing for mobile TV networks. It describes the need to adapt existing TV content from different formats to fit on small mobile screens. The challenges of transcoding content from standard definition to mobile TV formats are discussed. Different techniques and algorithms must be used to optimize the transcoding process and integrate content smoothly into mobile TV systems. The source TV content comes from satellite, cable or terrestrial networks in digital formats like MPEG-2. The target is mobile TV, which has size constraints of 2-5 inch screens and lower resolutions than standard TV. Content must be adapted to meet these constraints while preserving quality.
The document discusses different types of video compression standards including MPEG, H.261, H.263, and JPEG. It explains key concepts in video compression like frame rate, color resolution, spatial resolution, and image quality. MPEG standards like MPEG-1, MPEG-2, MPEG-4, and MPEG-7 are defined for compressing video and audio at different bit rates. Techniques like spatial and temporal redundancy reduction are used to compress video frames and consecutive frames. Compression reduces file sizes but can cause data loss during transmission.
This document discusses multimedia technology and standards. It provides an overview of topics covered in the MIT 628 course, including MPEG standards, image and video compression, multimedia hardware and software, and mobile multimedia. Key standards discussed are MPEG-1, MPEG-2, MPEG-4, and HDTV resolutions and technologies.
Ultra high definition television (UHDTV) provides a significant increase in resolution compared to HDTV. UHDTV has 4 times the resolution of HDTV with 3840 x 2160 pixels, while 8K UHDTV has 16 times the resolution of HDTV at 7680 x 4320 pixels. UHDTV also improves on color reproduction and supports higher frame rates up to 120 frames per second, allowing for improved 3D video. However, UHDTV requires much greater bandwidth for transmission and new equipment that is not backward compatible with existing HDTV systems. While the technology and standards are still in development, UHDTV is expected to eventually become widely available to consumers.
Ultra high definition television (UHDTV) provides a significant increase in resolution compared to HDTV. UHDTV has 4 times the resolution of HDTV with 3840 x 2160 pixels, while 8K UHDTV has 16 times the resolution of HDTV at 7680 x 4320 pixels. UHDTV also improves on color reproduction and increases the standard frame rate, making it more suitable for 3D content. However, UHDTV requires much greater bandwidth for transmission and new equipment that is not backward compatible with existing HDTV systems. While the technology and infrastructure are still being developed, UHDTV is expected to eventually become the new standard for television.
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This presentation was provided by Steph Pollock of The American Psychological Association’s Journals Program, and Damita Snow, of The American Society of Civil Engineers (ASCE), for the initial session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session One: 'Setting Expectations: a DEIA Primer,' was held June 6, 2024.
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Date: May 29, 2024
Tags: Information Security, ISO/IEC 27001, ISO/IEC 42001, Artificial Intelligence, GDPR
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13. A high definition TV is one that offers significantly
higher resolution as compared to the traditional
prevailing system.
14. A high definition TV is one that offers significantly
higher resolution as compared to the traditional
prevailing system.
It’s essentially a marketing term more than
any one specific standard. If a capture or
playback device can do so with higher
quality than what we have been
considering standard def, then it can be
deemed hi-def. For our purposes though
we are going to focus on media
Traditionally HDTV was analog, then
digital, and in both cases comprised of
data.
18. Key Moments In HD History
-1936 Britain/1938 France, start transmitting in what
they refer to as HDTV. Earlier systems had as few as
30 lines of resolution, these ran 240(p) described as
sequential, 377i, 441i, & in ’48, 768i(HD by today but b/w only)
19. -1958, U.S.S.R creates “Transformator” the first high
resolution television capable of producing an image
composed of 1,125 lines. Aimed at teleconferencing
for military command, ended up a research project
never deploying in the military or broadcasting.
-1936 Britain/1938 France, start transmitting in what
they refer to as HDTV. Earlier systems had as few as
30 lines of resolution, these ran 240(p) described as
sequential, 377i, 441i, & in ’48, 768i(HD by today but b/w only)
Key Moments In HD History
20. -1960’s, Development (on what we consider HDTV today)
began by Japanese state broadcaster NHK. In 1979
marketed to consumers as “Hi-Vision” or MUSE
(multiple sub-Nyquist sampling encoding) (1080i/1125 lines)
-1958, U.S.S.R creates “Transformator” the first high
resolution television capable of producing an image
composed of 1,125 lines. Aimed at teleconferencing
for military command, ended up a research project
never deploying in the military or broadcasting.
-1936 Britain/1938 France, start transmitting in what
they refer to as HDTV. Earlier systems had as few as
30 lines of resolution, these ran 240(p) described as
sequential, 377i, 441i, & in ’48, 768i(HD by today but b/w only)
Key Moments In HD History
21. -1981 MUSE demo’d in the US, Regan declares “a
matter of national interest” to develop HDTV in the USA
-1960’s, Development (on what we consider HDTV today)
began by Japanese state broadcaster NHK. In 1979
marketed to consumers as “Hi-Vision” or MUSE
(multiple sub-Nyquist sampling encoding) (1080i/1125 lines)
-1958, U.S.S.R creates “Transformator” the first high
resolution television capable of producing an image
composed of 1,125 lines. Aimed at teleconferencing
for military command, ended up a research project
never deploying in the military or broadcasting.
-1936 Britain/1938 France, start transmitting in what
they refer to as HDTV. Earlier systems had as few as
30 lines of resolution, these ran 240(p) described as
sequential, 377i, 441i, & in ’48, 768i(HD by today but b/w only)
Key Moments In HD History
22. -1986 First commercial introduction of HDTV
production equipment in the US begins. (1990 first
broadcasts, 1996+ Mainstream Adoption)
-1981 MUSE demo’d in the US, Regan declares “a
matter of national interest” to develop HDTV in the USA
-1960’s, Development (on what we consider HDTV today)
began by Japanese state broadcaster NHK. In 1979
marketed to consumers as “Hi-Vision” or MUSE
(multiple sub-Nyquist sampling encoding) (1080i/1125 lines)
-1958, U.S.S.R creates “Transformator” the first high
resolution television capable of producing an image
composed of 1,125 lines. Aimed at teleconferencing
for military command, ended up a research project
never deploying in the military or broadcasting.
-1936 Britain/1938 France, start transmitting in what
they refer to as HDTV. Earlier systems had as few as
30 lines of resolution, these ran 240(p) described as
sequential, 377i, 441i, & in ’48, 768i(HD by today but b/w only)
Key Moments In HD History
23. -NHK: In 1988, Olympic Games shot in HDTV.
Bell Systems ships HD signal over fiber optics.
Key Moments In HD History
24. -NHK: In 1988, Olympic Games shot in HDTV.
Bell Systems ships HD signal over fiber optics.
Parallel Present Day Moment
(look @ where we came from to see where we are going)
-Beijing Olympics first to Stream
Key Moments In HD History
25. -NHK succeeded in showing the world's first
Hi-vision (HDTV) pictures of our planet, taken
from the space shuttle "Discovery" which went
into orbit on October 29, 1998.
Key Moments In HD History
26. -NHK succeeded in showing the world's first
Hi-vision (HDTV) pictures of our planet, taken
from the space shuttle "Discovery" which went
into orbit on October 29, 1998.
Parallel Present Day Moment
(look @ where we came from to see where we are going)
-Skype Call From Space Lab
Key Moments In HD History
27.
28.
29. We Sample the world around us (encoding) and
Process as DATA (replicating human functions),
or in the case of documents, texts, CGI, etc.
generated as DATA, directly within a Software
Tool.
DATA is Created & Read as Binary Information
This Binary Info is what
makes up Any & All media
It is the DNA of DATA!
30.
31. BIT (short for “binary digit”) is the smallest unit of
measurable data and contains two possible states
represented by a 1 or 0 - sometimes referred to as
On or Off, High or Low, True or False
47. ADDED SINCE Early 2000’s
(Though Not Standardized)
Brontobyte
1 Brontobyte = 1024 Yottabytes
or
1237940039285380274899124224 Bytes
or
Multiply the above by 8 = # of bits
48. ADDED SINCE 2011
(Though Not Standardized)
Geopbyte
1 Geopbyte = 1024 Brontobytes
Or
1267650600228229401496703205376 Bytes
or
Multiply the above by 8 = # of bits
49.
50.
51.
52.
53.
54. Bits that are processed per unit of time (bps or bpm). In General the
higher the Bit Rate = higher Quality (requiring more bandwidth to deliver.)
55. Bits that are processed per unit of time (bps or bpm). In General the
higher the Bit Rate = higher Quality (requiring more bandwidth to deliver.)
BANDWIDTH
The term Bandwidth or Throughput, denotes the achieved Bit Rate a
computer network over a logical or physical communication link can
deliver.
Bandwidth must be high enough to meet the Data Rate, in order to carry
enough info to sustain the succession of images required by video.
Communication paths usually consist of a series of links, each with their
own bandwidth. If one of these is much slower than the rest, it is said to
be a Bandwidth Bottleneck.
56. 1,024 bit/s = 1 Kbit/s (one kilobit or one thousand bits per second)
1,048,576 bit/s = 1 Mbit/s (one megabit or one million bits per second)
1,073,741,824 bit/s = 1 Gbit/s (one gigabit or one billion bits per second)
102. The HD choices began
when the ATSC created the
digital television table of 36
digital broadcast (DTV)
formats. Of those 36
formats, 12 are high
definition. These are the
formats that the United
States government has
determined will be the
standard for digital
broadcasting.
HD/essentials
ATSC
DIGITAL FORMATS
118. PIXEL ASPECT RATIO
Pixel Aspect Ratio (PAR) is the ratio of width to
height of ONE PIXEL in an image
119. PIXEL ASPECT RATIO
What is a Pixel?
In digital video images - a pixel, or pel, (both
short for “picture element”) are a single point in
a raster image; the smallest addressable
screen element in a display device; the
smallest unit of a picture that can be
represented by a single color; and it generally
is the smallest unit we can control in an image
(however there are high-end systems that allow for subpixel
based manipuliation, which take averages of neighboring
pixels, for microprecision).
Pixels are arranged in a two-dimensional grid,
and are often represented using dots or
squares. Each pixel is a sample of an original
image; more samples typically provide more
accurate representations of the original.
Groups of Pixels together form the images we
see, the shape, smoothness, size & color
tones. PIXEL ASPECT RATIO effects the
Shape of our Image.
120. PIXEL ASPECT RATIO
Square vs Non-Square (Rectangular) Pixels
Pixel Aspect Ratio (PAR) is the ratio of width to
height of ONE PIXEL in an image
121. PIXEL ASPECT RATIO
Square vs Non-Square (Rectangular) Pixels
Pixel Aspect Ratio (PAR) is the ratio of width to
height of ONE PIXEL in an image
122. More about Pixels
PIXEL ASPECT RATIO
The intensity of each pixel is
variable. In color image systems, a
color is typically represented by
three or four component intensities
such as red, green, and blue, or
cyan, magenta, yellow, and black.
123. PIXEL ASPECT RATIO
Bits per pixel
The number of distinct colors that can be represented by a pixel
depends on the number of bits per pixel (bpp). A 1 bpp image uses 1-bit
for each pixel, so each pixel can be either on or off. Each additional bit
doubles the number of colors available, so a 2 bpp image can have 4
colors, and a 3 bpp image can have 8 colors:
1 bpp, 21 = 2 colors (monochrome)
2 bpp, 22 = 4 colors
3 bpp, 23 = 8 colors
...
8 bpp, 28 = 256 colors
16 bpp, 216 = 65,536 colors ("Highcolor" )
24 bpp, 224 ≈ 16.8 million colors ("Truecolor")
125. ASPECT RATIO HISTORY
• Edison, Eastman, Dickson + Scissors = 35mm/1.33
(officially adopted as a standard in 1917)
126. ASPECT RATIO HISTORY
• Edison, Eastman, Dickson + Scissors = 35mm/1.33
(officially adopted as a standard in 1917)
127. ASPECT RATIO HISTORY
• Edison, Eastman, Dickson + Scissors = 35mm/1.33
(officially adopted as a standard in 1917)
• 1st Sound Stripe on Film (Movietone) = 35mm/1.16
128. ASPECT RATIO HISTORY
• Edison, Eastman, Dickson + Scissors = 35mm/1.33
(officially adopted as a standard in 1917)
• 1st Sound Stripe on Film (Movietone) = 35mm/1.16
• Academy Aperture – 35mm/1.37 (1931-1952 Standard)
Filmed Projected
129. ASPECT RATIO HISTORY
• Edison, Eastman, Dickson + Scissors = 35mm/1.33
(officially adopted as a standard in 1917)
• 1st Sound Stripe on Film (Movietone) = 35mm/1.16
• Academy Aperture – 35mm/1.37 (1931-1952 Standard)
• First Projected Widescreen – 35mm/1.66
(1953 Paramount Release of “Shane” – this paralleled the release of Color TV Broadcast)
Filmed
Projected
130. ASPECT RATIO HISTORY
• Edison, Eastman, Dickson + Scissors = 35mm/1.33
(officially adopted as a standard in 1917)
• 1st Sound Stripe on Film (Movietone) = 35mm/1.16
• Academy Aperture – 35mm/1.37 (1931-1952 Standard)
• First Projected Widescreen – 35mm/1.66
(1953 Paramount Release of “Shane” – this paralleled the release of Color TV Broadcast)
• MGM & Disney intro 1.75, followed by Uni & Columbia
Pictures use of what became Theatrical Standard 1.85 –
using “Soft Mattes” (exposing Full Academy Ap/Protected for
1.85) & “Hard Mattes” (exposing just 1.85)
131. 4:3
1.33/1.37: 1
1.85
16.7: 9
Standard US Cinema
Widescreen
16:10
1.60:1
Apple Cinema Displays???
(As of 2010, TVs have been
introduced with A 2.37 aspect
ratio marketed as "21:9
cinema displays". This aspect
ratio is not recognized by
storage and transmission
standards.)
2.35/2.39/2.40: 1
Anamorphic
1.44: 1
IMAX
70mm - runs thru
camera & projector
Horizontally, allowing
for larger image area
15:9
1.66:1
(A compromise between
the 1.85:1 theatrical ratio
and the 1.33:1 ratio used
for home video. Originally
a flat ratio invented by
Paramount Pictures, now
a standard among
several European
countries; native Super
16 mm frame ratio.
Sometimes this ratio is
rounded up to 1.67:1, this
format is also used on
the Nintendo 3DS's top
screen as well.
16:9
1.77/1.78: 1
COMMON ASPECT RATIOS
139. HD FRAME SIZES
1280 x 720
720 Horizontal by 1280 Vertical Lines of Resolution
140. HD FRAME SIZES
1280 x 720
720 Horizontal by 1280 Vertical Lines of Resolution
1920 x 1080
1080 Horizontal by 1920 Vertical Lines of Resolution
141. HD FRAME SIZES
1280 x 720
720 Horizontal by 1280 Vertical Lines of Resolution
1920 x 1080
1080 Horizontal by 1920 Vertical Lines of Resolution
FULL RASTER vs. SQUEEZED
166. STANDARD FRAME RATES
60i
(actually 59.94, or 60 x 1000/1001 to be more precise; 60 interlaced fields = 29.97
frames)
50i
(50 interlaced fields = 25 frames)
Interlaced
178. R G B
The Video image is sampled at a sample rate and per pixel.
Each Pixel has a Color Channel Value for each of the R, G & B.
(white=R100,G100,B100 / Black=R0,G0,B0)
These sampled pixels represent the original image and when
muxed (combined) together from each color channel = SUM OF
FINAL IMAGE (Color Value + Intensity-brightness, contrast, gamma)
A 4th Channel or “Alpha” is often present as well, and controls
Transparency for each pixel. The pass-thru or hold-out aspects
of this channel produce the matte that allows for what is
displayed from the other 3 channels**
179. Y Pb Pr
LUMA BLUE - LUMA (C-Y) RED - LUMA (R-Y)
(or Analog Component)
180. Y Cb Cr
LUMA BLUE - LUMA (C-Y) RED - LUMA (R-Y)
(or Digital Component)
182. Differences in reacting to light and color
Monitors are Linear & Film is Logarithmic
On a monitor, there is a one-to-one correspondence between energy (think
exposure) and brightness. Each time you increase the signal to the monitor
by 1 volt, you get exactly the same incremental increase in brightness.
On film, however, the increase in brightness (emulsion density) is a result
of the logarithm of the increase in
exposure.
Original Image Linear image in Log
Viewer
Log image in Linear
Viewer
Accurate tonality Lows suppressed and
highs accentuated.
Highs flattened and
lows boosted.
183. YIQ & YU V
(or rec601)
Video Profiles - Rec601 & Rec709
ITU Recomendations
203. 4:2:2
Luma horizontal sampling reference
(originally, luma f
s
as multiple of 3 MGz)
Chroma decreased by 50%, Bandwidth decreased by 1/3
CHROMA SUBSAMPLING
204. 4:2:2:4
Luma horizontal sampling reference
(originally, luma f
s
as multiple of 3 MGz)
If present, same as luma digit; indicates
alpha (key) component
Chroma decreased by 50%, Bandwidth decreased by 1/3
CHROMA SUBSAMPLING
211. R G B
8 8 8
8 Bits Per Pixel
(Sometimes referred to as 24-bit on 3-color composite)
Allows 256 Colors to represent each color channel
16,777,216 Colors Possible
212. R G B
10 10 10
10 Bits Per Pixel
(Sometimes referred to as 30-bit on 3-color composite)
Allows 1024 Colors to represent each channel
1,073,741,824 Colors Possible
223. THE DOWN & DIRTY GUIDE TO
COMPRESSION
Codec
A combination of the words compression and decompression.
A codec is mathematical algorithm, designed to reduce the amount of
data in a file or stream by eliminating redundancy, and then later
restore that file or stream back to its original form as closely as
possible. – (Show 10100101001 eg.)
224. Codecs vs. Containers/Wrappers
Acquisition Codecs, Editing Codecs, Distribution Codecs
h.264 & mpeg AVCHD, mpeg4 –IN- QT/.mov, .Mp4, .M4p, FLV, F4V, 3GP
un-comp, DV, mpeg IMX & AVCHD, Pro-res –IN- MXF, QT/.Mov, AVI
mpeg2, h.264, AAC –IN- QT/.mov, VOB, .mpeg2 & BDAV (bluray), Mp4, Mp3
VP8, ACM, Vorbis, VC-1 –IN- WebM, WMV/WMA
QT & AVI Containers each support
over 160 different Codecs
225. THE DOWN & DIRTY GUIDE TO
COMPRESSION
LOSSY vs. LOSSLESS
226. THE DOWN & DIRTY GUIDE TO
COMPRESSION
LOSSY vs. LOSSLESS
LOSSY – A form of data compression where the
decoded information IS NOT exactly the same as
the originally encoded file. Data is lost.
227. THE DOWN & DIRTY GUIDE TO
COMPRESSION
LOSSY vs. LOSSLESS
LOSSY – A form of data compression where the
decoded information IS NOT exactly the same as
the originally encoded file. Data is lost.
LOSSLESS – A form of data compression where
the decoded information IS exactly the same as the
originally encoded file. No data is lost.
228. THE DOWN & DIRTY GUIDE TO
COMPRESSION
LOSSY IMAGE FORMATS
Cartesian Perceptual Compression: Also known as CPC
DiVx
Fractal compression
HAM, hardware compression of color information used in Amiga computers
ICER, used by the Mars Rovers: related to JPEG 2000 in its use of wavelets
JPEG
JPEG 2000, JPEG's successor format that uses wavelets, for Lossy or Lossless
compression.
JBIG2
PGF, Progressive Graphics File (lossless or lossy compression)
Wavelet compression
S3TC texture compression for 3D computer graphics hardware
229. THE DOWN & DIRTY GUIDE TO
COMPRESSION
LOSSY VIDEO FORMATS
H.261
H.263
H.264
MNG (supports JPEG sprites)
Motion JPEG
MPEG-1 Part 2
MPEG-2 Part 2
MPEG-4 Part 2 and Part 10 (AVC)
Ogg Theora (noted for its lack of patent restrictions)
Sorenson video codec
VC-1
230. THE DOWN & DIRTY GUIDE TO
COMPRESSION
LOSSY AUDIO FORMATS
AAC
ADPCM
ATRAC
Dolby AC-3
MP2
MP3
Musepack
Ogg Vorbis (noted for its lack of patent restrictions)
WMA
231. THE DOWN & DIRTY GUIDE TO
COMPRESSION
LOSSLESS IMAGE FORMATS
ABO – Adaptive Binary Optimization
GIF – (lossless, but contains a very limited number color range)
JBIG2 – (lossless or lossy compression of B&W images)
JPEG-LS – (lossless/near-lossless compression standard)
JPEG 2000 – (includes lossless compression method, as proven by Sunil Kumar, Prof
San Diego State University)
JPEG XR - formerly WMPhoto and HD Photo, includes a lossless compression method
PGF – Progressive Graphics File (lossless or lossy compression)
PNG – Portable Network Graphics
TIFF - Tagged Image File Format
232. THE DOWN & DIRTY GUIDE TO
COMPRESSION
LOSSLESS VIDEO FORMATS
Animation codec
CorePNG
FFV1
JPEG 2000
Huffyuv
Lagarith
MSU Lossless Video Codec
SheerVideo
233. THE DOWN & DIRTY GUIDE TO
COMPRESSION
LOSSLESS AUDIO FORMATS
Apple Lossless – ALAC (Apple Lossless Audio Codec)
ATRAC Advanced Lossless
Audio Lossless Coding – also known as MPEG-4 ALS
MPEG-4 SLS – also known as HD-AAC
Direct Stream Transfer – DST
Dolby TrueHD
DTS-HD Master Audio
Free Lossless Audio Codec – FLAC
Meridian Lossless Packing – MLP
Monkey's Audio – Monkey's Audio APE
OptimFROG
RealPlayer – RealAudio Lossless
Shorten – SHN
TTA – True Audio Lossless
WavPack – WavPack lossless
WMA Lossless – Windows Media Lossless
237. INTRAFRAME
Intraframe compression refers to video where
each frame is compressed independently of
nearby frames.
1. Used in formats like DV, DNxHD, ProRes,
Animation, and M-JPEG.
238. INTRAFRAME
Intraframe compression refers to video where
each frame is compressed independently of
nearby frames.
1. Used in formats like DV, DNxHD, ProRes,
Animation, and M-JPEG.
2. Can be lossy or lossless. Most common in
editing and graphics work. Can create very
large files and not always ideal for real-time
playback.
240. INTERFRAME
Intrerframe compression refers to video where
some frames are compressed based on frames
either before or after it in the video stream.
1. Used in formats like HDV, MPEG-2, MPEG-4,
H.264, and XD-CAM.
241. INTERFRAME
Intrerframe compression refers to video where
some frames are compressed based on frames
either before or after it in the video stream.
1. Used in formats like HDV, MPEG-2, MPEG-4,
H.264, and XD-CAM.
2. Almost always lossy. Most commonly used as
camera formats or delivery formats. Capable of
much smaller files, but difficult to edit with.
245. DCT
A discrete cosine transform (DCT) expresses a
sequence of finitely many data points in terms of
a sum of cosine functions oscillating at different
frequencies.
246. DCT
A discrete cosine transform (DCT)
expresses a sequence of finitely many data
points in terms of a sum of cosine functions
oscillating at different frequencies.
“BLAH BLAH BLAH”
247. DCT
A discrete cosine transform (DCT) expresses a
sequence of finitely many data points in terms of
a sum of cosine functions oscillating at different
frequencies.
1. DCT is used in nearly all common video formats like
JPEG, MPEG, DV, DNxHD, ProRes, etc.
248. DCT
A discrete cosine transform (DCT) expresses a
sequence of finitely many data points in terms of
a sum of cosine functions oscillating at different
frequencies.
1. DCT is used in nearly all common video formats like
JPEG, MPEG, DV, DNxHD, ProRes, etc.
2. Can be lossy or lossless. Highly compressed images
will often have artifacts along edges, lose color fidelity,
and/or become blocky and pixelated.
249.
250.
251.
252.
253. WAVELET
A technique for video compression that treats the
image like a series of waves, known as wavelets,
starting with large waves and progressively
getting smaller based on the level of compression
desired.
254. WAVELET
A technique for video compression that treats the
image like a series of waves, known as wavelets,
starting with large waves and progressively
getting smaller based on the level of compression
desired.
1. Wavelet is a newer technology used in compressions
like JPEG 2000 and CineForm.
255. WAVELET
A technique for video compression that treats the
image like a series of waves, known as wavelets,
starting with large waves and progressively
getting smaller based on the level of compression
desired.
1. Wavelet is a newer technology used in compressions
like JPEG 2000 and CineForm.
2. Can be lossy or lossless. Highly compressed images
will rarely create artifacts, but can become soft/blurry.
256. MPEG BASICS
In MPEG encoding, a group of pictures, or
GOP, specifies the order in which intra-frames
and inter frames are arranged.
The GOP is a group of successive pictures within
an MPEG-coded video stream. Each MPEG-
coded video stream consists of successive GOPs.
From the MPEG pictures contained in it the
visible frames are generated.
259. THE 3
PRIMARY FRAME COMPRESSIONS
• I-Frames (I-Picture, Intra Frames)
• P-Frames (Predicted Frames)
260. THE 3
PRIMARY FRAME COMPRESSIONS
• I-Frames (I-Picture, Intra Frames)
• P-Frames (Predicted Frames)
• B-Frames (Bi-Directional Frames)
261. MPEG-2 BIT RATE DETAILS
4 Mbit/s - Low Level Encoding
5 Mbit/s - DVD
15 Mbit/s - Main Level
60 Mbit/s - High-14
80 Mbit/s - High Level
ATSC Broadcast Standards - 19.4 Mbit/s for Low HD and 38
Mbit/s for High End.
269. TeraDisc
All of us are acquiring and creating more and more high-density, high-resolution content. Collect, store
and find your valuable personal and commercial content using a single 1TB TeraDisc. 250 hours of HDTV
or 300,000 digital photos.
Empowering the Enterprise
The healthcare, public, entertainment, security, financial and business sectors can inexpensively archive
vast amounts of data at the desktop. Totally meeting compliance regulations with bit-by-bit WORM
recording. Readily integrates into today’s archiving solutions. Longevity of greater than 50 years.
1 Trillion Bytes on a Single Disc
Enables the reading and writing of 200 layers of data on a single DVD-size disc. Uses advanced material
polymer technology engineered to create an optical media with unique light-sensitive properties.
Inexpensive drives able to reach consumer form factor and pricing.
Mempile’s game-changing 2-photon technology revolutionizes consumer and enterprise archiving – the
removable TeraDisc offers high capacity, low cost, permanence and ease of use.
270. NEW TECHNOLOGY
50 terabyte flash
drive made of bug
protein
This idea first started out by coating DVDs
with a layer of protein so that one day solid
state memory could hold so much
information that storing data on your
computer hard drive will be obsolete
277. 199 HD/ DATA Essentials
Scott Carrey
Course Evaluation: www.vs.edu/survey
scott@scarrey.com
Editor's Notes
For those of you who are not aware this is an information based class…basically ranging from HD for Dummies to an Intermediate Level knowledge. Now obviously this is a one day course so something have to be abbreviated or merely referred to…but my hope is that everyone will get something out of this class…even if it is to establish that you are aware of this information…which we have found most people are lacking in even some of the most basic HD knowledge. Some students I have talked to are literally of the impression that they just need to know enough to get by and this is okay…however, I believe there is benefit to a deeper knowledge and this is speaking from personal experience and those who I have known and worked with for years. There are situations that you walk in as an editor, assistant, online editor… where you can really walk yourself through any problem…not because you are familiar with that problem, but because you understand the underlying concepts, software and hardware that you must somehow work with to solve the problem.
For those of you who are not aware this is an information based class…basically ranging from HD for Dummies to an Intermediate Level knowledge. Now obviously this is a one day course so something have to be abbreviated or merely referred to…but my hope is that everyone will get something out of this class…even if it is to establish that you are aware of this information…which we have found most people are lacking in even some of the most basic HD knowledge. Some students I have talked to are literally of the impression that they just need to know enough to get by and this is okay…however, I believe there is benefit to a deeper knowledge and this is speaking from personal experience and those who I have known and worked with for years. There are situations that you walk in as an editor, assistant, online editor… where you can really walk yourself through any problem…not because you are familiar with that problem, but because you understand the underlying concepts, software and hardware that you must somehow work with to solve the problem.
In this class, we are going to cover a number of topics:History of HD – What does HD mean, where did HD come from, and how long has it been around?Before you can Understand HD – The basic building blocks of HD (and all things digital video).Standards – What is a standard, why do we need them, and who decides?Components of HD – What makes up an HD signal, and what makes them different from each other?Compression Essentials – What is compression, how does it help/hurt, and what things do I need to know to survive?Camera / Decks – Different HD Camera and Deck formats and how each of them works with Editorial and GraphicsHD Online Editing – The basics of finishing an HD Project.New Technologies – The Future of HD.
In this class, we are going to cover a number of topics:History of HD – What does HD mean, where did HD come from, and how long has it been around?Before you can Understand HD – The basic building blocks of HD (and all things digital video).Standards – What is a standard, why do we need them, and who decides?Components of HD – What makes up an HD signal, and what makes them different from each other?Compression Essentials – What is compression, how does it help/hurt, and what things do I need to know to survive?Camera / Decks – Different HD Camera and Deck formats and how each of them works with Editorial and GraphicsHD Online Editing – The basics of finishing an HD Project.New Technologies – The Future of HD.
In this class, we are going to cover a number of topics:History of HD – What does HD mean, where did HD come from, and how long has it been around?Before you can Understand HD – The basic building blocks of HD (and all things digital video).Standards – What is a standard, why do we need them, and who decides?Components of HD – What makes up an HD signal, and what makes them different from each other?Compression Essentials – What is compression, how does it help/hurt, and what things do I need to know to survive?Camera / Decks – Different HD Camera and Deck formats and how each of them works with Editorial and GraphicsHD Online Editing – The basics of finishing an HD Project.New Technologies – The Future of HD.
In this class, we are going to cover a number of topics:History of HD – What does HD mean, where did HD come from, and how long has it been around?Before you can Understand HD – The basic building blocks of HD (and all things digital video).Standards – What is a standard, why do we need them, and who decides?Components of HD – What makes up an HD signal, and what makes them different from each other?Compression Essentials – What is compression, how does it help/hurt, and what things do I need to know to survive?Camera / Decks – Different HD Camera and Deck formats and how each of them works with Editorial and GraphicsHD Online Editing – The basics of finishing an HD Project.New Technologies – The Future of HD.
In this class, we are going to cover a number of topics:History of HD – What does HD mean, where did HD come from, and how long has it been around?Before you can Understand HD – The basic building blocks of HD (and all things digital video).Standards – What is a standard, why do we need them, and who decides?Components of HD – What makes up an HD signal, and what makes them different from each other?Compression Essentials – What is compression, how does it help/hurt, and what things do I need to know to survive?Camera / Decks – Different HD Camera and Deck formats and how each of them works with Editorial and GraphicsHD Online Editing – The basics of finishing an HD Project.New Technologies – The Future of HD.
In this class, we are going to cover a number of topics:History of HD – What does HD mean, where did HD come from, and how long has it been around?Before you can Understand HD – The basic building blocks of HD (and all things digital video).Standards – What is a standard, why do we need them, and who decides?Components of HD – What makes up an HD signal, and what makes them different from each other?Compression Essentials – What is compression, how does it help/hurt, and what things do I need to know to survive?Camera / Decks – Different HD Camera and Deck formats and how each of them works with Editorial and GraphicsHD Online Editing – The basics of finishing an HD Project.New Technologies – The Future of HD.
In this class, we are going to cover a number of topics:History of HD – What does HD mean, where did HD come from, and how long has it been around?Before you can Understand HD – The basic building blocks of HD (and all things digital video).Standards – What is a standard, why do we need them, and who decides?Components of HD – What makes up an HD signal, and what makes them different from each other?Compression Essentials – What is compression, how does it help/hurt, and what things do I need to know to survive?Camera / Decks – Different HD Camera and Deck formats and how each of them works with Editorial and GraphicsHD Online Editing – The basics of finishing an HD Project.New Technologies – The Future of HD.
In this class, we are going to cover a number of topics:History of HD – What does HD mean, where did HD come from, and how long has it been around?Before you can Understand HD – The basic building blocks of HD (and all things digital video).Standards – What is a standard, why do we need them, and who decides?Components of HD – What makes up an HD signal, and what makes them different from each other?Compression Essentials – What is compression, how does it help/hurt, and what things do I need to know to survive?Camera / Decks – Different HD Camera and Deck formats and how each of them works with Editorial and GraphicsHD Online Editing – The basics of finishing an HD Project.New Technologies – The Future of HD.
In this class, we are going to cover a number of topics:History of HD – What does HD mean, where did HD come from, and how long has it been around?Before you can Understand HD – The basic building blocks of HD (and all things digital video).Standards – What is a standard, why do we need them, and who decides?Components of HD – What makes up an HD signal, and what makes them different from each other?Compression Essentials – What is compression, how does it help/hurt, and what things do I need to know to survive?Camera / Decks – Different HD Camera and Deck formats and how each of them works with Editorial and GraphicsHD Online Editing – The basics of finishing an HD Project.New Technologies – The Future of HD.
In this class, we are going to cover a number of topics:History of HD – What does HD mean, where did HD come from, and how long has it been around?Before you can Understand HD – The basic building blocks of HD (and all things digital video).Standards – What is a standard, why do we need them, and who decides?Components of HD – What makes up an HD signal, and what makes them different from each other?Compression Essentials – What is compression, how does it help/hurt, and what things do I need to know to survive?Camera / Decks – Different HD Camera and Deck formats and how each of them works with Editorial and GraphicsHD Online Editing – The basics of finishing an HD Project.New Technologies – The Future of HD.
HD simply means higher resolution which means clearer images. So, garbage in HD is still garbage, you can just see it clearer.
In this class, we are going to cover a number of topics:History of HD – What does HD mean, where did HD come from, and how long has it been around?Before you can Understand HD – The basic building blocks of HD (and all things digital video).Standards – What is a standard, why do we need them, and who decides?Components of HD – What makes up an HD signal, and what makes them different from each other?Compression Essentials – What is compression, how does it help/hurt, and what things do I need to know to survive?Camera / Decks – Different HD Camera and Deck formats and how each of them works with Editorial and GraphicsHD Online Editing – The basics of finishing an HD Project.New Technologies – The Future of HD.
Wikipedia (conflict with research): Japan had the earliest working HDTV system, with design efforts going back to 1979. The country began broadcasting analog HDTV signals in the late 1980s using an interlaced resolution of 1035 or 1080 active lines (1035i) or 1125 total lines.The Japanese system, developed by NHKScience and Technical Research Laboratories (STRL) in the 1980s, employed filtering tricks to reduce the original source signal to decrease bandwidth utilization. MUSE was marketed as "Hi-Vision" by NHK.
Wikipedia (conflict with research): Japan had the earliest working HDTV system, with design efforts going back to 1979. The country began broadcasting analog HDTV signals in the late 1980s using an interlaced resolution of 1035 or 1080 active lines (1035i) or 1125 total lines.The Japanese system, developed by NHKScience and Technical Research Laboratories (STRL) in the 1980s, employed filtering tricks to reduce the original source signal to decrease bandwidth utilization. MUSE was marketed as "Hi-Vision" by NHK.
Wikipedia (conflict with research): Japan had the earliest working HDTV system, with design efforts going back to 1979. The country began broadcasting analog HDTV signals in the late 1980s using an interlaced resolution of 1035 or 1080 active lines (1035i) or 1125 total lines.The Japanese system, developed by NHKScience and Technical Research Laboratories (STRL) in the 1980s, employed filtering tricks to reduce the original source signal to decrease bandwidth utilization. MUSE was marketed as "Hi-Vision" by NHK.
Wikipedia (conflict with research): Japan had the earliest working HDTV system, with design efforts going back to 1979. The country began broadcasting analog HDTV signals in the late 1980s using an interlaced resolution of 1035 or 1080 active lines (1035i) or 1125 total lines.The Japanese system, developed by NHKScience and Technical Research Laboratories (STRL) in the 1980s, employed filtering tricks to reduce the original source signal to decrease bandwidth utilization. MUSE was marketed as "Hi-Vision" by NHK.
Wikipedia (conflict with research): Japan had the earliest working HDTV system, with design efforts going back to 1979. The country began broadcasting analog HDTV signals in the late 1980s using an interlaced resolution of 1035 or 1080 active lines (1035i) or 1125 total lines.The Japanese system, developed by NHKScience and Technical Research Laboratories (STRL) in the 1980s, employed filtering tricks to reduce the original source signal to decrease bandwidth utilization. MUSE was marketed as "Hi-Vision" by NHK.
Wikipedia (conflict with research): Japan had the earliest working HDTV system, with design efforts going back to 1979. The country began broadcasting analog HDTV signals in the late 1980s using an interlaced resolution of 1035 or 1080 active lines (1035i) or 1125 total lines.The Japanese system, developed by NHKScience and Technical Research Laboratories (STRL) in the 1980s, employed filtering tricks to reduce the original source signal to decrease bandwidth utilization. MUSE was marketed as "Hi-Vision" by NHK.
Wikipedia (conflict with research): Japan had the earliest working HDTV system, with design efforts going back to 1979. The country began broadcasting analog HDTV signals in the late 1980s using an interlaced resolution of 1035 or 1080 active lines (1035i) or 1125 total lines.The Japanese system, developed by NHKScience and Technical Research Laboratories (STRL) in the 1980s, employed filtering tricks to reduce the original source signal to decrease bandwidth utilization. MUSE was marketed as "Hi-Vision" by NHK.
Wikipedia (conflict with research): Japan had the earliest working HDTV system, with design efforts going back to 1979. The country began broadcasting analog HDTV signals in the late 1980s using an interlaced resolution of 1035 or 1080 active lines (1035i) or 1125 total lines.The Japanese system, developed by NHKScience and Technical Research Laboratories (STRL) in the 1980s, employed filtering tricks to reduce the original source signal to decrease bandwidth utilization. MUSE was marketed as "Hi-Vision" by NHK.
Wikipedia (conflict with research): Japan had the earliest working HDTV system, with design efforts going back to 1979. The country began broadcasting analog HDTV signals in the late 1980s using an interlaced resolution of 1035 or 1080 active lines (1035i) or 1125 total lines.The Japanese system, developed by NHKScience and Technical Research Laboratories (STRL) in the 1980s, employed filtering tricks to reduce the original source signal to decrease bandwidth utilization. MUSE was marketed as "Hi-Vision" by NHK.
Wikipedia (conflict with research): Japan had the earliest working HDTV system, with design efforts going back to 1979. The country began broadcasting analog HDTV signals in the late 1980s using an interlaced resolution of 1035 or 1080 active lines (1035i) or 1125 total lines.The Japanese system, developed by NHKScience and Technical Research Laboratories (STRL) in the 1980s, employed filtering tricks to reduce the original source signal to decrease bandwidth utilization. MUSE was marketed as "Hi-Vision" by NHK.
We’ll talk more about what BINARY INFO IS and HOW IT DIFFERS FROM DECIMAL INFO
Bits are the basic building blocks of a computer. All digital information is stored with a succession of 1s and 0s – THIS IS KNOWN AS BINARY or BASE 2 - as opposed to the way we are used to representing numbers which is known as Decimal or BASE 10. Explain concept of Base 2 vs Base 10 and Counting Principals. The numbers REPRESENT a possible state of something, not the actual numerical value. So in a survey where you can answer either YES or NO, the answers can be REPRESENTED by a SINGLE BIT, where 1=Yes and 0=No – If we wanted to record 1 person’s response we could do this with 1 bit of data; ask 10 million people and and we would need 10 million bits. To express more complex information with more choices, requires the use of more bits, generating more data. More Data means larger files. Larger files mean more work demanded to access and read this dataComputers do not have pictures, or sound, or color - , just bits that represent the states necessary to store and display them. With Images, This is the basis for the term “Bitmap” as in a Bitmapped Image - one where Pixels are spatially mapped, displaying or storing as a digital image – but really there is no image, only BITS. However, by arranging these bits in certain patterns and defining rules for what those patterns mean; computer displays and output devices can create digital pictures and sound, and recreate them exactly the same way time and time again.. HD Video requires a lot of bits and managing these is much of the basis of what this course is about.
Like in the English language where a single letter doesn’t mean much alone, but when strung together with other letters to form words, becomes useful to communicate information – so to with DATA we usually don’t refer to individual bits, but rather a collection of them.
The first logical collection of bits is “A Byte” comprised of a set of 8 individual bits. Since we know each bit can represent 2 states, 2 to the 8th power, or 2 states per bit in a byte = 256 possible states of something that can be represented by a single byte or 8bits, For example, such as 8bit color Images, which allow for 256 possible shades of a color that can be produced. These 256 states are represented by a value from 0 to 255. So in a “3-color channel” image like RGB, each pixel in all 3 of the Primary Color Channels in an 8 bit color image is said to have 1 Byte per pixel each with a value for the intensity of that color channel, ranging from 0-255. A value of 0 red,0 blue, & 0 green produces no color or black, and values of 255,255,255 produces white. Varying the combinations of values per channels is what allows an 8bit color image to be represented with millions of possible colors that a pixel can produce. This is what we call Bit Depth and we’ll look at this in more detail later on.So if we think of Bits sort of like letters, and then by stringing them together form Bytes, which create Words, that can then be read by a device such as a computer or television or ipod, etc. But the basis for any and all data, of which media is data, HD Video is data, Music, Documents, any and all information is made up of BITS. The number of bits is what will determine the number of possible states that can be represented and the more Bits, the more possibilities such as higher resolution, sharper and truer colors, and ultimately the file sizes of our media, because of the amount of bits used to represent these states.
In fact that is the very way computers read information. So as you see here bits together make bytes and groups of Bytes are called WORDSThe size of a word varies from one computer to another, depending on the CPU. For computers with a 16-bit CPU, a word is 16 bits (2 bytes). On large mainframes, a word can be as long as 64 bits (8 bytes).Some computers and programming languages distinguish between shortwords and longwords. A shortword is usually 2 bytes long, while a longword is 4 bytes. -------summary:-------1 bit = 0 or 11 Byte = 8 bits 1 word = 2 Bytes = 2 X (8 bits) = 16 bitsDouble Word = 4 Bytes=4 X (8 bits)= 32 bitsHalf a Byte or 4 bits is called???A Nibble or a Nybble
A Kilobyte is 1024 bytes, or 8192 bits.
A Kilobyte is 1024 bytes, or 8192 bits.
A Kilobyte is 1024 bytes, or 8192 bits.
Numbers continue from here, increasing by a factor of 1024 at each step.
Numbers continue from here, increasing by a factor of 1024 at each step.A TERABYTE CAN HOLD – approximately 200,000 photos or standard mp3 tracks
A PETABYTE or 1024 Terabytes can hold about 500 billion pages of standard written text and 1 and Half Petabytes us the size of the 10 Billion Photos on Facebook
A thousand-twenty four Petabytes is called an Exabyte and the Library of Congress
Numbers continue from here, increasing by a factor of 1024 at each step.In 2010 we cracked the 1 Zettabyte barrier for the very first time with an estimated 1.2 Zettabytes of information created and replicated. That’s over 1.2 Billion Gigabytes of data.
Numbers continue from here, increasing by a factor of 1024 at each step.Using current standard broadband it would take almost 11 Trillion years to download a Yottabyte file from the internetIt was once thought that a 1.4MB Hi-Density Floppy was more storage than anyone would ever possible need and hard to imagine what they would do with more. Same with Terabyte Drives and so on…
Numbers continue from here, increasing by a factor of 1024 at each step.
Numbers continue from here, increasing by a factor of 1024 at each step.
Numbers continue from here, increasing by a factor of 1024 at each step.
Numbers continue from here, increasing by a factor of 1024 at each step.
So what do bits have to do with HD?
Everything in digital media has to do with bits per second, which is known as the bit rate. The higher the bit rate, the more information can be stored about the signal. General rule of thumb: Higher bit rate = higher quality.
Bit rate and bandwidth are different. Bit rate refers to a file or stream of information. Bandwidth is a measurement of how much information can be transferred over a communication link (like a network or a USB cable)
files stored digitally on a computer are represented by a series of 1s and 0s stored on the computer. Groups of these 1s and 0s are known as bits and it is the number of bits used which dictates how detailed the image (or audio) is described
files stored digitally on a computer are represented by a series of 1s and 0s stored on the computer. Groups of these 1s and 0s are known as bits and it is the number of bits used which dictates how detailed the image (or audio) is described. Many of these numbers are approximations, and this list was obtained from Bell Laboratories.
files stored digitally on a computer are represented by a series of 1s and 0s stored on the computer. Groups of these 1s and 0s are known as bits and it is the number of bits used which dictates how detailed the image (or audio) is described
files stored digitally on a computer are represented by a series of 1s and 0s stored on the computer. Groups of these 1s and 0s are known as bits and it is the number of bits used which dictates how detailed the image (or audio) is described
files stored digitally on a computer are represented by a series of 1s and 0s stored on the computer. Groups of these 1s and 0s are known as bits and it is the number of bits used which dictates how detailed the image (or audio) is described
files stored digitally on a computer are represented by a series of 1s and 0s stored on the computer. Groups of these 1s and 0s are known as bits and it is the number of bits used which dictates how detailed the image (or audio) is described
files stored digitally on a computer are represented by a series of 1s and 0s stored on the computer. Groups of these 1s and 0s are known as bits and it is the number of bits used which dictates how detailed the image (or audio) is described
files stored digitally on a computer are represented by a series of 1s and 0s stored on the computer. Groups of these 1s and 0s are known as bits and it is the number of bits used which dictates how detailed the image (or audio) is described
files stored digitally on a computer are represented by a series of 1s and 0s stored on the computer. Groups of these 1s and 0s are known as bits and it is the number of bits used which dictates how detailed the image (or audio) is described
files stored digitally on a computer are represented by a series of 1s and 0s stored on the computer. Groups of these 1s and 0s are known as bits and it is the number of bits used which dictates how detailed the image (or audio) is described
files stored digitally on a computer are represented by a series of 1s and 0s stored on the computer. Groups of these 1s and 0s are known as bits and it is the number of bits used which dictates how detailed the image (or audio) is described
files stored digitally on a computer are represented by a series of 1s and 0s stored on the computer. Groups of these 1s and 0s are known as bits and it is the number of bits used which dictates how detailed the image (or audio) is described
files stored digitally on a computer are represented by a series of 1s and 0s stored on the computer. Groups of these 1s and 0s are known as bits and it is the number of bits used which dictates how detailed the image (or audio) is described
files stored digitally on a computer are represented by a series of 1s and 0s stored on the computer. Groups of these 1s and 0s are known as bits and it is the number of bits used which dictates how detailed the image (or audio) is described
files stored digitally on a computer are represented by a series of 1s and 0s stored on the computer. Groups of these 1s and 0s are known as bits and it is the number of bits used which dictates how detailed the image (or audio) is described
files stored digitally on a computer are represented by a series of 1s and 0s stored on the computer. Groups of these 1s and 0s are known as bits and it is the number of bits used which dictates how detailed the image (or audio) is described
files stored digitally on a computer are represented by a series of 1s and 0s stored on the computer. Groups of these 1s and 0s are known as bits and it is the number of bits used which dictates how detailed the image (or audio) is described
files stored digitally on a computer are represented by a series of 1s and 0s stored on the computer. Groups of these 1s and 0s are known as bits and it is the number of bits used which dictates how detailed the image (or audio) is described
files stored digitally on a computer are represented by a series of 1s and 0s stored on the computer. Groups of these 1s and 0s are known as bits and it is the number of bits used which dictates how detailed the image (or audio) is described
files stored digitally on a computer are represented by a series of 1s and 0s stored on the computer. Groups of these 1s and 0s are known as bits and it is the number of bits used which dictates how detailed the image (or audio) is described
files stored digitally on a computer are represented by a series of 1s and 0s stored on the computer. Groups of these 1s and 0s are known as bits and it is the number of bits used which dictates how detailed the image (or audio) is described
FireWire, uses a "Peer-to-Peer" architecture in which the peripherals are intelligent and can negotiate bus conflicts to determine which device can best control a data transfer Hi-Speed USB 2.0 uses a "Master-Slave" architecture in which the computer handles all arbitration functions and dictates data flow to, from and between the attached peripherals (adding additional system overhead and resulting in slower data flow control) On average Firewire 400 is 33-40% faster reading rate than USB 2.0On average Firewire 400 is 16-25% faster writing rate than USB 2.0
There are two ways to transmit digital video: composite or component. Composite signals are no longer in common use, and today's methods all involve Digital Component signals, but analog component is still seen, such as svhs andbetacam sp. The big difference between Composite & Component, is that in Component video, the video signal is separated into a luma (brightness) component, and two color difference components (chroma). Keeping the luma (brightness) and chroma (color) components separate,results in better color resolution and reproduction than when the luma & chroma elements of video are combined or composited as in Composite VideoSo one way to input or output HD Video is via a Component Connection
So one way to input or output HD Video is via a Component Connection as seen here. I should note that all images begin and end as RGB but along the way they regularly get converted as a means of managing the large amounts of data being communicated. So though Component is better than composite, it generally is converting into what is referred to as YUV Component (where Y represents the Luma and the U & V each a color differenced or chroma component), well look at this in greater detail but the main point to take away is that HD Component is HD, but somewhat comprised in it’s ability to fully represent our image, such as in reducing the number of colors that can be produced or compressing the amount of pixels used to create and display the image. Again we’ll look at this in more detail, for there are many reasons why we intentionally will choose to throw away information. Ideally though we want to be able to make this choice later in the workflow and record at Full Bandwidth or as Uncompressed Video and to do this requires a greater bandwidth connection, leading us to our next Connection Type…
Serial Digital Interface or (SDI) is the standard for high-end, uncompressed digital video formats such as D1, D5, and Digital Betacam.High Definition Serial Digital Interface (HD-SDI) is a higher-bandwidth version of SDI designed for the extremely high data rates of Uncompressed HD Video. It might look like a regular composite BNC video cable, but it’s not. HD-SDI is a high-speed serial interface between video equipment that carries Digital HD video and up to 8 channels of uncompressed 48 kHz audio on one cable.The video signal carried on the cable is both uncompressed and unencrypted. HD-SDI is transmitted at 1.485 Gbits/sec or, in a new standard for dual-link over a single cable, 3 Gbits/sec. The 3 Gbits/sec version supports the older standard but is designed for all 4:4:4 RGB workflows over a single connector (instead of dual-link HD-SDI) or full resolution 2K film playback at 2048 x 1556 pixels (at 24 fps).IMPORTANT:SDI cables may look like composite coax and both use a BNC connector, but the impedance of cable and connector is different for HD-SDI. Attempting to use a regular composite BNC cable A 75 Ohm Composite video cable with 75 Ohm BNC connectors will probably work over short distances (up to 6’ for example) if used on HD-SDI equipment, but over longer distances the Composite cable and connectors will give failed connections, lost sync or other transfer issues.HD-SDI is not suitable for very long distance transmission as it has been designed for short distances and the high data transmission rate would fail over extended distances. HD-SDI interfaces tend to be found in the higher end, more expensive decks, supporting “professional” formats or professional versions of decks.
Until the advent and adoption of 3 Gbits/sec HD-SDI, two connections working in parallel were used to carry 4:4:4 RGB (full bandwidth) from Cameras and Decks to Computers. Each carrying ½ of the information and require as well, a high-performance disk array (a set of disk drives grouped together to read and write in parallel), in order to accommodate the high data rates you’ll work with.
(High Definition Multimedia Interface used for transmitting uncompressed digital signals. This connection can be found on digital (Hi Def) televisions, cable and satellite set-top boxes, Blu-ray players and computers. In addition, many cameras have HDMI connections. HDMI supports standard, enhanced definition and all HD formats supported within the US ATSC broadcast with up to 8 channels of audio. Audio up to 192 kHz sample rate at 24bit sample depth is supported. (Compare that with “CD quality” at 48 kHz sample rate at 16bit sample depth.)In post production environments it is increasingly being used as a display connection between different video interfaces Type A HDMI is backwards compatible with single-link DVI, a connection type commonly found on newer graphics cards in computers. This allows a DVI output from a computer to connect to an HDMI display by means of an adapter. Most previous communication types required actually modifying the signal type, not just adapting the connection as is possible between HDMI & DVI as well as Display Port and Thunderbolt. Keep in mind though that the transfer rate will still be handled at the level of the lowest bandwidth connector, but at least it can display.MOST of your Pro-Sumer Level gear will have HD Component and/or HDMI, while HIGHER END may have both of those as well, but will PRIMARILY RELY ON HD-SDI or DUAL-LINK HD-SDI and likely even 3G/Dual Link.
While not always the case, again, the basic rule of thumb:Higher Bit Rate = Higher Quality
While not always the case, again, the basic rule of thumb:Higher Bit Rate = Higher Quality
In this class, we are going to cover a number of topics:History of HD – What does HD mean, where did HD come from, and how long has it been around?Before you can Understand HD – The basic building blocks of HD (and all things digital video).Standards – What is a standard, why do we need them, and who decides?Components of HD – What makes up an HD signal, and what makes them different from each other?Compression Essentials – What is compression, how does it help/hurt, and what things do I need to know to survive?Camera / Decks – Different HD Camera and Deck formats and how each of them works with Editorial and GraphicsHD Online Editing – The basics of finishing an HD Project.New Technologies – The Future of HD.
Who set the standards and what do I need to know?The Moving Picture Experts Group, commonly referred to as simply MPEG, is a working group of ISO/IEC charged with the development of video and audio encoding standards. Its first meeting was in May of 1988 in Ottawa, Canada. As of late 2005, MPEG has grown to include approximately 350 members per meeting from various industries, universities, and research institutions. MPEG's official designation is ISO/IEC JTC1/SC29 WG11.MPEG has standardized the following compression formats and ancillary standards:MPEG-1: Initial video and audio compression standard. Later used as the standard for Video CD, and includes the popular Layer 3 (MP3) audio compression format. MPEG-2: Transport, video and audio standards for broadcast-quality television. Used for over-the-air digital televisionATSC, DVB and ISDB, digital satellite TV services like Dish Network, digital cable television signals, SVCD, and with slight modifications, as the .VOB (Video OBject) files that carry the images on DVDs. MPEG-3: Originally designed for HDTV, but abandoned when it was realized that MPEG-2 (with extensions) was sufficient for HDTV. (not to be confused with MP3, which is MPEG-1 Audio Layer 3.) MPEG-4: Expands MPEG-1 to support video/audio "objects", 3D content, low bitrate encoding and support for Digital Rights Management. Several new higher efficiency video standards (newer than MPEG-2 Video) are included (an alternative to MPEG-2 Video), notably: MPEG-4 Part 2 (or Advanced Simple Profile) and MPEG-4 Part 10 (or Advanced Video Coding or H.264). MPEG-4 Part 10 may be used on HD DVD and Blu-ray discs, along with VC-1 and MPEG-2. Pro-MPEG – the Professional-MPEG Forum – is an association of broadcasters, program makers, equipment manufacturers, and component suppliers with interests in realizing the interoperability of professional television equipment, according to the implementation requirements of broadcasters and other end-users. The Forum has been in existence for approximately six years and has over 130 members.Independence, openness, and non-commerciality are fiercely maintained to ensure all organizations and individuals can participate and contribute. The SMPTE and the EBU are two key partner organizations, and the output of the Forum's work on operating ranges and file formats has been submitted to SMPTE for standardization. (Professional MPEG Forum) An organization founded in London in 1998 for the advancement of the MPEG-2 standard. The Forum helped develop the MXF file format for exchanging video production data between servers. The offices of the secretariat were located at BBC Radio Northampton. ATSC Standards document a digital television format which will replace (in the United States) the analog NTSC television system[1] by February 17, 2009.[2] It was developed by the Advanced Television Systems Committee.The high definition television standards defined by the ATSC produce wide screen16:9 images up to 1920×1080 pixels in size — more than six times the display resolution of the earlier standard. However, a host of different image sizes are also supported, so that up to six standard-definition "virtual channels" can be broadcast on a single 6 MHzTV channel.The Society of Motion Picture and Television Engineers or SMPTE, (pronounced /ˈsɪmpti/ and sometimes /ˈsʌmpti/), founded in 1916 as the Society of Motion Picture Engineers or SMPE, is an international professional association, based in the United States of America, of engineers working in the motion imaging industries. An internationally-recognized standards developing organization, SMPTE has over 400 standards, Recommended Practices and Engineering Guidelines for television, motion pictures, digital cinema, audio and medical imaging. In addition to development and publication of standards documents, SMPTE publishes a journal, provides assistance to members with employment, and performs other industry-related functions.The Media Dispatch Group was created in 2003 as an activity of the Professional-MPEG Forum to create a vendor-neutral open technology to create integrated solutions for the professional exchange of large media files securely over IP networks. Members of the Media Dispatch Group include representatives from broadcasters, facility houses, equipment manufacturers, and the digital cinema production community, as well as liaisons with the wider standards community.The European Broadcasting Union (EBU; French: L'Union Européenne de Radio-Télévision ("UER"), and unrelated to the European Union) was formed on 12 February1950 by 23 broadcasting organisations from Europe and the Mediterranean at a conference in the coastal resort of Torquay in Devon, England. In 1993, the International Radio and Television Organisation (OIRT), an equivalent organisation of broadcasters from Central and Eastern Europe, was merged with the EBU.Networks: ABC, NBC, CBS, and Time Warner are associates.
Who set the standards and what do I need to know?The Moving Picture Experts Group, commonly referred to as simply MPEG, is a working group of ISO/IEC charged with the development of video and audio encoding standards. Its first meeting was in May of 1988 in Ottawa, Canada. As of late 2005, MPEG has grown to include approximately 350 members per meeting from various industries, universities, and research institutions. MPEG's official designation is ISO/IEC JTC1/SC29 WG11.MPEG has standardized the following compression formats and ancillary standards:MPEG-1: Initial video and audio compression standard. Later used as the standard for Video CD, and includes the popular Layer 3 (MP3) audio compression format. MPEG-2: Transport, video and audio standards for broadcast-quality television. Used for over-the-air digital televisionATSC, DVB and ISDB, digital satellite TV services like Dish Network, digital cable television signals, SVCD, and with slight modifications, as the .VOB (Video OBject) files that carry the images on DVDs. MPEG-3: Originally designed for HDTV, but abandoned when it was realized that MPEG-2 (with extensions) was sufficient for HDTV. (not to be confused with MP3, which is MPEG-1 Audio Layer 3.) MPEG-4: Expands MPEG-1 to support video/audio "objects", 3D content, low bitrate encoding and support for Digital Rights Management. Several new higher efficiency video standards (newer than MPEG-2 Video) are included (an alternative to MPEG-2 Video), notably: MPEG-4 Part 2 (or Advanced Simple Profile) and MPEG-4 Part 10 (or Advanced Video Coding or H.264). MPEG-4 Part 10 may be used on HD DVD and Blu-ray discs, along with VC-1 and MPEG-2. Pro-MPEG – the Professional-MPEG Forum – is an association of broadcasters, program makers, equipment manufacturers, and component suppliers with interests in realizing the interoperability of professional television equipment, according to the implementation requirements of broadcasters and other end-users. The Forum has been in existence for approximately six years and has over 130 members.Independence, openness, and non-commerciality are fiercely maintained to ensure all organizations and individuals can participate and contribute. The SMPTE and the EBU are two key partner organizations, and the output of the Forum's work on operating ranges and file formats has been submitted to SMPTE for standardization. (Professional MPEG Forum) An organization founded in London in 1998 for the advancement of the MPEG-2 standard. The Forum helped develop the MXF file format for exchanging video production data between servers. The offices of the secretariat were located at BBC Radio Northampton. ATSC Standards document a digital television format which will replace (in the United States) the analog NTSC television system[1] by February 17, 2009.[2] It was developed by the Advanced Television Systems Committee.The high definition television standards defined by the ATSC produce wide screen16:9 images up to 1920×1080 pixels in size — more than six times the display resolution of the earlier standard. However, a host of different image sizes are also supported, so that up to six standard-definition "virtual channels" can be broadcast on a single 6 MHzTV channel.The Society of Motion Picture and Television Engineers or SMPTE, (pronounced /ˈsɪmpti/ and sometimes /ˈsʌmpti/), founded in 1916 as the Society of Motion Picture Engineers or SMPE, is an international professional association, based in the United States of America, of engineers working in the motion imaging industries. An internationally-recognized standards developing organization, SMPTE has over 400 standards, Recommended Practices and Engineering Guidelines for television, motion pictures, digital cinema, audio and medical imaging. In addition to development and publication of standards documents, SMPTE publishes a journal, provides assistance to members with employment, and performs other industry-related functions.The Media Dispatch Group was created in 2003 as an activity of the Professional-MPEG Forum to create a vendor-neutral open technology to create integrated solutions for the professional exchange of large media files securely over IP networks. Members of the Media Dispatch Group include representatives from broadcasters, facility houses, equipment manufacturers, and the digital cinema production community, as well as liaisons with the wider standards community.The European Broadcasting Union (EBU; French: L'Union Européenne de Radio-Télévision ("UER"), and unrelated to the European Union) was formed on 12 February1950 by 23 broadcasting organisations from Europe and the Mediterranean at a conference in the coastal resort of Torquay in Devon, England. In 1993, the International Radio and Television Organisation (OIRT), an equivalent organisation of broadcasters from Central and Eastern Europe, was merged with the EBU.Networks: ABC, NBC, CBS, and Time Warner are associates.
Who set the standards and what do I need to know?The Moving Picture Experts Group, commonly referred to as simply MPEG, is a working group of ISO/IEC charged with the development of video and audio encoding standards. Its first meeting was in May of 1988 in Ottawa, Canada. As of late 2005, MPEG has grown to include approximately 350 members per meeting from various industries, universities, and research institutions. MPEG's official designation is ISO/IEC JTC1/SC29 WG11.MPEG has standardized the following compression formats and ancillary standards:MPEG-1: Initial video and audio compression standard. Later used as the standard for Video CD, and includes the popular Layer 3 (MP3) audio compression format. MPEG-2: Transport, video and audio standards for broadcast-quality television. Used for over-the-air digital televisionATSC, DVB and ISDB, digital satellite TV services like Dish Network, digital cable television signals, SVCD, and with slight modifications, as the .VOB (Video OBject) files that carry the images on DVDs. MPEG-3: Originally designed for HDTV, but abandoned when it was realized that MPEG-2 (with extensions) was sufficient for HDTV. (not to be confused with MP3, which is MPEG-1 Audio Layer 3.) MPEG-4: Expands MPEG-1 to support video/audio "objects", 3D content, low bitrate encoding and support for Digital Rights Management. Several new higher efficiency video standards (newer than MPEG-2 Video) are included (an alternative to MPEG-2 Video), notably: MPEG-4 Part 2 (or Advanced Simple Profile) and MPEG-4 Part 10 (or Advanced Video Coding or H.264). MPEG-4 Part 10 may be used on HD DVD and Blu-ray discs, along with VC-1 and MPEG-2. Pro-MPEG – the Professional-MPEG Forum – is an association of broadcasters, program makers, equipment manufacturers, and component suppliers with interests in realizing the interoperability of professional television equipment, according to the implementation requirements of broadcasters and other end-users. The Forum has been in existence for approximately six years and has over 130 members.Independence, openness, and non-commerciality are fiercely maintained to ensure all organizations and individuals can participate and contribute. The SMPTE and the EBU are two key partner organizations, and the output of the Forum's work on operating ranges and file formats has been submitted to SMPTE for standardization. (Professional MPEG Forum) An organization founded in London in 1998 for the advancement of the MPEG-2 standard. The Forum helped develop the MXF file format for exchanging video production data between servers. The offices of the secretariat were located at BBC Radio Northampton. ATSC Standards document a digital television format which will replace (in the United States) the analog NTSC television system[1] by February 17, 2009.[2] It was developed by the Advanced Television Systems Committee.The high definition television standards defined by the ATSC produce wide screen16:9 images up to 1920×1080 pixels in size — more than six times the display resolution of the earlier standard. However, a host of different image sizes are also supported, so that up to six standard-definition "virtual channels" can be broadcast on a single 6 MHzTV channel.The Society of Motion Picture and Television Engineers or SMPTE, (pronounced /ˈsɪmpti/ and sometimes /ˈsʌmpti/), founded in 1916 as the Society of Motion Picture Engineers or SMPE, is an international professional association, based in the United States of America, of engineers working in the motion imaging industries. An internationally-recognized standards developing organization, SMPTE has over 400 standards, Recommended Practices and Engineering Guidelines for television, motion pictures, digital cinema, audio and medical imaging. In addition to development and publication of standards documents, SMPTE publishes a journal, provides assistance to members with employment, and performs other industry-related functions.The Media Dispatch Group was created in 2003 as an activity of the Professional-MPEG Forum to create a vendor-neutral open technology to create integrated solutions for the professional exchange of large media files securely over IP networks. Members of the Media Dispatch Group include representatives from broadcasters, facility houses, equipment manufacturers, and the digital cinema production community, as well as liaisons with the wider standards community.The European Broadcasting Union (EBU; French: L'Union Européenne de Radio-Télévision ("UER"), and unrelated to the European Union) was formed on 12 February1950 by 23 broadcasting organisations from Europe and the Mediterranean at a conference in the coastal resort of Torquay in Devon, England. In 1993, the International Radio and Television Organisation (OIRT), an equivalent organisation of broadcasters from Central and Eastern Europe, was merged with the EBU.Networks: ABC, NBC, CBS, and Time Warner are associates.
Who set the standards and what do I need to know?The Moving Picture Experts Group, commonly referred to as simply MPEG, is a working group of ISO/IEC charged with the development of video and audio encoding standards. Its first meeting was in May of 1988 in Ottawa, Canada. As of late 2005, MPEG has grown to include approximately 350 members per meeting from various industries, universities, and research institutions. MPEG's official designation is ISO/IEC JTC1/SC29 WG11.MPEG has standardized the following compression formats and ancillary standards:MPEG-1: Initial video and audio compression standard. Later used as the standard for Video CD, and includes the popular Layer 3 (MP3) audio compression format. MPEG-2: Transport, video and audio standards for broadcast-quality television. Used for over-the-air digital televisionATSC, DVB and ISDB, digital satellite TV services like Dish Network, digital cable television signals, SVCD, and with slight modifications, as the .VOB (Video OBject) files that carry the images on DVDs. MPEG-3: Originally designed for HDTV, but abandoned when it was realized that MPEG-2 (with extensions) was sufficient for HDTV. (not to be confused with MP3, which is MPEG-1 Audio Layer 3.) MPEG-4: Expands MPEG-1 to support video/audio "objects", 3D content, low bitrate encoding and support for Digital Rights Management. Several new higher efficiency video standards (newer than MPEG-2 Video) are included (an alternative to MPEG-2 Video), notably: MPEG-4 Part 2 (or Advanced Simple Profile) and MPEG-4 Part 10 (or Advanced Video Coding or H.264). MPEG-4 Part 10 may be used on HD DVD and Blu-ray discs, along with VC-1 and MPEG-2. Pro-MPEG – the Professional-MPEG Forum – is an association of broadcasters, program makers, equipment manufacturers, and component suppliers with interests in realizing the interoperability of professional television equipment, according to the implementation requirements of broadcasters and other end-users. The Forum has been in existence for approximately six years and has over 130 members.Independence, openness, and non-commerciality are fiercely maintained to ensure all organizations and individuals can participate and contribute. The SMPTE and the EBU are two key partner organizations, and the output of the Forum's work on operating ranges and file formats has been submitted to SMPTE for standardization. (Professional MPEG Forum) An organization founded in London in 1998 for the advancement of the MPEG-2 standard. The Forum helped develop the MXF file format for exchanging video production data between servers. The offices of the secretariat were located at BBC Radio Northampton. ATSC Standards document a digital television format which will replace (in the United States) the analog NTSC television system[1] by February 17, 2009.[2] It was developed by the Advanced Television Systems Committee.The high definition television standards defined by the ATSC produce wide screen16:9 images up to 1920×1080 pixels in size — more than six times the display resolution of the earlier standard. However, a host of different image sizes are also supported, so that up to six standard-definition "virtual channels" can be broadcast on a single 6 MHzTV channel.The Society of Motion Picture and Television Engineers or SMPTE, (pronounced /ˈsɪmpti/ and sometimes /ˈsʌmpti/), founded in 1916 as the Society of Motion Picture Engineers or SMPE, is an international professional association, based in the United States of America, of engineers working in the motion imaging industries. An internationally-recognized standards developing organization, SMPTE has over 400 standards, Recommended Practices and Engineering Guidelines for television, motion pictures, digital cinema, audio and medical imaging. In addition to development and publication of standards documents, SMPTE publishes a journal, provides assistance to members with employment, and performs other industry-related functions.The Media Dispatch Group was created in 2003 as an activity of the Professional-MPEG Forum to create a vendor-neutral open technology to create integrated solutions for the professional exchange of large media files securely over IP networks. Members of the Media Dispatch Group include representatives from broadcasters, facility houses, equipment manufacturers, and the digital cinema production community, as well as liaisons with the wider standards community.The European Broadcasting Union (EBU; French: L'Union Européenne de Radio-Télévision ("UER"), and unrelated to the European Union) was formed on 12 February1950 by 23 broadcasting organisations from Europe and the Mediterranean at a conference in the coastal resort of Torquay in Devon, England. In 1993, the International Radio and Television Organisation (OIRT), an equivalent organisation of broadcasters from Central and Eastern Europe, was merged with the EBU.Networks: ABC, NBC, CBS, and Time Warner are associates.
Who set the standards and what do I need to know?The Moving Picture Experts Group, commonly referred to as simply MPEG, is a working group of ISO/IEC charged with the development of video and audio encoding standards. Its first meeting was in May of 1988 in Ottawa, Canada. As of late 2005, MPEG has grown to include approximately 350 members per meeting from various industries, universities, and research institutions. MPEG's official designation is ISO/IEC JTC1/SC29 WG11.MPEG has standardized the following compression formats and ancillary standards:MPEG-1: Initial video and audio compression standard. Later used as the standard for Video CD, and includes the popular Layer 3 (MP3) audio compression format. MPEG-2: Transport, video and audio standards for broadcast-quality television. Used for over-the-air digital televisionATSC, DVB and ISDB, digital satellite TV services like Dish Network, digital cable television signals, SVCD, and with slight modifications, as the .VOB (Video OBject) files that carry the images on DVDs. MPEG-3: Originally designed for HDTV, but abandoned when it was realized that MPEG-2 (with extensions) was sufficient for HDTV. (not to be confused with MP3, which is MPEG-1 Audio Layer 3.) MPEG-4: Expands MPEG-1 to support video/audio "objects", 3D content, low bitrate encoding and support for Digital Rights Management. Several new higher efficiency video standards (newer than MPEG-2 Video) are included (an alternative to MPEG-2 Video), notably: MPEG-4 Part 2 (or Advanced Simple Profile) and MPEG-4 Part 10 (or Advanced Video Coding or H.264). MPEG-4 Part 10 may be used on HD DVD and Blu-ray discs, along with VC-1 and MPEG-2. Pro-MPEG – the Professional-MPEG Forum – is an association of broadcasters, program makers, equipment manufacturers, and component suppliers with interests in realizing the interoperability of professional television equipment, according to the implementation requirements of broadcasters and other end-users. The Forum has been in existence for approximately six years and has over 130 members.Independence, openness, and non-commerciality are fiercely maintained to ensure all organizations and individuals can participate and contribute. The SMPTE and the EBU are two key partner organizations, and the output of the Forum's work on operating ranges and file formats has been submitted to SMPTE for standardization. (Professional MPEG Forum) An organization founded in London in 1998 for the advancement of the MPEG-2 standard. The Forum helped develop the MXF file format for exchanging video production data between servers. The offices of the secretariat were located at BBC Radio Northampton. ATSC Standards document a digital television format which replaced (in the United States) the analog NTSC television system[1] in February 17, 2009.[2] It was developed by the Advanced Television Systems Committee.The high definition television standards defined by the ATSC produce wide screen16:9 images up to 1920×1080 pixels in size — more than six times the display resolution of the earlier standard. However, a host of different image sizes are also supported, so that up to six standard-definition "virtual channels" can be broadcast on a single 6 MHzTV channel.The Society of Motion Picture and Television Engineers or SMPTE, (pronounced /ˈsɪmpti/ and sometimes /ˈsʌmpti/), founded in 1916 as the Society of Motion Picture Engineers or SMPE, is an international professional association, based in the United States of America, of engineers working in the motion imaging industries. An internationally-recognized standards developing organization, SMPTE has over 400 standards, Recommended Practices and Engineering Guidelines for television, motion pictures, digital cinema, audio and medical imaging. In addition to development and publication of standards documents, SMPTE publishes a journal, provides assistance to members with employment, and performs other industry-related functions.The Media Dispatch Group was created in 2003 as an activity of the Professional-MPEG Forum to create a vendor-neutral open technology to create integrated solutions for the professional exchange of large media files securely over IP networks. Members of the Media Dispatch Group include representatives from broadcasters, facility houses, equipment manufacturers, and the digital cinema production community, as well as liaisons with the wider standards community.The European Broadcasting Union (EBU; French: L'Union Européenne de Radio-Télévision ("UER"), and unrelated to the European Union) was formed on 12 February1950 by 23 broadcasting organisations from Europe and the Mediterranean at a conference in the coastal resort of Torquay in Devon, England. In 1993, the International Radio and Television Organisation (OIRT), an equivalent organisation of broadcasters from Central and Eastern Europe, was merged with the EBU.Networks: ABC, NBC, CBS, and Time Warner are associates.
Who set the standards and what do I need to know?The Moving Picture Experts Group, commonly referred to as simply MPEG, is a working group of ISO/IEC charged with the development of video and audio encoding standards. Its first meeting was in May of 1988 in Ottawa, Canada. As of late 2005, MPEG has grown to include approximately 350 members per meeting from various industries, universities, and research institutions. MPEG's official designation is ISO/IEC JTC1/SC29 WG11.MPEG has standardized the following compression formats and ancillary standards:MPEG-1: Initial video and audio compression standard. Later used as the standard for Video CD, and includes the popular Layer 3 (MP3) audio compression format. MPEG-2: Transport, video and audio standards for broadcast-quality television. Used for over-the-air digital televisionATSC, DVB and ISDB, digital satellite TV services like Dish Network, digital cable television signals, SVCD, and with slight modifications, as the .VOB (Video OBject) files that carry the images on DVDs. MPEG-3: Originally designed for HDTV, but abandoned when it was realized that MPEG-2 (with extensions) was sufficient for HDTV. (not to be confused with MP3, which is MPEG-1 Audio Layer 3.) MPEG-4: Expands MPEG-1 to support video/audio "objects", 3D content, low bitrate encoding and support for Digital Rights Management. Several new higher efficiency video standards (newer than MPEG-2 Video) are included (an alternative to MPEG-2 Video), notably: MPEG-4 Part 2 (or Advanced Simple Profile) and MPEG-4 Part 10 (or Advanced Video Coding or H.264). MPEG-4 Part 10 may be used on HD DVD and Blu-ray discs, along with VC-1 and MPEG-2. Pro-MPEG – the Professional-MPEG Forum – is an association of broadcasters, program makers, equipment manufacturers, and component suppliers with interests in realizing the interoperability of professional television equipment, according to the implementation requirements of broadcasters and other end-users. The Forum has been in existence for approximately six years and has over 130 members.Independence, openness, and non-commerciality are fiercely maintained to ensure all organizations and individuals can participate and contribute. The SMPTE and the EBU are two key partner organizations, and the output of the Forum's work on operating ranges and file formats has been submitted to SMPTE for standardization. (Professional MPEG Forum) An organization founded in London in 1998 for the advancement of the MPEG-2 standard. The Forum helped develop the MXF file format for exchanging video production data between servers. The offices of the secretariat were located at BBC Radio Northampton. ATSC Standards document a digital television format which will replace (in the United States) the analog NTSC television system[1] by February 17, 2009.[2] It was developed by the Advanced Television Systems Committee.The high definition television standards defined by the ATSC produce wide screen16:9 images up to 1920×1080 pixels in size — more than six times the display resolution of the earlier standard. However, a host of different image sizes are also supported, so that up to six standard-definition "virtual channels" can be broadcast on a single 6 MHzTV channel.The Society of Motion Picture and Television Engineers or SMPTE, (pronounced /ˈsɪmpti/ and sometimes /ˈsʌmpti/), founded in 1916 as the Society of Motion Picture Engineers or SMPE, is an international professional association, based in the United States of America, of engineers working in the motion imaging industries. An internationally-recognized standards developing organization, SMPTE has over 400 standards, Recommended Practices and Engineering Guidelines for television, motion pictures, digital cinema, audio and medical imaging. In addition to development and publication of standards documents, SMPTE publishes a journal, provides assistance to members with employment, and performs other industry-related functions.The Media Dispatch Group was created in 2003 as an activity of the Professional-MPEG Forum to create a vendor-neutral open technology to create integrated solutions for the professional exchange of large media files securely over IP networks. Members of the Media Dispatch Group include representatives from broadcasters, facility houses, equipment manufacturers, and the digital cinema production community, as well as liaisons with the wider standards community.The European Broadcasting Union (EBU; French: L'Union Européenne de Radio-Télévision ("UER"), and unrelated to the European Union) was formed on 12 February1950 by 23 broadcasting organisations from Europe and the Mediterranean at a conference in the coastal resort of Torquay in Devon, England. In 1993, the International Radio and Television Organisation (OIRT), an equivalent organisation of broadcasters from Central and Eastern Europe, was merged with the EBU.Networks: ABC, NBC, CBS, and Time Warner are associates.
SMPTE 356M Television specification for a professional video format, it is composed of MPEG-2 Video 4:2:2 I-frame only and 8 channel AES3 audio streams. These AES3 audio usually contain 24 bit PCM audio samples. It is possible to find video bitrates of 30, 40 and 50 MBit/s. (SMPTE D10 is described)SMPTE D11, also known as HDCAM, is a standard for the compression of high-definition digital video. D11 source picture rates can be 24, 25 or 30 frames per second progressive scan, or 50 or 60 fields per second interlaced; compression yields output bit rates ranging from 112 to 140 Mbit/s. Each D11 source frame is composed of a luminance channel at 1920 x 1080 pixels and a chrominance channel at 960 x 1080 pixels. During compression, each frame's luminance channel is subsampled to 1440 x 1080 pixels, while the chrominance channel is subsampled to 480 x 1080 pixels. The decoder restores the output sample grid to 1920 x 1080 pixels by interpolation.SMPTE 259M is a standard published by SMPTE which "... describes a 10-bit serial digital interface operating at 143/270/360 Mb/s." [1]The goal of SMPTE 259M is to define a Serial Digital Interface (based on a coax cable) this interface is usually called SDI or SD-SDI.There are 4 bitrates defined, which are normally used to transfer the following standard video formats:"SMPTE 292M" is a standard published by SMPTE which expands upon SMPTE 259M and SMPTE 344M allowing for bit-rates of 1.485 Gbit/s, and 1.485/1.001 Gbit/s. These bit-rates are sufficient for High Definition video.[1]This standard is usually referred to as HD-SDI; it is part of a family of standards that define a Serial Digital Interface based on a coaxial cable, intended to be used for transport of uncompressed digital video and audio in a television studio environment.
SMPTE 274M defines 1080-line HD television scanning for multiple picture rates. These are all 1920 x1080 pixels and define progressive frame rates of 60, 59.94, 50,30, 29.97, 25, 24 and 23.98Hz as well as interface rates at 60, 59.94 and 50Hz. "SMPTE 292M" is a standard published by SMPTE which expands upon SMPTE 259M and SMPTE 344M allowing for bit-rates of 1.485 Gbit/s, and 1.485/1.001 Gbit/s. These bit-rates are sufficient for High Definition video.[1]This standard is usually referred to as HD-SDI; it is part of a family of standards that define a Serial Digital Interface based on a coaxial cable, intended to be used for transport of uncompressed digital video and audio in a television studio environment.SMPTE 296M defines 720-line x 1280 pixel HD television scanning for progressive 60 and 59.94 Hz picture rates."SMPTE 344M" is a standard published by SMPTE which expands upon SMPTE 259M allowing for bit-rates of 540 Mbit/s[1], allowing EDTV resolutions of 480p and 576p.This standard is part of a family of standards that define a Serial Digital Interface.SMPTE 372M is a standard published by SMPTE which expands upon SMPTE 259M, SMPTE 344M, and SMPTE 292M allowing for bit-rates of 2.970 Gbit/s, and 2.970/1.001 Gbit/s over two wires. These bit-rates are sufficient for 1080p video.[1]This standard is essentially known as dual-link HD-SDI and is part of a family of standards that define a Serial Digital Interface.
SMPTE 274M defines 1080-line HD television scanning for multiple picture rates. These are all 1920 x1080 pixels and define progressive frame rates of 60, 59.94, 50,30, 29.97, 25, 24 and 23.98Hz as well as interface rates at 60, 59.94 and 50Hz. "SMPTE 292M" is a standard published by SMPTE which expands upon SMPTE 259M and SMPTE 344M allowing for bit-rates of 1.485 Gbit/s, and 1.485/1.001 Gbit/s. These bit-rates are sufficient for High Definition video.[1]This standard is usually referred to as HD-SDI; it is part of a family of standards that define a Serial Digital Interface based on a coaxial cable, intended to be used for transport of uncompressed digital video and audio in a television studio environment.SMPTE 296M defines 720-line x 1280 pixel HD television scanning for progressive 60 and 59.94 Hz picture rates."SMPTE 344M" is a standard published by SMPTE which expands upon SMPTE 259M allowing for bit-rates of 540 Mbit/s[1], allowing EDTV resolutions of 480p and 576p.This standard is part of a family of standards that define a Serial Digital Interface.SMPTE 372M is a standard published by SMPTE which expands upon SMPTE 259M, SMPTE 344M, and SMPTE 292M allowing for bit-rates of 2.970 Gbit/s, and 2.970/1.001 Gbit/s over two wires. These bit-rates are sufficient for 1080p video.[1]This standard is essentially known as dual-link HD-SDI and is part of a family of standards that define a Serial Digital Interface.
SMPTE 274M defines 1080-line HD television scanning for multiple picture rates. These are all 1920 x1080 pixels and define progressive frame rates of 60, 59.94, 50,30, 29.97, 25, 24 and 23.98Hz as well as interface rates at 60, 59.94 and 50Hz. "SMPTE 292M" is a standard published by SMPTE which expands upon SMPTE 259M and SMPTE 344M allowing for bit-rates of 1.485 Gbit/s, and 1.485/1.001 Gbit/s. These bit-rates are sufficient for High Definition video.[1]This standard is usually referred to as HD-SDI; it is part of a family of standards that define a Serial Digital Interface based on a coaxial cable, intended to be used for transport of uncompressed digital video and audio in a television studio environment.SMPTE 296M defines 720-line x 1280 pixel HD television scanning for progressive 60 and 59.94 Hz picture rates."SMPTE 344M" is a standard published by SMPTE which expands upon SMPTE 259M allowing for bit-rates of 540 Mbit/s[1], allowing EDTV resolutions of 480p and 576p.SMPTE 372M is a standard published by SMPTE which expands upon SMPTE 259M, SMPTE 344M, and SMPTE 292M allowing for bit-rates of 2.970 Gbit/s, and 2.970/1.001 Gbit/s over two wires. These bit-rates are sufficient for 1080p video.[1]This standard is essentially known as dual-link HD-SDI and is part of a family of standards that define a Serial Digital Interface.
SMPTE 274M defines 1080-line HD television scanning for multiple picture rates. These are all 1920 x1080 pixels and define progressive frame rates of 60, 59.94, 50,30, 29.97, 25, 24 and 23.98Hz as well as interface rates at 60, 59.94 and 50Hz. "SMPTE 292M" is a standard published by SMPTE which expands upon SMPTE 259M and SMPTE 344M allowing for bit-rates of 1.485 Gbit/s, and 1.485/1.001 Gbit/s. These bit-rates are sufficient for High Definition video.[1]This standard is usually referred to as HD-SDI; it is part of a family of standards that define a Serial Digital Interface based on a coaxial cable, intended to be used for transport of uncompressed digital video and audio in a television studio environment.SMPTE 296M defines 720-line x 1280 pixel HD television scanning for progressive 60 and 59.94 Hz picture rates."SMPTE 344M" is a standard published by SMPTE which expands upon SMPTE 259M allowing for bit-rates of 540 Mbit/s[1], allowing EDTV resolutions of 480p and 576p.This standard is part of a family of standards that define a Serial Digital Interface.SMPTE 372M is a standard published by SMPTE which expands upon SMPTE 259M, SMPTE 344M, and SMPTE 292M allowing for bit-rates of 2.970 Gbit/s, and 2.970/1.001 Gbit/s over two wires. These bit-rates are sufficient for 1080p video.[1]This standard is essentially known as dual-link HD-SDI and is part of a family of standards that define a Serial Digital Interface.
SMPTE 274M defines 1080-line HD television scanning for multiple picture rates. These are all 1920 x1080 pixels and define progressive frame rates of 60, 59.94, 50,30, 29.97, 25, 24 and 23.98Hz as well as interface rates at 60, 59.94 and 50Hz. "SMPTE 292M" is a standard published by SMPTE which expands upon SMPTE 259M and SMPTE 344M allowing for bit-rates of 1.485 Gbit/s, and 1.485/1.001 Gbit/s. These bit-rates are sufficient for High Definition video.[1]This standard is usually referred to as HD-SDI; it is part of a family of standards that define a Serial Digital Interface based on a coaxial cable, intended to be used for transport of uncompressed digital video and audio in a television studio environment.SMPTE 296M defines 720-line x 1280 pixel HD television scanning for progressive 60 and 59.94 Hz picture rates."SMPTE 344M" is a standard published by SMPTE which expands upon SMPTE 259M allowing for bit-rates of 540 Mbit/s[1], allowing EDTV resolutions of 480p and 576p.This standard is part of a family of standards that define a Serial Digital Interface.SMPTE 372M is a standard published by SMPTE which expands upon SMPTE 259M, SMPTE 344M, and SMPTE 292M allowing for bit-rates of 2.970 Gbit/s, and 2.970/1.001 Gbit/s over two wires. These bit-rates are sufficient for 1080p video.[1]This standard is essentially known as dual-link HD-SDI and is part of a family of standards that define a Serial Digital Interface.
1920x1080 SMPTE 274M defines 1080-line HD television scanning for multiple picture rates. These are all 1920 x1080 pixels and define progressive frame rates of 60, 59.94, 50,30, 29.97, 25, 24 and 23.98Hz as well as interface rates at 60, 59.94 and 50Hz. HD-SDI "SMPTE 292M" is a standard published by SMPTE which expands upon SMPTE 259M and SMPTE 344M allowing for bit-rates of 1.485 Gbit/s, and 1.485/1.001 Gbit/s. These bit-rates are sufficient for High Definition video.[1]This standard is usually referred to as HD-SDI; it is part of a family of standards that define a Serial Digital Interface based on a coaxial cable, intended to be used for transport of uncompressed digital video and audio in a television studio environment.1280x720 SMPTE 296M defines 720-line x 1280 pixel HD television scanning for progressive 60 and 59.94 Hz picture rates.DVCPRO HD SMPTE 370SMPTE 372M is a standard published by SMPTE which expands upon SMPTE 259M, SMPTE 344M, and SMPTE 292M allowing for bit-rates of 2.970 Gbit/s, and 2.970/1.001 Gbit/s over two wires. These bit-rates are sufficient for 1080p video.[1]This standard is essentially known as dual-link HD-SDI and is part of a family of standards that define a Serial Digital Interface.
The HD choices began when the ATSC created the digital television table of 36 digital broadcast (DTV) formats. Of those 36 formats, 12 are high definition. These are the formats that the United States government has determined will be the standard for digital broadcasting. Just as there are many compatible production formats developed for NTSC broadcast, the 12 high definition formats also have a number of compatible production formats to choose from. However, where NTSC has a single frame rate and a single frame size, the DTV high definition format has a dozen different choices. As a result, there are even more possibilities when it comes to the hardware that captures and records those images. Also, as technology improved, each NTSC production format was basically compatible with the next. However, in the high definition world, not all the frame rates are compatible with each other. The net result is that there is often confusion about which formatshould be used.Wikipedia (conflict with research): Japan had the earliest working HDTV system, with design efforts going back to 1979. The country began broadcasting analog HDTV signals in the late 1980s using an interlaced resolution of 1035 or 1080 active lines (1035i) or 1125 total lines.The Japanese system, developed by NHKScience and Technical Research Laboratories (STRL) in the 1980s, employed filtering tricks to reduce the original source signal to decrease bandwidth utilization. MUSE was marketed as "Hi-Vision" by NHK.
In this class, we are going to cover a number of topics:History of HD – What does HD mean, where did HD come from, and how long has it been around?Before you can Understand HD – The basic building blocks of HD (and all things digital video).Standards – What is a standard, why do we need them, and who decides?Components of HD – What makes up an HD signal, and what makes them different from each other?Compression Essentials – What is compression, how does it help/hurt, and what things do I need to know to survive?Camera / Decks – Different HD Camera and Deck formats and how each of them works with Editorial and GraphicsHD Online Editing – The basics of finishing an HD Project.New Technologies – The Future of HD.
“High definition” refers to a family of high quality video image and sound formats that has recently become very popular both in the broadcasting community and the consumer market. High definition (HD) in the United States was initially defined as any video format that had more than 720 (horizontal) lines of vertical resolution. The ATSC (Advanced Television Systems Committee) created a digital television (DTV) broadcast table that defined not only the vertical resolution but also other aspects of the HD frame rate and size. This table defined two sizes of high definition images: 720 (horizontal) by 1280 (vertical) lines and 1080 (horizontal) by 1920(vertical) lines of resolution. Along with the two frame sizes, there is also a choice of frame rates: 23.98, 24, 29.97, 30, 59.94, and 60 frames per second.
“High definition” refers to a family of high quality video image and sound formats that has recently become very popular both in the broadcasting community and the consumer market. High definition (HD) in the United States was initially defined as any video format that had more than 720 (horizontal) lines of vertical resolution. The ATSC (Advanced Television Systems Committee) created a digital television (DTV) broadcast table that defined not only the vertical resolution but also other aspects of the HD frame rate and size. This table defined two sizes of high definition images: 720 (horizontal) by 1280 (vertical) lines and 1080 (horizontal) by 1920(vertical) lines of resolution. Along with the two frame sizes, there is also a choice of frame rates: 23.98, 24, 29.97, 30, 59.94, and 60 frames per second.
“High definition” refers to a family of high quality video image and sound formats that has recently become very popular both in the broadcasting community and the consumer market. High definition (HD) in the United States was initially defined as any video format that had more than 720 (horizontal) lines of vertical resolution. The ATSC (Advanced Television Systems Committee) created a digital television (DTV) broadcast table that defined not only the vertical resolution but also other aspects of the HD frame rate and size. This table defined two sizes of high definition images: 720 (horizontal) by 1280 (vertical) lines and 1080 (horizontal) by 1920(vertical) lines of resolution. Along with the two frame sizes, there is also a choice of frame rates: 23.98, 24, 29.97, 30, 59.94, and 60 frames per second.
“High definition” refers to a family of high quality video image and sound formats that has recently become very popular both in the broadcasting community and the consumer market. High definition (HD) in the United States was initially defined as any video format that had more than 720 (horizontal) lines of vertical resolution. The ATSC (Advanced Television Systems Committee) created a digital television (DTV) broadcast table that defined not only the vertical resolution but also other aspects of the HD frame rate and size. This table defined two sizes of high definition images: 720 (horizontal) by 1280 (vertical) lines and 1080 (horizontal) by 1920(vertical) lines of resolution. Along with the two frame sizes, there is also a choice of frame rates: 23.98, 24, 29.97, 30, 59.94, and 60 frames per second.
“High definition” refers to a family of high quality video image and sound formats that has recently become very popular both in the broadcasting community and the consumer market. High definition (HD) in the United States was initially defined as any video format that had more than 720 (horizontal) lines of vertical resolution. The ATSC (Advanced Television Systems Committee) created a digital television (DTV) broadcast table that defined not only the vertical resolution but also other aspects of the HD frame rate and size. This table defined two sizes of high definition images: 720 (horizontal) by 1280 (vertical) lines and 1080 (horizontal) by 1920(vertical) lines of resolution. Along with the two frame sizes, there is also a choice of frame rates: 23.98, 24, 29.97, 30, 59.94, and 60 frames per second.
“High definition” refers to a family of high quality video image and sound formats that has recently become very popular both in the broadcasting community and the consumer market. High definition (HD) in the United States was initially defined as any video format that had more than 720 (horizontal) lines of vertical resolution. The ATSC (Advanced Television Systems Committee) created a digital television (DTV) broadcast table that defined not only the vertical resolution but also other aspects of the HD frame rate and size. This table defined two sizes of high definition images: 720 (horizontal) by 1280 (vertical) lines and 1080 (horizontal) by 1920(vertical) lines of resolution. Along with the two frame sizes, there is also a choice of frame rates: 23.98, 24, 29.97, 30, 59.94, and 60 frames per second.
“High definition” refers to a family of high quality video image and sound formats that has recently become very popular both in the broadcasting community and the consumer market. High definition (HD) in the United States was initially defined as any video format that had more than 720 (horizontal) lines of vertical resolution. The ATSC (Advanced Television Systems Committee) created a digital television (DTV) broadcast table that defined not only the vertical resolution but also other aspects of the HD frame rate and size. This table defined two sizes of high definition images: 720 (horizontal) by 1280 (vertical) lines and 1080 (horizontal) by 1920(vertical) lines of resolution. Along with the two frame sizes, there is also a choice of frame rates: 23.98, 24, 29.97, 30, 59.94, and 60 frames per second.
“High definition” refers to a family of high quality video image and sound formats that has recently become very popular both in the broadcasting community and the consumer market. High definition (HD) in the United States was initially defined as any video format that had more than 720 (horizontal) lines of vertical resolution. The ATSC (Advanced Television Systems Committee) created a digital television (DTV) broadcast table that defined not only the vertical resolution but also other aspects of the HD frame rate and size. This table defined two sizes of high definition images: 720 (horizontal) by 1280 (vertical) lines and 1080 (horizontal) by 1920(vertical) lines of resolution. Along with the two frame sizes, there is also a choice of frame rates: 23.98, 24, 29.97, 30, 59.94, and 60 frames per second.
Progressive or noninterlaced scanning is any method for displaying, storing or transmitting moving images in which all the lines of each frame are drawn in sequence. This is in contrast to the interlacing used in traditional television systems where only the odd lines, then the even lines of each frame are drawn alternatively (each image now called a field) are drawn.Historical Fact: The system was originally known as "sequential scanning" when it was used in the Baird 240 line television transmissions from Alexandra Palace, England in 1936. It was also used in Baird's experimental transmissions using 30 lines in the 1920s.
Progressive or noninterlaced scanning is any method for displaying, storing or transmitting moving images in which all the lines of each frame are drawn in sequence. This is in contrast to the interlacing used in traditional television systems where only the odd lines, then the even lines of each frame are drawn alternatively (each image now called a field) are drawn.Historical Fact: The system was originally known as "sequential scanning" when it was used in the Baird 240 line television transmissions from Alexandra Palace, England in 1936. It was also used in Baird's experimental transmissions using 30 lines in the 1920s.
Progressive or noninterlaced scanning is any method for displaying, storing or transmitting moving images in which all the lines of each frame are drawn in sequence. This is in contrast to the interlacing used in traditional television systems where only the odd lines, then the even lines of each frame are drawn alternatively (each image now called a field) are drawn.Historical Fact: The system was originally known as "sequential scanning" when it was used in the Baird 240 line television transmissions from Alexandra Palace, England in 1936. It was also used in Baird's experimental transmissions using 30 lines in the 1920s.
Progressive or noninterlaced scanning is any method for displaying, storing or transmitting moving images in which all the lines of each frame are drawn in sequence. This is in contrast to the interlacing used in traditional television systems where only the odd lines, then the even lines of each frame are drawn alternatively (each image now called a field) are drawn.Historical Fact: The system was originally known as "sequential scanning" when it was used in the Baird 240 line television transmissions from Alexandra Palace, England in 1936. It was also used in Baird's experimental transmissions using 30 lines in the 1920s.
Progressive or noninterlaced scanning is any method for displaying, storing or transmitting moving images in which all the lines of each frame are drawn in sequence. This is in contrast to the interlacing used in traditional television systems where only the odd lines, then the even lines of each frame are drawn alternatively (each image now called a field) are drawn.Historical Fact: The system was originally known as "sequential scanning" when it was used in the Baird 240 line television transmissions from Alexandra Palace, England in 1936. It was also used in Baird's experimental transmissions using 30 lines in the 1920s.
Progressive or noninterlaced scanning is any method for displaying, storing or transmitting moving images in which all the lines of each frame are drawn in sequence. This is in contrast to the interlacing used in traditional television systems where only the odd lines, then the even lines of each frame are drawn alternatively (each image now called a field) are drawn.Historical Fact: The system was originally known as "sequential scanning" when it was used in the Baird 240 line television transmissions from Alexandra Palace, England in 1936. It was also used in Baird's experimental transmissions using 30 lines in the 1920s.
Progressive or noninterlaced scanning is any method for displaying, storing or transmitting moving images in which all the lines of each frame are drawn in sequence. This is in contrast to the interlacing used in traditional television systems where only the odd lines, then the even lines of each frame are drawn alternatively (each image now called a field) are drawn.Historical Fact: The system was originally known as "sequential scanning" when it was used in the Baird 240 line television transmissions from Alexandra Palace, England in 1936. It was also used in Baird's experimental transmissions using 30 lines in the 1920s.
Progressive or noninterlaced scanning is any method for displaying, storing or transmitting moving images in which all the lines of each frame are drawn in sequence. This is in contrast to the interlacing used in traditional television systems where only the odd lines, then the even lines of each frame are drawn alternatively (each image now called a field) are drawn.Historical Fact: The system was originally known as "sequential scanning" when it was used in the Baird 240 line television transmissions from Alexandra Palace, England in 1936. It was also used in Baird's experimental transmissions using 30 lines in the 1920s.
Frame rate, or frame frequency, is the measurement of the frequency (rate) at which an imagingdevice produces unique consecutive images called frames.
Frame rate, or frame frequency, is the measurement of the frequency (rate) at which an imagingdevice produces unique consecutive images called frames.
The ATSC digital broadcasting table set the standards for United States digital broadcasting. It also allowed the transition from the NTSC frame rate of 29.97 to other integer frame rates. Once the analog broadcast frequencies are eliminated (when these frequencies are returned to the United States government), the move toward true 30 frames per second production will probably be quite rapid. The 29.97 frames per second frame rate that NTSC employs has caused a series of complications over the past 50 years. There are many professionals, including myself, who will not be sorry to see this “almost 30” format leave the production and postproduction work flow.People’s resistance to calling frame rates exactly what they are has confused many of those people trying to understand the complexities of the high definition environment. As mentioned earlier, HD frame rates can be fractional (although these numbers are displayed with a decimal, like 29.97, 59.94, 23.98, etc.) or whole numbers (24, 30, 60).The 18 fractional frame rates are designed to be compatible with the NTSC 29.97 frame rate. The remaining frame rates are whole numbers (24, 30, and 60 frames per second). When the NTSC analog broadcasting is terminated, there will probably be a movement toward the whole numbers as frame rates. However, the ATSC broadcast table will still list fractional frame rates, allowing these programs to be broadcast in their original format and received by digital receivers. 60i (actually 59.94, or 60 x 1000/1001 to be more precise; 60 interlaced fields = 29.97 frames) isthe standard video field rate per second that has been used for NTSC television for decades,whether from a broadcast signal, rented DVD, or home camcorder. (When NTSC color wasintroduced, the older rate of 60 fields per second was reduced by a factor of 1000/1001 to avoidinterference between the chroma subcarrier and the broadcast sound carrier.) 50i (50 interlaced fields = 25 frames) is the standard video field rate per second for PAL andSECAM television. 30p, or 30-frame progressive, is a noninterlaced format and produces video at 30 frames persecond. Progressive (noninterlaced) scanning mimics a film camera's frame-by-frame imagecapture and gives clarity for high speed subjects and a cinematic-like appearance. Shooting in 30pmode offers video with no interlace artifacts. This frame rate originated in the 1980s in the musicvideo industry. The 24p frame rate is also a noninterlaced format, and is now widely adopted by those planningon transferring a video signal to film. But film- and video-makers turn to 24p for the "cine"-lookeven if their productions are not going to be transferred to film, simply because of the "look" ofthe frame rate. When transferred to NTSC television, the rate is effectively slowed to 23.976 fps,and when transferred to PAL or SECAM it is sped up to 25 fps.35 mm movie cameras use a standard exposure rate of 24 frames per second, though many cameras offerrates of 23.976 fps for NTSC television and 25 fps for PAL/SECAM. 25p is a video format which runs twenty-five progressive (hence the "P") frames per second. Thisframerate is derived from the PAL television standard of 50i (or 25 interlaced frames per second).While 25p captures only half the motion that normal 50i PAL registers, it yields a higher verticalresolution on moving subjects. It is also better suited to progressive-scan output (e.g. on LCDdisplays, computer monitors and projectors) because the interlacing is absent. Like 24p, 25p isoften used to achieve "cine"-look. 60p is a progressive format used in high-end HDTV systems. While it is not technically part ofthe ATSC or DVB broadcast
The ATSC digital broadcasting table set the standards for United States digital broadcasting. It also allowed the transition from the NTSC frame rate of 29.97 to other integer frame rates. Once the analog broadcast frequencies are eliminated (when these frequencies are returned to the United States government), the move toward true 30 frames per second production will probably be quite rapid. The 29.97 frames per second frame rate that NTSC employs has caused a series of complications over the past 50 years. There are many professionals, including myself, who will not be sorry to see this “almost 30” format leave the production and postproduction work flow.People’s resistance to calling frame rates exactly what they are has confused many of those people trying to understand the complexities of the high definition environment. As mentioned earlier, HD frame rates can be fractional (although these numbers are displayed with a decimal, like 29.97, 59.94, 23.98, etc.) or whole numbers (24, 30, 60).The 18 fractional frame rates are designed to be compatible with the NTSC 29.97 frame rate. The remaining frame rates are whole numbers (24, 30, and 60 frames per second). When the NTSC analog broadcasting is terminated, there will probably be a movement toward the whole numbers as frame rates. However, the ATSC broadcast table will still list fractional frame rates, allowing these programs to be broadcast in their original format and received by digital receivers. 60i (actually 59.94, or 60 x 1000/1001 to be more precise; 60 interlaced fields = 29.97 frames) isthe standard video field rate per second that has been used for NTSC television for decades,whether from a broadcast signal, rented DVD, or home camcorder. (When NTSC color wasintroduced, the older rate of 60 fields per second was reduced by a factor of 1000/1001 to avoidinterference between the chroma subcarrier and the broadcast sound carrier.) 50i (50 interlaced fields = 25 frames) is the standard video field rate per second for PAL andSECAM television. 30p, or 30-frame progressive, is a noninterlaced format and produces video at 30 frames persecond. Progressive (noninterlaced) scanning mimics a film camera's frame-by-frame imagecapture and gives clarity for high speed subjects and a cinematic-like appearance. Shooting in 30pmode offers video with no interlace artifacts. This frame rate originated in the 1980s in the musicvideo industry. The 24p frame rate is also a noninterlaced format, and is now widely adopted by those planningon transferring a video signal to film. But film- and video-makers turn to 24p for the "cine"-lookeven if their productions are not going to be transferred to film, simply because of the "look" ofthe frame rate. When transferred to NTSC television, the rate is effectively slowed to 23.976 fps,and when transferred to PAL or SECAM it is sped up to 25 fps.35 mm movie cameras use a standard exposure rate of 24 frames per second, though many cameras offerrates of 23.976 fps for NTSC television and 25 fps for PAL/SECAM. 25p is a video format which runs twenty-five progressive (hence the "P") frames per second. Thisframerate is derived from the PAL television standard of 50i (or 25 interlaced frames per second).While 25p captures only half the motion that normal 50i PAL registers, it yields a higher verticalresolution on moving subjects. It is also better suited to progressive-scan output (e.g. on LCDdisplays, computer monitors and projectors) because the interlacing is absent. Like 24p, 25p isoften used to achieve "cine"-look. 60p is a progressive format used in high-end HDTV systems. While it is not technically part ofthe ATSC or DVB broadcast
The ATSC digital broadcasting table set the standards for United States digital broadcasting. It also allowed the transition from the NTSC frame rate of 29.97 to other integer frame rates. Once the analog broadcast frequencies are eliminated (when these frequencies are returned to the United States government), the move toward true 30 frames per second production will probably be quite rapid. The 29.97 frames per second frame rate that NTSC employs has caused a series of complications over the past 50 years. There are many professionals, including myself, who will not be sorry to see this “almost 30” format leave the production and postproduction work flow.People’s resistance to calling frame rates exactly what they are has confused many of those people trying to understand the complexities of the high definition environment. As mentioned earlier, HD frame rates can be fractional (although these numbers are displayed with a decimal, like 29.97, 59.94, 23.98, etc.) or whole numbers (24, 30, 60).The 18 fractional frame rates are designed to be compatible with the NTSC 29.97 frame rate. The remaining frame rates are whole numbers (24, 30, and 60 frames per second). When the NTSC analog broadcasting is terminated, there will probably be a movement toward the whole numbers as frame rates. However, the ATSC broadcast table will still list fractional frame rates, allowing these programs to be broadcast in their original format and received by digital receivers. 60i (actually 59.94, or 60 x 1000/1001 to be more precise; 60 interlaced fields = 29.97 frames) isthe standard video field rate per second that has been used for NTSC television for decades,whether from a broadcast signal, rented DVD, or home camcorder. (When NTSC color wasintroduced, the older rate of 60 fields per second was reduced by a factor of 1000/1001 to avoidinterference between the chroma subcarrier and the broadcast sound carrier.) 50i (50 interlaced fields = 25 frames) is the standard video field rate per second for PAL andSECAM television. 30p, or 30-frame progressive, is a noninterlaced format and produces video at 30 frames persecond. Progressive (noninterlaced) scanning mimics a film camera's frame-by-frame imagecapture and gives clarity for high speed subjects and a cinematic-like appearance. Shooting in 30pmode offers video with no interlace artifacts. This frame rate originated in the 1980s in the musicvideo industry. The 24p frame rate is also a noninterlaced format, and is now widely adopted by those planningon transferring a video signal to film. But film- and video-makers turn to 24p for the "cine"-lookeven if their productions are not going to be transferred to film, simply because of the "look" ofthe frame rate. When transferred to NTSC television, the rate is effectively slowed to 23.976 fps,and when transferred to PAL or SECAM it is sped up to 25 fps.35 mm movie cameras use a standard exposure rate of 24 frames per second, though many cameras offerrates of 23.976 fps for NTSC television and 25 fps for PAL/SECAM. 25p is a video format which runs twenty-five progressive (hence the "P") frames per second. Thisframerate is derived from the PAL television standard of 50i (or 25 interlaced frames per second).While 25p captures only half the motion that normal 50i PAL registers, it yields a higher verticalresolution on moving subjects. It is also better suited to progressive-scan output (e.g. on LCDdisplays, computer monitors and projectors) because the interlacing is absent. Like 24p, 25p isoften used to achieve "cine"-look. 60p is a progressive format used in high-end HDTV systems. While it is not technically part ofthe ATSC or DVB broadcast
The ATSC digital broadcasting table set the standards for United States digital broadcasting. It also allowed the transition from the NTSC frame rate of 29.97 to other integer frame rates. Once the analog broadcast frequencies are eliminated (when these frequencies are returned to the United States government), the move toward true 30 frames per second production will probably be quite rapid. The 29.97 frames per second frame rate that NTSC employs has caused a series of complications over the past 50 years. There are many professionals, including myself, who will not be sorry to see this “almost 30” format leave the production and postproduction work flow.People’s resistance to calling frame rates exactly what they are has confused many of those people trying to understand the complexities of the high definition environment. As mentioned earlier, HD frame rates can be fractional (although these numbers are displayed with a decimal, like 29.97, 59.94, 23.98, etc.) or whole numbers (24, 30, 60).The 18 fractional frame rates are designed to be compatible with the NTSC 29.97 frame rate. The remaining frame rates are whole numbers (24, 30, and 60 frames per second). When the NTSC analog broadcasting is terminated, there will probably be a movement toward the whole numbers as frame rates. However, the ATSC broadcast table will still list fractional frame rates, allowing these programs to be broadcast in their original format and received by digital receivers. 60i (actually 59.94, or 60 x 1000/1001 to be more precise; 60 interlaced fields = 29.97 frames) isthe standard video field rate per second that has been used for NTSC television for decades,whether from a broadcast signal, rented DVD, or home camcorder. (When NTSC color wasintroduced, the older rate of 60 fields per second was reduced by a factor of 1000/1001 to avoidinterference between the chroma subcarrier and the broadcast sound carrier.) 50i (50 interlaced fields = 25 frames) is the standard video field rate per second for PAL andSECAM television. 30p, or 30-frame progressive, is a noninterlaced format and produces video at 30 frames persecond. Progressive (noninterlaced) scanning mimics a film camera's frame-by-frame imagecapture and gives clarity for high speed subjects and a cinematic-like appearance. Shooting in 30pmode offers video with no interlace artifacts. This frame rate originated in the 1980s in the musicvideo industry. The 24p frame rate is also a noninterlaced format, and is now widely adopted by those planningon transferring a video signal to film. But film- and video-makers turn to 24p for the "cine"-lookeven if their productions are not going to be transferred to film, simply because of the "look" ofthe frame rate. When transferred to NTSC television, the rate is effectively slowed to 23.976 fps,and when transferred to PAL or SECAM it is sped up to 25 fps.35 mm movie cameras use a standard exposure rate of 24 frames per second, though many cameras offerrates of 23.976 fps for NTSC television and 25 fps for PAL/SECAM. 25p is a video format which runs twenty-five progressive (hence the "P") frames per second. Thisframerate is derived from the PAL television standard of 50i (or 25 interlaced frames per second).While 25p captures only half the motion that normal 50i PAL registers, it yields a higher verticalresolution on moving subjects. It is also better suited to progressive-scan output (e.g. on LCDdisplays, computer monitors and projectors) because the interlacing is absent. Like 24p, 25p isoften used to achieve "cine"-look. 60p is a progressive format used in high-end HDTV systems. While it is not technically part ofthe ATSC or DVB broadcast
The ATSC digital broadcasting table set the standards for United States digital broadcasting. It also allowed the transition from the NTSC frame rate of 29.97 to other integer frame rates. Once the analog broadcast frequencies are eliminated (when these frequencies are returned to the United States government), the move toward true 30 frames per second production will probably be quite rapid. The 29.97 frames per second frame rate that NTSC employs has caused a series of complications over the past 50 years. There are many professionals, including myself, who will not be sorry to see this “almost 30” format leave the production and postproduction work flow.People’s resistance to calling frame rates exactly what they are has confused many of those people trying to understand the complexities of the high definition environment. As mentioned earlier, HD frame rates can be fractional (although these numbers are displayed with a decimal, like 29.97, 59.94, 23.98, etc.) or whole numbers (24, 30, 60).The 18 fractional frame rates are designed to be compatible with the NTSC 29.97 frame rate. The remaining frame rates are whole numbers (24, 30, and 60 frames per second). When the NTSC analog broadcasting is terminated, there will probably be a movement toward the whole numbers as frame rates. However, the ATSC broadcast table will still list fractional frame rates, allowing these programs to be broadcast in their original format and received by digital receivers. 60i (actually 59.94, or 60 x 1000/1001 to be more precise; 60 interlaced fields = 29.97 frames) isthe standard video field rate per second that has been used for NTSC television for decades,whether from a broadcast signal, rented DVD, or home camcorder. (When NTSC color wasintroduced, the older rate of 60 fields per second was reduced by a factor of 1000/1001 to avoidinterference between the chroma subcarrier and the broadcast sound carrier.) 50i (50 interlaced fields = 25 frames) is the standard video field rate per second for PAL andSECAM television. 30p, or 30-frame progressive, is a noninterlaced format and produces video at 30 frames persecond. Progressive (noninterlaced) scanning mimics a film camera's frame-by-frame imagecapture and gives clarity for high speed subjects and a cinematic-like appearance. Shooting in 30pmode offers video with no interlace artifacts. This frame rate originated in the 1980s in the musicvideo industry. The 24p frame rate is also a noninterlaced format, and is now widely adopted by those planningon transferring a video signal to film. But film- and video-makers turn to 24p for the "cine"-lookeven if their productions are not going to be transferred to film, simply because of the "look" ofthe frame rate. When transferred to NTSC television, the rate is effectively slowed to 23.976 fps,and when transferred to PAL or SECAM it is sped up to 25 fps.35 mm movie cameras use a standard exposure rate of 24 frames per second, though many cameras offerrates of 23.976 fps for NTSC television and 25 fps for PAL/SECAM. 25p is a video format which runs twenty-five progressive (hence the "P") frames per second. Thisframerate is derived from the PAL television standard of 50i (or 25 interlaced frames per second).While 25p captures only half the motion that normal 50i PAL registers, it yields a higher verticalresolution on moving subjects. It is also better suited to progressive-scan output (e.g. on LCDdisplays, computer monitors and projectors) because the interlacing is absent. Like 24p, 25p isoften used to achieve "cine"-look. 60p is a progressive format used in high-end HDTV systems. While it is not technically part ofthe ATSC or DVB broadcast
The ATSC digital broadcasting table set the standards for United States digital broadcasting. It also allowed the transition from the NTSC frame rate of 29.97 to other integer frame rates. Once the analog broadcast frequencies are eliminated (when these frequencies are returned to the United States government), the move toward true 30 frames per second production will probably be quite rapid. The 29.97 frames per second frame rate that NTSC employs has caused a series of complications over the past 50 years. There are many professionals, including myself, who will not be sorry to see this “almost 30” format leave the production and postproduction work flow.People’s resistance to calling frame rates exactly what they are has confused many of those people trying to understand the complexities of the high definition environment. As mentioned earlier, HD frame rates can be fractional (although these numbers are displayed with a decimal, like 29.97, 59.94, 23.98, etc.) or whole numbers (24, 30, 60).The 18 fractional frame rates are designed to be compatible with the NTSC 29.97 frame rate. The remaining frame rates are whole numbers (24, 30, and 60 frames per second). When the NTSC analog broadcasting is terminated, there will probably be a movement toward the whole numbers as frame rates. However, the ATSC broadcast table will still list fractional frame rates, allowing these programs to be broadcast in their original format and received by digital receivers. 60i (actually 59.94, or 60 x 1000/1001 to be more precise; 60 interlaced fields = 29.97 frames) isthe standard video field rate per second that has been used for NTSC television for decades,whether from a broadcast signal, rented DVD, or home camcorder. (When NTSC color wasintroduced, the older rate of 60 fields per second was reduced by a factor of 1000/1001 to avoidinterference between the chroma subcarrier and the broadcast sound carrier.) 50i (50 interlaced fields = 25 frames) is the standard video field rate per second for PAL andSECAM television. 30p, or 30-frame progressive, is a noninterlaced format and produces video at 30 frames persecond. Progressive (noninterlaced) scanning mimics a film camera's frame-by-frame imagecapture and gives clarity for high speed subjects and a cinematic-like appearance. Shooting in 30pmode offers video with no interlace artifacts. This frame rate originated in the 1980s in the musicvideo industry. The 24p frame rate is also a noninterlaced format, and is now widely adopted by those planningon transferring a video signal to film. But film- and video-makers turn to 24p for the "cine"-lookeven if their productions are not going to be transferred to film, simply because of the "look" ofthe frame rate. When transferred to NTSC television, the rate is effectively slowed to 23.976 fps,and when transferred to PAL or SECAM it is sped up to 25 fps.35 mm movie cameras use a standard exposure rate of 24 frames per second, though many cameras offerrates of 23.976 fps for NTSC television and 25 fps for PAL/SECAM. 25p is a video format which runs twenty-five progressive (hence the "P") frames per second. Thisframerate is derived from the PAL television standard of 50i (or 25 interlaced frames per second).While 25p captures only half the motion that normal 50i PAL registers, it yields a higher verticalresolution on moving subjects. It is also better suited to progressive-scan output (e.g. on LCDdisplays, computer monitors and projectors) because the interlacing is absent. Like 24p, 25p isoften used to achieve "cine"-look. 60p is a progressive format used in high-end HDTV systems. While it is not technically part ofthe ATSC or DVB broadcast
The ATSC digital broadcasting table set the standards for United States digital broadcasting. It also allowed the transition from the NTSC frame rate of 29.97 to other integer frame rates. Once the analog broadcast frequencies are eliminated (when these frequencies are returned to the United States government), the move toward true 30 frames per second production will probably be quite rapid. The 29.97 frames per second frame rate that NTSC employs has caused a series of complications over the past 50 years. There are many professionals, including myself, who will not be sorry to see this “almost 30” format leave the production and postproduction work flow.People’s resistance to calling frame rates exactly what they are has confused many of those people trying to understand the complexities of the high definition environment. As mentioned earlier, HD frame rates can be fractional (although these numbers are displayed with a decimal, like 29.97, 59.94, 23.98, etc.) or whole numbers (24, 30, 60).The 18 fractional frame rates are designed to be compatible with the NTSC 29.97 frame rate. The remaining frame rates are whole numbers (24, 30, and 60 frames per second). When the NTSC analog broadcasting is terminated, there will probably be a movement toward the whole numbers as frame rates. However, the ATSC broadcast table will still list fractional frame rates, allowing these programs to be broadcast in their original format and received by digital receivers. 60i (actually 59.94, or 60 x 1000/1001 to be more precise; 60 interlaced fields = 29.97 frames) isthe standard video field rate per second that has been used for NTSC television for decades,whether from a broadcast signal, rented DVD, or home camcorder. (When NTSC color wasintroduced, the older rate of 60 fields per second was reduced by a factor of 1000/1001 to avoidinterference between the chroma subcarrier and the broadcast sound carrier.) 50i (50 interlaced fields = 25 frames) is the standard video field rate per second for PAL andSECAM television. 30p, or 30-frame progressive, is a noninterlaced format and produces video at 30 frames persecond. Progressive (noninterlaced) scanning mimics a film camera's frame-by-frame imagecapture and gives clarity for high speed subjects and a cinematic-like appearance. Shooting in 30pmode offers video with no interlace artifacts. This frame rate originated in the 1980s in the musicvideo industry. The 24p frame rate is also a noninterlaced format, and is now widely adopted by those planningon transferring a video signal to film. But film- and video-makers turn to 24p for the "cine"-lookeven if their productions are not going to be transferred to film, simply because of the "look" ofthe frame rate. When transferred to NTSC television, the rate is effectively slowed to 23.976 fps,and when transferred to PAL or SECAM it is sped up to 25 fps.35 mm movie cameras use a standard exposure rate of 24 frames per second, though many cameras offerrates of 23.976 fps for NTSC television and 25 fps for PAL/SECAM. 25p is a video format which runs twenty-five progressive (hence the "P") frames per second. Thisframerate is derived from the PAL television standard of 50i (or 25 interlaced frames per second).While 25p captures only half the motion that normal 50i PAL registers, it yields a higher verticalresolution on moving subjects. It is also better suited to progressive-scan output (e.g. on LCDdisplays, computer monitors and projectors) because the interlacing is absent. Like 24p, 25p isoften used to achieve "cine"-look. 60p is a progressive format used in high-end HDTV systems. While it is not technically part ofthe ATSC or DVB broadcast
The ATSC digital broadcasting table set the standards for United States digital broadcasting. It also allowed the transition from the NTSC frame rate of 29.97 to other integer frame rates. Once the analog broadcast frequencies are eliminated (when these frequencies are returned to the United States government), the move toward true 30 frames per second production will probably be quite rapid. The 29.97 frames per second frame rate that NTSC employs has caused a series of complications over the past 50 years. There are many professionals, including myself, who will not be sorry to see this “almost 30” format leave the production and postproduction work flow.People’s resistance to calling frame rates exactly what they are has confused many of those people trying to understand the complexities of the high definition environment. As mentioned earlier, HD frame rates can be fractional (although these numbers are displayed with a decimal, like 29.97, 59.94, 23.98, etc.) or whole numbers (24, 30, 60).The 18 fractional frame rates are designed to be compatible with the NTSC 29.97 frame rate. The remaining frame rates are whole numbers (24, 30, and 60 frames per second). When the NTSC analog broadcasting is terminated, there will probably be a movement toward the whole numbers as frame rates. However, the ATSC broadcast table will still list fractional frame rates, allowing these programs to be broadcast in their original format and received by digital receivers. 60i (actually 59.94, or 60 x 1000/1001 to be more precise; 60 interlaced fields = 29.97 frames) isthe standard video field rate per second that has been used for NTSC television for decades,whether from a broadcast signal, rented DVD, or home camcorder. (When NTSC color wasintroduced, the older rate of 60 fields per second was reduced by a factor of 1000/1001 to avoidinterference between the chroma subcarrier and the broadcast sound carrier.) 50i (50 interlaced fields = 25 frames) is the standard video field rate per second for PAL andSECAM television. 30p, or 30-frame progressive, is a noninterlaced format and produces video at 30 frames persecond. Progressive (noninterlaced) scanning mimics a film camera's frame-by-frame imagecapture and gives clarity for high speed subjects and a cinematic-like appearance. Shooting in 30pmode offers video with no interlace artifacts. This frame rate originated in the 1980s in the musicvideo industry. The 24p frame rate is also a noninterlaced format, and is now widely adopted by those planningon transferring a video signal to film. But film- and video-makers turn to 24p for the "cine"-lookeven if their productions are not going to be transferred to film, simply because of the "look" ofthe frame rate. When transferred to NTSC television, the rate is effectively slowed to 23.976 fps,and when transferred to PAL or SECAM it is sped up to 25 fps.35 mm movie cameras use a standard exposure rate of 24 frames per second, though many cameras offerrates of 23.976 fps for NTSC television and 25 fps for PAL/SECAM. 25p is a video format which runs twenty-five progressive (hence the "P") frames per second. Thisframerate is derived from the PAL television standard of 50i (or 25 interlaced frames per second).While 25p captures only half the motion that normal 50i PAL registers, it yields a higher verticalresolution on moving subjects. It is also better suited to progressive-scan output (e.g. on LCDdisplays, computer monitors and projectors) because the interlacing is absent. Like 24p, 25p isoften used to achieve "cine"-look. 60p is a progressive format used in high-end HDTV systems. While it is not technically part ofthe ATSC or DVB broadcast
This digital broadcasting chart includes standard definition digital formats, enhanced definition, and high definition. In this author’s opinion, there are 12 HD formats (listed in Table 1.2) along with the remaining 24 ED and SD formats. Note that although there are 18 formats listed, there are actually two for each when one considers the NTSC-compatible frame rates as well as the integer frame rates. These fractional rates are designed to be compatible with the 29.97 NTSC frame rate. However, digital broadcasting does not require fractional frame rates and these will probably become obsolete as analog broadcasting comes to a close.
The HD ATSC broadcast table shown displays the 12 high definition broadcast formats, six of which are designed to integrate with the NTSC broadcast frame rate. When the analog NTSC broadcasting frequencies are returned to the federal government in February of 2009, the integer frame rates will probably be used more often. Many professionals think there are only six high definition digital broadcast formats, but these are the NTSC compatible frame rates. The others are integer frame rates either used for true film transfer or for future integer frame rates. Note that the only interlaced format is the 1080 frame size.
The “Universal” FormatOne high definition frame rate, 1080p23.98, is able to be convertedto many other high def frame rates and sizes. As a result, this formatis informally called a universal format. As an example, if oneshoots a program and edits in 1080p23.98 and outputs the resultingprogram in the same format, the edited master can be converted toalmost any format including PAL and standard definition NTSC,often directly from a video playback deck. In many cases, the nonlineareditor can also play out the images at other frame rates andsizes.Although this frame rate has the advantage of being able to convertto other high definition formats, it may not be acceptable as a productionformat for a particular network. Many networks requirethat a program be shot and delivered in a specific frame rate and size.A rate of 23.98 frames per second has a unique look and may not bethe best choice when a production contains a great deal of action ormovement. Some clients do not want their camera’s original footageshot at 23.98, even though it could then be converted to thespecific delivery requirement.If a company is creating a show for a specific network, sometimesthe choice becomes easier. NBC, HDNet, Discovery HD, HBO, andCBS air 1080i59.94. ABC and ESPN air their programs in 720p59.94.●
While by no means an exhastive list, here are a number of HD channels and the type of HD they employ. 720p is more common for sports, and 1080i for drama and movies. Notice that no one, at the writing of this class, broadcasts in 1080p.
Chroma subsampling is the practice of encoding images by implementing less resolution for chromainformation than for luma information. It is used in many video encoding schemes — both analog and digital — and also in JPEG encoding.Y′CbCr is not an absolute color space, it is a way of encodingRGB information. The actual color displayed depends on the actual RGB colorants used to display the signal. Historically: Research was done in the early days when we were deciding to go from Black and White to Color.Bit depth refers to the quantification of the three values that make up a high definition signal: Y, Cb, and Cr. The Y represents the luma or black and white value in the picture. Cb represents the “color difference” of blue minus luma (B-Y), and Cr is red minus luma (R-Y).With these three values, a red, green, and blue picture with luma values can be calculated and displayed.An 8-bit depth means there are 8 bits of information for each of these three values that describe a pixel or 24 bits per pixel. An 8-bit depth allows 256 colors to be displayed at one time. A 10-bit depth allows 1024 colors to be displayed. The human eye cannot resolve much more than 1024 colors.A 10-bit depth is “better” because a greater amount of color informationis recorded, but this signal consumes much more tape/diskspace. Yet for color correction latitude and effects (green screen,blue screen, color correction), 10 bit is preferable for high-end HDproductions. Most broadcasters consider 8 bit adequate for production,whereas filmmakers want 10 or even 12 if possible.
Chroma subsampling is the practice of encoding images by implementing less resolution for chromainformation than for luma information. It is used in many video encoding schemes — both analog and digital — and also in JPEG encoding.Y′CbCr is not an absolute color space, it is a way of encodingRGB information. The actual color displayed depends on the actual RGB colorants used to display the signal. Historically: Research was done in the early days when we were deciding to go from Black and White to Color.Bit depth refers to the quantification of the three values that make up a high definition signal: Y, Cb, and Cr. The Y represents the luma or black and white value in the picture. Cb represents the “color difference” of blue minus luma (B-Y), and Cr is red minus luma (R-Y).With these three values, a red, green, and blue picture with luma values can be calculated and displayed.An 8-bit depth means there are 8 bits of information for each of these three values that describe a pixel or 24 bits per pixel. An 8-bit depth allows 256 colors to be displayed at one time. A 10-bit depth allows 1024 colors to be displayed. The human eye cannot resolve much more than 1024 colors.A 10-bit depth is “better” because a greater amount of color informationis recorded, but this signal consumes much more tape/diskspace. Yet for color correction latitude and effects (green screen,blue screen, color correction), 10 bit is preferable for high-end HDproductions. Most broadcasters consider 8 bit adequate for production,whereas filmmakers want 10 or even 12 if possible.
YPbPr is a color space used in video electronics, in particular in reference to component video cables. YPbPr is the analog version of the YCBCR color space; the two are numerically equivalent, but YPBPR is designed for use in analog systems whereas YCBCR is intended for digital video.
YPbPr is a color space used in video electronics, in particular in reference to component video cables. YPbPr is the analog version of the YCBCR color space; the two are numerically equivalent, but YPBPR is designed for use in analog systems whereas YCBCR is intended for digital video.
Y'UV refers to an analog encoding scheme while Y'CbCr refers to a digital encoding scheme. One difference between the two is that the scale factors on the chroma components (U, V, Cb, and Cr) are different. However, the term YUV is often used erroneously to refer to Y'CbCr encoding. Hence, expressions like "4:2:2 YUV" always refer to 4:2:2 Y'CbCr since there simply is no such thing as 4:x:x in analog encoding (such as YUV).Historically, YUV color space was developed to provide compatibility between color and black /white analog television systems. YUV color image information transmitted in the TV signal allows proper reproducing an image contents at the both types of TV receivers, at the color TV sets as well as at the black / white TV sets. The Y'UV color model is used in the NTSC, PAL, and SECAMcomposite color video standards. Previous black-and-white systems used only luma (Y') information. Color information (U and V) was added separately via a sub-carrier so that a black-and-white receiver would still be able to receive and display a color picture transmission in the receiver's native black-and-white format.black and white TVs decode only the Y part of the signal
Y'UV refers to an analog encoding scheme while Y'CbCr refers to a digital encoding scheme. One difference between the two is that the scale factors on the chroma components (U, V, Cb, and Cr) are different. However, the term YUV is often used erroneously to refer to Y'CbCr encoding. Hence, expressions like "4:2:2 YUV" always refer to 4:2:2 Y'CbCr since there simply is no such thing as 4:x:x in analog encoding (such as YUV).Historically, YUV color space was developed to provide compatibility between color and black /white analog television systems. YUV color image information transmitted in the TV signal allows proper reproducing an image contents at the both types of TV receivers, at the color TV sets as well as at the black / white TV sets. The Y'UV color model is used in the NTSC, PAL, and SECAMcomposite color video standards. Previous black-and-white systems used only luma (Y') information. Color information (U and V) was added separately via a sub-carrier so that a black-and-white receiver would still be able to receive and display a color picture transmission in the receiver's native black-and-white format.black and white TVs decode only the Y part of the signal
Y'UV refers to an analog encoding scheme while Y'CbCr refers to a digital encoding scheme. One difference between the two is that the scale factors on the chroma components (U, V, Cb, and Cr) are different. However, the term YUV is often used erroneously to refer to Y'CbCr encoding. Hence, expressions like "4:2:2 YUV" always refer to 4:2:2 Y'CbCr since there simply is no such thing as 4:x:x in analog encoding (such as YUV).Historically, YUV color space was developed to provide compatibility between color and black /white analog television systems. YUV color image information transmitted in the TV signal allows proper reproducing an image contents at the both types of TV receivers, at the color TV sets as well as at the black / white TV sets. The Y'UV color model is used in the NTSC, PAL, and SECAMcomposite color video standards. Previous black-and-white systems used only luma (Y') information. Color information (U and V) was added separately via a sub-carrier so that a black-and-white receiver would still be able to receive and display a color picture transmission in the receiver's native black-and-white format.black and white TVs decode only the Y part of the signal
Y'UV refers to an analog encoding scheme while Y'CbCr refers to a digital encoding scheme. One difference between the two is that the scale factors on the chroma components (U, V, Cb, and Cr) are different. However, the term YUV is often used erroneously to refer to Y'CbCr encoding. Hence, expressions like "4:2:2 YUV" always refer to 4:2:2 Y'CbCr since there simply is no such thing as 4:x:x in analog encoding (such as YUV).Historically, YUV color space was developed to provide compatibility between color and black /white analog television systems. YUV color image information transmitted in the TV signal allows proper reproducing an image contents at the both types of TV receivers, at the color TV sets as well as at the black / white TV sets. The Y'UV color model is used in the NTSC, PAL, and SECAMcomposite color video standards. Previous black-and-white systems used only luma (Y') information. Color information (U and V) was added separately via a sub-carrier so that a black-and-white receiver would still be able to receive and display a color picture transmission in the receiver's native black-and-white format.black and white TVs decode only the Y part of the signal
4:4:4 Y'CbCrEach of the three Y'CbCr components have the same sample rate. This scheme is sometimes used in high-end film scanners and cinematic postproduction. Two links (connections) are normally required to carry this bandwidth: Link A would carry a 4:2:2 signal, Link B a 0:2:2, when combined would make 4:4:4.4:4:4 R'G'B' (no subsampling)Note that "4:4:4" may instead be referring to R'G'B' color space, which implicitly does not have any chroma subsampling at all. Formats such as HDCAM SR can record 4:4:4 R'G'B' over dual-link HD-SDI.4:2:2The two chroma components are sampled at half the sample rate of luma: the horizontal chroma resolution is halved. This reduces the bandwidth of a video signal by one-third with little to no visual difference.Many high-end digital video formats and interfaces use this scheme:AVC-Intra 100Digital BetacamDVCPRO50 and DVCPRO HDDigital-SCCIR 601 / Serial Digital Interface / D1ProRes 422XDCAM HD4224:2:1Although this mode is technically defined, very few software or hardware codecs use this sampling mode. Cb horizontal resolution is twice as low as one of Cr (and four times as low as one of Y). This exploits the fact that human eye is less sensitive to blue color than to red. NTSC is similar, in using lower resolution for blue/red than yellow/green, which in turn has less resolution than luma.4:1:1In 4:1:1 chroma subsampling, the horizontal color resolution is quartered, and the bandwidth is halved compared to no chroma subsampling. Initially, 4:1:1 chroma subsampling of the DV format was not considered to be broadcast quality and was only acceptable for low-end and consumer applications.[2][3] Currently, DV-based formats (which use 4:1:1 chroma subsampling) are used professionally in electronic news gathering and in playout servers. DV has also been sporadically used in feature films and in digital cinematography.In the NTSC system, if the luma is sampled at 13.5 MHz, then this means that the Cr and Cb signals will each be sampled at 3.35 MHz, which corresponds to a maximum Nyquist bandwidth of 1.6875 MHz, whereas traditional "high-end broadcast analog NTSC encoder" would have a Nyquist bandwidth of 1.5 MHz and 0.5 MHz for the I/Q channels. However in most equipment, especially cheap TV sets and VHS/Betamax VCR's the chroma channels have only the 0.5 MHz bandwidth for both Cr and Cb (or equivalently for I/Q). Thus the DV system actually provides a superior color bandwidth compared to the best composite analog specifications for NTSC, despite having only 1/4 of the chromabandwith of a "full" digital signal.Formats that use 4:1:1 chroma subsampling include:DVCPRO (NTSCandPAL)NTSC DV and DVCAMD-74:2:0Different variants of 4:2:0 chroma configurations are found in:All versions of MPEG, including MPEG-2 implementations such as DVD (although some profiles of MPEG-4 allow higher-quality sampling schemes such as 4:4:4)PAL DV and DVCAMHDVAVCHD and AVC-Intra 50Apple Intermediate Codecmost common JPEG/JFIF, H.261, and MJPEG implementationsVC-1Cb and Cr are each subsampled at a factor of 2 both horizontally and vertically.There are three variants of 4:2:0 schemes, having different horizontal and vertical siting. [4]
4:4:4 Y'CbCrEach of the three Y'CbCr components have the same sample rate. This scheme is sometimes used in high-end film scanners and cinematic postproduction. Two links (connections) are normally required to carry this bandwidth: Link A would carry a 4:2:2 signal, Link B a 0:2:2, when combined would make 4:4:4.4:4:4 R'G'B' (no subsampling)Note that "4:4:4" may instead be referring to R'G'B' color space, which implicitly does not have any chroma subsampling at all. Formats such as HDCAM SR can record 4:4:4 R'G'B' over dual-link HD-SDI.4:2:2The two chroma components are sampled at half the sample rate of luma: the horizontal chroma resolution is halved. This reduces the bandwidth of a video signal by one-third with little to no visual difference.Many high-end digital video formats and interfaces use this scheme:AVC-Intra 100Digital BetacamDVCPRO50 and DVCPRO HDDigital-SCCIR 601 / Serial Digital Interface / D1ProRes 422XDCAM HD4224:2:1Although this mode is technically defined, very few software or hardware codecs use this sampling mode. Cb horizontal resolution is twice as low as one of Cr (and four times as low as one of Y). This exploits the fact that human eye is less sensitive to blue color than to red. NTSC is similar, in using lower resolution for blue/red than yellow/green, which in turn has less resolution than luma.4:1:1In 4:1:1 chroma subsampling, the horizontal color resolution is quartered, and the bandwidth is halved compared to no chroma subsampling. Initially, 4:1:1 chroma subsampling of the DV format was not considered to be broadcast quality and was only acceptable for low-end and consumer applications.[2][3] Currently, DV-based formats (which use 4:1:1 chroma subsampling) are used professionally in electronic news gathering and in playout servers. DV has also been sporadically used in feature films and in digital cinematography.In the NTSC system, if the luma is sampled at 13.5 MHz, then this means that the Cr and Cb signals will each be sampled at 3.35 MHz, which corresponds to a maximum Nyquist bandwidth of 1.6875 MHz, whereas traditional "high-end broadcast analog NTSC encoder" would have a Nyquist bandwidth of 1.5 MHz and 0.5 MHz for the I/Q channels. However in most equipment, especially cheap TV sets and VHS/Betamax VCR's the chroma channels have only the 0.5 MHz bandwidth for both Cr and Cb (or equivalently for I/Q). Thus the DV system actually provides a superior color bandwidth compared to the best composite analog specifications for NTSC, despite having only 1/4 of the chromabandwith of a "full" digital signal.Formats that use 4:1:1 chroma subsampling include:DVCPRO (NTSCandPAL)NTSC DV and DVCAMD-74:2:0Different variants of 4:2:0 chroma configurations are found in:All versions of MPEG, including MPEG-2 implementations such as DVD (although some profiles of MPEG-4 allow higher-quality sampling schemes such as 4:4:4)PAL DV and DVCAMHDVAVCHD and AVC-Intra 50Apple Intermediate Codecmost common JPEG/JFIF, H.261, and MJPEG implementationsVC-1Cb and Cr are each subsampled at a factor of 2 both horizontally and vertically.There are three variants of 4:2:0 schemes, having different horizontal and vertical siting. [4]
4:4:4 Y'CbCrEach of the three Y'CbCr components have the same sample rate. This scheme is sometimes used in high-end film scanners and cinematic postproduction. Two links (connections) are normally required to carry this bandwidth: Link A would carry a 4:2:2 signal, Link B a 0:2:2, when combined would make 4:4:4.4:4:4 R'G'B' (no subsampling)Note that "4:4:4" may instead be referring to R'G'B' color space, which implicitly does not have any chroma subsampling at all. Formats such as HDCAM SR can record 4:4:4 R'G'B' over dual-link HD-SDI.4:2:2The two chroma components are sampled at half the sample rate of luma: the horizontal chroma resolution is halved. This reduces the bandwidth of a video signal by one-third with little to no visual difference.Many high-end digital video formats and interfaces use this scheme:AVC-Intra 100Digital BetacamDVCPRO50 and DVCPRO HDDigital-SCCIR 601 / Serial Digital Interface / D1ProRes 422XDCAM HD4224:2:1Although this mode is technically defined, very few software or hardware codecs use this sampling mode. Cb horizontal resolution is twice as low as one of Cr (and four times as low as one of Y). This exploits the fact that human eye is less sensitive to blue color than to red. NTSC is similar, in using lower resolution for blue/red than yellow/green, which in turn has less resolution than luma.4:1:1In 4:1:1 chroma subsampling, the horizontal color resolution is quartered, and the bandwidth is halved compared to no chroma subsampling. Initially, 4:1:1 chroma subsampling of the DV format was not considered to be broadcast quality and was only acceptable for low-end and consumer applications.[2][3] Currently, DV-based formats (which use 4:1:1 chroma subsampling) are used professionally in electronic news gathering and in playout servers. DV has also been sporadically used in feature films and in digital cinematography.In the NTSC system, if the luma is sampled at 13.5 MHz, then this means that the Cr and Cb signals will each be sampled at 3.35 MHz, which corresponds to a maximum Nyquist bandwidth of 1.6875 MHz, whereas traditional "high-end broadcast analog NTSC encoder" would have a Nyquist bandwidth of 1.5 MHz and 0.5 MHz for the I/Q channels. However in most equipment, especially cheap TV sets and VHS/Betamax VCR's the chroma channels have only the 0.5 MHz bandwidth for both Cr and Cb (or equivalently for I/Q). Thus the DV system actually provides a superior color bandwidth compared to the best composite analog specifications for NTSC, despite having only 1/4 of the chromabandwith of a "full" digital signal.Formats that use 4:1:1 chroma subsampling include:DVCPRO (NTSCandPAL)NTSC DV and DVCAMD-74:2:0Different variants of 4:2:0 chroma configurations are found in:All versions of MPEG, including MPEG-2 implementations such as DVD (although some profiles of MPEG-4 allow higher-quality sampling schemes such as 4:4:4)PAL DV and DVCAMHDVAVCHD and AVC-Intra 50Apple Intermediate Codecmost common JPEG/JFIF, H.261, and MJPEG implementationsVC-1Cb and Cr are each subsampled at a factor of 2 both horizontally and vertically.There are three variants of 4:2:0 schemes, having different horizontal and vertical siting. [4]
4:4:4 Y'CbCrEach of the three Y'CbCr components have the same sample rate. This scheme is sometimes used in high-end film scanners and cinematic postproduction. Two links (connections) are normally required to carry this bandwidth: Link A would carry a 4:2:2 signal, Link B a 0:2:2, when combined would make 4:4:4.4:4:4 R'G'B' (no subsampling)Note that "4:4:4" may instead be referring to R'G'B' color space, which implicitly does not have any chroma subsampling at all. Formats such as HDCAM SR can record 4:4:4 R'G'B' over dual-link HD-SDI.4:2:2The two chroma components are sampled at half the sample rate of luma: the horizontal chroma resolution is halved. This reduces the bandwidth of a video signal by one-third with little to no visual difference.Many high-end digital video formats and interfaces use this scheme:AVC-Intra 100Digital BetacamDVCPRO50 and DVCPRO HDDigital-SCCIR 601 / Serial Digital Interface / D1ProRes 422XDCAM HD4224:2:1Although this mode is technically defined, very few software or hardware codecs use this sampling mode. Cb horizontal resolution is twice as low as one of Cr (and four times as low as one of Y). This exploits the fact that human eye is less sensitive to blue color than to red. NTSC is similar, in using lower resolution for blue/red than yellow/green, which in turn has less resolution than luma.4:1:1In 4:1:1 chroma subsampling, the horizontal color resolution is quartered, and the bandwidth is halved compared to no chroma subsampling. Initially, 4:1:1 chroma subsampling of the DV format was not considered to be broadcast quality and was only acceptable for low-end and consumer applications.[2][3] Currently, DV-based formats (which use 4:1:1 chroma subsampling) are used professionally in electronic news gathering and in playout servers. DV has also been sporadically used in feature films and in digital cinematography.In the NTSC system, if the luma is sampled at 13.5 MHz, then this means that the Cr and Cb signals will each be sampled at 3.35 MHz, which corresponds to a maximum Nyquist bandwidth of 1.6875 MHz, whereas traditional "high-end broadcast analog NTSC encoder" would have a Nyquist bandwidth of 1.5 MHz and 0.5 MHz for the I/Q channels. However in most equipment, especially cheap TV sets and VHS/Betamax VCR's the chroma channels have only the 0.5 MHz bandwidth for both Cr and Cb (or equivalently for I/Q). Thus the DV system actually provides a superior color bandwidth compared to the best composite analog specifications for NTSC, despite having only 1/4 of the chromabandwith of a "full" digital signal.Formats that use 4:1:1 chroma subsampling include:DVCPRO (NTSCandPAL)NTSC DV and DVCAMD-74:2:0Different variants of 4:2:0 chroma configurations are found in:All versions of MPEG, including MPEG-2 implementations such as DVD (although some profiles of MPEG-4 allow higher-quality sampling schemes such as 4:4:4)PAL DV and DVCAMHDVAVCHD and AVC-Intra 50Apple Intermediate Codecmost common JPEG/JFIF, H.261, and MJPEG implementationsVC-1Cb and Cr are each subsampled at a factor of 2 both horizontally and vertically.There are three variants of 4:2:0 schemes, having different horizontal and vertical siting. [4]
4:4:4 Y'CbCrEach of the three Y'CbCr components have the same sample rate. This scheme is sometimes used in high-end film scanners and cinematic postproduction. Two links (connections) are normally required to carry this bandwidth: Link A would carry a 4:2:2 signal, Link B a 0:2:2, when combined would make 4:4:4.4:4:4 R'G'B' (no subsampling)Note that "4:4:4" may instead be referring to R'G'B' color space, which implicitly does not have any chroma subsampling at all. Formats such as HDCAM SR can record 4:4:4 R'G'B' over dual-link HD-SDI.4:2:2The two chroma components are sampled at half the sample rate of luma: the horizontal chroma resolution is halved. This reduces the bandwidth of a video signal by one-third with little to no visual difference.Many high-end digital video formats and interfaces use this scheme:AVC-Intra 100Digital BetacamDVCPRO50 and DVCPRO HDDigital-SCCIR 601 / Serial Digital Interface / D1ProRes 422XDCAM HD4224:2:1Although this mode is technically defined, very few software or hardware codecs use this sampling mode. Cb horizontal resolution is twice as low as one of Cr (and four times as low as one of Y). This exploits the fact that human eye is less sensitive to blue color than to red. NTSC is similar, in using lower resolution for blue/red than yellow/green, which in turn has less resolution than luma.4:1:1In 4:1:1 chroma subsampling, the horizontal color resolution is quartered, and the bandwidth is halved compared to no chroma subsampling. Initially, 4:1:1 chroma subsampling of the DV format was not considered to be broadcast quality and was only acceptable for low-end and consumer applications.[2][3] Currently, DV-based formats (which use 4:1:1 chroma subsampling) are used professionally in electronic news gathering and in playout servers. DV has also been sporadically used in feature films and in digital cinematography.In the NTSC system, if the luma is sampled at 13.5 MHz, then this means that the Cr and Cb signals will each be sampled at 3.35 MHz, which corresponds to a maximum Nyquist bandwidth of 1.6875 MHz, whereas traditional "high-end broadcast analog NTSC encoder" would have a Nyquist bandwidth of 1.5 MHz and 0.5 MHz for the I/Q channels. However in most equipment, especially cheap TV sets and VHS/Betamax VCR's the chroma channels have only the 0.5 MHz bandwidth for both Cr and Cb (or equivalently for I/Q). Thus the DV system actually provides a superior color bandwidth compared to the best composite analog specifications for NTSC, despite having only 1/4 of the chromabandwith of a "full" digital signal.Formats that use 4:1:1 chroma subsampling include:DVCPRO (NTSCandPAL)NTSC DV and DVCAMD-74:2:0Different variants of 4:2:0 chroma configurations are found in:All versions of MPEG, including MPEG-2 implementations such as DVD (although some profiles of MPEG-4 allow higher-quality sampling schemes such as 4:4:4)PAL DV and DVCAMHDVAVCHD and AVC-Intra 50Apple Intermediate Codecmost common JPEG/JFIF, H.261, and MJPEG implementationsVC-1Cb and Cr are each subsampled at a factor of 2 both horizontally and vertically.There are three variants of 4:2:0 schemes, having different horizontal and vertical siting. [4]
4:4:4 Y'CbCrEach of the three Y'CbCr components have the same sample rate. This scheme is sometimes used in high-end film scanners and cinematic postproduction. Two links (connections) are normally required to carry this bandwidth: Link A would carry a 4:2:2 signal, Link B a 0:2:2, when combined would make 4:4:4.4:4:4 R'G'B' (no subsampling)Note that "4:4:4" may instead be referring to R'G'B' color space, which implicitly does not have any chroma subsampling at all. Formats such as HDCAM SR can record 4:4:4 R'G'B' over dual-link HD-SDI.4:2:2The two chroma components are sampled at half the sample rate of luma: the horizontal chroma resolution is halved. This reduces the bandwidth of a video signal by one-third with little to no visual difference.Many high-end digital video formats and interfaces use this scheme:AVC-Intra 100Digital BetacamDVCPRO50 and DVCPRO HDDigital-SCCIR 601 / Serial Digital Interface / D1ProRes 422XDCAM HD4224:2:1Although this mode is technically defined, very few software or hardware codecs use this sampling mode. Cb horizontal resolution is twice as low as one of Cr (and four times as low as one of Y). This exploits the fact that human eye is less sensitive to blue color than to red. NTSC is similar, in using lower resolution for blue/red than yellow/green, which in turn has less resolution than luma.4:1:1In 4:1:1 chroma subsampling, the horizontal color resolution is quartered, and the bandwidth is halved compared to no chroma subsampling. Initially, 4:1:1 chroma subsampling of the DV format was not considered to be broadcast quality and was only acceptable for low-end and consumer applications.[2][3] Currently, DV-based formats (which use 4:1:1 chroma subsampling) are used professionally in electronic news gathering and in playout servers. DV has also been sporadically used in feature films and in digital cinematography.In the NTSC system, if the luma is sampled at 13.5 MHz, then this means that the Cr and Cb signals will each be sampled at 3.35 MHz, which corresponds to a maximum Nyquist bandwidth of 1.6875 MHz, whereas traditional "high-end broadcast analog NTSC encoder" would have a Nyquist bandwidth of 1.5 MHz and 0.5 MHz for the I/Q channels. However in most equipment, especially cheap TV sets and VHS/Betamax VCR's the chroma channels have only the 0.5 MHz bandwidth for both Cr and Cb (or equivalently for I/Q). Thus the DV system actually provides a superior color bandwidth compared to the best composite analog specifications for NTSC, despite having only 1/4 of the chromabandwith of a "full" digital signal.Formats that use 4:1:1 chroma subsampling include:DVCPRO (NTSCandPAL)NTSC DV and DVCAMD-74:2:0Different variants of 4:2:0 chroma configurations are found in:All versions of MPEG, including MPEG-2 implementations such as DVD (although some profiles of MPEG-4 allow higher-quality sampling schemes such as 4:4:4)PAL DV and DVCAMHDVAVCHD and AVC-Intra 50Apple Intermediate Codecmost common JPEG/JFIF, H.261, and MJPEG implementationsVC-1Cb and Cr are each subsampled at a factor of 2 both horizontally and vertically.There are three variants of 4:2:0 schemes, having different horizontal and vertical siting. [4]
4:4:4 Y'CbCrEach of the three Y'CbCr components have the same sample rate. This scheme is sometimes used in high-end film scanners and cinematic postproduction. Two links (connections) are normally required to carry this bandwidth: Link A would carry a 4:2:2 signal, Link B a 0:2:2, when combined would make 4:4:4.4:4:4 R'G'B' (no subsampling)Note that "4:4:4" may instead be referring to R'G'B' color space, which implicitly does not have any chroma subsampling at all. Formats such as HDCAM SR can record 4:4:4 R'G'B' over dual-link HD-SDI.4:2:2The two chroma components are sampled at half the sample rate of luma: the horizontal chroma resolution is halved. This reduces the bandwidth of a video signal by one-third with little to no visual difference.Many high-end digital video formats and interfaces use this scheme:AVC-Intra 100Digital BetacamDVCPRO50 and DVCPRO HDDigital-SCCIR 601 / Serial Digital Interface / D1ProRes 422XDCAM HD4224:2:1Although this mode is technically defined, very few software or hardware codecs use this sampling mode. Cb horizontal resolution is twice as low as one of Cr (and four times as low as one of Y). This exploits the fact that human eye is less sensitive to blue color than to red. NTSC is similar, in using lower resolution for blue/red than yellow/green, which in turn has less resolution than luma.4:1:1In 4:1:1 chroma subsampling, the horizontal color resolution is quartered, and the bandwidth is halved compared to no chroma subsampling. Initially, 4:1:1 chroma subsampling of the DV format was not considered to be broadcast quality and was only acceptable for low-end and consumer applications.[2][3] Currently, DV-based formats (which use 4:1:1 chroma subsampling) are used professionally in electronic news gathering and in playout servers. DV has also been sporadically used in feature films and in digital cinematography.In the NTSC system, if the luma is sampled at 13.5 MHz, then this means that the Cr and Cb signals will each be sampled at 3.35 MHz, which corresponds to a maximum Nyquist bandwidth of 1.6875 MHz, whereas traditional "high-end broadcast analog NTSC encoder" would have a Nyquist bandwidth of 1.5 MHz and 0.5 MHz for the I/Q channels. However in most equipment, especially cheap TV sets and VHS/Betamax VCR's the chroma channels have only the 0.5 MHz bandwidth for both Cr and Cb (or equivalently for I/Q). Thus the DV system actually provides a superior color bandwidth compared to the best composite analog specifications for NTSC, despite having only 1/4 of the chromabandwith of a "full" digital signal.Formats that use 4:1:1 chroma subsampling include:DVCPRO (NTSCandPAL)NTSC DV and DVCAMD-74:2:0Different variants of 4:2:0 chroma configurations are found in:All versions of MPEG, including MPEG-2 implementations such as DVD (although some profiles of MPEG-4 allow higher-quality sampling schemes such as 4:4:4)PAL DV and DVCAMHDVAVCHD and AVC-Intra 50Apple Intermediate Codecmost common JPEG/JFIF, H.261, and MJPEG implementationsVC-1Cb and Cr are each subsampled at a factor of 2 both horizontally and vertically.There are three variants of 4:2:0 schemes, having different horizontal and vertical siting. [4]
4:4:4 Y'CbCrEach of the three Y'CbCr components have the same sample rate. This scheme is sometimes used in high-end film scanners and cinematic postproduction. Two links (connections) are normally required to carry this bandwidth: Link A would carry a 4:2:2 signal, Link B a 0:2:2, when combined would make 4:4:4.4:4:4 R'G'B' (no subsampling)Note that "4:4:4" may instead be referring to R'G'B' color space, which implicitly does not have any chroma subsampling at all. Formats such as HDCAM SR can record 4:4:4 R'G'B' over dual-link HD-SDI.4:2:2The two chroma components are sampled at half the sample rate of luma: the horizontal chroma resolution is halved. This reduces the bandwidth of a video signal by one-third with little to no visual difference.Many high-end digital video formats and interfaces use this scheme:AVC-Intra 100Digital BetacamDVCPRO50 and DVCPRO HDDigital-SCCIR 601 / Serial Digital Interface / D1ProRes 422XDCAM HD4224:2:1Although this mode is technically defined, very few software or hardware codecs use this sampling mode. Cb horizontal resolution is twice as low as one of Cr (and four times as low as one of Y). This exploits the fact that human eye is less sensitive to blue color than to red. NTSC is similar, in using lower resolution for blue/red than yellow/green, which in turn has less resolution than luma.4:1:1In 4:1:1 chroma subsampling, the horizontal color resolution is quartered, and the bandwidth is halved compared to no chroma subsampling. Initially, 4:1:1 chroma subsampling of the DV format was not considered to be broadcast quality and was only acceptable for low-end and consumer applications.[2][3] Currently, DV-based formats (which use 4:1:1 chroma subsampling) are used professionally in electronic news gathering and in playout servers. DV has also been sporadically used in feature films and in digital cinematography.In the NTSC system, if the luma is sampled at 13.5 MHz, then this means that the Cr and Cb signals will each be sampled at 3.35 MHz, which corresponds to a maximum Nyquist bandwidth of 1.6875 MHz, whereas traditional "high-end broadcast analog NTSC encoder" would have a Nyquist bandwidth of 1.5 MHz and 0.5 MHz for the I/Q channels. However in most equipment, especially cheap TV sets and VHS/Betamax VCR's the chroma channels have only the 0.5 MHz bandwidth for both Cr and Cb (or equivalently for I/Q). Thus the DV system actually provides a superior color bandwidth compared to the best composite analog specifications for NTSC, despite having only 1/4 of the chromabandwith of a "full" digital signal.Formats that use 4:1:1 chroma subsampling include:DVCPRO (NTSCandPAL)NTSC DV and DVCAMD-74:2:0Different variants of 4:2:0 chroma configurations are found in:All versions of MPEG, including MPEG-2 implementations such as DVD (although some profiles of MPEG-4 allow higher-quality sampling schemes such as 4:4:4)PAL DV and DVCAMHDVAVCHD and AVC-Intra 50Apple Intermediate Codecmost common JPEG/JFIF, H.261, and MJPEG implementationsVC-1Cb and Cr are each subsampled at a factor of 2 both horizontally and vertically.There are three variants of 4:2:0 schemes, having different horizontal and vertical siting. [4]
4:4:4 Y'CbCrEach of the three Y'CbCr components have the same sample rate. This scheme is sometimes used in high-end film scanners and cinematic postproduction. Two links (connections) are normally required to carry this bandwidth: Link A would carry a 4:2:2 signal, Link B a 0:2:2, when combined would make 4:4:4.4:4:4 R'G'B' (no subsampling)Note that "4:4:4" may instead be referring to R'G'B' color space, which implicitly does not have any chroma subsampling at all. Formats such as HDCAM SR can record 4:4:4 R'G'B' over dual-link HD-SDI.4:2:2The two chroma components are sampled at half the sample rate of luma: the horizontal chroma resolution is halved. This reduces the bandwidth of a video signal by one-third with little to no visual difference.Many high-end digital video formats and interfaces use this scheme:AVC-Intra 100Digital BetacamDVCPRO50 and DVCPRO HDDigital-SCCIR 601 / Serial Digital Interface / D1ProRes 422XDCAM HD4224:2:1Although this mode is technically defined, very few software or hardware codecs use this sampling mode. Cb horizontal resolution is twice as low as one of Cr (and four times as low as one of Y). This exploits the fact that human eye is less sensitive to blue color than to red. NTSC is similar, in using lower resolution for blue/red than yellow/green, which in turn has less resolution than luma.4:1:1In 4:1:1 chroma subsampling, the horizontal color resolution is quartered, and the bandwidth is halved compared to no chroma subsampling. Initially, 4:1:1 chroma subsampling of the DV format was not considered to be broadcast quality and was only acceptable for low-end and consumer applications.[2][3] Currently, DV-based formats (which use 4:1:1 chroma subsampling) are used professionally in electronic news gathering and in playout servers. DV has also been sporadically used in feature films and in digital cinematography.In the NTSC system, if the luma is sampled at 13.5 MHz, then this means that the Cr and Cb signals will each be sampled at 3.35 MHz, which corresponds to a maximum Nyquist bandwidth of 1.6875 MHz, whereas traditional "high-end broadcast analog NTSC encoder" would have a Nyquist bandwidth of 1.5 MHz and 0.5 MHz for the I/Q channels. However in most equipment, especially cheap TV sets and VHS/Betamax VCR's the chroma channels have only the 0.5 MHz bandwidth for both Cr and Cb (or equivalently for I/Q). Thus the DV system actually provides a superior color bandwidth compared to the best composite analog specifications for NTSC, despite having only 1/4 of the chromabandwith of a "full" digital signal.Formats that use 4:1:1 chroma subsampling include:DVCPRO (NTSCandPAL)NTSC DV and DVCAMD-74:2:0Different variants of 4:2:0 chroma configurations are found in:All versions of MPEG, including MPEG-2 implementations such as DVD (although some profiles of MPEG-4 allow higher-quality sampling schemes such as 4:4:4)PAL DV and DVCAMHDVAVCHD and AVC-Intra 50Apple Intermediate Codecmost common JPEG/JFIF, H.261, and MJPEG implementationsVC-1Cb and Cr are each subsampled at a factor of 2 both horizontally and vertically.There are three variants of 4:2:0 schemes, having different horizontal and vertical siting. [4]
4:4:4 Y'CbCrEach of the three Y'CbCr components have the same sample rate. This scheme is sometimes used in high-end film scanners and cinematic postproduction. Two links (connections) are normally required to carry this bandwidth: Link A would carry a 4:2:2 signal, Link B a 0:2:2, when combined would make 4:4:4.4:4:4 R'G'B' (no subsampling)Note that "4:4:4" may instead be referring to R'G'B' color space, which implicitly does not have any chroma subsampling at all. Formats such as HDCAM SR can record 4:4:4 R'G'B' over dual-link HD-SDI.
4:4:4 Y'CbCrEach of the three Y'CbCr components have the same sample rate. This scheme is sometimes used in high-end film scanners and cinematic postproduction. Two links (connections) are normally required to carry this bandwidth: Link A would carry a 4:2:2 signal, Link B a 0:2:2, when combined would make 4:4:4.4:4:4 R'G'B' (no subsampling)Note that "4:4:4" may instead be referring to R'G'B' color space, which implicitly does not have any chroma subsampling at all. Formats such as HDCAM SR can record 4:4:4 R'G'B' over dual-link HD-SDI.
4:4:4 Y'CbCrEach of the three Y'CbCr components have the same sample rate. This scheme is sometimes used in high-end film scanners and cinematic postproduction. Two links (connections) are normally required to carry this bandwidth: Link A would carry a 4:2:2 signal, Link B a 0:2:2, when combined would make 4:4:4.4:4:4 R'G'B' (no subsampling)Note that "4:4:4" may instead be referring to R'G'B' color space, which implicitly does not have any chroma subsampling at all. Formats such as HDCAM SR can record 4:4:4 R'G'B' over dual-link HD-SDI.
4:4:4 Y'CbCrEach of the three Y'CbCr components have the same sample rate. This scheme is sometimes used in high-end film scanners and cinematic postproduction. Two links (connections) are normally required to carry this bandwidth: Link A would carry a 4:2:2 signal, Link B a 0:2:2, when combined would make 4:4:4.4:4:4 R'G'B' (no subsampling)Note that "4:4:4" may instead be referring to R'G'B' color space, which implicitly does not have any chroma subsampling at all. Formats such as HDCAM SR can record 4:4:4 R'G'B' over dual-link HD-SDI.
Bit depth refers to the quantification of the three values that make up a high definition signal: Y, Cb, and Cr. The Y represents the luma or black and white value in the picture. Cb represents the “color difference” of blue minus luma (B-Y), and Cr is red minus luma (R-Y).With these three values, a red, green, and blue picture with luma values can be calculated and displayed.An 8-bit depth means there are 8 bits of information for each of these three values that describe a pixel or 24 bits per pixel. An 8-bit depth allows 256 colors to be displayed at one time. A 10-bit depth allows 1024 colors to be displayed. The human eye cannot resolve much more than 1024 colors.A 10-bit depth is “better” because a greater amount of color informationis recorded, but this signal consumes much more tape/diskspace. Yet for color correction latitude and effects (green screen,blue screen, color correction), 10 bit is preferable for high-end HDproductions. Most broadcasters consider 8 bit adequate for production,whereas filmmakers want 10 or even 12 if possible.
Bit depth refers to the quantification of the three values that make up a high definition signal: Y, Cb, and Cr. The Y represents the luma or black and white value in the picture. Cb represents the “color difference” of blue minus luma (B-Y), and Cr is red minus luma (R-Y).With these three values, a red, green, and blue picture with luma values can be calculated and displayed.An 8-bit depth means there are 8 bits of information for each of these three values that describe a pixel or 24 bits per pixel. An 8-bit depth allows 256 colors to be displayed at one time. A 10-bit depth allows 1024 colors to be displayed. The human eye cannot resolve much more than 1024 colors.A 10-bit depth is “better” because a greater amount of color informationis recorded, but this signal consumes much more tape/diskspace. Yet for color correction latitude and effects (green screen,blue screen, color correction), 10 bit is preferable for high-end HDproductions. Most broadcasters consider 8 bit adequate for production,whereas filmmakers want 10 or even 12 if possible.
Bit depth refers to the quantification of the three values that make up a high definition signal: Y, Cb, and Cr. The Y represents the luma or black and white value in the picture. Cb represents the “color difference” of blue minus luma (B-Y), and Cr is red minus luma (R-Y).With these three values, a red, green, and blue picture with luma values can be calculated and displayed.An 8-bit depth means there are 8 bits of information for each of these three values that describe a pixel or 24 bits per pixel. An 8-bit depth allows 256 colors to be displayed at one time. A 10-bit depth allows 1024 colors to be displayed. The human eye cannot resolve much more than 1024 colors.A 10-bit depth is “better” because a greater amount of color informationis recorded, but this signal consumes much more tape/diskspace. Yet for color correction latitude and effects (green screen,blue screen, color correction), 10 bit is preferable for high-end HDproductions. Most broadcasters consider 8 bit adequate for production,whereas filmmakers want 10 or even 12 if possible.
Bit depth refers to the quantification of the three values that make up a high definition signal: Y, Cb, and Cr. The Y represents the luma or black and white value in the picture. Cb represents the “color difference” of blue minus luma (B-Y), and Cr is red minus luma (R-Y).With these three values, a red, green, and blue picture with luma values can be calculated and displayed.An 8-bit depth means there are 8 bits of information for each of these three values that describe a pixel or 24 bits per pixel. An 8-bit depth allows 256 colors to be displayed at one time. A 10-bit depth allows 1024 colors to be displayed. The human eye cannot resolve much more than 1024 colors.A 10-bit depth is “better” because a greater amount of color informationis recorded, but this signal consumes much more tape/diskspace. Yet for color correction latitude and effects (green screen,blue screen, color correction), 10 bit is preferable for high-end HDproductions. Most broadcasters consider 8 bit adequate for production,whereas filmmakers want 10 or even 12 if possible.
The triforce of Compression:The goal of all compression types are three fold. Make the image as small as possible with the highest quality as quickly as can be achieved.The term CODEC refers to compressor/decompressor
Progressive or noninterlaced scanning is any method for displaying, storing or transmitting moving images in which all the lines of each frame are drawn in sequence. This is in contrast to the interlacing used in traditional television systems where only the odd lines, then the even lines of each frame are drawn alternatively (each image now called a field) are drawn.Historical Fact: The system was originally known as "sequential scanning" when it was used in the Baird 240 line television transmissions from Alexandra Palace, England in 1936. It was also used in Baird's experimental transmissions using 30 lines in the 1920s.
Progressive or noninterlaced scanning is any method for displaying, storing or transmitting moving images in which all the lines of each frame are drawn in sequence. This is in contrast to the interlacing used in traditional television systems where only the odd lines, then the even lines of each frame are drawn alternatively (each image now called a field) are drawn.Historical Fact: The system was originally known as "sequential scanning" when it was used in the Baird 240 line television transmissions from Alexandra Palace, England in 1936. It was also used in Baird's experimental transmissions using 30 lines in the 1920s.
Progressive or noninterlaced scanning is any method for displaying, storing or transmitting moving images in which all the lines of each frame are drawn in sequence. This is in contrast to the interlacing used in traditional television systems where only the odd lines, then the even lines of each frame are drawn alternatively (each image now called a field) are drawn.Historical Fact: The system was originally known as "sequential scanning" when it was used in the Baird 240 line television transmissions from Alexandra Palace, England in 1936. It was also used in Baird's experimental transmissions using 30 lines in the 1920s.
Video Compression Formats are utilized by the individual camera manufacturers to create their individual camera formats. Many times they manipulate the compression to create their take of that compression.Discrete Cosine Transform is used as a first stage of manydigital video compression schemes including JPEG andMPEG-2 and –4. It converts 8 x 8 pixel blocks of pictures toexpress them as frequencies and amplitudes. This may notreduce the data but it does arrange the image informationso that it can. As the high frequency, low amplitude detailis least noticeable their coefficients are progressively
Progressive or noninterlaced scanning is any method for displaying, storing or transmitting moving images in which all the lines of each frame are drawn in sequence. This is in contrast to the interlacing used in traditional television systems where only the odd lines, then the even lines of each frame are drawn alternatively (each image now called a field) are drawn.Historical Fact: The system was originally known as "sequential scanning" when it was used in the Baird 240 line television transmissions from Alexandra Palace, England in 1936. It was also used in Baird's experimental transmissions using 30 lines in the 1920s.
Video Compression Formats are utilized by the individual camera manufacturers to create their individual camera formats. Many times they manipulate the compression to create their take of that compression.
Video Compression Formats are utilized by the individual camera manufacturers to create their individual camera formats. Many times they manipulate the compression to create their take of that compression.
Video Compression Formats are utilized by the individual camera manufacturers to create their individual camera formats. Many times they manipulate the compression to create their take of that compression.
Three of the most common mastering codecs for Avid, Final Cut, and Premiere