Tektronix® SPG8000A Master Sync/Master Clock Reference Generator
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Specific Signals to Ensure Optimum CAY
.4 versions of the 1515 are available .Specific signals to ensure optimum to suit specific needs. Each version CAY performance. Custom signals supports composite and GBR formats also available. plus the following component analog .Optional component digital (D1- formats: 4:2:2) signals to meet SMPTE Version M ...M-IITM RP125-l987 standards. Version S SMPTE Parallel .Optional composite digital (D2) Version SP ...Betacam TMand outputs of all available NTSC test Betacam SpTM signals. Version U Universal: BetacamTM .Optional composite digital (D2) to + M-IITM + SMPTE analog (NTSC) converter module. + S- VHS + formats .Digital signal storage for greater .Sized for side-by-side rack mount- precision and reliable replication. ing with a waveform monitor/ .Modular design allows easy testing vectorscope. and maintenance. .Full genlock with remote control- .l2-character source ID. .Black burst option to provide full RS-170A sync generator capability. .Dual Timing Pulses and Timing Bow tie test signals to guarantee precise interchannel timing and amplitude measurements in CAV. Providing both Component Analog timing can be adjusted from 45 micro- -COMPONENT Video and Composite NTSC test sig- seconds of advance to 15 microseconds nals, the Magni 1515fills a vital niche of delay, and overlaid on the test signal DIGITAL OUTPUT in today's studio or post-production for viewing on a picture monitor and This option (Option -04) provides 4:2:2 environment by allowing the perform- setting. component digital signals to SMPTE RP125-1987 standards. 75% Color Bars ance of equipment in either format to The reference input is switch-selectable, are available at the output connector be measured without costly duplication loop-through or 75 Ohm internally ter- with any signal selection from the of test instrumentation. -
SC/H and Color-Framing (Orig
The Final Word on SC/H and Color-framing (Orig. 2/1990 Rev. 7 1/2000 © Eric Wenocur) Anyone editing with 1” Type-C VTRs and today’s complex interformat systems has experienced the unwanted appearance of a horizontal shift in the picture, and the ensuing search for the cause. While the terms “SC/H phase” and “color-framing” are used regularly, they continue to be sources of confusion and misunderstanding to users of VTRs and editing equipment. Although at times we are tempted to attribute problems to the “gremlins” that we know live in our facilities, there really are answers to most color-framing issues! This article is intended to help explain and de-mystify the principles of color-framing in the hope that solutions become more obvious. It will cover a small amount of SC/H phase technical theory, and then explore TBC operation, 1” VTR color-framing and editing, Betacam and MII operation, framestores, and setting up an SC/H timed system. Emphasis has been placed on both the theory and its practical ramifications. SC/H BACKGROUND BASICS The term SC/H phase, short for “subcarrier-to-horizontal” phase, describes a phase (time) relationship between colorburst and horizontal sync in a composite video signal. Because of the relationship between the frequencies of horizontal rate, subcarrier, and number of lines per frame, the phase of colorburst changes 90 degrees every field, while the phase of picture subcarrier (chroma) changes 180 degrees every two fields. Consequently, every two fields the chroma and burst are in phase, but 180 degrees reversed from the previous frame. -
Naba Dpp Hd (Mpeg-2)
TECHNICAL SPECIFICATIONS FOR DELIVERY OF “MPEG-2 Air Ready” TELEVISION PROGRAMS TO Insert Broadcaster Name and Logo This document is a guide to the technical standards for delivery of MPEG-2 based Air Ready Masters as agreed by the North American Broadcasters Association and the Digital Production Partnership for use in Canada and the United States. The document includes: NABA-DPP Common Technical Specifications: • Technical parameters which must be used and that all material must meet to be acceptable by the NABA broadcasters. • Metadata Specifications. Broadcaster Specific Instructions and Requirements: • Mandatory broadcaster Delivery Requirements, which details the broadcaster Specific instructions for the de livery of program material. • Broadcaster Production and Post Production requirements, which form part of the binding contract for the delivery of program material. This section includes individual broadcaster requirements for Program Production and Post Production and guidance on the expected perceptual picture and sound quality. Picture and Sound quality assessment is subjective and therefore highly dependent on the nature of the program. Some quality requirements may be expressed in relative terms (“reasonable”, “not excessive” etc.), and it will be necessary to make a judgment as to whether the quality expectations of the program’s intended audience will be fulfilled and whether the broadcaster will feel that value for money has been achieved. Every program submitted for transmission must satisfy both an Objective Technical Quality Control process and a Subjective Picture and Sound Quality Assessment as specified by [BROADCASTER’S NAME]. Any program failing to meet these requirements may be rejected. Note: Unless specifically stated, quoted standards documents shall refer to the published version in force at the time of reading (e.g. -
Vcube User Manual
Table of Contents Table of Contents Welcome 1 What's New in VCube 2? 2 VCube Overview 5 How to Update 6 VCube User Interface 7 Tool and Transport Bars 11 Tool Bar 12 Transport Bar 16 Quick Settings for SD and HD Video Formats 19 Quick Settings for SD 21 Quick Settings for HD 23 Control Pages 25 Files 26 VCube Compositions 29 OMF Compositions 32 AAF and Apple XML Compositions 34 Media Files 36 Import Composition and Export Changes 38 Import Layer 39 Convert Still Images 40 Locators 42 View 44 Clips Information 45 Shortcuts 49 Workspace 50 ii Table of Contents Edit 52 Main 53 Clips 54 Layers 56 Tracks 58 Settings 59 Presets 60 Formats & Synchro 62 Video I/O 67 Xena LS Plug-in 68 Xena LH Plug-in 70 Xena 2 Plug-in 72 Overlay 74 Preview 76 Composition 78 Disk & Network Cache Buffers 81 User Interface 82 Isis 83 Encryption 84 Media Settings 90 Timeline 91 Video Engine 92 Output View 93 Script View 95 Recording and Editing 96 Recording 97 Editing 103 Timeline 104 Editing Functions 106 Layer Controls 110 iii Table of Contents Motion Rectangles (PiP) 111 Selections and Groups 114 Watermark and Text 115 Watermark 116 Text Clip 117 Utility Clips 119 Countdown Clip 120 Wipe Clip 122 Video Test Patern Clip 123 Audio Tone Clip 124 Conforming and Reconforming 125 Conversions 134 Export 135 Convert Media Files 136 Render 140 Import Images Sequence 144 Media Wrapper 146 Frame Rate Management 147 Using the QuickTime File Format 148 Using the MXF File Format 150 Using the MPEG Codec 151 Basic Settings 153 Video Settings 154 Advanced Video Settings 157 Audio Settings 164 Multiplexer Settings 167 Synchronization 171 Connections for synchronization 174 iv Table of Contents The USB Sync Board Oprtion 175 USB Sync Board Installation 176 Specific Control Panels 177 Virtual Transport 180 Network 183 VCube Chasing Pyramix through Virtual Transport. -
Glossary of Digital Video Terms
Glossary of Digital Video Terms 24P: 24 frame per second, progressive scan. This has been the frame rate of motion picture film since talkies arrived. It is also one of the rates allowed for transmission in the DVB and ATSC television standards – so they can handle film without needing any frame-rate change (3:2 pull-down for 60 fields-per-second systems or running film at 25fps for 50 Hz systems). It is now accepted as a part of television production formats – usually associated with high definition 1080 lines, progressive scan. A major attraction is a relatively easy path from this to all major television formats as well as offering direct electronic support for motion picture film and D-cinema. 24Psf: 24 frame per second, progressive segmented frame. A 24P system in which each frame is segmented – recorded as odd lines followed by even lines. Unlike normal television, the odd and even lines are from the same snapshot in time – exactly as film is shown today on 625/50 TV systems. This way the signal is more compatible (than normal progressive) for use with video systems, e.g. VTRs, SDTI or HD-SDI connections, mixers/switchers etc., which may also handle interlaced scans. It can also easily be viewed without the need to process the pictures to reduce 24-frame flicker. 3:2 pull-down: Method used to map the 24 fps of film onto the 30 fps (60 fields) of 525-line TV, so that one film frame occupies three TV fields, the next two, etc. It means the two fields of every other TV frame come from different film frames making operations such as rotoscoping impossible, and requiring care in editing. -
Avid Media Composer and Film Composer Input and Output Guide • Part 0130-04531-01 Rev
Avid® Media Composer® and Film Composer® Input and Output Guide a tools for storytellers® © 2000 Avid Technology, Inc. All rights reserved. Avid Media Composer and Film Composer Input and Output Guide • Part 0130-04531-01 Rev. A • August 2000 2 Contents Chapter 1 Planning a Project Working with Multiple Formats . 16 About 24p Media . 17 About 25p Media . 18 Types of Projects. 19 Planning a Video Project. 20 Planning a 24p or 25p Project. 23 NTSC and PAL Image Sizes . 23 24-fps Film Source, SDTV Transfer, Multiformat Output . 24 24-fps Film or HD Video Source, SDTV Downconversion, Multiformat Output . 27 25-fps Film or HD Video Source, SDTV Downconversion, Multiformat Output . 30 Alternative Audio Paths . 33 Audio Transfer Options for 24p PAL Projects . 38 Film Project Considerations. 39 Film Shoot Specifications . 39 Viewing Dailies . 40 Chapter 2 Film-to-Tape Transfer Methods About the Transfer Process. 45 Transferring 24-fps Film to NTSC Video. 45 Stage 1: Transferring Film to Video . 46 Frames Versus Fields. 46 3 Part 1: Using a 2:3 Pulldown to Translate 24-fps Film to 30-fps Video . 46 Part 2: Slowing the Film Speed to 23.976 fps . 48 Maintaining Synchronized Sound . 49 Stage 2: Digitizing at 24 fps. 50 Transferring 24-fps Film to PAL Video. 51 PAL Method 1. 52 Stage 1: Transferring Sound and Picture to Videotape. 52 Stage 2: Digitizing at 24 fps . 52 PAL Method 2. 53 Stage 1: Transferring Picture to Videotape . 53 Stage 2: Digitizing at 24 fps . 54 How the Avid System Stores and Displays 24p and 25p Media . -
User Requirements for Video Monitors in Television Production
TECH 3320 USER REQUIREMENTS FOR VIDEO MONITORS IN TELEVISION PRODUCTION VERSION 4.1 Geneva September 2019 This page and several other pages in the document are intentionally left blank. This document is paginated for two sided printing Tech 3320 v4.1 User requirements for Video Monitors in Television Production Conformance Notation This document contains both normative text and informative text. All text is normative except for that in the Introduction, any § explicitly labeled as ‘Informative’ or individual paragraphs which start with ‘Note:’. Normative text describes indispensable or mandatory elements. It contains the conformance keywords ‘shall’, ‘should’ or ‘may’, defined as follows: ‘Shall’ and ‘shall not’: Indicate requirements to be followed strictly and from which no deviation is permitted in order to conform to the document. ‘Should’ and ‘should not’: Indicate that, among several possibilities, one is recommended as particularly suitable, without mentioning or excluding others. OR indicate that a certain course of action is preferred but not necessarily required. OR indicate that (in the negative form) a certain possibility or course of action is deprecated but not prohibited. ‘May’ and ‘need not’: Indicate a course of action permissible within the limits of the document. Informative text is potentially helpful to the user, but it is not indispensable, and it does not affect the normative text. Informative text does not contain any conformance keywords. Unless otherwise stated, a conformant implementation is one which includes all mandatory provisions (‘shall’) and, if implemented, all recommended provisions (‘should’) as described. A conformant implementation need not implement optional provisions (‘may’) and need not implement them as described. -
GD-W213L Monitor
JVCKENWOOD Sales Information KEY FEATURES KY-PZ100 GD-W213LDT-V17G25/DT-V24G2/DT-V17G2 monitor und DT-V21G2 • 1 / 2.8-inch CMOS sensor (2.2 million pixels) • Optical zoom lens with 30x zoom ratio (4,3-129mm, f / 1.6 ~ 4.7) Powerful f / 1.6 to 4.7 • OctoberLoLuxGeneralle Monitorenmode 2015 Spezifikationen(up to 0.01 lux) DT-V17G2 DT-V17G25 DT-V21G2 DT-V24G2 Screen Size 17 (16,5" effective) 17 (16,5" effective) 21 (21,5" effective) 24 • DirectNumber of drivepixels displayed motor for pan, tilt and zoom1920 x 1080 1920 x 1080 1920 x 1080 1920 x 1200 Panel Type IPS IPS IPS IPS • FullNumber HD of colours 1080p, displayed 1080i, 720p video 16.7M 107.3B 16.7M 107.3B • 3GBrightness SDI and HDMI digital output 300cd/m2 450cd/m2 300cd/m2 400cd/m2 Contrast 1500:1 1500:1 1500:1 1500:1 • 2Reaction channel Time audio (or 1-channel balanced8ms audiotyp with Phantom8ms typ power) 8ms typ 8ms typ • USBViewing Anglehost (Typ.) port for WiFi or 4G LTE adapter178 x 178 178 x 178 178 x 178 178 x 178 Audio Output 1+1W 1+1W 1+1W 1+1W • LANWave Form port supports Power over EthernetYes (PoE) Yes Yes Yes • AdvancedWave Form Size (small/big) IP communication capability:Yes Yes Yes Yes Vectorscope Yes Yes Yes Yes • StreamingVectorscope Size (small/big) with SMPTE 2022 forward errorYes correction Yes Yes Yes R/G/B/Y Histogram Yes Yes Yes Yes • Extended16-Channel Audio Zixi reliable communication with16ch ARQ, FEC and 16chadaptive bit rate control16ch 16ch • LowZebra stripes latency streaming Yes Yes Yes Yes R/G/B/Mono Yes Yes Yes Yes • RTMPTimecode streaming directly -
ATSC Candidate Standard: Video – HEVC (A/341)
ATSC S34-168r7 Video – HEVC 03 January 2017 ATSC Candidate Standard: Video – HEVC (A/341) Doc. S34-168r7 03 January 2017 Advanced Television Systems Committee 1776 K Street, N.W. Washington, D.C. 20006 202-872-9160 i ATSC S34-168r7 Video – HEVC 03 January 2017 The Advanced Television Systems Committee, Inc., is an international, non-profit organization developing voluntary standards for digital television. The ATSC member organizations represent the broadcast, broadcast equipment, motion picture, consumer electronics, computer, cable, satellite, and semiconductor industries. Specifically, ATSC is working to coordinate television standards among different communications media focusing on digital television, interactive systems, and broadband multimedia communications. ATSC is also developing digital television implementation strategies and presenting educational seminars on the ATSC standards. ATSC was formed in 1982 by the member organizations of the Joint Committee on InterSociety Coordination (JCIC): the Electronic Industries Association (EIA), the Institute of Electrical and Electronic Engineers (IEEE), the National Association of Broadcasters (NAB), the National Cable Telecommunications Association (NCTA), and the Society of Motion Picture and Television Engineers (SMPTE). Currently, there are approximately 120 members representing the broadcast, broadcast equipment, motion picture, consumer electronics, computer, cable, satellite, and semiconductor industries. ATSC Digital TV Standards include digital high definition television (HDTV), standard definition television (SDTV), data broadcasting, multichannel surround-sound audio, and satellite direct-to-home broadcasting. Note: The user's attention is called to the possibility that compliance with this standard may require use of an invention covered by patent rights. By publication of this standard, no position is taken with respect to the validity of this claim or of any patent rights in connection therewith. -
XAPP592 (V2.0) July 14, 2014
Application Note: Kintex-7 Family Implementing SMPTE SDI Interfaces with Kintex-7 GTX Transceivers Author: John Snow XAPP592 (v2.0) July 14, 2014 Summary The Society of Motion Picture and Television Engineers (SMPTE) serial digital interface (SDI) family of standards is widely used in professional broadcast video equipment. These interfaces are used in broadcast studios and video production centers to carry uncompressed digital video, along with embedded ancillary data such as multiple audio channels. The Xilinx® SMPTE SD/HD/3G-SDI LogiCORE™ IP is a generic SDI receive/transmit datapath that does not have any device-specific control functions. This application note provides a module containing control logic to couple the SMPTE SD/HD/3G-SDI LogiCORE IP with the Kintex®-7 FPGA GTX transceivers to form a complete SDI interface. This application note also provides several example SDI designs that run on the Xilinx Kintex-7 FPGA KC705 evaluation board. Terms used in this document are explained in the Glossary, page 63. Titles of SMPTE reports and standards are listed in References, page 66, and referred to by SMPTE document number in text. Introduction The Xilinx SMPTE SD/HD/3G-SDI LogiCORE IP (called the SDI core in the rest of this document) can be connected to a Kintex-7 GTX transceiver to implement an SDI interface capable of supporting the SMPTE SD-SDI, HD-SDI, and 3G-SDI standards. The SDI core and GTX transceiver must be supplemented with some additional logic to connect them together to implement a fully functional SDI interface. This application note describes this additional control and interface logic and provides the necessary control and interface modules in both Verilog and VHDL source code. -
SPG700 Multiformat Reference Sync Generator User Manual
xx SPG700 Multiformat Reference Sync Generator ZZZ User Manual *P077122502* 077-1225-02 xx SPG700 Multiformat Reference Sync Generator ZZZ User Manual Register now! Click the following link to protect your product. ► www.tek.com/register This document supports firmware version 3.0 and above. www.tek.com 077-1225-02 Copyright © Tektronix. All rights reserved. Licensed software products are owned by Tektronix or its subsidiaries or suppliers, and are protected by national copyright laws and international treaty provisions. Tektronix products are covered by U.S. and foreign patents, issued and pending. Information in this publication supersedes that in all previously published material. Specifications and price change privileges reserved. TEKTRONIX and TEK are registered trademarks of Tektronix, Inc. Contacting Tektronix Tektronix, Inc. 14150 SW Karl Braun Drive P.O. Box 500 Beaverton, OR 97077 USA For product information, sales, service, and technical support: In North America, call 1-800-833-9200. Worldwide, visit www.tek.com to find contacts in your area. Table of Contents Important safety information.................................................................................... viii Generalsafetysummary .................................................................................... viii Service safety summary....................................................................................... x Terms in this manual ......................................................................................... xi Symbolsandterms ontheproduct......................................................................... -
Digital Binlooptm 32 Track Digital Audio/Video Reproducer
Digital BinloopTM 32 Track Digital Audio/Video Reproducer Applications The Digital Binloop is the industry standard for theme park audio reproduction. It provides up to 32 tracks of Digital Audio in a compact, economical, and highly • Museums reliable package designed for continuous daily use with no maintenance. • Cruise Ships • Theme Parks It plays 16 and 24-bit WAV or AIFF files at up to 96KHz, or MPEG-2 video at up • Visitor Centers to 15Mbps. Each cage accommodates up to 16 reproducer cards. Audio or • Retail Stores video clips are stored on CompactFlash media, so there are absolutely no • Restaurants moving parts to wear out. Each card can hold hours of audio. Simply copy files • Casinos — thousands of them, if you like — from your PC to the CompactFlash card. Monophonic audio files can be independently assigned to the left and right Features channels of each reproducer, so the 32 tracks really are completely • 16 Video Tracks independent. • 32 Audio Tracks • 16/24 bit 96KHz The primary difference between the Digital Binloop and other reproducers is its • 1000s of Clips awareness of show synchronization and control issues. It locks to NTSC or • Instant Playback PAL video sync, and reads or generates linear timecode at many different • No Moving Parts SMPTE and EBU rates. • Timecode Sync • Video Sync Controlling a Digital Binloop is amazingly simple. It responds to contact • MIDI, RS-232 closures, RS-232, MIDI, and Ethernet (4Q2006) — all simultaneously! • Contact Control Reproducer cards or whole Binloops can be grouped to respond to the same • Ethernet command, allowing a single event to control hundreds of tracks.