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Little Havana
I Ill tlil l TECHNOLOGY BUSINESS The great rate race Big trouble in The opportunites offered by -which justify charging more for the DVD than its VHS equivalent. little Havana technology are only as good as the Sony-Columbia TriStar in the US has now released creative and commercial applications special edition DVD movies, including Crouching Race, politics and race politics have Tiger, Hidden Dragon, The Fifth Element and Air they find-as DVD and SACD amply Force One. Instead of wasting bit space on cringe - rarely laid such clumsy hands on the Fox making extras, Superbits double the coding rate, from music business as they have over the demonstrate, writes Barry an average of 3-4Mbits/s to 6-8Mbits/s. There is also a choice of Dolby Digital 5.1 or DTS, and at higher Latin Grammys, writes Dan Daley JVC FOUND OUT the hard way when it tried audio coding rates. to launch Super-VHS with tapes that would Benjamin Feingold, president of Columbia TriStar OLTTICS AND MUSIC have long been familiar not play on standard VHS decks, that the pub- says: `Standard DVDs are like fully -loaded luxury bedfellows. But what's gone on in Miami recently lic at large is not interested in buying into a automobiles. In contrast, Superbit DVDs are like takes this relationship to a new level. Latino new format simply because it offers marginally high- Formula One race cars; built for pure performance'. music has become one of the fastest -growing er quality sound and pictures. So it is wholly It is significant that the move comes from Sony, music genres in the US, and because Hispanics populate unsurprising that DVD-Audio already looks dead in Philips' partner in SACD. -
Manual HXC3000C01
HXC3000C01 CROSS CONVERTER FROM 3G/HD/SD-SDI TO 3G/HD/SD-SDI WITH ADVANCED MOTION COMPENSATED DE-INTERLACING Version 1.0 Albalá Ingenieros, S.A. 23 February 2015 - © Albalá Ingenieros S.A. - All rights reserved Medea, 4 - 28037 Madrid - Spain HXC3000C01 HXC3000C01 CROSS CONVERTER FROM 3G/HD/SD-SDI TO 3G/HD/SD-SDI WITH ADVANCED MOTION COMPENSATED DE-INTERLACING Version 1.0 1. DESCRIPTION ...................................................................................................................... 5 1.1. The HXC3000C01 ........................................................................................................................... 5 1.2. Features ............................................................................................................................................. 6 1.3. Block diagram .................................................................................................................................. 7 2. SPECIFICATIONS ................................................................................................................. 9 3. INSTALLATION .................................................................................................................. 11 3.1. Initial inspection .......................................................................................................................... 11 3.2. Safety instructions ...................................................................................................................... 11 3.3. Environmental considerations -
Information on DW-TV 16:9 Widescreen Broadcasting
Information on DW-TV 16:9 widescreen broadcasting Why is transmission being changed to 16:9 widescreen format? What is anamorphic distortion of a television picture? Why are anamorphically distorted television pictures broadcast? What does letterboxing mean? What does Pan & Scan mean? How is the screen format identified when transmitted via satellite? What does WSS stand for? How is the screen format identified when using a SCART connector? FAQs How do I set my appliance to enable automatic screen size adjustment? Viewer’s Information - TV with 4:3 screen format The program is broadcast in 16:9 format; the picture on my 4:3 screen is vertically distorted. How can I solve the problem? My television has a 4:3 screen format; when the program is broadcast in 16:9 format some picture content is cut off on both sides. How can I solve the problem? My television has a 4:3 screen format; I would like to watch 16:9 screen broadcasts in letterbox format. How can I solve the problem? Viewer’s information - TV with 16:9 screen format The program is broadcast in 16:9 widescreen format; even though I have a 16:9 flat screen television, my picture is vertically distorted and has black bars on both sides. How can I solve the problem? A program broadcast in 4:3 format is horizontally distorted on my 16:9 flat screen television. How can I solve the problem? My television has a 16:9 widescreen format; if the program is broadcast in 4:3 format, some picture content is cut off at the top and bottom? How can I solve the problem? I receive DW programs via satellite or via cable; even though I have a 16:9 flat screen television, the broadcast in 16:9 format has black bars surrounding the picture. -
Video Demystified
Video Demystified A Handbook for the Digital Engineer Fifth Edition by Keith Jack AMSTERDAM • BOSTON • HEIDELBERG • LONDON NEW YORK • OXFORD • PARIS • SAN DIEGO SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO ELSEVIER Newnes is an imprint of Elsevier Newnes Contents About the Author xix chapteri • introduction 1 Contents 3 Standards Organizations 5 Chapter 2 • Introduction to Video 6 Analog vs. Digital 6 Video Data 6 Digital Video 7 Video Timing 7 Video Resolution 9 Standard-Definition 9 Enhanced-Definition 9 High-Definition 11 Audio and Video Compression 11 Application Block Diagrams 11 DVD Players 11 Digital Media Adapters 12 Digital Television Set-Top Boxes 12 v vi Contents chapter 3 • Color Spaces 15 RGB Color Space 15 sRGB 16 scRGB 17 YUV Color Space 17 YIQ Color Space 18 YCbCr Color Space 19 RGB-YCbCr Equations: SDTV 19 RGB-YCbCr Equations: HDTV 20 4:4:4 YCbCr Format 21 4:2:2 YCbCr Format 22 4:1:1 YCbCr Format 22 4:2:0 YCbCr Format 22 xvYCC Color Space 26 PhotoYCC Color Space 26 HSI, HLS, and HSV Color Spaces 27 Chromaticity Diagram 28 Non-RGB Color Space Considerations 32 Gamma Correction 34 Constant Luminance Problem 36 References 36 chapter 4 • Video Signals Overview 37 Digital Component Video Background 37 Coding Ranges 37 480i and 480p Systems 39 576i and 576p Systems 48 720p Systems 56 1080i and 1080p Systems 59 Other Video Systems 64 References 67 / Contents vii chapter 5 • Analog Video Interfaces 68 S-Video Interface 68 SCART Interface 69 SDTVRGB Interface 71 HDTV RGB Interface 75 Constrained Image 77 SDTV YPbPr Interface 77 VBI -
Widescreen Signaling (WSS) Aug 1998
APPLICATION NOTE AN9716 Rev 1.00 Widescreen Signaling (WSS) Aug 1998 Introduction [1] 625-Line PAL and SECAM Systems To facilitate the handling of various aspect ratios of program DATA TIMING material received by TVs, a widescreen signalling (WSS) The first part of line 23 is used to transmit the WSS system has been developed. This standard allows a WSS- information, as shown in Figure 1. enhanced 16:9 TV to display programs in their correct aspect ratio. The clock frequency is 5MHz (100Hz). The signal waveform should be a sine-squared pulse, with a half- The Copy Generation Management System (CGMS-A) for amplitude duration of 200 10ns. The signal amplitude is analog PAL video signals will use some of the reserved bits. 500mV 5%. For analog NTSC video signals, EIA-744 adds CGMS capability to EIA-608. The PALplus system, which allows the The NRZ (non-return to zero) data bits are processed by a transmission of 16:9 programs over normal PAL systems, bi-phase code modulator, such that one data period equals 6 requires the presence of the WSS signal. elements at 5MHz. 625-line PAL and SECAM systems are based on ITU-R DATA CONTENT BT.1119 [2]; 525-line NTSC systems are based on EIAJ The WSS consists of a run-in code, a start code, and 14 bits CPX-1204. [3] For analog YUV video signals, WSS of data, as shown in Table 1. information should be present on the Y signal. For analog RGB video signals, WSS information should be present on all three signals. -
LES STUDIOS D'hollywood UA
LES STUDIOS d’HOLLYWOOD UA Pour de nombreux amateurs de cinéma, la United Artists Corporation ne représente que le studio à qui l'on doit les aventures de l'agent 007. D'autres la perçoivent plutôt comme une simple sous-filiale de la Metro-Goldwyn-Mayer. Pourtant, la United Artists constitue l'un des studios les plus âgés de l'histoire du cinéma, prenant pleinement racine dans le trio des ¨Minors¨ au début du siècle. Son catalogue se compose de films prestigieux; City Lights (1931) de Charlie Chaplin, Henry V (1944) de Laurence Olivier, 12 Angry Men (1957) de Sidney Lumet, The Misfits (1961) de John Huston, West Side Story (1961), One Flew Over the Cuckoo's Nest (1975) et Rocky (1976). Une association d'artistes à l'origine du studio La United Artists fut fondé en 1919 par quatre personnalités du cinéma: Douglas Fairbanks, Charlie Chaplin, Mary Pickford et le réalisateur D.W. Griffith. Dès ses débuts, la United Artists adopta une stratégie axée sur la distribution des productions indépendantes. Elle privilégia ainsi les créateurs en leur octroyant un droit de contrôle artistique et commercial. Préférant renoncer à l'achat de salles de cinéma et de plateaux de tournage, la compagnie opta plutôt pour une structure simplifiée et s'abstint de financer les films de son répertoire. Contrairement aux pratiques de mise durant la période 1920-1940, la United Artists évita en plus de participer à la réservation en lot (block- booking) de sa production. Cette stratégie marketing visait à forcer un exploitant ou une chaîne d'exploitation à louer un ensemble indivis de films. -
User Instruction Manual Format Conversion – SDI
User Instruction Manual Format Conversion – SDI IQUDC10 3G/HD/SD-SDI Up, Down and Cross Converter with Synchronizer IQDNC00 3G/HD/SD-SDI Downconverter with Synchronizer IQDCC00 3G/HD/SD-SDI Down and Cross Converter with Synchronizer IQUPC00 HD/SD-SDI Up Converter with Synchronizer IQUCC00 3G HD/SD-SDI Up and Cross Converter with Synchronizer www.s-a-m.com IQUDC10/IQDNC00/IQDCC00/IQUPC00/IQUCC00 Information and Notices Information and Notices Copyright and Disclaimer Copyright protection claimed includes all forms and matters of copyrightable material and information now allowed by statutory or judicial law or hereinafter granted, including without limitation, material generated from the software programs which are displayed on the screen such as icons, screen display looks etc. Information in this manual and software are subject to change without notice and does not represent a commitment on the part of SAM. The software described in this manual is furnished under a license agreement and can not be reproduced or copied in any manner without prior agreement with SAM or their authorized agents. Reproduction or disassembly of embedded computer programs or algorithms prohibited. No part of this publication can be transmitted or reproduced in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without permission being granted, in writing, by the publishers or their authorized agents. SAM operates a policy of continuous improvement and development. SAM reserves the right to make changes and improvements to any of the products described in this document without prior notice. Contact Details Customer Support For details of our Regional Customer Support Offices please visit the SAM website and navigate to Support/24/7-Support. -
Shooting Action Sports: the Ultimate Guide to Extreme Filmmaking
Shooting Action Sports This page intentionally left blank Shooting Action Sports: The Ultimate Guide to Extreme Filmmaking Todd Grossman AMSTERDAM • BOSTON • HEIDELBERG • LONDON NEW YORK • OXFORD • PARIS • SAN DIEGO SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier Acquisitions Editor: Elinor Actipis Associate Editor: Cara Anderson Publishing Services Manager: George Morrison Project Manager: Kathryn Liston Assistant Editor: Robin Weston Marketing Managers: Marcel Koppes, Becky Pease Cover Design: Aaron Atchison of Farm Design Illustrations: Max Forward Focal Press is an imprint of Elsevier 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA Linacre House, Jordan Hill, Oxford OX2 8DP, UK Copyright © 2008 Todd Grossman. Published by Elsevier Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Permissions may be sought directly from Elsevier’s Science & Technology Rights Department in Oxford, UK: phone: (+44) 1865 843830, fax: (+44) 1865 853333, E-mail: [email protected]. You may also complete your request on-line via the Elsevier homepage (http://elsevier.com), by selecting “Support & Contact” then “Copyright and Permission” and then “Obtaining Permissions.” Recognizing the importance of preserving what has been written, Elsevier prints its books on acid-free paper whenever possible. Library of Congress Cataloging-in-Publication Data Application submitted British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN: 978-0-240-80956-4 For information on all Focal Press publications visit our website at www.books.elsevier.com 07 08 09 10 11 12 10 9 8 7 6 5 4 3 2 1 Printed in China. -
Tvm-4Ma4ma Metadata Analyzer
MODEL TVM-TVM-4MA4MA METADATA ANALYZER Metadata Analyzer The Videotek® TVM-4MA metadata analyzer discovers, reports, monitors and FEATURES triggers alarms on the ancillary data present in an HD or SD-SDI signal, as Discovery and reporting of location and repetition rate of all ancillary data well as VBI data in SD-SDI signals. It is designed for anyone who needs to verify data presence and confirm data contents. Other products on the market Data “dumping” to screen or file require a computer for display, or they force the user to scroll through a list of Decoding of common data types (AFD, closed caption, Dolby® metadata, all possible data identifiers to find the ones that are active. As networks make video payload, embedded audio) increasing use of the ancillary data space to control downstream equipment Template-based alarm setup and distribute information to affiliates, it is critical to be able to verify the • Missing data generation and transport of the myriad data types in use. • Extra data The TVM-4MA reports data location and repetition rate, and decodes and analyzes standard data types. The user can display data packet contents on the screen, or save them to a file for manipulation by external programs. Additionally, this helpful tool initiates an alarm when data goes missing or when new data types appear in the signal. www.amt.com VIDEOTEK® TVM-4MA Defined Data Types AFD and bar data Ancillary time code Dolby metadata DTV closed caption Embedded audio Video payload ID SD-SDI VBI data • Line 21 closed caption • Teletext • Widescreen signaling • Vertical interval time code Options Dual rackmount case Portable case with handle and tilt feet Australia power cord Europe power cord UK power cord Specifications Specifications are subject to change without notice. -
CXD1914Q Digital Video Encoder
CXD1914Q Digital Video Encoder Description The CXD1914Q is a digital video encoder 100 pin QFP (Plastic) designed for DVDs, set top boxes, digital VCRs and other digital video equipment. This device accepts ITU-R601 compatible Y, Cb and Cr data, and the data are encoded to composite video and separate Y/C video (S-video) signals and converted to RGB/YUV signals. Features Absolute Maximum Ratings (Ta=25 °C) • NTSC and PAL encoding modes • Supply voltage VDD –0.3 to +7.0 V • Composite video and separate Y/C video (S-video) • Input voltage VI –0.3 to +7.0 V signal output • Output voltage VO –0.3 to +7.0 V • R, G, B/Y, U and V (BetaCam/SMPTE level) signal • Operating temperature Topr –20 to +75 °C output • Storage temperature Tstg –40 to +125 °C • 8/16-bit pixel data input modes (VSS=0 V) • 13.5 Mpps pixel rate • 10-bit 6-channel DAC Recommended Operating Conditions • Supports I2C bus (400 kHz) and Sony SIO • Supply voltage VDD 4.75 to 5.25 V • Closed Caption (Line 21, Line 284) encoding • Input voltage VIN VSS to VDD V • Macrovision Pay-Per-View copy protection system • Operating temperature Topr 0 to +70 °C : NTSC Rev. 7.0, PAL Rev. 6.1 (Note 1) • VBID encoding I/O Pin Capacitance • WSS encoding • Input pin CI 11 (Max.) pF • Supports non-interlace mode • Output pin CO 11 (Max.) pF • Monolithic CMOS single 5.0 V power supply • 100-pin plastic QFP Note) Test conditions : VDD=VI=0 V, fM=1 MHz (Note 1) This device is protected by U.S. -
Naturevue Video Signal Processor with Bitmap OSD, Dual HDMI Tx, and Encoder ADV8005
NatureVue Video Signal Processor with Bitmap OSD, Dual HDMI Tx, and Encoder Data Sheet ADV8005 FEATURES Easy to use software tool for developing OSDs Video signal processor HDMI transmitters Full 12-bit, 4:4:4 YCbCr (color space) internal processing Dual 4k × 2k HDMI transmitters Motion adaptive deinterlacing with ultralow angle Audio return channel (ARC) support interpolation Dual audio insertion from TMDS Rx or from audio input pins Multiple video processing paths with up to 3 simultaneous Support for serial audio using the S/PDIF audio pin video streams including picture-in-picture (PiP) support 8-channel I2S audio inputs supporting up to 192 kHz Upscaling and downscaling to/from 4k × 2k sample frequency Aspect ratio conversion/panorama scaling 6-channel direct stream digital (DSD) audio inputs Cadence detection for the recovery of original frames from Noise shaped video (NSV) 6-DAC video encoder film-based content Six 12-bit NSV video DACs supporting SD, ED and HD video Dual video scalers enable simultaneous output of multiple Rovi Rev. 7.1.L1 (SD) and Rev. 1.4 (ED) compliant different resolutions Professional video features Sharpness and detail enhancement Capability to output up to 36-bit TTL pixel data Noise reduction for random, mosquito, and block noise Full color space converter on the output TTL pixel data Frame rate converter (FRC) TTL video, audio, SPI, and interrupt pins disabled by default Video metrics readback to enable correct phase and Ability to synchronize output video to externally applied frequency selection for -
DVD Frequently Asked Questions (And Answers)
DVD Frequently Asked Questions (and Answers) This is the November 11, 2004 revision of the official Internet DVD FAQ for the rec.video.dvd Usenet newsgroups. (See below for what's new.) Send corrections, additions, and new questions to Jim Taylor <[email protected]>. This FAQ is updated at least once a month. If you are looking at a version more than a month old, it's an out-of-date copy. The most current version is at DVD Demystified. Contents • [0] Where can I get the DVD FAQ? • [0.1] Has the DVD FAQ been translated into other languages? • [0.2] This FAQ is too long and technical. Is there a simpler version? • [0.3] Is this FAQ any good? Who wrote it? How do I know it's accurate? • [0.4] How big is this thing? • [1] General DVD • [1.1] What is DVD? • [1.2] What are the features of DVD-Video? • [1.3] What's the quality of DVD-Video? • [1.4] What are the disadvantages of DVD? • [1.5] What DVD players and drives are available? • [1.5.1] Which player should I buy? • [1.6] What DVD titles are available? • [1.6.1] Where can I read reviews of DVDs? • [1.6.2] How do I find out when a movie or TV show will be available on DVD? • [1.6.3] Why isn't my favorite movie on DVD? • [1.6.4] How can I find DVDs with specific features or characteristics? • [1.6.5] Why do some rental stores and retailers not carry widescreen DVDs? • [1.7] How much do players and drives cost? • [1.8] How much do discs cost? • [1.9] How is DVD doing? Where can I get statistics? • [1.10] What are "regional codes," "country codes," or "zone locks"? • [1.11] What are the copy protection