Quick Reference HDR Glossary
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Adaptive Quantization Matrices for High Definition Resolutions in Scalable HEVC
Original citation: Prangnell, Lee and Sanchez Silva, Victor (2016) Adaptive quantization matrices for HD and UHD display resolutions in scalable HEVC. In: IEEE Data Compression Conference, Utah, United States, 31 Mar - 01 Apr 2016 Permanent WRAP URL: http://wrap.warwick.ac.uk/73957 Copyright and reuse: The Warwick Research Archive Portal (WRAP) makes this work by researchers of the University of Warwick available open access under the following conditions. Copyright © and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. To the extent reasonable and practicable the material made available in WRAP has been checked for eligibility before being made available. Copies of full items can be used for personal research or study, educational, or not-for profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. Publisher’s statement: © 2016 IEEE. Personal use of this material is permitted. Permission from IEEE must be obtained for all other uses, in any current or future media, including reprinting /republishing this material for advertising or promotional purposes, creating new collective works, for resale or redistribution to servers or lists, or reuse of any copyrighted component of this work in other works. A note on versions: The version presented here may differ from the published version or, version of record, if you wish to cite this item you are advised to consult the publisher’s version. -
Understanding Color and Gamut Poster
Understanding Colors and Gamut www.tektronix.com/video Contact Tektronix: ASEAN / Australasia (65) 6356 3900 Austria* 00800 2255 4835 Understanding High Balkans, Israel, South Africa and other ISE Countries +41 52 675 3777 Definition Video Poster Belgium* 00800 2255 4835 Brazil +55 (11) 3759 7627 This poster provides graphical Canada 1 (800) 833-9200 reference to understanding Central East Europe and the Baltics +41 52 675 3777 high definition video. Central Europe & Greece +41 52 675 3777 Denmark +45 80 88 1401 Finland +41 52 675 3777 France* 00800 2255 4835 To order your free copy of this poster, please visit: Germany* 00800 2255 4835 www.tek.com/poster/understanding-hd-and-3g-sdi-video-poster Hong Kong 400-820-5835 India 000-800-650-1835 Italy* 00800 2255 4835 Japan 81 (3) 6714-3010 Luxembourg +41 52 675 3777 MPEG-2 Transport Stream Advanced Television Systems Committee (ATSC) Mexico, Central/South America & Caribbean 52 (55) 56 04 50 90 ISO/IEC 13818-1 International Standard Program and System Information Protocol (PSIP) for Terrestrial Broadcast and cable (Doc. A//65B and A/69) System Time Table (STT) Rating Region Table (RRT) Direct Channel Change Table (DCCT) ISO/IEC 13818-2 Video Levels and Profiles MPEG Poster ISO/IEC 13818-1 Transport Packet PES PACKET SYNTAX DIAGRAM 24 bits 8 bits 16 bits Syntax Bits Format Syntax Bits Format Syntax Bits Format 4:2:0 4:2:2 4:2:0, 4:2:2 1920x1152 1920x1088 1920x1152 Packet PES Optional system_time_table_section(){ rating_region_table_section(){ directed_channel_change_table_section(){ High Syntax -
Dell 24 USB-C Monitor - P2421DC User’S Guide
Dell 24 USB-C Monitor - P2421DC User’s Guide Monitor Model: P2421DC Regulatory Model: P2421DCc NOTE: A NOTE indicates important information that helps you make better use of your computer. CAUTION: A CAUTION indicates potential damage to hardware or loss of data if instructions are not followed. WARNING: A WARNING indicates a potential for property damage, personal injury, or death. Copyright © 2020 Dell Inc. or its subsidiaries. All rights reserved. Dell, EMC, and other trademarks are trademarks of Dell Inc. or its subsidiaries. Other trademarks may be trademarks of their respective owners. 2020 – 03 Rev. A01 Contents About your monitor ......................... 6 Package contents . 6 Product features . .8 Identifying parts and controls . .9 Front view . .9 Back view . 10 Side view. 11 Bottom view . .12 Monitor specifications . 13 Resolution specifications . 14 Supported video modes . 15 Preset display modes . 15 MST Multi-Stream Transport (MST) Modes . 16 Electrical specifications. 16 Physical characteristics. 17 Environmental characteristics . 18 Power management modes . 19 Plug and play capability . 25 LCD monitor quality and pixel policy . 25 Maintenance guidelines . 25 Cleaning your monitor. .25 Setting up the monitor...................... 26 Attaching the stand . 26 │ 3 Connecting your monitor . 28 Connecting the DP cable . 28 Connecting the monitor for DP Multi-Stream Transport (MST) function . 28 Connecting the USB Type-C cable . 29 Connecting the monitor for USB-C Multi-Stream Transport (MST) function. 30 Organizing cables . 31 Removing the stand . 32 Wall mounting (optional) . 33 Operating your monitor ..................... 34 Power on the monitor . 34 USB-C charging options . 35 Using the control buttons . 35 OSD controls . 36 Using the On-Screen Display (OSD) menu . -
Spectracal Videoforge Pro Se
Setup Guide By Rev. 1.7 CalMAN Setup Guide: SpectraCal VideoForge PRO Introduction The SpectraCal VideoForge PRO test pattern generator can be automatically controlled by the CalMAN Display Calibration Software to produce measurement and calibration test patterns via HDMI for SDR and HDR displays at resolutions from 640x480 up to 3840x2160. CalMAN Required Version • Version 5.8.31 or later CalMAN Recommended Workflows • All available measurement and calibration workflows VideoForge PRO Supported Firmware • Version 1.01 or later VideoForge PRO Control Port • Mini USB VideoForge PRO Connection to Computer The VideoForge PRO uses the FTDI USB device driver. 1. Install the FTDI driver before you connect the VideoForge PRO to your computer. The FTDI driver is available: o As part of the CalMAN Device Driver Pack (http://www.spectracal.com/download.php?id=3), or o From the FTDI web site (http://www.ftdichip.com/FTDrivers.htm). When the driver is properly installed, the Murideo will be listed in Device Manager under Ports (COM & LPT) as "USB Serial Port 2 CalMAN Setup Guide: SpectraCal VideoForge PRO (COMx)." If it is not listed that way, the driver is not yet properly installed. 2. Connect the VideoForge PRO to the CalMAN computer with a USB cable. CalMAN Connection to VideoForge PRO 1. When the VideoForge PRO is properly connected to the computer, launch CalMAN. CalMAN will automatically connect to the VideoForge PRO. 2. If the VideoForge PRO is plugged into the CalMAN computer after CalMAN is open, it can be connected by clicking the Find Source button on the CalMAN Source Settings tab. -
COLOR SPACE MODELS for VIDEO and CHROMA SUBSAMPLING
COLOR SPACE MODELS for VIDEO and CHROMA SUBSAMPLING Color space A color model is an abstract mathematical model describing the way colors can be represented as tuples of numbers, typically as three or four values or color components (e.g. RGB and CMYK are color models). However, a color model with no associated mapping function to an absolute color space is a more or less arbitrary color system with little connection to the requirements of any given application. Adding a certain mapping function between the color model and a certain reference color space results in a definite "footprint" within the reference color space. This "footprint" is known as a gamut, and, in combination with the color model, defines a new color space. For example, Adobe RGB and sRGB are two different absolute color spaces, both based on the RGB model. In the most generic sense of the definition above, color spaces can be defined without the use of a color model. These spaces, such as Pantone, are in effect a given set of names or numbers which are defined by the existence of a corresponding set of physical color swatches. This article focuses on the mathematical model concept. Understanding the concept Most people have heard that a wide range of colors can be created by the primary colors red, blue, and yellow, if working with paints. Those colors then define a color space. We can specify the amount of red color as the X axis, the amount of blue as the Y axis, and the amount of yellow as the Z axis, giving us a three-dimensional space, wherein every possible color has a unique position. -
Paul Hightower Instrumentation Technology Systems Northridge, CA 91324 [email protected]
COMPRESSION, WHY, WHAT AND COMPROMISES Authors Hightower, Paul Publisher International Foundation for Telemetering Journal International Telemetering Conference Proceedings Rights Copyright © held by the author; distribution rights International Foundation for Telemetering Download date 06/10/2021 11:41:22 Link to Item http://hdl.handle.net/10150/631710 COMPRESSION, WHY, WHAT AND COMPROMISES Paul Hightower Instrumentation Technology Systems Northridge, CA 91324 [email protected] ABSTRACT Each 1080 video frame requires 6.2 MB of storage; archiving a one minute clip requires 22GB. Playing a 1080p/60 video requires sustained rates of 400 MB/S. These storage and transport parameters pose major technical and cost hurdles. Even the latest technologies would only support one channel of such video. Content creators needed a solution to these road blocks to enable them to deliver video to viewers and monetize efforts. Over the past 30 years a pyramid of techniques have been developed to provide ever increasing compression efficiency. These techniques make it possible to deliver movies on Blu-ray disks, over Wi-Fi and Ethernet. However, there are tradeoffs. Compression introduces latency, image errors and resolution loss. The exact effect may be different from image to image. BER may result the total loss of strings of frames. We will explore these effects and how they impact test quality and reduce the benefits that HD cameras/lenses bring telemetry. INTRODUCTION Over the past 15 years we have all become accustomed to having television, computers and other video streaming devices show us video in high definition. It has become so commonplace that our community nearly insists that it be brought to the telemetry and test community so that better imagery can be used to better observe and model systems behaviors. -
What Is Dolby Vision?
Dolby Vision™ for the Home 1 WHAT IS DOLBY VISION? Dolby Vision™ transforms the way you experience movies, TV shows, and games with incredible brightness, contrast, and color that bring entertainment to life before your eyes. By fully leveraging the maximum potential of new cinema projection technology and new TVs’ display capabilities, Dolby Vision delivers high-dynamic-range (HDR) and wide-color-gamut content. The result is a refined, lifelike image that will make you forget you are looking at a screen. Current consumer video delivery and cinema standards are based on the limitations of old technologies and require altering the original content before it can be reproduced for playback—dramatically reducing the range of colors, brightness, and contrast from that captured by modern cameras. Dolby Vision changes that, giving creative teams the confidence that images will be reproduced faithfully on TVs, PCs, and mobile devices that feature Dolby Vision. Dolby Vision is a natural complement to Dolby Atmos®. It gives movie, television, and game creators the tools they need to create experiences that preserve the creative intent and let consumers experience truly immersive content without compromise. For manufacturers of televisions, game consoles, personal computers, and mobile devices, Dolby Vision unlocks the full capabilities of their hardware and creates a premium experience that can increase use and enjoyment of these products. 2 DOLBY VISION: ROOTED IN THE SCIENCE OF THE HUMAN VISUAL SYSTEM There are three ways to improve picture quality for movies, TV shows, games, and user-generated content: • More pixels: 4K, 8K, and beyond • Higher frame rate (HFR) • Better pixels (high dynamic range and wider color gamut): Dolby Vision 4K televisions have “more pixels,” and newer standards for UHD TV also include high frame rates, but these standards don’t make each pixel able to better represent the full range of brightness we see in reality. -
Detectability Model for the Evaluation of Lossy Compression Methods on Radiographic Images Vivek Ramaswami Iowa State University
Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 1996 Detectability model for the evaluation of lossy compression methods on radiographic images Vivek Ramaswami Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the Electrical and Electronics Commons Recommended Citation Ramaswami, Vivek, "Detectability model for the evaluation of lossy compression methods on radiographic images" (1996). Retrospective Theses and Dissertations. 250. https://lib.dr.iastate.edu/rtd/250 This Thesis is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Detectability model for the evaluation of lossy compression methods on radiographic images by Vivek Ramaswami A thesis submitted to the graduate faculty in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE Major: Electrical Engineering Major Professors: Satish S. Udpa and Joseph N. Gray Iowa State University Ames, Iowa 1996 Copyright © Vivek Ramaswami, 1996. All rights reserved. 11 Graduate College Iowa State University This is to certify that the Master's thesis of Vivek Ramaswami has met the t hesis requirements of Iowa State University Signature redacted for privacy 111 TABLE OF CONTENTS ACKNOWLEDGEMENTS IX 1 INTRODUCTION . 1 2 IMAGE COMPRESSION METHODS 5 201 Introduction o 0 0 0 0 0 5 2o2 Vector quantization 0 0 ..... 5 20201 Classified vector quantizer 6 20202 Coding of shade blocks o ..... -
Image Resolution
Image resolution When printing photographs and similar types of image, the size of the file will determine how large the picture can be printed whilst maintaining acceptable quality. This document provides a guide which should help you to judge whether a particular image will reproduce well at the size you want. What is resolution? A digital photograph is made up of a number of discrete picture elements, known as “pixels”. We can see these elements if we magnify an image on the screen (see right). Because the number of pixels in the image is fixed, the bigger we print the image, then the bigger the pixels will be. If we print the image too big, then the pixels will be visible to the naked eye and the image will appear to be poor quality. Let’s take as an example an image from a “5 megapixel” digital camera. Typically this camera at its maximum quality setting will produce images which are 2592 x 1944 pixels. (If we multiply these two figures, we get 5,038,848 pixels, which approximately equates to 5 million pixels/5 megapixels.) Printing this image at various sizes, we can calculate the number of pixels per inch, more commonly referred to as dots per inch (dpi). Just note that this measure is dependent on the image being printed, it is unrelated to the resolution of the printer, which is also expressed in dpi. Original image size 2592 x 1944 pixels Small format (up to A3) When printing images onto A4 or A3 pages, aim for 300dpi if at all Print size (inches) 8 x 6 16 x 12 24 x 16 32 x 24 possible. -
Dolby Cineasset User Manual 005058 Issue 6
Dolby CineAsset User’s Manual 22 July 2019 CAS.OM.005058.DRM Issue 6 Notices Notices Copyright © 2019 Dolby Laboratories. All rights reserved. Dolby Laboratories, Inc. 1275 Market Street San Francisco, CA 94103-1410 USA Telephone 415-558-0200 Fax 415-645-4000 http://www.dolby.com Trademarks Dolby and the double-D symbol are registered trademarks of Dolby Laboratories. The following are trademarks of Dolby Laboratories: Dialogue Intelligence™ Dolby Theatre® Dolby® Dolby Vision™ Dolby Advanced Audio™ Dolby Voice® Dolby Atmos® Feel Every Dimension™ Dolby Audio™ Feel Every Dimension in Dolby™ Dolby Cinema™ Feel Every Dimension in Dolby Atmos™ Dolby Digital Plus™ MLP Lossless™ Dolby Digital Plus Advanced Audio™ Pro Logic® Dolby Digital Plus Home Theater™ Surround EX™ Dolby Home Theater® All other trademarks remain the property of their respective owners. Patents THIS PRODUCT MAY BE PROTECTED BY PATENTS AND PENDING PATENT APPLICATIONS IN THE UNITED STATES AND ELSEWHERE. FOR MORE INFORMATION, INCLUDING A SPECIFIC LIST OF PATENTS PROTECTING THIS PRODUCT, PLEASE VISIT http://www.dolby.com/patents. Third-party software attributions Portions of this software are copyright © 2012 The FreeType Project (freetype.org). All rights reserved. Dolby CineAsset software is based in part on the work of the Qwt project (qwt.sf.net). This software uses libraries from the FFmpeg project under the LGPLv2.1. This product includes software developed by the OpenSSL Project for use in the OpenSSL Toolkit (openssl.org). This product includes cryptographic software -
Creating 4K/UHD Content Poster
Creating 4K/UHD Content Colorimetry Image Format / SMPTE Standards Figure A2. Using a Table B1: SMPTE Standards The television color specification is based on standards defined by the CIE (Commission 100% color bar signal Square Division separates the image into quad links for distribution. to show conversion Internationale de L’Éclairage) in 1931. The CIE specified an idealized set of primary XYZ SMPTE Standards of RGB levels from UHDTV 1: 3840x2160 (4x1920x1080) tristimulus values. This set is a group of all-positive values converted from R’G’B’ where 700 mv (100%) to ST 125 SDTV Component Video Signal Coding for 4:4:4 and 4:2:2 for 13.5 MHz and 18 MHz Systems 0mv (0%) for each ST 240 Television – 1125-Line High-Definition Production Systems – Signal Parameters Y is proportional to the luminance of the additive mix. This specification is used as the color component with a color bar split ST 259 Television – SDTV Digital Signal/Data – Serial Digital Interface basis for color within 4K/UHDTV1 that supports both ITU-R BT.709 and BT2020. 2020 field BT.2020 and ST 272 Television – Formatting AES/EBU Audio and Auxiliary Data into Digital Video Ancillary Data Space BT.709 test signal. ST 274 Television – 1920 x 1080 Image Sample Structure, Digital Representation and Digital Timing Reference Sequences for The WFM8300 was Table A1: Illuminant (Ill.) Value Multiple Picture Rates 709 configured for Source X / Y BT.709 colorimetry ST 296 1280 x 720 Progressive Image 4:2:2 and 4:4:4 Sample Structure – Analog & Digital Representation & Analog Interface as shown in the video ST 299-0/1/2 24-Bit Digital Audio Format for SMPTE Bit-Serial Interfaces at 1.5 Gb/s and 3 Gb/s – Document Suite Illuminant A: Tungsten Filament Lamp, 2854°K x = 0.4476 y = 0.4075 session display. -
Ultra HD Playout & Delivery
Ultra HD Playout & Delivery SOLUTION BRIEF The next major advancement in television has arrived: Ultra HD. By 2020 more than 40 million consumers around the world are projected to be watching close to 250 linear UHD channels, a figure that doesn’t include VOD (video-on-demand) or OTT (over-the-top) UHD services. A complete UHD playout and delivery solution from Harmonic will help you to meet that demand. 4K UHD delivers a screen resolution four times that of 1080p60. Not to be confused with the 4K digital cinema format, a professional production and cinema standard with a resolution of 4096 x 2160, UHD is a broadcast and OTT standard with a video resolution of 3840 x 2160 pixels at 24/30 fps and 8-bit color sampling. Second-generation UHD specifications will reach a frame rate of 50/60 fps at 10 bits. When combined with advanced technologies such as high dynamic range (HDR) and wide color gamut (WCG), the home viewing experience will be unlike anything previously available. The expected demand for UHD content will include all types of programming, from VOD movie channels to live global sporting events such as the World Cup and Olympics. UHD-native channel deployments are already on the rise, including the first linear UHD channel in North America, NASA TV UHD, launched in 2015 via a partnership between Harmonic and NASA’s Marshall Space Flight Center. The channel highlights incredible imagery from the U.S. space program using an end-to-end UHD playout, encoding and delivery solution from Harmonic. The Harmonic UHD solution incorporates the latest developments in IP networking and compression technology, including HEVC (High- Efficiency Video Coding) signal transport and HDR enhancement.