ATSC Candidate Standard: Video (A/341)
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Square Vs Non-Square Pixels
Square vs non-square pixels Adapted from: Flash + After Effects By Chris Jackson Square vs non square pixels can cause problems when exporting flash for TV and video if you get it wrong. Here Chris Jackson explains how best to avoid these mistakes... Before you adjust the Stage width and height, you need to be aware of the pixel aspect ratio. This refers to the width and height of each pixel that makes up an image. Computer screens display square pixels. Every pixel has an aspect ratio of 1:1. Video uses non-square rectangular pixels, actually scan lines. To make matters even more complicated, the pixel aspect ratio is not consistent between video formats. NTSC video uses a non-square pixel that is taller than it is wide. It has a pixel aspect ratio of 1:0.906. PAL is just the opposite. Its pixels are wider than they are tall with a pixel aspect ratio of 1:1.06. Figure 1: The pixel aspect ratio can produce undesirable image distortion if you do not compensate for the difference between square and non-square pixels. Flash only works in square pixels on your computer screen. As the Flash file migrates to video, the pixel aspect ratio changes from square to non-square. The end result will produce a slightly stretched image on your television screen. On NTSC, round objects will appear flattened. PAL stretches objects making them appear skinny. The solution is to adjust the dimensions of the Flash Stage. A common Flash Stage size used for NTSC video is 720 x 540 which is slightly taller than its video size of 720 x 486 (D1). -
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. -
The Electricimage™ Reference
Book Page 1 Friday, July 21, 2000 4:18 PM The ElectricImage™ Reference A guide to the ElectricImage™ Animation System Version 2.0 Book Page 2 Friday, July 21, 2000 4:18 PM © 1989, 1990, 1991, 1992, 1993, 1994 Electric Image, Inc. All Rights Reserved No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, recording, or otherwise, without the prior written permission of Electric Image. The software described in this manual is furnished under license and may only be used or copied in accordance with the terms of such license. The information in this manual is furnished for informational use only, is subject to change without notice and should not be construed as a commitment by Electric Image. Electric Image assumes no responsibility or liability for any errors or inaccuracies that may appear in this book. Electric Image recommends that you observe the rights of the original artist or publisher of the images you scan or acquire in the use of texture maps, reflection maps, bump maps, backgrounds or any other usage. If you plan to use a previously published image, contact the artist or publisher for information on obtaining permission. ElectricImage, Pixel Perfect Rendering and Animation, Mr. Fractal, and Mr. Font are trademarks of Electric Image. Macintosh and Apple are registered trademarks of Apple Computer, Incorporated. Other brand names and product names are trademarks or registered trademarks of their respective companies. This document written and designed by Stephen Halperin at: Electric Image, Inc. 117 East Colorado Boulevard Suite 300 Pasadena, California 91105 Cover image by Jay Roth. -
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. -
Etsi Ts 101 154 V2.4.1 (2018-02)
ETSI TS 101 154 V2.4.1 (2018-02) TECHNICAL SPECIFICATION Digital Video Broadcasting (DVB); Specification for the use of Video and Audio Coding in Broadcast and Broadband Applications 2 ETSI TS 101 154 V2.4.1 (2018-02) Reference RTS/JTC-DVB-377 Keywords broadcasting, digital, DVB, MPEG, TV, UHDTV, video ETSI 650 Route des Lucioles F-06921 Sophia Antipolis Cedex - FRANCE Tel.: +33 4 92 94 42 00 Fax: +33 4 93 65 47 16 Siret N° 348 623 562 00017 - NAF 742 C Association à but non lucratif enregistrée à la Sous-Préfecture de Grasse (06) N° 7803/88 Important notice The present document can be downloaded from: http://www.etsi.org/standards-search The present document may be made available in electronic versions and/or in print. The content of any electronic and/or print versions of the present document shall not be modified without the prior written authorization of ETSI. In case of any existing or perceived difference in contents between such versions and/or in print, the only prevailing document is the print of the Portable Document Format (PDF) version kept on a specific network drive within ETSI Secretariat. Users of the present document should be aware that the document may be subject to revision or change of status. Information on the current status of this and other ETSI documents is available at https://portal.etsi.org/TB/ETSIDeliverableStatus.aspx If you find errors in the present document, please send your comment to one of the following services: https://portal.etsi.org/People/CommiteeSupportStaff.aspx Copyright Notification No part may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and microfilm except as authorized by written permission of ETSI. -
Prores 2K in Editorial
ProRes 2K in Editorial WHITE PAPER Date: 6 December 2012 Table of Contents 1. Introduction ................................................................................................................... 3 1.1 ALEXA Capture Aspect Ratios ........................................................................... 3 1.2 Typical Delivery Aspect Ratios ........................................................................... 3 1.3 Sample Footage ................................................................................................. 6 1.4 Framing Charts ................................................................................................... 7 2. Apple Compressor ........................................................................................................ 8 Re-format 2K 16:9 to 1.85:1 US Widescreen DCP (cropped) .................................. 8 Re-format 2K 16:9 (flat) to 2.39 Widescreen ............................................................ 8 Re-format 2K 4:3 anamorphic to 2.39 Widescreen .................................................. 8 3. Blackmagic Design DaVinci Resolve .......................................................................... 9 Re-format 2K 16:9 to 1.85:1 US Widescreen DCP (cropped) .................................. 9 Re-format 2K 16:9 (flat) to 2.39 Widescreen ............................................................ 9 Re-format 2K 4:3 anamorphic to 2.39 Widescreen .................................................. 9 4. Avid Media Composer 6 ............................................................................................ -
Aspect Ratio
Aspect Ratio In questo articolo descriveremo l’Aspect Ratio, quali sono le caratteristiche e il suo legame con i vari formati video e cinematografici. Cercheremo di spiegare l’importanza di questo parametro, le origini storiche e implicazioni legate alle moderne tecnologie. Ci sofermeremo anche a descrivere come evitare errori di interpretazione e come simularlo nell’ambito video SD ed HD. Un po’ di teoria L'Aspect Ratio (letteralmente “rapporto d’aspetto”) è semplicemente un metodo numerico per descrivere una forma rettangolare. Indica in pratica il rapporto tra la base e l’altezza del rettangolo che rappresenta il quadro ove risiedono le immagini. E’ un numero puro e può essere espresso o in forma frazionaria o in quella di semplice numero con decimali. Ad esempio parlando del formato widescreen dei moderni televisori al plasma e LCD, l’Aspect Ratio può essere espresso come 16:9, che significa: per ogni 16 unità di base ve ne sono 9 di altezza. Oppure può essere espresso come 1.78 il quale non è altro che la divisione di 16 per 9. In realtà, come è possibile verificare, 16 diviso 9 da come risultato 1.777... (in matematica si dice “7 periodico”), quello di porre 16:9 = 1.78 è una semplice approssimazione alla seconda cifra decimale, cosa che ritroveremo anche in altri casi. L’utilizzo pratico di questo parametro è molto semplice. Ammettiamo di avere un’immagine proveniente da una fotocamera e doverla convertire o quantomeno ritagliare con proporzioni 16:9 e poi 4:3 e che le sue dimensioni originarie siano 3000x2000 pixel. -
Pixel Aspect Ratio, Part 1 Fitting Rectangular Pixels Into Square Holes
Tips N Tricks More available at artbeats.com Pixel Aspect Ratio, Part 1 Fitting rectangular pixels into square holes. by Chris & Trish Meyer, Crish Design One of the more annoying idiosyncrasies of digital video is that im- To compensate, these pixels need to be displayed on a television ages often look distorted on a computer monitor: they’re either too screen 10% thinner than normal to compensate (in other words, wide or too skinny, especially when working with widescreen foot- roughly 90% as wide as they are tall). This is referred to as a PAR of - age. This can lead to a crisis in confidence – often late at night, usu- 0.90, indicating how much the image has to be scaled horizontally ally on deadline – as to whether you can trust your eyes, or if you are to look correct upon playback. As long as you keep the image away doing the right thing. In this article, we will help explain the tricky from a computer and just display it on a video monitor, you’ll never subject of pixel aspect ratio or “PAR” for short, including PARs for see this internal accounting. Alas, as soon as you look at one of these common video formats. In our next article, we will discuss strate- images on a square pixel computer monitor, the images will look a gies for mixing non-video assets such as photographs and scans with touch wide. your digital video, including how not to make a client’s logo – or the clients themselves – look too fat or too thin. -
Source Image Format and Ancillary Data Mapping for the 3 Gb/S Serial
SMPTE ST 425-1:2017 Revision of SMPTE ST 425-1:2014 SMPTE STANDARD Source Image Format and Ancillary Data Mapping for the 3 Gb/s Serial Interface Page 1 of 32 pages Table of Contents Page 1 Scope ................................................................................................................................................... 3 2 Conformance Notation ....................................................................................................................... 3 3 Normative References ................................ ................................ ................................ ........................ 4 4 Level A — Direct Mapping of Source Image Formats ..................................................................... 5 4.1 20-Bit Virtual Interface ................................ ................................ ....................................................... 6 4.2 Virtual Interface — Data Stream Mappings .................................................................................... 13 5 Level B ― Mapping of SMPTE ST 372 Dual-Link .......................................................................... 23 5.1 SMPTE ST 372 Dual Link Mapping ................................ ................................ .................................. 24 6 Level B ― 2 x SMPTE ST 292-1 (HD-SDI) Dual-Stream Mapping ................................................. 26 6.1 2 x SMPTE ST 292 -1 (HD-SDI) Dual Stream Mapping ................................ .................................... 26 7 Levels