- 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.

1. Instructor: Scott Carrey Course Evaluation: www.vs.edu/survey

2. Instructor: Scott Carrey Course Evaluation: www.vs.edu/survey

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.

17. Key Moments In HD History

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

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!

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

34. Measuring, Converting &
Communicating in Bits!

35. 1 Byte = 8-bits
Byte is short for
“Binary Term”

36. 1 Byte = 8-bits
Byte = Binary Term
Byte

37. 1 Byte = 8-bits
1 Kilobyte = ????-bits

38. 1 Byte = 8-bits
1 Kilobyte = 8192-bits

39. 1KB = 1024 Bytes = 8192 Bits

40. 1 Byte = 8-bits
1 Kilobyte = 8192-bits
1 Megabyte = 8388608-bits or 1024KB

41. 1 Byte = 8-bits
1 Kilobyte = 8192-bits
1 Megabyte = 8388608-bits
1 Gigabyte = 8589934592-bits

42. 1 Byte = 8-bits
1 Kilobyte = 8192-bits
1 Megabyte = 8388608-bits
1 Gigabyte = 8589934592-bits
1 Terabyte = 1099511627776-bits

43. 1 Byte = 8-bits
1 Kilobyte = 8192-bits
1 Megabyte = 8388608-bits
1 Gigabyte = 8589934592-bits
1 Terabyte = 1099511627776-bits
1 Petabyte = 1125899906842624-bits

44. 1 Byte = 8-bits
1 Kilobyte = 8192-bits
1 Megabyte = 8388608-bits
1 Gigabyte = 8589934592-bits
1 Terabyte = 1099511627776-bits
1 Petabyte = 1125899906842624-bits
1 Exabyte = 1152921504606846976-bits

45. 1 Byte = 8-bits
1 Kilobyte = 8192-bits
1 Megabyte = 8388608-bits
1 Gigabyte = 8589934592-bits
1 Terabyte = 1099511627776-bits
1 Petabyte = 1125899906842624-bits
1 Exabyte = 1152921504606846976-bits
1 Zettabyte = 9444732965739290427392-bits

46. 1 Byte = 8-bits
1 Kilobyte = 8192-bits
1 Megabyte = 8388608-bits
1 Gigabyte = 8589934592-bits
1 Terabyte = 1099511627776-bits
1 Petabyte = 1125899906842624-bits
1 Exabyte = 1152921504606846976-bits
1 Zettabyte = 9444732965739290427392-bits
1 Yottabyte = 9671406556917033397649408-bits

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

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)

58. AUDIO

59. 32 kbit/s — MW (AM) quality
AUDIO

60. 32 kbit/s — MW (AM) quality
96 kbit/s — FM quality
AUDIO

61. 32 kbit/s — MW (AM) quality
96 kbit/s — FM quality
128–160 kbit/s — Standard Bitrate quality
AUDIO

62. 32 kbit/s — MW (AM) quality
96 kbit/s — FM quality
128–160 kbit/s — Standard Bitrate quality
192 kbit/s — DAB (Digital Audio Broadcasting) quality.
AUDIO

63. 32 kbit/s — MW (AM) quality
96 kbit/s — FM quality
128–160 kbit/s — Standard Bitrate quality
192 kbit/s — DAB (Digital Audio Broadcasting) quality.
224–320 kbit/s — Near CD quality.
AUDIO

64. 32 kbit/s — MW (AM) quality
96 kbit/s — FM quality
128–160 kbit/s — Standard Bitrate quality
192 kbit/s — DAB (Digital Audio Broadcasting) quality.
224–320 kbit/s — Near CD quality.
800 bit/s — minimum necessary for recognizable speech
AUDIO

65. 32 kbit/s — MW (AM) quality
96 kbit/s — FM quality
128–160 kbit/s — Standard Bitrate quality
192 kbit/s — DAB (Digital Audio Broadcasting) quality.
224–320 kbit/s — Near CD quality.
800 bit/s — minimum necessary for recognizable speech
8 kbit/s — telephone quality (using speech codecs)
AUDIO

66. 32 kbit/s — MW (AM) quality
96 kbit/s — FM quality
128–160 kbit/s — Standard Bitrate quality
192 kbit/s — DAB (Digital Audio Broadcasting) quality.
224–320 kbit/s — Near CD quality.
800 bit/s — minimum necessary for recognizable speech
8 kbit/s — telephone quality (using speech codecs)
500 kbit/s–1 Mbit/s — lossless audio (FLAC, WMA LossL, etc.)
AUDIO

67. 32 kbit/s — MW (AM) quality
96 kbit/s — FM quality
128–160 kbit/s — Standard Bitrate quality
192 kbit/s — DAB (Digital Audio Broadcasting) quality.
224–320 kbit/s — Near CD quality.
800 bit/s — minimum necessary for recognizable speech
8 kbit/s — telephone quality (using speech codecs)
500 kbit/s–1 Mbit/s — lossless audio (FLAC, WMA LossL, etc.)
1411 kbit/s — PCM sound format of Compact Disc Digital Audio
AUDIO

68. 32 kbit/s — MW (AM) quality
96 kbit/s — FM quality
128–160 kbit/s — Standard Bitrate quality
192 kbit/s — DAB (Digital Audio Broadcasting) quality.
224–320 kbit/s — Near CD quality.
800 bit/s — minimum necessary for recognizable speech
8 kbit/s — telephone quality (using speech codecs)
500 kbit/s–1 Mbit/s — lossless audio (FLAC, WMA LossL, etc.)
1411 kbit/s — PCM sound format of Compact Disc Digital Audio
16 kbit/s — videophone quality
AUDIO
VIDEO

69. 32 kbit/s — MW (AM) quality
96 kbit/s — FM quality
128–160 kbit/s — Standard Bitrate quality
192 kbit/s — DAB (Digital Audio Broadcasting) quality.
224–320 kbit/s — Near CD quality.
800 bit/s — minimum necessary for recognizable speech
8 kbit/s — telephone quality (using speech codecs)
500 kbit/s–1 Mbit/s — lossless audio (FLAC, WMA LossL, etc.)
1411 kbit/s — PCM sound format of Compact Disc Digital Audio
16 kbit/s — videophone quality
128 – 384 kbit/s — business-oriented videoconferencing
AUDIO
VIDEO

70. 32 kbit/s — MW (AM) quality
96 kbit/s — FM quality
128–160 kbit/s — Standard Bitrate quality
192 kbit/s — DAB (Digital Audio Broadcasting) quality.
224–320 kbit/s — Near CD quality.
800 bit/s — minimum necessary for recognizable speech
8 kbit/s — telephone quality (using speech codecs)
500 kbit/s–1 Mbit/s — lossless audio (FLAC, WMA LossL, etc.)
1411 kbit/s — PCM sound format of Compact Disc Digital Audio
16 kbit/s — videophone quality
128 – 384 kbit/s — business-oriented videoconferencing
1.25 Mbit/s — VCD quality
VIDEO
AUDIO

71. 32 kbit/s — MW (AM) quality
96 kbit/s — FM quality
128–160 kbit/s — Standard Bitrate quality
192 kbit/s — DAB (Digital Audio Broadcasting) quality.
224–320 kbit/s — Near CD quality.
800 bit/s — minimum necessary for recognizable speech
8 kbit/s — telephone quality (using speech codecs)
500 kbit/s–1 Mbit/s — lossless audio (FLAC, WMA LossL, etc.)
1411 kbit/s — PCM sound format of Compact Disc Digital Audio
16 kbit/s — videophone quality
128 – 384 kbit/s — business-oriented videoconferencing
1.25 Mbit/s — VCD quality
5 Mbit/s — DVD quality
VIDEO
AUDIO

72. 32 kbit/s — MW (AM) quality
96 kbit/s — FM quality
128–160 kbit/s — Standard Bitrate quality
192 kbit/s — DAB (Digital Audio Broadcasting) quality.
224–320 kbit/s — Near CD quality.
800 bit/s — minimum necessary for recognizable speech
8 kbit/s — telephone quality (using speech codecs)
500 kbit/s–1 Mbit/s — lossless audio (FLAC, WMA LossL, etc.)
1411 kbit/s — PCM sound format of Compact Disc Digital Audio
16 kbit/s — videophone quality
128 – 384 kbit/s — business-oriented videoconferencing
1.25 Mbit/s — VCD quality
5 Mbit/s — DVD quality
15 Mbit/s — HDTV quality
VIDEO
AUDIO

73. 32 kbit/s — MW (AM) quality
96 kbit/s — FM quality
128–160 kbit/s — Standard Bitrate quality
192 kbit/s — DAB (Digital Audio Broadcasting) quality.
224–320 kbit/s — Near CD quality.
800 bit/s — minimum necessary for recognizable speech
8 kbit/s — telephone quality (using speech codecs)
500 kbit/s–1 Mbit/s — lossless audio (FLAC, WMA LossL, etc.)
1411 kbit/s — PCM sound format of Compact Disc Digital Audio
16 kbit/s — videophone quality
128 – 384 kbit/s — business-oriented videoconferencing
1.25 Mbit/s — VCD quality
5 Mbit/s — DVD quality
15 Mbit/s — HDTV quality
36 Mbit/s — HD DVD quality
VIDEO
AUDIO

74. 32 kbit/s — MW (AM) quality
96 kbit/s — FM quality
128–160 kbit/s — Standard Bitrate quality
192 kbit/s — DAB (Digital Audio Broadcasting) quality.
224–320 kbit/s — Near CD quality.
800 bit/s — minimum necessary for recognizable speech
8 kbit/s — telephone quality (using speech codecs)
500 kbit/s–1 Mbit/s — lossless audio (FLAC, WMA LossL, etc.)
1411 kbit/s — PCM sound format of Compact Disc Digital Audio
16 kbit/s — videophone quality
128 – 384 kbit/s — business-oriented videoconferencing
1.25 Mbit/s — VCD quality
5 Mbit/s — DVD quality
15 Mbit/s — HDTV quality
36 Mbit/s — HD DVD quality
54 Mbit/s — Blu-ray Disc quality
VIDEO
AUDIO

75. 32 kbit/s — MW (AM) quality
96 kbit/s — FM quality
128–160 kbit/s — Standard Bitrate quality
192 kbit/s — DAB (Digital Audio Broadcasting) quality.
224–320 kbit/s — Near CD quality.
800 bit/s — minimum necessary for recognizable speech
8 kbit/s — telephone quality (using speech codecs)
500 kbit/s–1 Mbit/s — lossless audio (FLAC, WMA LossL, etc.)
1411 kbit/s — PCM sound format of Compact Disc Digital Audio
16 kbit/s — videophone quality
128 – 384 kbit/s — business-oriented videoconferencing
1.25 Mbit/s — VCD quality
5 Mbit/s — DVD quality
15 Mbit/s — HDTV quality
36 Mbit/s — HD DVD quality
54 Mbit/s — Blu-ray Disc quality
VIDEO
AUDIO

76. 32 kbit/s — MW (AM) quality
96 kbit/s — FM quality
128–160 kbit/s — Standard Bitrate quality
192 kbit/s — DAB (Digital Audio Broadcasting) quality.
224–320 kbit/s — Near CD quality.
800 bit/s — minimum necessary for recognizable speech
8 kbit/s — telephone quality (using speech codecs)
500 kbit/s–1 Mbit/s — lossless audio (FLAC, WMA LossL, etc.)
1411 kbit/s — PCM sound format of Compact Disc Digital Audio
16 kbit/s — videophone quality
128 – 384 kbit/s — business-oriented videoconferencing
1.25 Mbit/s — VCD quality
5 Mbit/s — DVD quality
15 Mbit/s — HDTV quality
36 Mbit/s — HD DVD quality
54 Mbit/s — Blu-ray Disc quality
140 – 230MB/s — Uncompressed HD @ 8b/24p/1080 – 10b/29.97
VIDEO
AUDIO

77. USB 2.0 480 Mbp/s (60MB/s)
USB 3.0 5 Gbp/s (625MB/s)
FIREWIRE 400 Mbps (50MB/s)
FIREWIRE 800 Mbps (100MB/s)
FireWire S1600 (1.6Gb), S3200 (3.2Gb) &IEEE P1394d (6.4Gb)
SATA/ESATA 325 MB/s (1.5-3Gbp/s) esata3=6Gb
THUNDERBOLT 10 Gbp/s - Bi-Directional (up/down)
“Transfer a full-length HD movie in less than 30 seconds".

78.  HD Component
 Serial Digital Interface & HD-SDI
 Dual Link HD-SDI (for uncomp. RGB/4:4:4/10bit & DCP)
 HDMI

79.  HD Component
 Serial Digital Interface & HD-SDI
 Dual Link HD-SDI (for uncomp. RGB/4:4:4/10bit & DCP)
 HDMI

80.  HD Component
 Serial Digital Interface & HD-SDI
 Dual Link HD-SDI (for uncomp. RGB/4:4:4/10bit & DCP)
 HDMI

81.  HD Component
 Serial Digital Interface & HD-SDI
 Dual Link HD-SDI (for uncomp. RGB/4:4:4/10bit & DCP)
 HDMI

82.  HD Component
 Serial Digital Interface & HD-SDI
 Dual Link HD-SDI (for uncomp. RGB/4:4:4/10bit & DCP)
 HDMI

86. Break Time

95. SMPTE 259M STANDARD
Describes 10-Bit Serial Digital
Operating at 143/270/360 Mb/s.

96. KEY SMPTE HD STANDARDS

97. KEY SMPTE HD STANDARDS
SMPTE 274M

98. KEY SMPTE HD STANDARDS
SMPTE 274M
SMPTE 292M

99. KEY SMPTE HD STANDARDS
SMPTE 274M
SMPTE 292M
SMPTE 296M

100. KEY SMPTE HD STANDARDS
SMPTE 274M
SMPTE 292M
SMPTE 296M
SMPTE 370M

101. KEY SMPTE HD STANDARDS
SMPTE 274M
SMPTE 292M
SMPTE 296M
SMPTE 370M
SMPTE 372M

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

104. COMPONENTS OF HD/DATA FILES

105. • Frame size
COMPONENTS OF HD/DATA FILES

106. • Frame size
• Frame rate
COMPONENTS OF HD/DATA FILES

107. • Frame size
• Frame rate
• Frame recording method
COMPONENTS OF HD/DATA FILES

108. • Frame size
• Frame rate
• Frame recording method
• Color Space/Encoding Method
COMPONENTS OF HD/DATA FILES

109. • Frame size
• Frame rate
• Frame recording method
• Color Space/Encoding Method
• Bit depth
COMPONENTS OF HD/DATA FILES

110. • Frame size
• Frame rate
• Frame recording method
• Color Space/Encoding Method
• Bit depth
• Compression (Data Reduction)
COMPONENTS OF HD/DATA FILES

111. • Frame size
• Frame rate
• Frame recording method
• Color Space/Encoding Method
• Bit depth
• Compression (Data Reduction)
• MetaData
COMPONENTS OF HD/DATA FILES

112.  Screen Aspect Ratio
 Pixel Aspect (Square 1 vs Non-Sq .9)
 Frame Size = Screen/Display Resolution
 Screen Dimension
 Screen Real-Estate
Frame Size Considerations

113. H
W
ASPECT RATIO
The ASPECT RATIO of an IMAGE is
its WIDTH divided by its HEIGHT.

114. ASPECT RATIO
XxY
(pronounced "x-to-y") (pronounced "x-by-y")
X:Y and
The ASPECT RATIO of an IMAGE is
its WIDTH divided by its HEIGHT.

115. 4x3
1.33x1
4:3
1.33:1
ASPECT RATIO
XxY
(pronounced "x-to-y") (pronounced "x-by-y")
X:Y and
The ASPECT RATIO of an IMAGE is
its WIDTH divided by its HEIGHT.

116. 16x9
1.78:1
4x3
1.33:1
IMAGE ASPECT RATIO
The ASPECT RATIO of an IMAGE is
its WIDTH divided by its HEIGHT.

117. PIXEL ASPECT RATIO

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")

124. ASPECT RATIO HISTORY

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

132. ASPECT RATIO
Problems Arising From Multiple
Aspect Ratios

133. Original aspect ratio (OAR)
Vs.
Modified aspect ratio (MAR)
ASPECT RATIO
Problems Arising From Multiple
Aspect Ratios

134. ORIGINAL ASPECT RATIOS

135. MODIFIED ASPECT RATIOS

136. FRAME SIZE (Resolution)
The Number of Pixels a Display System Can Display

137. 640x480 1920x1080

138. SD FRAME SIZES
720 x 480 NTSC DV
720 x 576 PAL

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

142. HD FRAME SIZES
960 x 720p
DVCPro HD
1280 x 1080i
DVCPro HD

143. HD FRAME SIZES
1440 x 1080i
Sony HDV
960 x 720p
Old JVC HDV

150. SCREEN DIMENSION & ASPECT RATIO CALCULATOR
http://www.silisoftware.com/tools/screen.php
http://andrew.hedges.name/experiments/aspect_ratio
Some popular dimensions:
Standard Def = 4:3 (width:height) = 320x240, 640x480,
800x600, 1024x768
Widescreen or HD = 16:9 (width:height) = 640x360,
800x450, 960x540, 1024x576, 1280x720, and 1920x1080

151. “The Available Display Area
And
How Content is Arranged within it”

152. Data Calculators
AJA DataCalc Software Tool (Desktop & iPhone)
 http://www.aja.com/en/products/software/
MPC Digital Data Rate/Storage Calculator (Online & iPhone)
 http://www.moving-
picture.com/index.php?option=com_content&view=article&id=614&catid=13&Itemid
=853
File Size/Data Rate Calculator (On-line Tool)
 http://www.hdslr-cinema.com/tools/filesize.php?w
Digital Glossaries
 http://www.quantel.com/repository/files/library_DigitalFactBook_20th.pdf
 http://www.learn.usa.canon.com/dlc/glossary/listing.spr
Kodak Site
 http://motion.kodak.com/motion/
Digital Cinema Society (DCS) Tech Tips
 http://www.digitalcinemasociety.org/TechTips.php

153. Break Time

164. STANDARD FRAME RATES
Interlaced

165. STANDARD FRAME RATES
60i
(actually 59.94, or 60 x 1000/1001 to be more precise; 60 interlaced fields = 29.97 frames)
Interlaced

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

167. STANDARD FRAME RATES
Progressive

168. STANDARD FRAME RATES
Progressive
24p
(Usually 23.976-frame progressive / also referred to as 23.98)

169. STANDARD FRAME RATES
Progressive
24p
(Usually 23.976-frame progressive / also referred to as 23.98)
25p
(25-frame progressive)

170. STANDARD FRAME RATES
Progressive
24p
(Usually 23.976-frame progressive / also referred to as 23.98)
25p
(25-frame progressive)
30p
(Usually 29.97-frame progressive)

171. STANDARD FRAME RATES
Progressive
24p
(Usually 23.976-frame progressive / also referred to as 23.98)
25p
(25-frame progressive)
30p
(Usually 29.97-frame progressive)
60p
(Usually 59.94-frame progressive)

172. ATSC FRAME RATES
36 Formats, Two For Each When One Considers the NTSC-compatible frame rates as well as integer
frame rates.

173. ATSC HD FRAME RATES
12 High-Definition Formats Designed to Integrate with NTSC

174. UNIVERSAL FORMAT

175. US BROADCASTER HDTV

176. More on Reducing the Amount of Data
Using Frame Rate

177. KEY CONCEPTS FOR WORKING WITH
HD (DATA) INFORMATION

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)

181. ENCODING
Via Color Differencing

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

184. Video Profiles - Rec601 & Rec709
ITU Recomendations

185. RAW Profiles - Log-C & Bayered Images
Native RAW Image
With LUT Applied
ARRI Alexa & RED One & Epic

186. (S-Log) S-Gamut & A.C.E.S

187. X:X:X
CHROMA SUBSAMPLING

188. X:X:X
CHROMA SUBSAMPLING

189. X:X:X
CHROMA SUBSAMPLING

190. X:X:X
CHROMA SUBSAMPLING

191. X:X:X
CHROMA SUBSAMPLING

192. X:X:X
CHROMA SUBSAMPLING

193. X:X:X
CHROMA SUBSAMPLING

194. X:X:X
CHROMA SUBSAMPLING

195. Practice of encoding images by
implementing less resolution for Chroma
information than for Luma information.
CHROMA SUBSAMPLING

196. 4 : 4 : 4
CHROMA SUBSAMPLING

197. 4 : 4 : 4
R’G’B’
CHROMA SUBSAMPLING

198. 4 : 4 : 4
NO SUBSAMPLING
R’G’B’
CHROMA SUBSAMPLING

199. 4 : 4 : 4
Y:Cb:Cr
CHROMA SUBSAMPLING

200. CHROMA SUBSAMPLING

201. 4:2:2
CHROMA SUBSAMPLING

202. 4:2:2
Luma horizontal sampling reference
(originally, luma f
s
as multiple of 3 MGz)
CHROMA SUBSAMPLING

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

205. CHROMA SUBSAMPLING

206. CHROMA SUBSAMPLING

207. CHROMA SUBSAMPLING

208. CHROMA SUBSAMPLING

209. More on Reducing the amount of Data
using CHROMA SUBSAMPLING

210. 4:4:4 10-Bit
4:2:2 8-Bit
4:2:2 10-Bit

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

213. Effect of Bit-Depth
(bpp = # tones)

214. Why is Bit-Depth Important?

215. High Bit Depth Low Bit Depth

216. Bit-Depth & Displays

217. Michael Cioni
www.lightirondigital.com

218. THE DOWN & DIRTY GUIDE TO
COMPRESSION

219. THE DOWN & DIRTY GUIDE TO
COMPRESSION

220. THE DOWN & DIRTY GUIDE TO
COMPRESSION

221. THE DOWN & DIRTY GUIDE TO
COMPRESSION

222. THE DOWN & DIRTY GUIDE TO
COMPRESSION

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

234. COMMON VIDEO COMPRESSION FORMATS
• AVC
VCEG & MPEG
• AVR
Avid Technology
• DVC
SMPTE
• DNxHD
Avid Technology
• H.264
VCEG & MPEG
• JFIF
JPEG/Avid Technology
• JPEG
JPEG
• JPEG 2000
JPEG
• ProRes
Apple
• M-JPEG
JPEG
• M-JPEG 2000
JPEG
• MPEG
MPEG
• MPEG-2
MPEG
• MPEG-4
VCEG & MPEG
• VC-1
SMPTE
• WMV 9
Microsoft Corp.

235. Format File Size Video Quality Video bitrate
H.264 MP4 8.92MB better 768
AVI 15.00 MB inferior 1200
QuickTime MOV 15.20 MB inferior 768
MKV 15.50 MB inferior 1200
WMV 18.40 MB inferior 1200
WebM 30.20 MB best 1200

236. INTRAFRAME
Intraframe compression refers to video where
each frame is compressed independently of
nearby frames.

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.

239. INTERFRAME
Intrerframe compression refers to video where
some frames are compressed based on frames
either before or after it in the video stream.

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.

243. More about
Inter & Intra-Frame Compression

244. Other Compression Schemes

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.

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.

257. THE 3
PRIMARY FRAME COMPRESSIONS

258. THE 3
PRIMARY FRAME COMPRESSIONS
• I-Frames (I-Picture, Intra Frames)

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.

262. KEY MASTERING COMPRESSIONS

263. KEY MASTERING COMPRESSIONS
• DNxHD
AVID TECHNOLOGY

264. KEY MASTERING COMPRESSIONS
• DNxHD
AVID TECHNOLOGY
• ProRES 422, ProRES 444
APPLE

265. KEY MASTERING COMPRESSIONS
• DNxHD
AVID TECHNOLOGY
• ProRES 422, ProRES 444
APPLE
• Prospect HD/4K, Neo HD/4K/3D
CINEFORM

266. NEW TECHNOLOGY
Thunderbolt
Solid State Drives
Cloud Encoding
Connected TV’s

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

271. NEW TECHNOLOGY
3D Stereoscopic

272. 10/6/11
Webisodes & Mobisodes

273. 10/6/11
Interactive TV

274. 10/6/11
Gaming

275. 10/6/11
Social Media & TV

276. 10/6/11
Emerging Media

277. 199 HD/ DATA Essentials
Scott Carrey
Course Evaluation: www.vs.edu/survey
scott@scarrey.com