United States Patent [19] M 3.551111
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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. -
C:\Andrzej\PDF\ABC Nagrywania P³yt CD\1 Strona.Cdr
IDZ DO PRZYK£ADOWY ROZDZIA£ SPIS TREFCI Wielka encyklopedia komputerów KATALOG KSI¥¯EK Autor: Alan Freedman KATALOG ONLINE T³umaczenie: Micha³ Dadan, Pawe³ Gonera, Pawe³ Koronkiewicz, Rados³aw Meryk, Piotr Pilch ZAMÓW DRUKOWANY KATALOG ISBN: 83-7361-136-3 Tytu³ orygina³u: ComputerDesktop Encyclopedia Format: B5, stron: 1118 TWÓJ KOSZYK DODAJ DO KOSZYKA Wspó³czesna informatyka to nie tylko komputery i oprogramowanie. To setki technologii, narzêdzi i urz¹dzeñ umo¿liwiaj¹cych wykorzystywanie komputerów CENNIK I INFORMACJE w ró¿nych dziedzinach ¿ycia, jak: poligrafia, projektowanie, tworzenie aplikacji, sieci komputerowe, gry, kinowe efekty specjalne i wiele innych. Rozwój technologii ZAMÓW INFORMACJE komputerowych, trwaj¹cy stosunkowo krótko, wniós³ do naszego ¿ycia wiele nowych O NOWOFCIACH mo¿liwoYci. „Wielka encyklopedia komputerów” to kompletne kompendium wiedzy na temat ZAMÓW CENNIK wspó³czesnej informatyki. Jest lektur¹ obowi¹zkow¹ dla ka¿dego, kto chce rozumieæ dynamiczny rozwój elektroniki i technologii informatycznych. Opisuje wszystkie zagadnienia zwi¹zane ze wspó³czesn¹ informatyk¹; przedstawia zarówno jej historiê, CZYTELNIA jak i trendy rozwoju. Zawiera informacje o firmach, których produkty zrewolucjonizowa³y FRAGMENTY KSI¥¯EK ONLINE wspó³czesny Ywiat, oraz opisy technologii, sprzêtu i oprogramowania. Ka¿dy, niezale¿nie od stopnia zaawansowania swojej wiedzy, znajdzie w niej wyczerpuj¹ce wyjaYnienia interesuj¹cych go terminów z ró¿nych bran¿ dzisiejszej informatyki. • Komunikacja pomiêdzy systemami informatycznymi i sieci komputerowe • Grafika komputerowa i technologie multimedialne • Internet, WWW, poczta elektroniczna, grupy dyskusyjne • Komputery osobiste — PC i Macintosh • Komputery typu mainframe i stacje robocze • Tworzenie oprogramowania i systemów komputerowych • Poligrafia i reklama • Komputerowe wspomaganie projektowania • Wirusy komputerowe Wydawnictwo Helion JeYli szukasz ]ród³a informacji o technologiach informatycznych, chcesz poznaæ ul. -
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. -
TDS3000 & TDS3000B Series Digital Phosphor Oscilloscopes Programmer Manual
Programmer Manual TDS3000 & TDS3000B Series Digital Phosphor Oscilloscopes 071-0381-02 This document applies to firmware version 3.00 and above. www.tektronix.com Copyright © Tektronix, Inc. All rights reserved. Licensed software products are owned by Tektronix or its suppliers and are protected by United States copyright laws and international treaty provisions. Use, duplication, or disclosure by the Government is subject to restrictions as set forth in subparagraph (c)(1)(ii) of the Rights in Technical Data and Computer Software clause at DFARS 252.227-7013, or subparagraphs (c)(1) and (2) of the Commercial Computer Software – Restricted Rights clause at FAR 52.227-19, as applicable. Tektronix products are covered by U.S. and foreign patents, issued and pending. Information in this publication supercedes that in all previously published material. Specifications and price change privileges reserved. Tektronix, Inc., P.O. Box 500, Beaverton, OR 97077 TEKTRONIX and TEK are registered trademarks of Tektronix, Inc. DPX, WaveAlert, and e*Scope are trademarks of Tektronix, Inc. Contacting Tektronix Phone 1-800-833-9200* Address Tektronix, Inc. Department or name (if known) 14200 SW Karl Braun Drive P.O. Box 500 Beaverton, OR 97077 USA Web site www.tektronix.com Sales support 1-800-833-9200, select option 1* Service support 1-800-833-9200, select option 2* Technical support Email: [email protected] 1-800-833-9200, select option 3* 1-503-627-2400 6:00 a.m. – 5:00 p.m. Pacific time * This phone number is toll free in North America. After office hours, please leave a voice mail message. -
Digital Audio Standards
Digital Audio Standards MINUTES OF THE MEETING OF THE DIGITAL would consider the possibility of using the 45-kHz fre- AUDIO STANDARDS COMMITTEE quency proposed by Heaslett. 1.5 Mr. Willcocks gave the available technical details of Date: 1977 December 1 und 2 some 14 presently-used digital audio systems. He sub- Time: 1830 hours sequently prepared a report containing this information for Place: Snowbird Resort, Salt Lake City, Utah distribution to the committee (see page 56). 1.6 Several members expressed the urgency for sampling Present: Chairman, John G. McKnight (Magnetic Refer- frequency standardization because of the number of digital ence Laboratory); members, Stanley Becker (Scully/ audio recording systems- both studio and consumer Dictaphone); Gregory Boganz (RCA Records); Vic Goh types- now nearing completion and commercial availa- (Victor Company of Japan (JVC)); Thomas Hay (MCI, bility. Inc .); Alastair Heaslett (Ampex Corporation); M. Carlos Kennedy (Ampex Corporation); William Kinghom (Telex 1.7 The committee was unable to find an acceptable single Communications); K. Kimihira (Akai America); Masahiro frequency, given the conflicting requirements of the pres- Kosaka (Wireless Research Lab, Matsushita Elect. Inc. ent TV-compatible proposal, the 3M studio recorder, and Co.); Alfred H. Moris (3M Company); Thomas G. Stoc- the Japanese consumer recorders. The committee asked kham, Jr. (Soundstream, Inc.); Martin Willcocks Messrs. Heaslett, Youngquist and Kosaka each to prepare (Willcocks Research Consultants); James V. White (CBS a report giving details explaining why they chose the Technology Center); Yoshito Yamagudi (Melco Sales Inc. frequency they did, and what penalties the other frequen- Mitsubishi Electric Corp.); Robert J. Youngquist (3M cies discussed would entail. -
Analog Waveform Monitors
Analog Waveform Monitors 1740A Series • 1750A Series • 1760 Series Data Sheet Applications Analog Baseband Video Monitoring for Broadcast and Postproduction Applications The 1740A/1750A/1760 Series make up a family of analog video waveform/vector monitors with progressive features in support of today’s demanding television environment. Each model in the series provides improved video performance and ease of operation and incorporates application-specific features. The family includes the 1740A Series composite analog waveform/vector monitors, the 1750A Series, which adds SCH and color frame verification capabilities, and the 1760 Series for mixed-format component/composite applications. (While the 1740A and 1750A do provide basic component waveform monitoring capabilities with parade and overlay displays, only the 1760 provides full component monitoring capabilities.) 1740A Series NTSC, PAL, and dual-standard models in accessory 1700F02 portable Each series includes models for NTSC, PAL, or dual-standard NTSC/PAL cases. operation. For NTSC models, the last digit of the model number is ’0’ (1740A, 1750A, or 1760); ’1’ for PAL (1741A, 1751A, or 1761); and ’5’ for Features & Benefits dual-standard NTSC/PAL (1745A, 1755A, or 1765). The family features a common, straightforward operator interface, allowing Composite or Component Waveform Monitoring the operator to take immediate advantage of the instrument’s extensive Composite Vector Display feature set. Each operating mode provides a full set of operating controls, Picture Display clearly labeled and within easy reach. Key controls are always available, Stereo Audio Display with bezel buttons and knobs identified by intuitive on-screen labels. Time Code Phasing and Amplitude SCH and Color Framing Display Component Vector, Lightning, Diamond, and Bowtie Data Sheet Selection Guide in a production suite or outside production vehicle. -
Subcourse Edition Ss 0606 8 Analyzing Color Video and Video Test Signals
SUBCOURSE EDITION SS 0606 8 ANALYZING COLOR VIDEO AND VIDEO TEST SIGNALS US ARMY RADIO/TELEVISION SYSTEMS SPECIALIST MOS 26T SKILL LEVEL 1, 2 & 3 COURSE ANALYZING COLOR VIDEO AND VIDEO TEST SIGNALS SUBCOURSE SS0606 US Army Signal Center and Fort Gordon Fort Gordon, Georgia EDITION 8 5 CREDIT HOURS REVISED: 1988 General The Analyzing Color Video and Video Test Signals subcourse requires a basic understanding of television electronics, television systems operation, and television transmissions. This subcourse is designed to teach you the knowledge and the basic applications used in color television transmission and television test signals. Information is provided on the fundamentals of color, color transmission, color test signals, and basic television test signals. The subcourse is presented in three lessons, each lesson corresponding to a terminal objective as indicated below. Lesson 1: DESCRIBE THE FUNDAMENTALS OF COLOR TASK: Describe the fundamentals of color used in television transmission. CONDITIONS: Given the information and illustrations relating to the fundamentals of color. STANDARDS: Demonstrate competency of the task skills and knowledge by correctly responding to 80 percent of the multiple-choice test questions covering the fundamentals of color used in television transmission. i Lesson 2: DESCRIBE THE COLOR BAR TEST SIGNALS TASK: Describe and identify the four basic color bar test signals. CONDITIONS: Given information and illustrations relating to the four basic color bar test signals. STANDARDS: Demonstrate competency of task skills and knowledge required for identification of the color bars signals discussed in this lesson by correctly responding to 80 percent of the multiple-choice test questions covering the four basic color bar test signals. -
Responsive Field Service Are Available Worldwide for the Ampex CVR-65
General responsive field service are available D Versatile Time Code System Originally developed for ENG, worldwide for the Ampex CVR-65 -Vertical Interval Time Code the Betacam format is used today as studio player. (VITC) and SMPTE/EBU the acquisition format for all types longitudinal track format of production. But with new applica- Features -Presetable User Bits, free-run tions came demands for improved D Built-in time base corrector pro- or record-run modes picture and sound quality, together vides broadcast quality video -Genlock for setting/syn- with longer play times. The Beta- while eliminating any other sig- chronizing to an external time cam SP format was developed to nal processing requirements code master generator meet these demands and provide D TBC remote control interface -Built-in time code generator/ playback compatibility, while main- D High speed picture-in-shuttle up reader taining the reliability and durability to 24x normal speed in mono- D 'fu'o composite outputs of the original format. chrome, either forward or reverse D 'fu'o dub/component outputs: D Full-featured editor: -Y, R-Y, B-Y or Compressed The CVR-70 studio VTR com- -Assemble and insert edits for Time Division Multiplexed bines the performance of Betacam Video, Audio I and 2, and time (CTDM) output for high- code SP with features such as dynamic quality component editing motion control, viewable pictures in -Preview/Review allows check D Color framing: superior color shuttle, a full-featured editing sys- of edit accuracy framing operation, using both tem, a built-in time base corrector -In/Out marks may be trimmed the CF flag and the Vertical and a versatile time code system. -
Tektronix: Video Test > Video Glossary Part 3
Video Terms and Acronyms Glossary P Pack – A layer in the MPEG system coding syntax for MPEG systems Packet Video – The integration of video coding and channel coding to program streams. A pack consists of a pack header followed by zero or communicate video over a packetized communication channel. Usually more packets. It is a layer in the system coding syntax. these techniques are designed to work in the presence of high packet jitter Pack Slip – A lateral slip of select tape windings causing high or low and packet loss. spots (when viewed with tape reel laying flat on one side) in an otherwise Packets – A term used in two contexts: in program streams, a packet is smooth tape pack. Pack slip can cause subsequent edge damage when a unit that contains one or more presentation units; in transport streams, the tape is played, as it will unwind unevenly and may make contact with a packet is a small, fixed size data quantum. the tape reel flange. Packing Density – The amount of digital information recorded along the Packed 24-Bit – A compression method where a graphics accelerator length of a tape measured in bit per inch (bpi). transfers more than one bit on each clock cycle, then reassembles the Padding – A method to adjust the average length of an audio frame in fragmented pixels. For example, some chips can transfer 8, 24-bit pixels time to the duration of the corresponding PCM samples, by continuously in three clocks instead of the four normally required, saving bandwidth. adding a slot to the audio frame. -
DPS-235 Transcoding TBC/Synchronizer Available in Both Single and Dual Channel Con- Figurations, the DPS-235 Is an Ideal General Pur- Pose TBC/Synchronizer
Section8 PHOTO - VIDEO - PRO AUDIO Studio Equipment Horita.....................................482-491 Hotronics...............................492-494 Prime Image .................................495 DPS .........................................496-501 Nova Systems........................502-506 SourceBook Video Allen Avionics...............................506 Miranda.........................................507 Test and Measurement Hamlet ...................................508-509 CompuVideo .........................510-513 Magni Systems .....................514-519 Leader....................................520-531 The rofessional P HORITA TIME-CODE EQUIPMENT For Desktop, Rack Mount or Field Use Horita offers a full line of SMPTE LTC and VlTC Time-Code Readers, Generators, Inserters and Translators. The LTC line offers choice and flexibility, from the basic WG-50 Play Speed Reader/Inserter to the complete TRG-50 PC Generator/Search Speed Reader/Window Inserter with RS-232 interface and TC-TOOL KIT tape logging software. VITC products provide Generator, Reader/Window Inserter and Translator functions, enabling translation between LTC and VITC, as well as having a full-function VITC system. LED units, like the TCD-100 and VLR-100, provide visual displays, as well as reader/generator functions. The TCI-50 and RLT-50 allow time-code to be inserted into, or extracted from, an RS4-22 data stream. The GPI-50 is a time code based dual general purpose interface. Horita also offers color bar, test signal, blackburst and sync generators, a video titler with serial interface and a Safe Area Generator. All products are available in desk top, rackmount and field pack- ages. They are all versatile, affordable and easy to use. TIME-CODE EQUIPMENT WHAT IS SMPTE TIME CODE? Adopted in the late 1960s by the Society of Motion Picture and Why is SMPTE time code so important? The answer can be stated Television Engineers, SMPTE Time Code is an industry standard in two words: Accuracy and repeatability. -
New Analog TV in a Digital World
In a time during a recovery period in my life I needed to focus on something technical and not on my current issues and so I chose this and other topics to explore. Growing up with analog audio and video and the circuits used for them I've always appreciated the simplicity of well designed circuits using minimal parts and getting great performance out of them. A lost art much like early computer programming which required very efficient code to maximize performance and features, and so it is for analog circuits too, using the fewest parts to obtain the best performance. Well designed analog circuits will usually draw less power than their digital counterparts and are usually repairable, unlike today's electronic products that are thrown away when broken and end up in landfills. And so during this period the focus is on the various analog TV systems that have been used worldwide. New Analog TV in a Digital World In the U.S. NTSC-M was the first widespread Color TV system adopted and helped to spawn the other two versions, PAL & SÉCAM. Both these designs addressed the 'Never The Same Color' hue tracking issues of NTSC in different ways, but also introduced issues that NTSC doesn't have. Besides the hue tracking issues NTSC suffered from fuzzy images caused by insufficient video bandwidth for the number of scan lines used, i.e. non-square pixels. PAL & SÉCAM solved this by increasing the channel space by 33⅓% and lowering the frame rate by 16⅔%. The frame rate was not chosen to be the same as NTSC's choice of 30FPS which had to do with 60Hz AC line frequency but by the line frequency chosen in Europe of 50Hz for 25FPS, 60 not being a metric number.