Technical Specifications
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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. -
Type D-11 HDCAM Data Stream and AES3 Data Mapping Over SDTI
PROPOSED SMPTE 369M SMPTE STANDARD for Television ¾ Type D-11 HDCAM Data Stream and AES3 Data Mapping over SDTI Page 1 of 11 pages Table of contents 1 Scope 2 Normative references 3 General specifications 4 Header data 5 Payload data 6 AES3 data 7 Auxiliary data 8 EDH Annex A SDI and SDTI operation at 23.98… Hz) Annex B SDI and SDTI operation at 24 Hz) Annex C Bibliography 1 Scope This standard specifies the mapping of type D-11 HDCAM compressed picture data stream into the SDTI payload area (SMPTE 305.2M) together with the mapping of four channels of AES3 data and time code data into H-ANC packets. Type D-11 HDCAM compressed picture data stream mapping is defined for source coded picture rates of 24/1.001/P, 24/P, 25/P, 50-I, 30/1.001/P, and 60/1.001. For the transmission of compressed picture data coded at source picture rates of 25/P and 50/I, the SDTI interface operates at a frame rate of 25 Hz. For the transmission of compressed picture data coded at source picture rates of 30/1.001P and 60/1.001I, the SDTI interface operates at a frame rate of 30/1.001 Hz. The transmission of compressed picture data coded at the source picture rates of 24/1.001/P and 24/P require the SDTI interface to operate at frame rates of 24/1.001 Hz and 24 Hz with the parameters defined in normative annex A and annex B of this standard. -
Adobe Premiere Elements 13
ADOBE® PREMIERE® ELEMENTS HELP Legal notices Legal notices For legal notices, see http://help.adobe.com/en_US/legalnotices/index.html. Last updated 9/23/2014 iii Contents Chapter 1: What's new What's new in Adobe Premiere Elements 13 . .1 What's new in Elements Organizer 13 . .6 Chapter 2: Workspace Workspace . .9 Chapter 3: Creating a video project Create a video story . 14 Creating a project . 19 Saving and backing up projects . 21 Project settings and presets . 22 Viewing a project’s files . 25 Undoing changes . 27 Working with scratch disks . 27 Creating instant movies . 29 Previewing movies . 31 Viewing clip properties . 36 Chapter 4: Importing and adding media Supported devices and file formats . 39 Guidelines for adding files . 40 Adding media into Adobe Premiere Elements . 43 Creating specialty clips . 48 5.1 audio import . 49 Add numbered image files as a single clip . 50 Set duration for imported still images . 50 Working with aspect ratios and field options . 51 Set duration for imported still images . 54 Add numbered image files as a single clip . 55 Sharing files between Adobe Premiere Elements and Adobe Photoshop Elements . 55 Working with offline files . 56 Chapter 5: Arranging movie clips Arranging clips in the Quick view timeline . 58 Arranging clips in the Expert view timeline . 60 Creating a picture-in-picture overlay . 67 Grouping, linking, and disabling clips . 68 Working with clip and timeline markers . 70 Chapter 6: Editing clips Stabilize video footage with Shake Stabilizer . 74 Trimming clips . 77 Split clips . 84 Last updated 9/23/2014 ADOBE PREMIERE ELEMENTS iv Contents Replace footage . -
Digital Audio and Ancillary Data Services for ATV--The Work of The
DIGITAL AUDIO AND ANCILLARY DATA SERVICES FOR ATV - THE WORK OF THE ATSC SPECIALIST GROUP Graham S. Stubbs Eidak Corporation ABSTRACf that it is important that appropriate em phasis should be placed on defining the This paper describes the advice and accompanying sound channels, the features suggestions put forth by the Technology of the ancillary data and control services, Group on Distribution (T3) of the Advanced and the way in which they may be included Television System Committee (ATSC) re in the ATV transmission format. garding digital services for Advanced Televi sion (A TV). These recommendations were The charter of the ATSC Specialist based on the background work of the Spe Group on Digital Services (T3/S3) has been cialist Group (T3/S3) on Digital Services to conduct industry surveys and technical which conducted technical studies, and studies and to develop technical information surveys, and developed the suggestions and and recommendations on the following sub recommendations. jects. The Specialist Group commenced its studies in December, 1990. Rapid advances in multichannel com posite digital audio coding technology now A Sound & Ancilla:ry Data Services make it possible to plan to provide the con sumer (e.g. cable subscriber) with an expand Identification of the range of ATV ed audio experience to match wide screen sound channel requirements and high definition TV pictures. This paper how they might be satisfied with re summarizes the suggestions adopted by cent rapid advances in the state-of ATSC's T3 Group regarding audio and the art digital audio coding. Identifi ancillary data services, including the advice cation of the range of desirable that a standard service for A1V should in ancillary data services--including clude capacity for a minimum of five audio those already in use and in some channels with composite encoding. -
Preparing for the Broadcast Analog Television Turn-Off: How to Keep Cable Subscribers’ Tvs from Going Dark
White Paper Preparing for the Broadcast Analog Television Turn-Off: How to Keep Cable Subscribers’ TVs from Going Dark Learn about the NTSC-to-ATSC converter/ receiver and how TANDBERG Television’s RX8320 ATSC Broadcast Receiver solves the Analog Turn-Off issues discussed in this paper Matthew Goldman Vice President of Technology TANDBERG Television, part of the Ericsson Group First presented at SCTE Cable-Tec Expo® 2008 in Philadelphia, Pennsylvania © TANDBERG Television 2008. All rights reserved. Table of Contents 1. The “Great Analog Television Turn-Off” ..............................................................................................3 1.1 Receiving Over-the-Air TV Transmissions ..............................................................................3 1.2 ATSC DTV to NTSC Analog Conversion ...................................................................................5 2. Video Down-Conversion .........................................................................................................................5 2.1 Active Format Description ..........................................................................................................8 2.2 Bar Data .............................................................................................................................................9 2.3 Color Space Correction ................................................................................................................9 3. Audio Processing .......................................................................................................................................9 -
A Method of Identifying Inconsistent Field Dominance Metadata in a Sequence of Video Frames
(19) & (11) EP 2 109 312 A1 (12) EUROPEAN PATENT APPLICATION (43) Date of publication: (51) Int Cl.: 14.10.2009 Bulletin 2009/42 H04N 5/44 (2006.01) (21) Application number: 08251412.6 (22) Date of filing: 11.04.2008 (84) Designated Contracting States: (72) Inventors: AT BE BG CH CY CZ DE DK EE ES FI FR GB GR • Barton, Oliver James HR HU IE IS IT LI LT LU LV MC MT NL NO PL PT Newport NP20 3PX (GB) RO SE SI SK TR • Elangovan, Premkumar Designated Extension States: Bristol BS1 6PL (GB) AL BA MK RS (74) Representative: Wardle, Callum Tarn et al (71) Applicant: Tektronix International Sales GmbH Withers & Rogers LLP 8212 Neuhausen am Rheinfall Goldings House Schaffhausen (CH) 2 Hays Lane London SE1 2HW (GB) (54) A method of identifying inconsistent field dominance metadata in a sequence of video frames (57) Embodiments of the present invention provide der over a predefined number of most recently analysed a method of identifying inconsistent field order flags for frames; and determining those frames for which the av- a sequence of video frames comprising: for each frame eraged field order does not match the field order identified in the sequence of video frames analysing the frame to by a respective field order metadata item associated with make an initial determination of the field order for that each frame by comparing the averaged field order for frame; averaging the initial determination of the field or- each frame to the respective field order metadata item. EP 2 109 312 A1 Printed by Jouve, 75001 PARIS (FR) EP 2 109 312 A1 Description [0001] Video frames can be classified as either progressive or interlaced, depending upon the method used to display them. -
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 -
Final Cut Pro HD
HighNoonNFHome.qxp 3/4/04 3:44 PM Page 1 New Features in Final Cut Pro HD UP01022.Book Page 2 Tuesday, March 23, 2004 7:32 PM Apple Computer, Inc. © 2004 Apple Computer, Inc. All rights reserved. Under the copyright laws, this manual may not be copied, in whole or in part, without the written consent of Apple. Your rights to the software are governed by the accompanying software license agreement. The Apple logo is a trademark of Apple Computer, Inc., registered in the U.S. and other countries. Use of the “keyboard” Apple logo (Option-Shift-K) for commercial purposes without the prior written consent of Apple may constitute trademark infringement and unfair competition in violation of federal and state laws. Every effort has been made to ensure that the information in this manual is accurate. Apple Computer, Inc. is not responsible for printing or clerical errors. Apple Computer, Inc. 1 Infinite Loop Cupertino, CA 95014-2084 408-996-1010 www.apple.com Apple, the Apple logo, DVD Studio Pro, Final Cut, Final Cut Pro, FireWire, Mac, Mac OS, Macintosh, PowerBook, Power Mac, and QuickTime are trademarks of Apple Computer, Inc., registered in the U.S. and other countries. Cinema Tools, Finder, OfflineRT, LiveType, and Sound Manager are trademarks of Apple Computer, Inc. Digital imagery® copyright 2001 PhotoDisc, Inc. AppleCare is a service mark of Apple Computer, Inc. Other company and product names mentioned herein are trademarks of their respective companies. Mention of third-party products is for informational purposes only and constitutes neither an endorsement nor a recommendation. -
XAVCTM MXF Mapping and Operating Points
SMPTE RDD 32:2017 Revision of RDD 32:2014 SMPTE REGISTERED DISCLOSURE DOCUMENT XAVCTM MXF Mapping and Operating Points Page 1 of 34 pages The attached document is a Registered Disclosure Document prepared by the proponent identified below. It has been examined by the appropriate SMPTE Technology Committee and is believed to contain adequate information to satisfy the objectives defined in the Scope, and to be technically consistent. This document is NOT a Standard, Recommended Practice or Engineering Guideline, and does NOT imply a finding or representation of the Society. Errors in this document should be reported to the proponent identified below, with a copy to [email protected]. All other inquiries in respect of this document, including inquiries as to intellectual property requirements that may be attached to use of the disclosed technology, should be addressed to the proponent identified below. This document is intended to support the development of applications that read and process XAVC MXF files. It is not intended to support the development of hardware or software applications that create XAVC MXF files, and creation of such files is reserved to individuals and organizations that have entered into agreements with the proponent identified below for such file creation. Proponent contact information: Satoshi Katsuo Sony Corporation 4-14-1 Asahi-cho, Atsugi Kanagawa, 243-0014 Japan Email: [email protected] Copyright © 2017 by THE SOCIETY OF MOTION PICTURE AND TELEVISION ENGINEERS Approved August 30, 2017 445 Hamilton Avenue, White Plains, NY 10601 (914) 761-1100 SMPTE RDD 32:2017 Table of Contents Page 1 Scope ............................................................................................................................................................ 4 2 Related Documents ....................................................................................................................................... -
Digital Video Broadcasting (DVB); Companion Screens and Streams;
! ! ! ! ! ! ! ! ! ! ! ! ! ! ! Digital Video Broadcasting (DVB); Companion Screens and Streams; Part 2: Content Identification and Media Synchronisation DVB Document A167-2 June 2016 3 Contents Intellectual Property Rights ................................................................................................................................ 9 Foreword............................................................................................................................................................. 9 Modal verbs terminology ................................................................................................................................... 9 Introduction ...................................................................................................................................................... 10 1 Scope ...................................................................................................................................................... 14 2 References .............................................................................................................................................. 14 2.1 Normative references ....................................................................................................................................... 14 2.2 Informative references ..................................................................................................................................... 16 3 Definitions and abbreviations ................................................................................................................ -
What's New for Avid® Media Composer® V5.0
What’s New for Avid® Media Composer® v5.0 The following lists what’s new for the current editor release. Feature Description For More Info Mixing Frame Sizes and You can now mix frame sizes and aspect See “Mixing Frame Sizes and Aspect Ratios ratios in the same sequence. Aspect Ratios” on page 4. n The reformatting capabilities that let you mix frame sizes and aspect ratios in a sequence are also not generally appropriate for use with stereoscopic material. The image scaling and resizing that occurs affects the separation between objects in the left and right images. Transcoding Mixed Rate You can transcode clips of any edit rate. See “Transcoding Mixed Frame Material Rate Material” on page 9. Timeline Direct You can now edit sequences without having See “Working with the Timeline Manipulation to enter specific edit modes. Palette” on page 13. Film Based Metadata Changes were made to improve your See “File Based Metadata enhancements workflow in many areas of the application, Enhancements” on page 37. including support of file based media, entering your own custom key numbers, changes to FilmScribe, AutoSync, Relink, and EDL. Alternate Source Capture You can enter a different timecode and tape See “Alternate Source Capture” name when you batch capture. on page 39. Selecting Items in a Bin The way in which you select and sort items in See “Selecting Clips and a bin has changed. It now follows a standard Sequences” on page 42 and operating system selection process. “Sorting Clips and Sequences” on page 42. Feature Description For More Info Promoting Effects You might need to update some effects if you See “Updating and Reverting are working with sequences that contain Existing Effects in Sequences” on effects created in an earlier version of the page 43 editing application. -
PBS Technical Operating Specification 2016 Part 1 Page 1
TOS Pt.1 PBS Technology & Operations TECHNICAL OPERATING SPECIFICATION Part 1: Program Submission 2016 Edition Table of Contents 1 Scope and Purpose ...................................................................................................... 1 1.1 Purpose ............................................................................................................................................................... 1 1.2 Requirements .................................................................................................................................................... 1 1.3 Producer Responsibilities .............................................................................................................................. 1 1.4 Physical Media .................................................................................................................................................. 1 1.5 Digital Media ..................................................................................................................................................... 1 2 Reference Table ........................................................................................................... 2 3 Video .............................................................................................................................. 4 3.1 Video Image Quality........................................................................................................................................ 4 3.2 Video Definition ..............................................................................................................................................