DOCSLIB.ORG

Digital Video and Field Order 6/11/10 8:31 AM

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Digital Video and Field Order 6/11/10 8:31 AM Digital Video and Field Order 6/11/10 8:31 AM Copyright © 2002-2009 DVMP Miscellaneous Articles DVMP Pro Digital Video and Field Order Miscellaneous Links This article was written in 2002, so some of the details may be a little out of date. Contact There is a certain amount of confusion in the world of desktop video editing over “ Field Order”. Video newsgroups and bulletin boards attract a steady flow of queries about problems that people are experiencing with field order settings in their video projects. Much of this confusion is caused by conflicting terminology - “upper-field-first”, “ field order A”, “ field 1”, “odd field ” - and so on. Hardware and software manufacturers often give vague or $149 Only 4 Camera ambiguous advice on this subject, leaving many users with a feeling that they just don’t know what DVR is really going on, and why this should all be so complicated. Aowsome ! Call 1.888.688.9995 Now So I decided to get to the bottom of this. This involved going back to the standards for analogue High Quility video on which most digital video formats are derived and finding out how all of this confusion has &reasonable Price arisen, and the correct definitions for many of these contradictory terms. www.shoppingcctv.com/product The standards themselves make fairly dry reading, but there are some interesting details there Free Webex Remote which help to explain the roots of digital video. If we understand some of this then it all becomes a Support lot clearer. So, I’ve extracted some of these details and presented them in a series of simple Run diagnostics & diagrams which help to explain, for example, why certain resolutions are used and the concept of provide solutions in the notorious rectangular pixels used in the video world. real time - Try Free for 14 days The PAL television system runs at 25 frames a second. Each frame is comprised of 625 horizontal www.webex.com lines, and is made up of two interlaced fields separated in time by 1/50th of a second. If you number the lines from the top of the frame, the top line is 1 and the bottom line is 625. The first Cheap Video field contains the odd-numbered lines and the second field contains the even-numbered lines. But Surveillance you’ll probably know most of this already, so I’ll move on to the more interesting stuff. Lowest Prices, Widest Selection. Cameras, 4 Although in desktop video we are dealing with digital video, the roots of digital video are firmly and 8 Channel DVRs. planted in the original analogue video standards. Most readers in the UK will be interested in PAL www.gadspot.com which has 625 horizontal lines, but we will also be describing NTSC which has 525 lines. In fact it’s more accurate to refer to 625-line and 525-line systems rather than “PAL” and “NTSC”, so that is SAN for Pro Video what we will do in most of this article. We will start by describing the 625-line system because it Editing has fewer complications. Fibre Channel, 10Gb iSCSI and NAS – Up Analogue and Digital Active Areas to 64TB, 10 Users. TV/Film/Video OK, so let’s start with analogue video. “Interlaced” video is a continuous waveform comprising a www.StudioNetworkSolutions.com/Evo stream of fields which are “shot” at a rate of 50 fields per second. But each field only contains the Numara Remote alternate lines in the original picture. The first field “ field 1” contains the odd numbered lines Manager (assuming that you start counting from 1 rather than 0), and the second field “ field 2” contains Control Remote PC's. the even numbered lines 1/50th of a second later - we will refer to these fields as “F1” and “F2” for Silent Access. Secure. brevity. Encrypted. Easy to The analog waveform of a field carries a 'signature' that effectively identifies it as an F1 or F2 field Use. The signature occurs as a pattern of sync pulses that differs in F1 and F2 fields - this ensures www.NumaraSoftware.com that the lines of either field appear in the correct position on a television screen. When these two fields are interlaced you end up with all of the lines in the picture making a complete “Frame”. Zoom Q3 Video Each field has several lines which do not contain any picture information. These lines occur during Recorder the Vertical Blanking Interval (VBI) when the electron beam in the TV tube returns from the Record live bottom to the top of the screen. The VBI also covers several lines which carry data such as Closed performances with pro Captions and Teletext. quality audio and video. The lines which contain picture information comprise the “active” area of each field . The ITU-R www.discmakers.com/zoomQ3 BT.470-6 recommendation shows where the active picture area starts and ends in both fields . This is the analogue active area. Free Telepresence Systems ITU-R BT.601-5 and 656-4 describe a digital active area. This is used when the analogue video Enter to Win Two signal is converted to a digital format, and it does not exactly coincide with the analogue active file:///Volumes/GAMBIT/TO_ORG/Digital%20Video%20and%20Field%20Order.webarchive Page 1 of 12 Digital Video and Field Order 6/11/10 8:31 AM Polycom HD area. Conferencing Systems. $12K Value! The diagram below shows the analogue and digital active areas for a 625-line (PAL) system. www.Polycom.com/Telepresence CCTV Install & Repairs Commercial Cameras DVRs Monitors Call Today 800-397-5300 for a quote www.securityhunter.com Video Monitoring Systems Free Quotes - Multiple Dealers Find the Best Deal & Save! VideoMonitoring.BuyerZone.com Visit Solid Signal We Stock Digital Video Recorders Of Various Brands. Order Online! www.SolidSignal.com Video Monitoring Diagram 1 - 625-line Analogue and Digital Active Areas Systems Free Quotes - Multiple You can see how the two fields (F1 and F2) are interlaced together to make a frame. The frame- Dealers Find the Best based line numbers are shown on the left in black - these range from 1 to 625 from the top to the Deal & Save! bottom of a complete frame. VideoMonitoring.BuyerZone.com However, the ITU documents number the lines in temporal (i.e. chronological) order as they appear in the analogue waveform, so the lines of field 1 are numbered 1,2,3,4 and so on up to 313, and Visit Solid Signal the lines of the subsequent field 2 are numbered 314,315,316 up to 625. The numbers in brackets We Stock Digital show a different line numbering system used in some standards for field 2 which is 1 to 312. Video Recorders Of Various Brands. Order The solid lines show the analogue active area. Note that it starts and ends with a half-line. The Online! dotted lines show the Vertical Blanking Interval. www.SolidSignal.com The digital active area is shown between the two grey Digital Blanking areas. The digital active Download Video area starts with line 23 of field 1 and ends with line 623 of field 2 - that's 576 lines in total. The first half of line 23 and the second half of line 623 are part of the (analogue) VBI and do not Converter contain any picture data, but they are part of the digital active area all the same. AVI MPEG DVD WMV 3GP ASF FLV SWF RM Converting the analogue video waveform to digital involves sampling the analogue waveform at Fast And Easy Video regular intervals. ITU-R BT.601-5 states that both 525-line and 625-line systems are sampled at Converter the same rate of 13.5 MHz - that’s 13.5 million samples per second. This common sampling rate is www.avs4you.com/AVS-Video-Converterpartly to keep equipment costs down. Video Capture Now, interlaced PAL has 25 frames per second, each with 625 lines. So the number of samples on Software a single line must be: Capture, Edit, & Share Video Clips. 13500000 / 25 / 625 = 864 samples per line Download For Free Today! And for NTSC which has 29.97 frames per sec, each with 525 lines: www.JingProject.com 13500000 / 29.97 / 525 = 858 samples per line Roku® (Official Site) However, each line in the analogue video signal contains an area of horizontal blanking before and Roku Digital Player for after the picture data which is used to keep the TV display synchronised. And we have already Only $99! Watch explained that each field contains several complete lines of blanking (the VBI) before and after the 1000's of Movies on picture data. The sampling process is a continuous one which covers the whole video waveform Your TV. including the horizontal and vertical blanking regions, not just the actual picture area. So we can www.Roku.com represent a complete frame (of two interlaced fields ) as an area of samples 625 lines in height by 864 samples in width, and within this is the window which contains the actual picture - the digital active area. Cheap Video file:///Volumes/GAMBIT/TO_ORG/Digital%20Video%20and%20Field%20Order.webarchive Page 2 of 12 Digital Video and Field Order 6/11/10 8:31 AM Cheap Video The process of digitally capturing the analogue signal involves storing only the samples which Surveillance contain picture data - the samples from the horizontal and vertical blanking regions are usually Lowest Prices, Widest ignored. Selection. Cameras, 4 and 8 Channel DVRs. www.gadspot.com Video Capture Software Capture, Edit, & Share Video Clips.
Load more

Recommended publications
  • Adobe Premiere Elements 13
    ADOBE® PREMIERE® ELEMENTS HELP Legal notices Legal notices For legal notices, see http://help.adobe.com/en_US/legalnotices/index.html. Last updated 9/23/2014 iii Contents Chapter 1: What's new What's new in Adobe Premiere Elements 13 . .1 What's new in Elements Organizer 13 . .6 Chapter 2: Workspace Workspace . .9 Chapter 3: Creating a video project Create a video story . 14 Creating a project . 19 Saving and backing up projects . 21 Project settings and presets . 22 Viewing a project’s files . 25 Undoing changes . 27 Working with scratch disks . 27 Creating instant movies . 29 Previewing movies . 31 Viewing clip properties . 36 Chapter 4: Importing and adding media Supported devices and file formats . 39 Guidelines for adding files . 40 Adding media into Adobe Premiere Elements . 43 Creating specialty clips . 48 5.1 audio import . 49 Add numbered image files as a single clip . 50 Set duration for imported still images . 50 Working with aspect ratios and field options . 51 Set duration for imported still images . 54 Add numbered image files as a single clip . 55 Sharing files between Adobe Premiere Elements and Adobe Photoshop Elements . 55 Working with offline files . 56 Chapter 5: Arranging movie clips Arranging clips in the Quick view timeline . 58 Arranging clips in the Expert view timeline . 60 Creating a picture-in-picture overlay . 67 Grouping, linking, and disabling clips . 68 Working with clip and timeline markers . 70 Chapter 6: Editing clips Stabilize video footage with Shake Stabilizer . 74 Trimming clips . 77 Split clips . 84 Last updated 9/23/2014 ADOBE PREMIERE ELEMENTS iv Contents Replace footage .
    [Show full text]
  • A Method of Identifying Inconsistent Field Dominance Metadata in a Sequence of Video Frames
    (19) & (11) EP 2 109 312 A1 (12) EUROPEAN PATENT APPLICATION (43) Date of publication: (51) Int Cl.: 14.10.2009 Bulletin 2009/42 H04N 5/44 (2006.01) (21) Application number: 08251412.6 (22) Date of filing: 11.04.2008 (84) Designated Contracting States: (72) Inventors: AT BE BG CH CY CZ DE DK EE ES FI FR GB GR • Barton, Oliver James HR HU IE IS IT LI LT LU LV MC MT NL NO PL PT Newport NP20 3PX (GB) RO SE SI SK TR • Elangovan, Premkumar Designated Extension States: Bristol BS1 6PL (GB) AL BA MK RS (74) Representative: Wardle, Callum Tarn et al (71) Applicant: Tektronix International Sales GmbH Withers & Rogers LLP 8212 Neuhausen am Rheinfall Goldings House Schaffhausen (CH) 2 Hays Lane London SE1 2HW (GB) (54) A method of identifying inconsistent field dominance metadata in a sequence of video frames (57) Embodiments of the present invention provide der over a predefined number of most recently analysed a method of identifying inconsistent field order flags for frames; and determining those frames for which the av- a sequence of video frames comprising: for each frame eraged field order does not match the field order identified in the sequence of video frames analysing the frame to by a respective field order metadata item associated with make an initial determination of the field order for that each frame by comparing the averaged field order for frame; averaging the initial determination of the field or- each frame to the respective field order metadata item. EP 2 109 312 A1 Printed by Jouve, 75001 PARIS (FR) EP 2 109 312 A1 Description [0001] Video frames can be classified as either progressive or interlaced, depending upon the method used to display them.
    [Show full text]
  • Final Cut Pro HD
    HighNoonNFHome.qxp 3/4/04 3:44 PM Page 1 New Features in Final Cut Pro HD UP01022.Book Page 2 Tuesday, March 23, 2004 7:32 PM Apple Computer, Inc. © 2004 Apple Computer, Inc. All rights reserved. Under the copyright laws, this manual may not be copied, in whole or in part, without the written consent of Apple. Your rights to the software are governed by the accompanying software license agreement. The Apple logo is a trademark of Apple Computer, Inc., registered in the U.S. and other countries. Use of the “keyboard” Apple logo (Option-Shift-K) for commercial purposes without the prior written consent of Apple may constitute trademark infringement and unfair competition in violation of federal and state laws. Every effort has been made to ensure that the information in this manual is accurate. Apple Computer, Inc. is not responsible for printing or clerical errors. Apple Computer, Inc. 1 Infinite Loop Cupertino, CA 95014-2084 408-996-1010 www.apple.com Apple, the Apple logo, DVD Studio Pro, Final Cut, Final Cut Pro, FireWire, Mac, Mac OS, Macintosh, PowerBook, Power Mac, and QuickTime are trademarks of Apple Computer, Inc., registered in the U.S. and other countries. Cinema Tools, Finder, OfflineRT, LiveType, and Sound Manager are trademarks of Apple Computer, Inc. Digital imagery® copyright 2001 PhotoDisc, Inc. AppleCare is a service mark of Apple Computer, Inc. Other company and product names mentioned herein are trademarks of their respective companies. Mention of third-party products is for informational purposes only and constitutes neither an endorsement nor a recommendation.
    [Show full text]
  • Technical Specifications
    Technical Specifications Scope The standards defined in this document apply to all high definition programs, program blocks, commercials, and other high definition television content provided to the English and French networks of Accessible Media Inc. for broadcast. General HD Technical Specifications for Media Delivery Image Format The resolution shall be 1920 x 1080 pixels and compliant with the SMPTE ST 274-2008 standard. The sampling structure shall be 4:2:2 with 10-bit quantizing. These specifications should be preserved as much as possible throughout the complete production process. Frame Rate The Video frame rate shall be 29.97 frames per second, 2:1 interlaced (59.94 fields per second) noted as 29.97i. Any show or program originally shot at another frame rate, such as 23.98p, 25p or 25i shall be made available to Accessible Media Inc converted to 29.97i. Field Dominance The HD interlaced video shall have a field 1 dominance (upper field first). This means that the first field captured, stamped or output is a Field 1. Cuts in material must happen on frame boundaries (i.e. between field 2 and field 1). 3:2 Pulldown (aka 2:3 pulldown) Used to convert from film frame rate (25fps) to NTSC TV frame rate; in AMI’s case - 29.97fps). Active Format Description (AFD) Programs have a mix of full frame 16:9 and up-converted 4:3 aspect ratio materials. These programs are distributed through a TV channel to viewers equipped with 4:3 or 16:9 aspect ratio receivers. To ensure an optimum display of each picture on a given TV receiver, AFD information is inserted by the broadcaster and carried with each program to the TV receiver that will automatically choose the right display format for each material.
    [Show full text]
  • Interlace, Interleave, En Field Dominance
    KASK 2BA - technologie interlaced - progressive 1 of 4 Interlace, Interleave, en Field Dominance Videomonitoren en televisies zijn “raster-based display systems”: elk beeld (frame) wordt lijn per lijn om het scherm gezet (625 lijnen in pal en secam, 525 in NTSC). Progressive vs. Interlaced Progressive scanning is makkelijk. Elk frame wordt volledig opgenomen/weergegeven. Dit is het geval in elke film-camera (waar zelfs geen lijnen aan te pas komen), en in videocamera’s die opnemen in progressive scan. De frame rate duidt het aantal frames per seconde aan (24/25/30). Hierboven 3 elkaar opvolgend frames (progressive scan) Diezelfde drie frames weggeschreven als interlaced video geeft het volgende resultaat (we gaan voor de rest van de uitleg uit van een PAL-video signaal, dus 25fr/sec). In plaats van uit volledige frames bestaat het signaal uit fields, waarbij een field op 1/50 sec (de helft van 1/25 sec) de helft van het beeld op de helft van het totaal aantal beschikbare lijnen wegschrijft, en de volgende 1/50 sec (nogmaals de helft van 1/25 sec) de ander helft van het beeld op de andere helft van het totaal aantal lijnen wegschrijft. Op 2 x 1/50 sec ofwel 1/25 sec is het volledige beeld opgenomen/weggeschreven. De en helft van de lijnen noemen we upper fields, de andere helft lower fields. Het zou duidelijk moeten zijn dat de optelsom van twee fields niet hetzelfde is als één frame progressive scan. Een beetje vereenvoudigd kan je stellen dat bij progressive scan elk frame een foto is van 1/25 seconde, terwijl interlaced video twee foto’s door mekaar mengt die met een tussentijd van 1/50 sec na mekaar zijn opgenomen.
    [Show full text]
  • IDENTIFYING TOP/BOTTOM FIELD in INTERLACED VIDEO Raja Subramanian and Sanjeev Retna Mistral Solutions Pvt Ltd., India
    IDENTIFYING TOP/BOTTOM FIELD IN INTERLACED VIDEO Raja Subramanian and Sanjeev Retna Mistral Solutions Pvt Ltd., India BOB + Use the Same as the Close to the Weaving previous top or source source. Lesser ABSTRACT bottom field artifacts than all This paper elaborates an approach that can be adopted to data to the above determine top/bottom fields in an interlaced video. Knowing construct the the top and bottom field is important if the video is de- frame at interlaced using Field Combination, Weaving + Bob, Discard doubled FPS and other algorithms based on motion detection. Determining the field information helps to re-construct the frame with lesser artifacts. This approach can be used if the The captured frame shown below depicts the stair-case top/bottom field information is not provided by video artifacts of discard algorithm. decoder chip. INTRODUCTION Interlaced video has been in use for more than 50 years. When dealing with interlaced video, de-interlacing algorithms are essential to remove any interlacing artifacts. There are many de-interlacing algorithms available for NTSC/PAL interlaced video. For low-end systems (system with less processing capability), following approaches can be considered:- Figure 1: Discard If the field order is unknown (or not provided by the video Algorithm Description Quality decoder chip) then Discard or Bob algorithm is the efficient Stationary Moving method to de-interlace. Weaving / Combine the Same as the Artifacts due to Field top and bottom source time delay Combine field to form a between top and single frame bottom field Discard Discard the top Stair case Stair case or bottom field, artifacts due to artifacts due to resize (double resize/line copy.
    [Show full text]
  • Adobe Premiere Elements Help and Tutorials
    ADOBE® PREMIERE® ELEMENTS Help and tutorials Getting Started tutorials Getting started tutorials Knowing your devices You can take photos or videos with a variety of devices and bring them into Elements. Here are some guidelines that are good to follow: Read the documentation that came with your device. Switch on the camera. Follow any instructions that appear on the computer to install drivers and other software. If your camera or computer is not responding, try using a card reader instead. Installing Premiere Elements How do I install Premiere Elements? How do I convert a trial version into a full version? Organizing videos I have imported thousands of videos. How can I organize them? Is there a way I can mark or tag people in videos? How can I add information about places in my videos? In videos of birthdays and other events, can I add event information? Importing videos How do I import videos from Elements Organizer? What methods are available to import videos? How do I import from DVDs, camcorders, phones, and removable drives? How do I import photos from my digital camera or mobile phone? How do I add files from my hard drive? How do I capture live video from camcorders and webcams? Editing videos How do I trim clips to remove unwanted sections from the footage? How do I split video clips? How do I add special effects to my videos? How to I apply transitions between video clips? Creating titles How do I create titles? How do I apply styles to title text and graphics? Saving and Sharing What are the various ways to share my movies? How do I publish my movies to a DVD? How do I share my movies on YouTube? Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
    [Show full text]
  • SD > HD Conversion
    App Note SD / HD CONVERSION UP-CONVERTING SD TO HD DOWN-CONVERTING HD TO SD CROSS-CONVERTING HD FORMATS SELECTED SD CONVERSIONS This App Note Synopsis ............................................................2 applies to versions FlipFactory Conversion Filters ........................3 6.1 & later Processing SD Input with In-Band VBI............5 Up-converting SD to HD ...................................5 V 4:3 SD > 16:9 Full-Resolution HD Conversion........6 4:3 SD > 16:9 Full-screen HD Conversion...............9 Anamorphic SD > HD Up-Conversion ...................12 Non-Linear Resizing................................................13 Down-converting HD to SD ............................14 16:9 HD > 4:3 Full-screen SD Conversion.............14 16:9 HD > 4:3 SD Letterbox Conversion ...............17 Anamorphic HD > SD Down-conversion...............19 Cross-converting HD Formats .......................20 720 HD > 1080 HD Up-conversion..........................21 1080 HD > 720 HD Down-conversion.....................22 Cross-converting SD Formats .......................23 Letterbox SD > 4:3 Anamorphic SD Conversion for HD Television Playout.................................23 Letterbox SD > Full-screen SD Conversion..........26 SD > Anamorphic SD Conversion .........................29 HD Profile Formats..........................................31 © 2013Telestream, Inc. Part No. 98954 Synopsis With the introduction of HD television, the number of video standards with widely varying image sizes, aspect ratios, and frame rates, continues to expand. The core requirement to easily convert media between SD and HD formats as an integral part of production workflows is exemplified by the growing popularity of 1080 and 720 HD formats. FlipFactory Pro SD | HD Edition provides HD encoders and profiles which enable you to up- convert SD 4:3 to HD 16:9 in various ways and cross-convert between HD formats. FlipFactory also supports transcoding video from or to anamorphic SD formats.
    [Show full text]
  • Compressor 3.5 Encoding and Delivery
    Compressor 3.5 Encoding and Delivery Copyright © 2010. Used with permission of Pearson Education, Inc. and Peachpit Press. Compressor Working with Frame Controls NOTE This tutorial is excerpted from Apple Pro Training Series: Compressor 3.5 Quick Reference Guide, by Brian Gary, 0-321- 64743-2. For more information or to buy the book, go to www.peachpit.com/apts. Frame controls let you augment the encoding process by implement- ing advanced technology when converting from one video format to another. Frame controls function as separate tasks during encoding, apart from the target’s codec. 2 Copyright © 2010. Used with permission of Pearson Education, Inc. and Peachpit Press. Encoding and Delivery 3 Using Frame Controls Frame controls employ optical flow technology (also used in Apple’s Shake and Motion), which calculates motion tracking for every pixel vector as it goes from one movie frame to the next. When that calcula- tion is completed for a given frame rate and frame size, Compressor can more intelligently place those pixels in different frame rates and sizes during a conversion. Compared to inferior conversion techniques like blending and scaling, optical flow produces amazing results, but the massive increases in quality come at the expense of longer encoding times. Frame controls are most useful when converting from one video for- mat (standard) to another requires a conversion of frame size and/ or rate, such as converting NTSC footage (720 x 480 at 29.97fps) to PAL (720 x 546 at 25fps). Additionally, frame controls can greatly improve conversions between interlaced and progressive video and also remove film to video pulldown, known as “reverse telecine.” You can achieve broadcast-level transcoding in Compressor but as a gen- eral rule when working with frame controls, or downconverting High Definition video to Standard Definition, you have to choose between higher quality and faster encoding.
    [Show full text]
  • Bonsailan Manual
    Instruction Manual Rosendahl bonsaiLAN bonsaiLAN is a Gigabit Ethernet Module for the Rosendahl bonsaiDRIVE video and audio multitrack harddisk recorder. www.bonsaidrive.com - 0 - - 1 - Contents Declaration of Conformity 1. Ethernet page 4 2. IP Address page 6 Rosendahl Studiotechnik GmbH Andechser Str. 5 3. FTP page 9 D-86919 Utting a.A. herewith confirms that the product: 4. Quick Time page 12 Type: Harddisk Video Recorder Model: bonsaiDRIVE 4. Menu Settings page 14 meets the requirements of the council of the European communities relating to electromagnetic compatibility (Council Directive 89/336/EEC) Technical Data: CENELEC EN 55 103-1 + 2 1997-06 CENELEC EN 61000-4 - 5 12/2001 The CE symbol is awarded to high-quality appliances which comply with the European Directive 89/336/EEC or the EMVG (law relating to electromagnetic compatibility of appliances) and which offer the following significant benefits: *Simultaneous and interference-free operation of adjoining appliances *No unpermitted interference signals *High resistance to electro-smog This marking shown on the product or its literature indicates that it should not be disposed with other household wastes at the end of its working life. To prevent possible harm to the environment or human health from uncontrolled waste disposal, please separate this from other types of wastes and recycle it responsibly to promote the sustainable reuse of material resources. Household users should contact either the retailer where they purchased this product or their local government office for details of where and how they can take this item for environmentally safe recycling. Business users should contact their supplier and check the terms and conditions of the purchase contract.
    [Show full text]
  • Final Cut Pro User Manual
    Video Signals and Connectors When you capture and output, the type of video signal you use to connect your equipment is a critical factor that goes into determining the quality of your video. Video camcorders, decks, and monitors can use different types of signals, depending on the environment they are intended for. Consumer equipment usually has limited video signal choices; professional equipment gives you the greatest range of options. For more information, see Volume IV, Appendix A, “Video Formats.” Composite Composite is the lowest common denominator of video signals. A composite signal runs all color and brightness information on a single cable, resulting in lower-quality video compared to the quality of other formats. Nearly all video devices have a composite input and output. This format uses a single RCA or BNC connector. In professional editing environments, composite video signals are most commonly used for troubleshooting, for menu outputs, and for low-quality preview monitoring. For consumer and home use, composite signals are often used to connect VCRs or DVD players to televisions. RCA connector BNC connector S-Video S-Video, also known as Y/C, is a higher-quality video signal used by high-end consumer video equipment. The image looks sharper and has better color than a composite video image because S-Video keeps the color and brightness information separate on two cables. Most low-cost analog-to-digital video interfaces have S-Video as their highest-quality video connector. Use care when working with S-video connectors; the four delicate pins can be bent easily. S-Video connector 178 Part III Setting Up Your Editing System III Component YUV and Component RGB Professional video equipment, such as Betacam SP decks, has component YUV (Y’CBCR) video inputs and outputs.
    [Show full text]
  • Novel Source Coding Methods for Optimising Real Time Video Codecs
    NOVEL SOURCE CODING METHODS FOR OPTIMISING REAL TIME VIDEO CODECS A Thesis submitted for the degree of Doctor of Philosophy By Premkumar Elangovan Department of Computing and Advanced Technologies, Faculty of Enterprise and Innovation, Buckinghamshire New University Brunel University, West London July, 2009 ii Abstract The quality of the decoded video is affected by errors occurring in the various layers of the protocol stack. In this thesis, disjoint errors occurring in different layers of the protocol stack are investigated with the primary objective of demonstrating the flexibility of the source coding layer. In the first part of the thesis, the errors occurring in the editing layer, due to the coexistence of different video standards in the broadcast market, are addressed. The problems investigated are ‘Field Reversal’ and ‘Mixed Pulldown’. Field Reversal is caused when the interlaced video fields are not shown in the same order as they were captured. This results in a shaky video display, as the fields are not displayed in chronological order. Additionally, Mixed Pulldown occurs when the video frame-rate is up-sampled and down-sampled, when digitised film material is being standardised to suit standard televisions. Novel image processing algorithms are proposed to solve these problems from the source coding layer. In the second part of the thesis, the errors occurring in the transmission layer due to data corruption are addressed. The usage of block level source error-resilient methods over bit level channel coding methods are investigated and improvements are suggested. The secondary objective of the thesis is to optimise the proposed algorithm’s architecture for real-time implementation, since the problems are of a commercial nature.
    [Show full text]