The Art of Sound Reproduction the Art of Sound Reproduction
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L|Lllllllllllllllllllllllllllllllllllllll USOO5499148A United States Patent 1191 [11] Patent Number: 5,499,148 Kubota Et Al
HllllIlllllll|||llllllllllllllll|l|lllllllllllllllllllllllllllllllllllllll USOO5499148A United States Patent 1191 [11] Patent Number: 5,499,148 Kubota et al. > [45] Date of Patent: Mar. 12, 1996 [54] DIGITAL VIDEO TAPE REPRODUCING 4,963,961 10/1990 Honjo .................................... .. 358/310 APPARATUS COMPATIBLE WITH TAPES 5,136,437 8/1992 Tabuchi et al. 360/341 X HAVING A TRACK WIDTH DIFFERENT 5,148,331 9/1992 Kasluda et a1. .................... .. 360/77.15 FWRIgg/IHA ROTARY MAGNETIC HEAD FOREIGN PATENT DOCUMENTS 0026320 4/1981 European Pat. Off. ........ .. G11B 5/02 [75] Inventors: Yukio Kubota; Keiji Kanota, both of European :3 ------ -- 611B 5/588 uropean . Kanagawa’ Japan 146387 11/1981 Japan .................................. .. 360/331 [73] Assignee: Sony Corporation, Tokyo, Japan 3-8173 1/1991 Japan ' Primary Examiner—Andrew L. Sniezek [21] APP]_ NO_; 966,540 igttrémgy, Aigem‘, or Firm-William S. Frommer; Alvin 1n er ran 22 F1 d: 0 t. 23 1992 [ 1 16 c ’ [57] ABSTRACT [ 30 ] F orelgn' A pp 1'‘ca t'Ion Pr’10“ 't y Data In a digital video tape recording and/0r reproducing appa Oct. 30, 1991 [JP] Japan .................................. .. 3-310156 rams including a pair of rotary magnetic heads having a 6 predetermined head width and gaps with mutually different [2;] {In """""""""""" azimuth angles which helically scan a magnetic tape as the [ 1 _' ' ' """"""" " ' ’ ’ ' tape is advanced'in order to reproduce digital video signals [58] F ‘e 1d 0 f S care h """"""""""""""" " 360/73 ' 06 ’ 73 ' 12 j that have been previously- az1muth-recorded- 1n- oblique- 360/7301’ 27’ 32’ NH’ 33‘1’ 10'2_10'3’ tracks on the tape, there is a tape transport that can transport 358/335’ 310 the tape either at a standard speed or at a non-standard speed. -
WFM7200 Multiformat Multistandard Waveform Monitor
Multiformat, multistandard waveform monitor WFM7200 Datasheet Comprehensive audio monitoring (Option AD or DPE) Up to 16-channel audio monitoring for embedded audio Multichannel Surround Sound 1 display and flexible Lissajous display with audio level readouts Audio Loudness monitoring to ITU-R BS.1770-3 with audio trigger start/stop functions via GPI (Option AD or DPE) Support for analog, digital, and embedded audio (Option AD) Dolby Digital (AC-3), Dolby Digital Plus, and Dolby E (Option DPE) Comprehensive Dolby metadata decode and display (Option DPE) Dolby E Guard Band meter with user-defined limits (Option DPE) Unmatched display versatility FlexVu™, the most flexible four-tile display, suited for various application needs to increase productivity Patented Diamond and Arrowhead displays for gamut This video/audio/data monitor and analyzer all-in-one platform provides monitoring flexible options and field installable upgrades to monitor a diverse variety of Patented Timing and Lightning displays video and audio formats. Support for video formats includes 3G-SDI, Dual New patented Spearhead display and Luma Qualified Vector Link, HD-SDI and composite analog. Support for audio formats includes (LQV™) display facilitate precise color adjustment for post- Dolby E, Dolby Digital Plus, Dolby Digital, AES/EBU, embedded audio and production applications (Option PROD) analog audio. Stereoscopic 3D video displays for camera alignment and production/ Option GEN provides a simple test signal generator output that creates post-production applications -
Camera Basics, Principles and Techniques –MCD 401 VU Topic No
Camera Basics, Principles and techniques –MCD 401 VU Topic no. 76 Film & Video Conversion Television standards conversion is the process of changing one type of TV system to another. The most common is from NTSC to PAL or the other way around. This is done so TV programs in one nation may be viewed in a nation with a different standard. The TV video is fed through a video standards converter that changes the video to a different video system. Converting between a different numbers of pixels and different frame rates in video pictures is a complex technical problem. However, the international exchange of TV programming makes standards conversion necessary and in many cases mandatory. Vastly different TV systems emerged for political and technical reasons – and it is only luck that makes video programming from one nation compatible with another. History The first known case of TV systems conversion probably was in Europe a few years after World War II – mainly with the RTF (France) and the BBC (UK) trying to exchange their441 line and 405 line programming. The problem got worse with the introduction of PAL, SECAM (both 625 lines), and the French 819 line service. Until the 1980s, standards conversion was so difficult that 24 frame/s 16 mm or 35 mm film was the preferred medium of programming interchange. Overview Perhaps the most technically challenging conversion to make is the PAL to NTSC. PAL is 625 lines at 50 fields/s NTSC is 525 lines at 59.94 fields/s (60,000/1,001 fields/s) The two TV standards are for all practical purposes, temporally and spatially incompatible with each other. -
Computational Complexity Optimization on H.264 Scalable/Multiview Video Coding
Computational Complexity Optimization on H.264 Scalable/Multiview Video Coding By Guangyao Zhang A thesis submitted in partial fulfilment for the requirements for the degree of PhD, at the University of Central Lancashire April 2014 Student Declaration Concurrent registration for two or more academic awards I declare that while registered as a candidate for the research degree, I have not been a registered candidate or enrolled student for another award of the University or other academic or professional institution. Material submitted for another award I declare that no material contained in the thesis has been used in any other submission for an academic award and is solely my own work. Collaboration This work presented in this thesis was carried out at the ADSIP (Applied Digital Signal and Image Processing) Research Centre, University of Central Lancashire. The work described in the thesis is entirely the candidate’s own work. Signature of Candidate ________________________________________ Type of Award Doctor of Philosophy School School of Computing, Engineering and Physical Sciences Abstract Abstract The H.264/MPEG-4 Advanced Video Coding (AVC) standard is a high efficiency and flexible video coding standard compared to previous standards. The high efficiency is achieved by utilizing a comprehensive full search motion estimation method. Although the H.264 standard improves the visual quality at low bitrates, it enormously increases the computational complexity. The research described in this thesis focuses on optimization of the computational complexity on H.264 scalable and multiview video coding. Nowadays, video application areas range from multimedia messaging and mobile to high definition television, and they use different type of transmission systems. -
Strategic Maneuvering and Mass-Market Dynamics: the Triumph of VHS Over Beta
Strategic Maneuvering and Mass-Market Dynamics: The Triumph of VHS Over Beta Michael A. Cusumano, Yiorgos Mylonadis, and Richard S. Rosenbloom Draft: March 25, 1991 WP# BPS-3266-91 ABSTRACT This article deals with the diffusion and standardization rivalry between two similar but incompatible formats for home VCRs (video- cassette recorders): the Betamax, introduced in 1975 by the Sony Corporation, and the VHS (Video Home System), introduced in 1976 by the Victor Company of Japan (Japan Victor or JVC) and then supported by JVC's parent company, Matsushita Electric, as well as the majority of other distributors in Japan, the United States, and Europe. Despite being first to the home market with a viable product, accounting for the majority of VCR production during 1975-1977, and enjoying steadily increasing sales until 1985, the Beta format fell behind theVHS in market share during 1978 and declined thereafter. By the end of the 1980s, Sony and its partners had ceased producing Beta models. This study analyzes the key events and actions that make up the history of this rivalry while examining the context -- a mass consumer market with a dynamic standardization process subject to "bandwagon" effects that took years to unfold and were largely shaped by the strategic maneuvering of the VHS producers. INTRODUCTION The emergence of a new large-scale industry (or segment of one) poses daunting strategic challenges to innovators and potential entrants alike. Long-term competitive positions may be shaped by the initial moves made by rivals, especially in the development of markets subject to standardization contests and dynamic "bandwagon" effects among users or within channels of distribution. -
Digital Audio and Compact Disc Technology Second Edition Edited by Luc Baert, Luc Theunissen and Guido Vergult, Sony Service Centre (Europe)
Digital Audio and Compact Disc Technology Second edition Edited by Luc Baert, Luc Theunissen and Guido Vergult, Sony Service Centre (Europe) NEWNES Newnes An imprint of Butterworth-Heinemann Ltd Linacre House, Jordan Hill, Oxford OX2 8DP *1§* PART OF REED INTERNATIONAL BOOKS OXFORD LONDON BOSTON MUNICH NEW DELHI SINGAPORE SYDNEY TOKYO TORONTO WELLINGTON First published 1988 Second edition 1992 © Sony Service Centre (Europe) NV 1988, 1992 All rights reserved. No part of this publication may be reproduced in any material form (including photocopying or storing in any medium by electronic means and whether or not transiently or incidentally to some other use of this publication) without the written permission of the copyright holder except in accordance with the provisions of the Copyright, Designs and Patents Act 1988 or under the terms of a licence issued by the Copyright Licensing Agency Ltd, 90 Tottenham Court Road, London, England W1P 9HE. Applications for the copyright holder's written permission to reproduce any part of this publication should be addressed to the publishers British Library Cataloguing in Publication Data Digital Audio and Compact Disc Technology. - 2Rev. ed I. Baert, Luc 621.38932 ISBN 0 7506 0614 2 Printed and bound in Great Britain by Thomson Litho Ltd, East Kilbride, Scotland Preface The past century has witnessed a number of inventions and developments which have made music regularly accessible to more people than ever before. Not the least of these were the inventions of the conventional analog phono- graph and the development of broadcast radio. Both have undergone successive changes or improvements, from the 78 rpm disc to the 33V3 rpm disc, and from the AM system to the FM stereo system. -
3. Visual Attention
Brunel UNIVERSITY WEST LONDON INTELLIGENT IMAGE CROPPING AND SCALING A thesis submitted for the degree of Doctor of Philosophy by Joerg Deigmoeller School of Engineering and Design th 24 January 2011 1 Abstract Nowadays, there exist a huge number of end devices with different screen properties for watching television content, which is either broadcasted or transmitted over the internet. To allow best viewing conditions on each of these devices, different image formats have to be provided by the broadcaster. Producing content for every single format is, however, not applicable by the broadcaster as it is much too laborious and costly. The most obvious solution for providing multiple image formats is to produce one high- resolution format and prepare formats of lower resolution from this. One possibility to do this is to simply scale video images to the resolution of the target image format. Two significant drawbacks are the loss of image details through downscaling and possibly unused image areas due to letter- or pillarboxes. A preferable solution is to find the contextual most important region in the high-resolution format at first and crop this area with an aspect ratio of the target image format afterwards. On the other hand, defining the contextual most important region manually is very time consuming. Trying to apply that to live productions would be nearly impossible. Therefore, some approaches exist that automatically define cropping areas. To do so, they extract visual features, like moving areas in a video, and define regions of interest (ROIs) based on those. ROIs are finally used to define an enclosing cropping area. -
Panasonic AG-MD835 Brochure
AG- S-VHS Hi-Fi Video Cassette Recorder (NTSC) Higher Level of Image Quality for Demanding Medical Applications Panasonic's AG-MD835 is designed to meet increasing need for high quality video & audio recording/playback in the field of medicine. Advanced features like built-in TBC, DNR and 3-D Y/C Separation circuitry help achieve the exceptional picture quality required for precise image analysis. And the sturdy mechanism ensures stable and reliable operation even under tough conditions. This product is classified by Underwriters Laboratories Inc. as to medical electrical equipement with respect to electric shock, fire and mechanical hazards only in accordance with UL 2601-1. Control number 76KA. AG- S-VHS Hi-Fi Video Cassette Recorder (NTSC) Built-in Digital TBC IQ Mechanism Optional Accessories The digital TBC (time base corrector) within the The 5 direct drive motor system maintains • AG-IA823: RS-232C Interface Board AG-MD835 eliminates even small amounts of stable tape transport, the key to high picture • AG-IA34: 34-Pin Interface Board jitter, skew, head impact error, and color quality, while the Twin Projection Cylinder • AG-A600E: Wired Remote Control blurring. Its precise time base correction helps ensures optimum tape-to-head contact. • VW-RM1: Pause Remote Control maintain high picture quality that satisfies the A reduced number of parts and simplified strict requirements of medical applications. circuit wiring contribute to high reliability. Specifications ■ GENERAL 3-Dimensional Digital Noise Reduction Compact Design and Low Power Power Source: 120 V AC ±10%, 50/60 Hz (DNR) Consumption Power Consumption: Approx. 35 W Operating Temperature: +41˚F to +104˚F (+5˚C to +40˚C) The AG-MD835's built-in DNR processes Y and 5 The compact design (10 /8" in width) allows Operating Humidity: 35% – 80% C signals separately to boost S/N ratio, thereby installation flexibility and easy incorporation Weight: 15 lbs. -
Design Considerations of the Video Compression System of the New DV Camcorder Standard
Design considerations of the video compression system of the new DV camcorder standard Citation for published version (APA): With, de, P. H. N., & Rijckaert, A. M. A. (1997). Design considerations of the video compression system of the new DV camcorder standard. IEEE Transactions on Consumer Electronics, 43(4), 1160-1179. https://doi.org/10.1109/30.642384 DOI: 10.1109/30.642384 Document status and date: Published: 01/01/1997 Document Version: Publisher’s PDF, also known as Version of Record (includes final page, issue and volume numbers) Please check the document version of this publication: • A submitted manuscript is the version of the article upon submission and before peer-review. There can be important differences between the submitted version and the official published version of record. People interested in the research are advised to contact the author for the final version of the publication, or visit the DOI to the publisher's website. • The final author version and the galley proof are versions of the publication after peer review. • The final published version features the final layout of the paper including the volume, issue and page numbers. Link to publication General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal. -
State-Of-The Art Motion Estimation in the Context of 3D TV
State-of-the Art Motion Estimation in the Context of 3D TV ABSTRACT Progress in image sensors and computation power has fueled studies to improve acquisition, processing, and analysis of 3D streams along with 3D scenes/objects reconstruction. The role of motion compensation/motion estimation (MCME) in 3D TV from end-to-end user is investigated in this chapter. Motion vectors (MVs) are closely related to the concept of disparities and they can help improving dynamic scene acquisition, content creation, 2D to 3D conversion, compression coding, decompression/decoding, scene rendering, error concealment, virtual/augmented reality handling, intelligent content retrieval and displaying. Although there are different 3D shape extraction methods, this text focuses mostly on shape-from-motion (SfM) techniques due to their relevance to 3D TV. SfM extraction can restore 3D shape information from a single camera data. A.1 INTRODUCTION Technological convergence has been prompting changes in 3D image rendering together with communication paradigms. It implies interaction with other areas, such as games, that are designed for both TV and the Internet. Obtaining and creating perspective time varying scenes are essential for 3D TV growth and involve knowledge from multidisciplinary areas such as image processing, computer graphics (CG), physics, computer vision, game design, and behavioral sciences (Javidi & Okano, 2002). 3D video refers to previously recorded sequences. 3D TV, on the other hand, comprises acquirement, coding, transmission, reception, decoding, error concealment (EC), and reproduction of streaming video. This chapter sheds some light on the importance of motion compensation and motion estimation (MCME) for an end-to-end 3D TV system, since motion information can help dealing with the huge amount of data involved in acquiring, handing out, exploring, modifying, and reconstructing 3D entities present in video streams. -
Exceptional Image Quality Only Canon Can Deliver
Exceptional Image Quality… Definitive Control… Professional Functionality. Canon’s XL H1S and XL H1A High Definition HDV, shoulder- mount camcorders stand out in the most demanding environ- ments. Decades of Canon leadership in the design and manufacture of cameras and lenses for broadcast and still photography ensure optical excellence and superb image quality, while Canon’s technical prowess delivers industry standard connectivity and an extraordinary level of custom control. Exceptional Image Quality Only Canon Can Deliver Genuine Canon 20x HD Video Zoom Lens III Canon Interchangeable XL Lens Mount The XL H1S and XL H1A feature the XL mount system that offers the added range and flexibility of using optional interchangeable lenses, including the wide- angle Canon 6x HD Video Zoom XL 3.4–20.4mm L lens (35mm equivalent 24.5–147mm), ideal for applications requiring a wider field-of-view. This L-series lens captures in Full HD clarity and incorporates all of Canon’s leg- endary optical superiority. The XL lens mount also enables the use of the Extender XL 1.6x, which increases the focal length by 1.6x and the EF Adapter XL, which enables users to attach a wide array of Canon photographic EF Extender lenses (only L-series is XL 1.6x EF Adapter XL recommended)—for specialized image capture. The XL H1S and XL H1A have all the advantages of Canon’s proven leadership in optical technology and optics drive HD SuperRange Optical Image Stabilizer image quality. The interchangeable Genuine Canon 20x HD Video Zoom Lens III (35mm Steady images are ensured with Canon’s equivalent 38.9–778mm) is a new high-performance L-series lens, specifically designed for HD Optical Image Stabilizer. -
Layout 1 Copy
∂ C KNOW HOW® 1-800-OK-CANON / www.usa.canon.com Canon U.S.A., Inc. One Canon Plaza, Lake Success NY 11042 U.S.A. Canon Canada Inc. 6390 Dixie Road, Mississauga Ontario L5T 1P7 Canada Canon Mexicana, S. DE R.L. DE C.V. Blvd. M. A. Camacho No. 138, Piso PB, 15, 16 y 17, Col. Lomas de Chapultepec, C.P. 11000 México, D.F. México Canon Latin America, Inc. 703 Waterford Way, Suite 400, Miami FL 33126 U.S.A. Canon HongKong Co., Ltd. C 19/F, The Metropolis Tower, 10 Metropolis Drive, Hunghom, Kowloon, Hong Kong 0046W075 07/04 ©2004 CANON U.S.A., INC. www.canondv.com www.canondv.comwww.canondv.com 3CCD DIGITAL VIDEO CAMCORDER PRINTED IN U.S.A. Intentionally Overengineered. 60i Frame Rate 30p Frame Rate 24p Frame Rate 60 fields per second, interlaced, is 30p, or 30 progressive, is a non-interlaced 24p, 24 frames per second progressive the standard video frame rate for format, producing video at the rate of (both 2:3 and 2:3:3:2 pull down), North American TV viewing 30 full frames per second, delivering produces video with the look and motion spectacular clarity per frame. of film. As well, the XL2 has 1/48th shutter speed in this frame rate which exactly matches a film camera. The Canon XL2. Born of the highly 3 Frame Rates successful XL1. An engineering marvel Interchangeable Lens System The XL2 meets the designed for the video and film pro. The Canon XL2. A powerful 20x professional fluorite lens.