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.
Presentation on HDTV Technology and Scanning Techniques
1) Progressive and interlaced
2) Broadcasting System
3) Aspect Ratio
4) Frame Rate
5) Pixels
6) Frame
7) CRT and HDTV
Presentation on HDTV Technology and Scanning Techniques
1) Progressive and interlaced
2) Broadcasting System
3) Aspect Ratio
4) Frame Rate
5) Pixels
6) Frame
7) CRT and HDTV
Presented at the first-ever Sundance Institute #ArtistServices San Francisco Workshop.
Graef Allen is Manager of Content Services at Dolby Laboratories in Los Angeles, California. Graef has been with Dolby for over nine years, working primarily in digital cinema mastering and distribution. Although some of her work is on studio titles, most projects are independent films or educational films for science museums. Graef spent fifteen years on the staff of the Telluride Film Festival, working in production, theatre operations, and projection.
3D Televisions: Forecasting their emergenceJeffrey Funk
My Master's students used ideas from my (Jeff Funk) forthcoming book (Technology Change and the Rise of New Industries) to analyze when 3D LCD TVs might emerge. See my other slides for details on concepts, methodology, and other new industries.
Presented at the first-ever Sundance Institute #ArtistServices San Francisco Workshop.
Graef Allen is Manager of Content Services at Dolby Laboratories in Los Angeles, California. Graef has been with Dolby for over nine years, working primarily in digital cinema mastering and distribution. Although some of her work is on studio titles, most projects are independent films or educational films for science museums. Graef spent fifteen years on the staff of the Telluride Film Festival, working in production, theatre operations, and projection.
3D Televisions: Forecasting their emergenceJeffrey Funk
My Master's students used ideas from my (Jeff Funk) forthcoming book (Technology Change and the Rise of New Industries) to analyze when 3D LCD TVs might emerge. See my other slides for details on concepts, methodology, and other new industries.
Digital TV in Thailand Engineering Journal of ThailandYOZZO
As Digital TV is getting ready to launch in Thailand, local and foreign set-top-box, television, mobile devices and in-car entertainment manufactures, are also ramping up their activities for the digital broadcasts.
Consumers buying pattern from markets who already have introduced DVB-T2 Set-Top Boxes or Televisions, shows a special buying pattern from consumers. The majority will wait to purchase to the last months before the analog signal is switched off, which leaves a huge gap between launch and shutdown that needs to be explored to keep momentum.
To address the huge gap, it is necessary to think “inside the box”, and focus on solutions that brings value added service in order to cater to more segments.
Select Font Size A A A Sponsored By Beyond HDTV .docxkenjordan97598
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Sponsored By
Beyond HDTV
By John Boyd
The future of television got a test-drive recently in New York City. While consumers around the
globe are just now getting acquainted with the vivid picture quality of high-definition television, or
HDTV, a far more advanced super-high-resolution system is in the works. NHK, Japan's public
broadcaster, is working on what it has dubbed Super Hi-Vision: a TV technology—not expected to
be commercialized for a decade or more—that produces live video with a resolution 16 times that
of today's HDTV and twice that of 70-millimeter movies. The New York City test was recorded for
display at a convention of broadcasters who were meeting in Las Vegas.
Last November, NHK conducted its first live test in the field, when it transmitted an uncompressed
24-gigabit-per-second SHV video signal for several hours, producing a picture with a resolution of
7680 by 4320 pixels. The live video was relayed over 260 kilometers of optical fiber and viewed on
a screen measuring 10 meters by 5.5 meters. The transmission also included a technically swank
audio scheme, with more than 22 channels, to match the video's high resolution. To shoot the live
transmission, the researchers used two custom-built cameras equipped with four 8-megapixel
CMOS sensors.
Months before, NHK had shown off an 8-minute SHV video to visitors at the 2005 World Expo held
near Nagoya, from March to September last year. After postproduction the movie weighed in at
1.4 terabytes and had to be stored on a hard-disk array.
"The typical reaction of the audience was 'Sugoii!' ('Wow!')," says Masaru Kanazawa, a senior
researcher engineer in NHK's Science & Technical Research Laboratories, in western Tokyo. He
says some 1.6 million Expo attendees watched the video, and many were astonished with the
heightened sense of reality it evoked. He attributes this in part to the video's clarity; the system's
wide viewing angle of 100 degrees, as opposed to HDTV's 30 degrees and the 15 degrees for
standard television; and the advanced audio system. "They felt they were a part of the same
scenes," he says.
Despite making such technological progress, NHK's researchers are quick to caution that
commercialization of SHV is years—and maybe decades—away. And there are lots of technical and
political hurdles left to leap. For instance, the company is working to have the format accepted as
an international standard by the International Telecommunication Union-Radiocommunications,
which regulates radio spectrum. If an agreement is reached, Kanazawa says the proposed
standard could be published as early as this year, and then member countries would get to vote
on it.
Perhaps a much greater hurdle SHV faces is further developing the technology so that it can be
used for broadcasting. Because of the huge amount of data involved, today it only works over
optical fiber. But NHK is looking t.
Audio Video Systems: DIGITAL TV RECEIVER AND ITS MERITS,
DIGITAL TELEVISION (DTV), DIGITAL TV RECEIVER, BLOCK DIAGRAM OF DIGITAL TV RECEIVER, ARCHITECTURE, DIGITAL TV TUNER,
Elemental high dynamic _ range_video_white_paperCMR WORLD TECH
FROM SCIENCE TO PRACTICE
The next large challenge facing the video industry is translating the science behind HDR into a system or
systems that can actually perform the required tasks of making HDR a reality for consumers and provide
a return on investment for providers. This adds complexity by bringing the laboratory into the
marketplace.
Tom Selleck Net Worth: A Comprehensive Analysisgreendigital
Over several decades, Tom Selleck, a name synonymous with charisma. From his iconic role as Thomas Magnum in the television series "Magnum, P.I." to his enduring presence in "Blue Bloods," Selleck has captivated audiences with his versatility and charm. As a result, "Tom Selleck net worth" has become a topic of great interest among fans. and financial enthusiasts alike. This article delves deep into Tom Selleck's wealth, exploring his career, assets, endorsements. and business ventures that contribute to his impressive economic standing.
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Early Life and Career Beginnings
The Foundation of Tom Selleck's Wealth
Born on January 29, 1945, in Detroit, Michigan, Tom Selleck grew up in Sherman Oaks, California. His journey towards building a large net worth began with humble origins. , Selleck pursued a business administration degree at the University of Southern California (USC) on a basketball scholarship. But, his interest shifted towards acting. leading him to study at the Hills Playhouse under Milton Katselas.
Minor roles in television and films marked Selleck's early career. He appeared in commercials and took on small parts in T.V. series such as "The Dating Game" and "Lancer." These initial steps, although modest. laid the groundwork for his future success and the growth of Tom Selleck net worth. Breakthrough with "Magnum, P.I."
The Role that Defined Tom Selleck's Career
Tom Selleck's breakthrough came with the role of Thomas Magnum in the CBS television series "Magnum, P.I." (1980-1988). This role made him a household name and boosted his net worth. The series' popularity resulted in Selleck earning large salaries. leading to financial stability and increased recognition in Hollywood.
"Magnum P.I." garnered high ratings and critical acclaim during its run. Selleck's portrayal of the charming and resourceful private investigator resonated with audiences. making him one of the most beloved television actors of the 1980s. The success of "Magnum P.I." played a pivotal role in shaping Tom Selleck net worth, establishing him as a major star.
Film Career and Diversification
Expanding Tom Selleck's Financial Portfolio
While "Magnum, P.I." was a cornerstone of Selleck's career, he did not limit himself to television. He ventured into films, further enhancing Tom Selleck net worth. His filmography includes notable movies such as "Three Men and a Baby" (1987). which became the highest-grossing film of the year, and its sequel, "Three Men and a Little Lady" (1990). These box office successes contributed to his wealth.
Selleck's versatility allowed him to transition between genres. from comedies like "Mr. Baseball" (1992) to westerns such as "Quigley Down Under" (1990). This diversification showcased his acting range. and provided many income streams, reinforcing Tom Selleck net worth.
Television Resurgence with "Blue Bloods"
Sustaining Wealth through Consistent Success
In 2010, Tom Selleck began starring as Frank Reagan i
In the vast landscape of cinema, stories have been told, retold, and reimagined in countless ways. At the heart of this narrative evolution lies the concept of a "remake". A successful remake allows us to revisit cherished tales through a fresh lens, often reflecting a different era's perspective or harnessing the power of advanced technology. Yet, the question remains, what makes a remake successful? Today, we will delve deeper into this subject, identifying the key ingredients that contribute to the success of a remake.
From Slave to Scourge: The Existential Choice of Django Unchained. The Philos...Rodney Thomas Jr
#SSAPhilosophy #DjangoUnchained #DjangoFreeman #ExistentialPhilosophy #Freedom #Identity #Justice #Courage #Rebellion #Transformation
Welcome to SSA Philosophy, your ultimate destination for diving deep into the profound philosophies of iconic characters from video games, movies, and TV shows. In this episode, we explore the powerful journey and existential philosophy of Django Freeman from Quentin Tarantino’s masterful film, "Django Unchained," in our video titled, "From Slave to Scourge: The Existential Choice of Django Unchained. The Philosophy of Django Freeman!"
From Slave to Scourge: The Existential Choice of Django Unchained – The Philosophy of Django Freeman!
Join me as we delve into the existential philosophy of Django Freeman, uncovering the profound lessons and timeless wisdom his character offers. Through his story, we find inspiration in the power of choice, the quest for justice, and the courage to defy oppression. Django Freeman’s philosophy is a testament to the human spirit’s unyielding drive for freedom and justice.
Don’t forget to like, comment, and subscribe to SSA Philosophy for more in-depth explorations of the philosophies behind your favorite characters. Hit the notification bell to stay updated on our latest videos. Let’s discover the principles that shape these icons and the profound lessons they offer.
Django Freeman’s story is one of the most compelling narratives of transformation and empowerment in cinema. A former slave turned relentless bounty hunter, Django’s journey is not just a physical liberation but an existential quest for identity, justice, and retribution. This video delves into the core philosophical elements that define Django’s character and the profound choices he makes throughout his journey.
Link to video: https://youtu.be/GszqrXk38qk
Meet Crazyjamjam - A TikTok Sensation | Blog EternalBlog Eternal
Crazyjamjam, the TikTok star everyone's talking about! Uncover her secrets to success, viral trends, and more in this exclusive feature on Blog Eternal.
Source: https://blogeternal.com/celebrity/crazyjamjam-leaks/
Scandal! Teasers June 2024 on etv Forum.co.zaIsaac More
Monday, 3 June 2024
Episode 47
A friend is compelled to expose a manipulative scheme to prevent another from making a grave mistake. In a frantic bid to save Jojo, Phakamile agrees to a meeting that unbeknownst to her, will seal her fate.
Tuesday, 4 June 2024
Episode 48
A mother, with her son's best interests at heart, finds him unready to heed her advice. Motshabi finds herself in an unmanageable situation, sinking fast like in quicksand.
Wednesday, 5 June 2024
Episode 49
A woman fabricates a diabolical lie to cover up an indiscretion. Overwhelmed by guilt, she makes a spontaneous confession that could be devastating to another heart.
Thursday, 6 June 2024
Episode 50
Linda unwittingly discloses damning information. Nhlamulo and Vuvu try to guide their friend towards the right decision.
Friday, 7 June 2024
Episode 51
Jojo's life continues to spiral out of control. Dintle weaves a web of lies to conceal that she is not as successful as everyone believes.
Monday, 10 June 2024
Episode 52
A heated confrontation between lovers leads to a devastating admission of guilt. Dintle's desperation takes a new turn, leaving her with dwindling options.
Tuesday, 11 June 2024
Episode 53
Unable to resort to violence, Taps issues a verbal threat, leaving Mdala unsettled. A sister must explain her life choices to regain her brother's trust.
Wednesday, 12 June 2024
Episode 54
Winnie makes a very troubling discovery. Taps follows through on his threat, leaving a woman reeling. Layla, oblivious to the truth, offers an incentive.
Thursday, 13 June 2024
Episode 55
A nosy relative arrives just in time to thwart a man's fatal decision. Dintle manipulates Khanyi to tug at Mo's heartstrings and get what she wants.
Friday, 14 June 2024
Episode 56
Tlhogi is shocked by Mdala's reaction following the revelation of their indiscretion. Jojo is in disbelief when the punishment for his crime is revealed.
Monday, 17 June 2024
Episode 57
A woman reprimands another to stay in her lane, leading to a damning revelation. A man decides to leave his broken life behind.
Tuesday, 18 June 2024
Episode 58
Nhlamulo learns that due to his actions, his worst fears have come true. Caiphus' extravagant promises to suppliers get him into trouble with Ndu.
Wednesday, 19 June 2024
Episode 59
A woman manages to kill two birds with one stone. Business doom looms over Chillax. A sobering incident makes a woman realize how far she's fallen.
Thursday, 20 June 2024
Episode 60
Taps' offer to help Nhlamulo comes with hidden motives. Caiphus' new ideas for Chillax have MaHilda excited. A blast from the past recognizes Dintle, not for her newfound fame.
Friday, 21 June 2024
Episode 61
Taps is hungry for revenge and finds a rope to hang Mdala with. Chillax's new job opportunity elicits mixed reactions from the public. Roommates' initial meeting starts off on the wrong foot.
Monday, 24 June 2024
Episode 62
Taps seizes new information and recruits someone on the inside. Mary's new job
From the Editor's Desk: 115th Father's day Celebration - When we see Father's day in Hindu context, Nanda Baba is the most vivid figure which comes to the mind. Nanda Baba who was the foster father of Lord Krishna is known to provide love, care and affection to Lord Krishna and Balarama along with his wife Yashoda; Letter’s to the Editor: Mother's Day - Mother is a precious life for their children. Mother is life breath for her children. Mother's lap is the world happiness whose debt can never be paid.
Hollywood Actress - The 250 hottest galleryZsolt Nemeth
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As a film director, I have always been awestruck by the magic of animation. Animation, a medium once considered solely for the amusement of children, has undergone a significant transformation over the years. Its evolution from a rudimentary form of entertainment to a sophisticated form of storytelling has stirred my creativity and expanded my vision, offering limitless possibilities in the realm of cinematic storytelling.
Are the X-Men Marvel or DC An In-Depth Exploration.pdfXtreame HDTV
The world of comic books is vast and filled with iconic characters, gripping storylines, and legendary rivalries. Among the most famous groups of superheroes are the X-Men. Created in the early 1960s, the X-Men have become a cultural phenomenon, featuring in comics, animated series, and blockbuster movies. A common question among newcomers to the comic book world is: Are the X-Men Marvel or DC? This article delves into the history, creators, and significant moments of the X-Men to provide a comprehensive answer.
Skeem Saam in June 2024 available on ForumIsaac More
Monday, June 3, 2024 - Episode 241: Sergeant Rathebe nabs a top scammer in Turfloop. Meikie is furious at her uncle's reaction to the truth about Ntswaki.
Tuesday, June 4, 2024 - Episode 242: Babeile uncovers the truth behind Rathebe’s latest actions. Leeto's announcement shocks his employees, and Ntswaki’s ordeal haunts her family.
Wednesday, June 5, 2024 - Episode 243: Rathebe blocks Babeile from investigating further. Melita warns Eunice to stay clear of Mr. Kgomo.
Thursday, June 6, 2024 - Episode 244: Tbose surrenders to the police while an intruder meddles in his affairs. Rathebe's secret mission faces a setback.
Friday, June 7, 2024 - Episode 245: Rathebe’s antics reach Kganyago. Tbose dodges a bullet, but a nightmare looms. Mr. Kgomo accuses Melita of witchcraft.
Monday, June 10, 2024 - Episode 246: Ntswaki struggles on her first day back at school. Babeile is stunned by Rathebe’s romance with Bullet Mabuza.
Tuesday, June 11, 2024 - Episode 247: An unexpected turn halts Rathebe’s investigation. The press discovers Mr. Kgomo’s affair with a young employee.
Wednesday, June 12, 2024 - Episode 248: Rathebe chases a criminal, resorting to gunfire. Turf High is rife with tension and transfer threats.
Thursday, June 13, 2024 - Episode 249: Rathebe traps Kganyago. John warns Toby to stop harassing Ntswaki.
Friday, June 14, 2024 - Episode 250: Babeile is cleared to investigate Rathebe. Melita gains Mr. Kgomo’s trust, and Jacobeth devises a financial solution.
Monday, June 17, 2024 - Episode 251: Rathebe feels the pressure as Babeile closes in. Mr. Kgomo and Eunice clash. Jacobeth risks her safety in pursuit of Kganyago.
Tuesday, June 18, 2024 - Episode 252: Bullet Mabuza retaliates against Jacobeth. Pitsi inadvertently reveals his parents’ plans. Nkosi is shocked by Khwezi’s decision on LJ’s future.
Wednesday, June 19, 2024 - Episode 253: Jacobeth is ensnared in deceit. Evelyn is stressed over Toby’s case, and Letetswe reveals shocking academic results.
Thursday, June 20, 2024 - Episode 254: Elizabeth learns Jacobeth is in Mpumalanga. Kganyago's past is exposed, and Lehasa discovers his son is in KZN.
Friday, June 21, 2024 - Episode 255: Elizabeth confirms Jacobeth’s dubious activities in Mpumalanga. Rathebe lies about her relationship with Bullet, and Jacobeth faces theft accusations.
Monday, June 24, 2024 - Episode 256: Rathebe spies on Kganyago. Lehasa plans to retrieve his son from KZN, fearing what awaits.
Tuesday, June 25, 2024 - Episode 257: MaNtuli fears for Kwaito’s safety in Mpumalanga. Mr. Kgomo and Melita reconcile.
Wednesday, June 26, 2024 - Episode 258: Kganyago makes a bold escape. Elizabeth receives a shocking message from Kwaito. Mrs. Khoza defends her husband against scam accusations.
Thursday, June 27, 2024 - Episode 259: Babeile's skillful arrest changes the game. Tbose and Kwaito face a hostage crisis.
Friday, June 28, 2024 - Episode 260: Two women face the reality of being scammed. Turf is rocked by breaking
Panchayat Season 3 - Official Trailer.pdfSuleman Rana
The dearest series "Panchayat" is set to make a victorious return with its third season, and the fervor is discernible. The authority trailer, delivered on May 28, guarantees one more enamoring venture through the country heartland of India.
Jitendra Kumar keeps on sparkling as Abhishek Tripathi, the city-reared engineer who ends up functioning as the secretary of the Panchayat office in the curious town of Phulera. His nuanced depiction of a young fellow exploring the difficulties of country life while endeavoring to adjust to his new environmental factors has earned far and wide recognition.
Neena Gupta and Raghubir Yadav return as Manju Devi and Brij Bhushan Dubey, separately. Their dynamic science and immaculate acting rejuvenate the hardships of town administration. Gupta's depiction of the town Pradhan with an ever-evolving outlook, matched with Yadav's carefully prepared exhibition, adds profundity and credibility to the story.
New Difficulties and Experiences
The trailer indicates new difficulties anticipating the characters, as Abhishek keeps on wrestling with his part in the town and his yearnings for a superior future. The series has reliably offset humor with social editorial, and Season 3 looks ready to dig much more profound into the intricacies of rustic organization and self-awareness.
Watchers can hope to see a greater amount of the enchanting and particular residents who have become fan top picks. Their connections and the one of a kind cut of-life situations give a reviving and interesting portrayal of provincial India, featuring the two its appeal and its difficulties.
A Mix of Humor and Heart
One of the signs of "Panchayat" is its capacity to mix humor with sincere narrating. The trailer features minutes that guarantee to convey giggles, as well as scenes that pull at the heartstrings. This equilibrium has been a critical calculate the show's prosperity, resounding with crowds across different socioeconomics.
Creation Greatness
The creation quality remaining parts first rate, with the beautiful setting of Phulera town filling in as a scenery that upgrades the narrating. The meticulousness in portraying provincial life, joined with sharp composition and solid exhibitions, guarantees that "Panchayat" keeps on hanging out in the packed web series scene.
Expectation and Delivery
As the delivery date draws near, expectation for "Panchayat" Season 3 is at a record-breaking high. The authority trailer has previously created critical buzz, with fans enthusiastically anticipating the continuation of Abhishek Tripathi's excursion and the new undertakings that lie ahead in Phulera.
All in all, the authority trailer for "Panchayat" Season 3 recommends that watchers are in for another drawing in and engaging ride. Yet again with its charming characters, convincing story, and ideal mix of humor and show, the new season is set to enamor crowds. Write in your schedules and prepare to get back to the endearing universe of "Panchayat."
Maximizing Your Streaming Experience with XCIPTV- Tips for 2024.pdfXtreame HDTV
In today’s digital age, streaming services have become an integral part of our entertainment lives. Among the myriad of options available, XCIPTV stands out as a premier choice for those seeking seamless, high-quality streaming. This comprehensive guide will delve into the features, benefits, and user experience of XCIPTV, illustrating why it is a top contender in the IPTV industry.
Maximizing Your Streaming Experience with XCIPTV- Tips for 2024.pdf
Enensys -Content Repurposing for Mobile TV Networks
1. White Paper
Rev A. Nov 09.
Content Repurposing for Mobile TV Networks
Yannick LE DUC / Regis LE ROUX
ENENSYS Technologies
France
Abstract
Today a few content only exist for Mobile TV broadcast and there is a strong need in
adapting existing contents from different formats to fit in handsets' small screens. Present
conference highlights major technical challenges to provide the highest possible quality while
transcoding content from SD to Mobile TV video format. Different video coding formats will be
introduced according to the target Mobile TV networks, presenting as well the main
constraints brought by watching TV programs on a Mobile phone. Dedicated techniques and
algorithms have to be used to take the most out of the Mobile TV transcoding chain, and a
set of solutions to optimize transcoding processing for a smooth integration in a Mobile TV
system will be listed.
This paper is organized as follows:
1- The source: existing TV networks
2- The target: Mobile TV
3- The processing: How to repurpose?
1The source: existing TV networks
When we talk about repurposing, we first need to have a deep look at the source. Where
does the content come from? Mainly from satellite, from cable or from terrestrial networks.
TV programs on-air today are in digital format. Even on terrestrial networks, despite many
countries around the world currently operate terrestrial services in both analog and digital for
historical reasons, all the analog services will be switched off in the coming years, always
replaced by digital TV.
.1.1Digital TV
Digital TV has been introduced in late 1990s and progressively replaced previous TV
broadcast systems based on analog systems to transmit TV. Digital TV brings more
efficiency, more flexibility and also provides better quality for TV delivery.
Digital TV technologies provide ways to transmit and transport TV signal in a digital way. The
company consortium called the DVB project (DVB: Digital Video Broadcasting) defined and
published a set of open standards that where internationally accepted as the de-facto digital
TV standards. In this set of standards, all the aspects have been defined to ensure
interoperability of digital TV around the world. Some major elements of these standards are
based on works from MPEG (Moving Picture Experts Group), famous working group of
ENENSYS Technologies SA Tel: +33 1 70 72 51 70
Le Germanium Fax: +33 2 99 36 03 84
80, avenue des Buttes de Coesmes
35700 RENNES - FRANCE e-mail: contact@enensys.com
Sandpiper House, Aviary Court, Wade Road, Basingstoke, Hampshire, RG24 8GX, UK
T +44 (0) 1256 812 222 F +44 (0) 1256 812 666 E sales@sematron.com Making waves...
www.sematron.com
2. White Paper
Rev A. Nov 09.
ISO/IEC organizations.
Like DVB, ATSC (Advanced Television Systems Committee) published digital TV standards
used in the United States and some other countries.
.1.2Coding standards
Compression - or encoding - has always been a requirement to digitally transport video and
audio data.
MPEG especially developed video and audio encoding standards. For broadcast-quality
television, MPEG video compression has been used in all the existing digital television
systems. The first MPEG project defined in 1993 was MPEG-1 (ISO/IEC 11172) and was
mainly targeted for VideoCD compression. MPEG-2 (ISO/IEC 13818) standard, published in
1995, is capable of coding standard-definition television at bit rates from about 3-15 Mbit/s
and high-definition television at 15-30 Mbit/s. MPEG-2 also extends the stereo audio
capabilities of MPEG-1 to multi-channel surround sound coding.
In short, the goal of compression algorithms is simple: reduce bit rate to carry the video data
while preserving the quality. The bit rate reduction is obtained to take advantage of 2 kinds of
redundancy present in video signals:
- Temporal and spatial redundancy: Image pixels are not independent: pixels are correlated
with their neighbors both within the same frame (spatial redundancy) and across frames
(temporal redundancy) . To some extent values of neighboring (in time or in space) pixels
help to predict other pixel values.
- Psycho-visual redundancy: Thanks to human eyes that has limited sensitivity to some
details (object edges, ...), it is possible to introduce impairments (artifacts) in a compression/
decompression chain without troubling the quality perception of human eyes.
.1.3Video formats
Digital TV transition has first been forced to keep many of traditional analog TV constraints to
avoid replacing all the TV receivers when switching from analog to digital broadcast. For the
video format, the Standard Definition (SD) has been used when broadcasting at the same
resolution as analog systems. For the color encoding systems, it means that the two main
formats used worldwide in analog TV continued to exist in the digital world: NTSC and PAL.
This is a concern when we talk about repurposing the content because the two color systems
differ in vertical resolution and in temporal resolution. The vertical resolution is measured in
number of lines that composes the image. The temporal resolution is measure in frames per
seconds, or more exactly in fields per seconds. We will go through this fields/frames aspect
in a section later about interlacing video.
NTSC, used in North America, Central America, Japan and some other countries provides
images composed of 525 lines at about 30 frames per seconds (with 486 visible lines, the
rest being used for other information such as sync data and captioning). PAL, used in large
parts of the world (Europe, Asia, Africa, ...) provides images composed of 625 line at 25
frames per seconds (576 visible lines). So for comparison, PAL uses has a higher vertical
resolution, but a lower temporal resolution than NTSC. For the horizontal resolution, both
uses 720 columns in digital format.
More recently, digital TV has been extended to offer bigger resolutions than analog systems
ENENSYS Technologies SA Tel: +33 1 70 72 51 70
Le Germanium Fax: +33 2 99 36 03 84
80, avenue des Buttes de Coesmes
35700 RENNES - FRANCE e-mail: contact@enensys.com
Sandpiper House, Aviary Court, Wade Road, Basingstoke, Hampshire, RG24 8GX, UK
T +44 (0) 1256 812 222 F +44 (0) 1256 812 666 E sales@sematron.com Making waves...
www.sematron.com
3. White Paper
Rev A. Nov 09.
commonly referred as High Definition and is composed of multiple formats (720p, 1080i, ...)
.1.4Interlacing
Interlace is a method invented in the 1930s to improve the picture quality of a video signal by
removing some flickering artifacts on cathode ray tube screens. It consists of painting
alternatively half-resolution video image to take advantage of human eye persistence.
Instead of painting every single frames at about 25-30 frames per seconds (called
progressive scan), the images is refreshed at about 50-60 times per seconds but only half of
the image (bottom and even lines alternatively).
A1 A2 B1 B2
½ FRAME 1 (odd fields) ½ FRAME 2 (even fields)
FRAME 1 FRAME 2
Even if cathode ray tube are being replaced with progressive displays (computer screens,
LCD TV, ...) all over the world, current digital TV signals - in single definition - is still in
interlaced formats. It then required smart methods to "remove" the interlacing effects to
display the images efficiently on new displays.
2The target: Mobile TV
Mobile TV is our target. This is where we want to put our content. But what are the specific
requirements of Mobile TV? It is first important to notice that there are multiple existing
Mobile TV systems and there is not only one definition that could cover all the Mobile TV
requirements. We will concentrate our definition to what is really important for our concerns.
.2.1Size and resolution
If we think mobile, we first consider “moving around". So the receiver size to watch TV should
nearly be able to fit in a pocket. A 19-inches TV screen does not fit for our definition of mobile
TV! Most of the Mobile TV devices on the market are built with screens from approximately 2
to 5 inches. For mobile phones, a maximum of 3.5 inches is often observed. One of the
biggest challenge of the repurposing is to preserve a smooth user experience in about 3
inches for contents produced for tens
New standards that have been established for Mobile TV means new underlying
technologies for transporting and coding the contents. There is no or few mobile devices that
currently provide equivalent pixel resolution as a classic TV receiver. Please observe below a
simplified list of recently released mobile TV devices and handsets characteristics.
ENENSYS Technologies SA Tel: +33 1 70 72 51 70
Le Germanium Fax: +33 2 99 36 03 84
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Screen size Resolution
Device Technologies
(in inches) (width x height in pixels)
Samsung P930 DVB-H, UMTS 2.2 320x240 (QVGA)
SAGEM My750C DVB-H, GPRS 2.2 320x240 (QVGA)
ZTE / Onda N7100 DVB-H, UMTS 2.2 320x240 (QVGA)
Nokia N77 DVB-H, UMTS 2.4 320x240 (QVGA)
Sony Ericsson W960i DVB-H, UMTS 2.6 320x240 (QVGA)
LG U990 DVB-H, UMTS 3 400x240
Apple iPhone WIFI, EDGE 3.5 480x320
Quantum QTM1000 DVB-H 4.3 480x272
The goal is to repurpose TV to these resolutions while preserving the best user experience.
.2.2Coding standards
New mobile TV standards brought new compression technologies. MPEG formed with ITU-T
Video Coding Experts Group (VCEG) in December 2001 the Joint Video Team (JVT) with the
purpose to develop a new video coding standard that it is usually known as MPEG-4 AVC or
H.264. The main objective was to achieve at least the double of the coding compression, for
the same video quality, when compared to all the available video coding standards.
While the MPEG2 coding standard has been standardized mainly targeting the broadcasting
market with bit rate of around 4 Mbps for standard definition video, H.264 coding standard is
flexible and offers a number of compression tools in order to support a range of applications
with very low as well as very high bit rate requirements. It is now observed that H.264
standard gives equivalent video quality at up to 50% of MPEG2 bit rates.
For comparison, typical bit rates used in mobile TV deployment are from 200 to 400 kbps.
3The processing: How to repurpose?
So let's transform the content from the source – existing TV contents – to our target: mobile
TV.
.3.1Size and resolution
On one side, we have images with resolutions of 720x480 (NTSC) or 720x576 (PAL), or even
sometimes larger (for High Definition). On the other side, we have Mobile TV handsets with
SD (PAL)
720x576
HD QVGA
1920x1080 (1080i) 320x24
1280x720 (720p) 0
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320x240 (QVGA), 352x288 (CIF) or even smaller resolutions. We quickly notice that we will
need to rescale/resize the image to adapt to the new resolutions.
In image processing, tons of algorithms exist in this spatial resolution change domain. If you
ever use any image manipulation software to perform some modifications to your personal
pictures, you probably have already used one of this image scaling algorithm.
Several methods exist. Let's review three of them. The simplest method is called the "nearest
neighbor interpolation", where the algorithm simply selects the value of the nearest point.
This is a really fast algorithm but has really undesirable “stairway effects”. Another method to
consider is called "bilinear interpolation". This is far better than "nearest" methods but the
resulting image can still be jagged. A third method called "Bicubic interpolation" gives even
better and sharper images. It requires however more processing power than "bilinear
interpolation".
Which method should we use? It is always a trade-off of performance versus quality. If you
want to get the best quality for the target video, always prefer methods that gives similar
results as "bicubic interpolation".
.3.2Coding standards
As we reviewed in previous sections, we need to move from MPEG-2 to MPEG-4. But this is
of course far more complicated than just changing 1 letter.
MPEG-2 and MPEG-4 shares the same basic structure. More precisely MPEG-2 is a sub-set
of MPEG-4. MPEG-4 brings major compression efficiency improvements over MPEG-2 but at
the cost of a very higher encoding complexity. For many applications like real-time encoding,
MPEG-4 requires large amount of processing power and any ways to simplify and reduce the
encoding cost were studied. That was the first target of MPEG-2 to MPEG-4 transcoding:
MPEG-4 encoding with minimal complexity. First methods that have been experimented was
to only do the minimal changes in the MPEG-2 bitstreams to become valid MPEG-4
bitstreams. This requires to translate MPEG-2 coding tools into their MPEG-4 counterparts.
This has the border effect to limit MPEG-4 tools to what was allowed in MPEG-2 and to not
use any of the key improvements of MPEG-4 (better inter-picture prediction, new entropy
coding systems, in-loop deblocking filter, ...). We then had a MPEG-4 valid streams but
without the expected quality improvements.
In SD to Mobile repurposing, as we intend to not only change the video coding standard but
also to change the resolution and the bit rates, one pragmatic method is recommended: to
combine a full MPEG-2 decoder and a full MPEG-4 encoder chained together. By doing this,
more processing power is required but it allows to have an optimal MPEG-4 encoding for the
target bit rate and also allows to do some image processing between the video coding
standards.
.3.3Framing
Anyone who has tried to watch a sport event, such as a soccer game, originally shot in for
SD or HD television screen on a mobile screen can attest that the experience can be less
than desirable:
The ball can be invisible to track when the camera shows the complete game field,
Players are often impossible to recognize,
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Scores and other on-screen informations are difficult or impossible to read.
This will stay a big concern until broadcast studios put in place dedicated camera or
appropriate editing system targeted for mobile video.
The key solution to this problem is to isolate the best region of interest in every image and
zoom to this region. The system must also preserve a smooth video experience and avoid
too fast changing zooms over the time.
Thanks to some advanced image tracking solution, algorithms to identify regions of interest
in an image have been applied to video sequences and provided some ways to automatically
zoom to such region of interest. It is however unlikely that a complete automatic system will
exist in the future. Every nature of content (sport, news, movies, ...) would imply really
different mechanisms to isolate regions of interest and only human eyes and brain can really
say "this part of the image is important".
.3.4Temporal issues (Frames per second)
As mobile TV implies low bit rates, a trade-off is sometimes required between video
smoothness and picture quality. It means that reducing the number of frames per second of a
video at a given bit rate allows to allocate more bit rate for each frame. The result is that it
gives a better quality for every frames. The side effect is that the resulting video will be less
smooth.
Converting video from one given frame rate (25 or 30 fps – frames per second) to a lower
frame rate could be done in different ways.
The basic solution is to simply drop the right number of frame to match the target frame rate.
This solution is the simplest and best way if you transform to an exact fraction of the original
frame rate. For example, when converting from 25 to 12.5 fps, dropping 1 out of 2 frames will
give the appropriate results.
But if you convert to other values (from 25 to 20 for example), this solution will generate
some smoothness artifacts that can be undesirable. A more advanced solution for this
situation is to blend adjacent video frames, weighted by a blend factor proportional to the
frames' relative timing. This solution could however cause visible, although slight, blurring of
motion.
The best recommendation for this temporal issue problem is to keep the source frame rate
whenever possible or to always convert to a fraction of the source frame rate.
.3.5De-interlacing
As we analyzed in first section, most of existing digital TV contents are in traditional
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interlaced format. So when repurposing the content and transforming it, it is required to deal
with this aspect. As we will never see a mobile handset with cathode ray tube, all the mobile
TV standards are all in progressive video format (the opposite of interlaced).
Several methods (called de-interlacing) exist that recombine the 2 interlace fields into 1
frame. As the 2 fields have a slight time difference, it may result of “tearing” effects (alternate
lines displaced from each other). Over the years, multiple algorithms have been imagined to
avoid this effect. From the basic method that simply blends the 2 fields to advanced methods
using motion compensation systems to better align the 2 fields, you will find many literature
about de-interlacing methods everywhere.
We can do better: when rescaling SD images to resolutions with half or more of the original
height, the simplest and most efficient aspect is to simply use 1 out of 2 fields in the vertical
resolution. This method, sometimes called half-sizing, is perfect when we intend to rescale
the image to CIF of lower resolution in our problem.
.3.6Aspect ratios
As we noticed in previous sections, nearly all the mobile TV handsets are designed to display
resolutions with traditional 4/3 aspect ratio. However many SD contents and all the HD
contents are now prepared with widescreen aspect ratios like 16/9.
There is no magic trick to preserve wide screen aspect ratios on mobile TV: we have to use
the same good methods used to display 16/9 contents on 4/3 TV set : letterbox or pan and
scan method.
Letterbox is the simplest method: we simply adds black bars at the top and the bottom of the
picture. All the image is preserved but we can easily imagine that having 2 black borders on
a 2 to 3 inches LCD screen is a real waste of space.
The famous pan and scan method consist in intelligently panning and scanning horizontally
across the widescreen film to keep the action in the middle of the screen. This avoid wasting
some screen space but this results of 30% of the original image loss.
.3.7Small zone but big impacts
In most of TV images, some small area of images are very important for content producer
and may require particular attention when repurposing the images. It is very common to have
a TV channel logo in one corner of the image. Many programs include banners too or other
meta information like score tables or timers that are crucial in the broadcast program.
When images are prepared for mobile TV, we have seen that the image may be resized or
cropped to adapt to the mobile world. When logos or score tables need to be preserved,
some particular processing may be put in place.
A simple method is just to avoid removing these informations. We can always adjust the
cropping and framing algorithms to always keep such zone. So regions containing critical
informations just become image boundaries for image adjustment algorithms.
In addition to simply preserve small part of images, it is often very important to ensure that
logos or scores are transmitted with the best quality. For this purpose, it is possible too to use
new compression standards to ensure that small area of the images are partially
independently considered and encoded with a good and constant quality even if the global
image is getting lots of motion and so compression artifacts.
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Conclusion
We went through this document to all the major aspects to deal with when we intend to
repurpose existing digital TV contents to a mobile networks. From the video standards to the
audio mixing issues, we now have concrete solutions to provide the best user experience
when watching Mobile TV contents that have been repurposed from current TV networks.
About the authors
Regis Le Roux - President and Chief Executive Officer
He started his career at Wandel&Goltermann (today known as JDSU), as Product Manager
for the Digital Product range and introduced the first Acterna's Real-Time transport Stream
analyzer on the market. In 1999, Regis joined Thomson Broadcast Systems as System
Solutions Manager. He was then hired by TDF as Marketing & Sales Manager to study the
launch of new MPEG-2 monitoring methods. In addition to his INSA degree, Regis holds a
Master's of science in Telecommunications from the University of Strathclyde, in Glasgow,
Scotland, and a Masters of Business Engineering from the Ecole Nationale Supérieure des
Télécommunications (ENST) de Bretagne, France.
In 2004, he founded ENENSYS with two fellow experts and now manage a 65-people
business which offer ranges from Mobile TV and Digital Terrestrial TV infrastructure to Test &
Monitoring solutions, with high grade services and trainings.
Yannick Le Duc - Product manager – Digital Turn Around
He began working in Digital TV in 1999 at France Telecom R&D labs, then joined Envivio, a
France Telecom spin-off in 2000. Later on, he was Project Director in R&D in charge of the
encoder product line and notably of the Mobile TV product line. He joined ENENSYS
Technologies in 2007 and he is now in charge of the Enensys “Mobile TV
transcoder” (TransCaster) and the Digital Turn Around product line.
About ENENSYS Technologies SA
ENENSYS has years of experience in Digital TV transmission systems design and
manufacturing. Offer ranges from Mobile TV, Digital Terrestrial TV, IP Distribution to Test &
Monitoring solutions, with high grade services and trainings. Covered standards include
DVB-T, DVB-H, DTMB, MediaFLO, Digital Cable, 8-VSB...
With more than 200 customers on 50 countries, ENENSYS clients are Broadcast Operators,
Network Operators, Telcos, TV Channels, Chipset Vendors, Set Top Boxes Manufacturers,
Professional Equipment Manufacturers and System Integrators.
Headquartered in Rennes, France, in the heart of the European Digital Broadcast Cluster,
ENENSYS is publicly listed on Euronext Paris Stock Exchange (FR0010286252 – MLENS).
For more information, please visit www.enensys.com
ENENSYS Technologies SA Tel: +33 1 70 72 51 70
Le Germanium Fax: +33 2 99 36 03 84
80, avenue des Buttes de Coesmes
35700 RENNES - FRANCE e-mail: contact@enensys.com
Sandpiper House, Aviary Court, Wade Road, Basingstoke, Hampshire, RG24 8GX, UK
T +44 (0) 1256 812 222 F +44 (0) 1256 812 666 E sales@sematron.com Making waves...
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