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Digital Video in Multimedia Pdf Digital video in multimedia pdf Continue Digital Electronic Representation of Moving Visual Images This article is about the digital methods applied to video. The standard digital video storage format can be viewed on DV. For other purposes, see Digital Video (disambiguation). Digital video is an electronic representation of moving visual images (video) in the form of coded digital data. This contrasts with analog video, which is a moving visual image with analog signals. Digital video includes a series of digital images displayed in quick succession. Digital video was first commercially introduced in 1986 in Sony D1 format, which recorded a non-repressive standard digital video definition component. In addition to uncompressed formats, today's popular compressed digital video formats include H.264 and MPEG-4. Modern interconnect standards for digital video include HDMI, DisplayPort, Digital Visual Interface (DVI) and Serial Digital Interface (SDI). Digital video can be copied without compromising quality. In contrast, when analog sources are copied, they experience loss of generation. Digital video can be stored in digital media, such as Blu-ray Disc, in computer data storage, or transmitted over the Internet to end users who watch content on a desktop or digital smart TV screen. In everyday practice, digital video content, such as TV shows and movies, also includes a digital audio soundtrack. History Digital Video Cameras Additional Information: Digital Cinematography, Image Sensor, and Video Camera Base for Digital Video Cameras are metallic oxide-semiconductor (MOS) image sensors. The first practical semiconductor image sensor was a charging device (CCD) invented in 1969 using MOS capacitor technology. After the commercialization of CCD sensors in the late 1970s and early 1980s, the entertainment industry gradually began the transition to digital images and digital video over the next two decades. The CCD was followed by the CMOS Active Pixel Sensor (CMOS sensor), developed in the 1990s. with non-dry impulse modulation code (PCM) video requiring high bitrates between 45-140 Mbps for standard definition (SD) content. Practical digital video coding eventually became possible with discrete cosy transformation (DCT), a form of shabby compression. The DCT compression was first proposed by Nasir Ahmed in 1972 and later developed by Ahmed with T. Natarajan and K. R. Rao at the University of Texas in 1973. The DCT has later become the standard for digital video compression since the late 1980s. The H.120 was not practical due to poor performance. H.120 was based on modulation (DPCM), a loss-free compression algorithm that was ineffective for video coding. In the late 1980s, a number of companies began experimenting with DCT, a much more efficient form of compression for video coding. CCITT received 14 proposals for DCT-based video compression formats, as opposed to a single proposal based on quantitative evaluation of compression vectors (V). The H.261 standard was designed based on DCT compression. H.261 was the first practical video coding standard. Beginning with H.261, DCT compression was accepted by all the basic video coding standards that followed. MPEG-1, developed by the Film Expert Group (MPEG), followed in 1991 and it was designed to compress VHS-quality video. It was replaced in 1994 by MPEG-2/H.262, which became the standard video format for DVD and SD digital television. In 1999, MPEG- 4/H.263 followed, followed by H.264/MPEG-4 AVC in 2003, which became the most widely used videocoding standard. From the late 1970s to the early 1980s, several types of video production equipment were presented, which was digital in internal work. These include time base correctors (TBC) and digital video effects (DVE) units. They acted by taking the standard analog composite video input and digitizing it internally. This made it easier to either correct or improve the video signal, as in the case of TBC, or manipulate and add effects to the video, in the case of the DVE unit. The digitized and processed video information was then converted back into a standard analog video for output. Later, in the 1970s, manufacturers of professional video transmission equipment such as Bosch (through their Fernseh division) and Ampex developed a prototype digital video recorder (VTR) in their research and experimental laboratories. The Bosch machine used a modified 1-inch B-type videotape and recorded an early form of the CCIR 601 digital video. The ampex digital video recorder prototype used a modified 2-inch Video Cassette Quadruplex VTR (Ampex AVR-3), but equipped with custom digital video electronics, and a special octplex 8-headed wheel (the usual analogue of 2 quad bikes used only 4 heads). Like the standard 2Cwad, the audio on the prototype of the Ampex digital machine, nicknamed by its developers as Annie, still recorded the sound in analogue as linear tracks on the tape. None of these machines from these manufacturers have ever been on the market commercially. Digital video was first commercially introduced in 1986 in Sony D1 format, which recorded an unsized standard digital video definition component. Component video required 3 cables, and most of the TELEVISION objects were connected to the NTSC composite PAL video with a single cable. Because of this incompatibility, and also because of the cost of the recorder, the D1 was used large television networks and other components of video studios are capable. In 1988, Sony and Ampex jointly developed and released the D2 digital videotape format, which recorded video digitally without compression in ITU-601, similar to D1. But the D2 had the main difference of coding video in a composite form to the NTSC standard, thus requiring only a single cable composite video message and from the D2 VCR, making it ideal for most television objects at the time. D2 was a successful format in the television broadcasting industry throughout the late 1980s and 1990s. The D2 was also widely used in that era as a master format for laser discs. Eventually, the D1 and D2 will be replaced by cheaper video compression systems, primarily Sony's digital beta cameras, which were introduced into the network's television studios. Other examples of digital video formats using compression were AMPex's DCT (the first to use such when introduced in 1992), the standard DVD and MiniDV and its professional variations, Sony DVCAM and Panasonic dVCPRO, and the Betacam SX, the simpler version of the digital beta camera using MPEG-2 compression. One of the first digital video products to run on personal computers was PACo: PicS Animation Compiler from a science and art company in Providence, RI, which was developed in 1990 and first shipped in May 1991. PACo can stream unlimited video with synchronized audio from a single file (s . CAV file extension) to CD-ROM. Creating requires a Mac; playback was possible on Mac, PC and Sun SPARCstations. The Apple Computer multimedia system was launched in June 1991. Audio video Interleave from Microsoft followed in 1992. Initial consumer-level content creation tools were crude, requiring the digitization of an analog video source in a computer- readable format. While low quality at first, consumer digital video has rapidly increased in quality, first with the introduction of playback standards such as MPEG-1 and MPEG-2 (adopted for use in television and DVD media), and then the introduction of the dv tape format allows recordings in a format that will be transmitted directly to digital video files using the FireWire port on computer editing. This simplified the process by allowing non-linear editing (NLE) to be used cheaply and extensively on desktop computers without the need for external playback or recording equipment. Widespread adoption of digital video and accompanying compression formats has reduced the bandwidth required for high-definition video (with HDV and AVCHD, as well as several commercial options such as DVCPRO-HD, all using less bandwidth than standard definition signal). This savings have increased the number of channels available on cable tv and live systems created to redistribute the spectrum of terrestrial television frequencies have made possible, among other innovations and effectiveness, cellless video cameras based on flash memory. Digital video review includes a series of digital images displayed in quick succession. In the context of the video, these images are called frames. The rate of display of frames is known as frame rate and is measured in frames per second (FPS). Each frame is an orthogonal bitmap digital image and therefore consists of a pixel break. Pixels have only one property, their color. The color of the pixel is represented by a fixed number of bits. The more bits, the more subtle variations of colors can be reproduced. This is called the color depth of the video. Weaving In intertwined video each frame consists of two halves of the image. The first half contains only the odd string of full frame. The second half contains only the lines. These halves are called only fields. Two consecutive pitches make up the full frame. If the intertwined video has a frame rate of 30 frames per second, the field speed is 60 fields per second. All the properties discussed here are equally applicable to intertwined videos, but you should be careful not to confuse the fields per second at frame rate per second. The speed of the bit and the BPP by definition, bit speed is a measure of the speed of the information content of the digital video stream. In the case of unsyneed video, the speed of the bit directly corresponds to the quality of the video, as the speed of the bit is proportional to each property that affects the quality of the video. The speed of the bit is an important feature when transmitting video, because the transmission connection must be able to maintain the speed of the bit.
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