Analog Video Encoding Formats Ntsc
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Analog/SDI to SDI/Optical Converter with TBC/Frame Sync User Guide
Analog/SDI to SDI/Optical Converter with TBC/Frame Sync User Guide ENSEMBLE DESIGNS Revision 6.0 SW v1.0.8 This user guide provides detailed information for using the BrightEye™1 Analog/SDI to SDI/Optical Converter with Time Base Corrector and Frame Sync. The information in this user guide is organized into the following sections: • Product Overview • Functional Description • Applications • Rear Connections • Operation • Front Panel Controls and Indicators • Using The BrightEye Control Application • Warranty and Factory Service • Specifications • Glossary BrightEye-1 BrightEye 1 Analog/SDI to SDI/Optical Converter with TBC/FS PRODUCT OVERVIEW The BrightEye™ 1 Converter is a self-contained unit that can accept both analog and digital video inputs and output them as optical signals. Analog signals are converted to digital form and are then frame synchronized to a user-supplied video reference signal. When the digital input is selected, it too is synchronized to the reference input. Time Base Error Correction is provided, allowing the use of non-synchronous sources such as consumer VTRs and DVD players. An internal test signal generator will produce Color Bars and the pathological checkfield test signals. The processed signal is output as a serial digital component television signal in accordance with ITU-R 601 in both electrical and optical form. Front panel controls permit the user to monitor input and reference status, proper optical laser operation, select video inputs and TBC/Frame Sync function, and adjust video level. Control and monitoring can also be done using the BrightEye PC or BrightEye Mac application from a personal computer with USB support. -
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. -
Microwave Frequency Demodulation Using Two Coupled Optical Resonators with Modulated Refractive Index
PHYSICAL REVIEW APPLIED 15, 034056 (2021) Microwave Frequency Demodulation Using two Coupled Optical Resonators with Modulated Refractive Index Adam Mock * School of Engineering and Technology, Central Michigan University, Mount Pleasant, Michigan 48859, USA (Received 16 October 2020; revised 1 February 2021; accepted 10 February 2021; published 18 March 2021) Traditional electronic frequency demodulation of a microwave frequency voltage is challenging because it requires complicated phase-locked loops, narrowband filters with fixed passbands, or large footprint local oscillators and mixers. Herein, a different frequency demodulation concept is proposed based on refractive index modulation of two coupled microcavities excited by an optical wave. A frequency- modulated microwave frequency voltage is applied to two photonic crystal microcavities in a spatially odd configuration. The spatially odd perturbation causes coupling between the even and odd supermodes of the coupled-cavity system. It is shown theoretically and verified by finite-difference time-domain sim- ulations how careful choice of the modulation amplitude and frequency can switch the optical output from on to off. As the modulating frequency is detuned from its off value, the optical output switches from off to on. Ultimately, the optical output amplitude is proportional to the frequency deviation of the applied voltage making this device a frequency-modulated-voltage to amplitude-modulated-optical- wave converter. The optical output can be immediately detected and converted to a voltage that would result in a frequency-demodulated voltage signal. Or the optical output can be fed into a larger radio- over-fiber optical network. In this case the device presents a compact, low power, and tunable route for multiplexing frequency-modulated voltages with amplitude-modulated optical communication systems. -
Comparison of HDTV Formats Using Objective Video Quality Measures
Multimed Tools Appl DOI 10.1007/s11042-009-0441-2 Comparison of HDTV formats using objective video quality measures Emil Dumic & Sonja Grgic & Mislav Grgic # Springer Science+Business Media, LLC 2010 Abstract In this paper we compare some of the objective quality measures with subjective, in several HDTV formats, to be able to grade the quality of the objective measures. Also, comparison of objective and subjective measures between progressive and interlaced video signal will be presented to determine which scanning emission format is better, even if it has different resolution format. Several objective quality measures will be tested, to examine the correlation with the subjective test, using various performance measures. Keywords Video quality . PSNR . VQM . SSIM . TSCES . HDTV. H.264/AVC . RMSE . Correlation 1 Introduction High-Definition Television (HDTV) acceptance in home environments directly depends on two key factors: the availability of adequate HDTV broadcasts to the consumer’s home and the availability of HDTV display devices at mass market costs [6]. Although the United States, Japan and Australia have been broadcasting HDTV for some years, real interest of the general public appeared recently with the severe reduction of HDTV home equipment price. Nowadays many broadcasters in Europe have started to offer HDTV broadcasts as part of Pay-TV bouquets (like BSkyB, Sky Italia, Premiere, Canal Digital ...). Other major public broadcasters in Europe have plans for offering HDTV channels in the near future. The announcement of Blu-Ray Disc and Game consoles with HDTV resolutions has also increased consumer demand for HDTV broadcasting. The availability of different HDTV image formats such as 720p/50, 1080i/25 and 1080p/50 places the question for many users which HDTV format should be used with which compression algorithm, together with the corresponding bit rate. -
Advanced PAL Comb Filter-II (APCF-II) MC141627
MOTOROLA Order this document SEMICONDUCTOR TECHNICAL DATA by MC141627/D MC141627 Product Preview Advanced PAL Comb Filter-II FT SUFFIX (APCF-II) QFP PACKAGE CASE 898 The Advanced PAL Comb Filter–II is a video signal processor for VCRs, 48 1 LDPs, and TVs. It separates the Luminance Y and Chrominance C signal from the NTSC/PAL composite signal by using digital signal processing techniques ORDERING INFORMATION which minimize dot–crawl and cross–color. The built–in 4xFSC PLL circuit MC141627FT Quad Flat Package (QFP) allows a subcarrier signal input, which generates 4xFSC clock for video signal processing. This filter allows a video signal input of an extended frequency bandwidth by using a 4xFSC clock. The built–in vertical enhancer circuit reduces noise and dot crawl on the Luminance Y signal. The built–in A/D and D/A converters allow easy connection to analog video circuits. • Built–In High Speed 8–Bit A/D Converter • Four Line Memories (4540 Bytes) • Advanced Comb–II Process • Built–In Vertical Enhancer • Vertical Dot Reduction Process • Two Built–In High Speed 8–Bit D/A Converters • Built–In 4xFSC PLL Circuit • Built–In Clamp Circuit • Digital Interface Mode • On–Chip Reference Voltage for A/D Converter PIN ASSIGNMENT D5 D6 D7 C0 C1 D4 C3 C2 C4 C5 C6 C7 36 25 D3 37 24 TE1 D2 TE0 D1 MODE1 D0 MODE0 BYPASS CLK(AD) VH GND(D) GND(D) NC VCC(D) CLC FSC CLout N/M Vin PAL/NTSC RBT RTP Comb/BPF 48 13 1 12 out out CC bias Y C PCO BIAS I FILIN OV CC(DA) CC(AD) V REF(DA) V GND(AD) GND(DA) NC = NO CONNECTION This document contains information on a product under development. -
Digital Television and the Allure of Auctions: the Birth and Stillbirth of DTV Legislation
Federal Communications Law Journal Volume 49 Issue 3 Article 2 4-1997 Digital Television and the Allure of Auctions: The Birth and Stillbirth of DTV Legislation Ellen P. Goodman Covington & Burling Follow this and additional works at: https://www.repository.law.indiana.edu/fclj Part of the Communications Law Commons, and the Legislation Commons Recommended Citation Goodman, Ellen P. (1997) "Digital Television and the Allure of Auctions: The Birth and Stillbirth of DTV Legislation," Federal Communications Law Journal: Vol. 49 : Iss. 3 , Article 2. Available at: https://www.repository.law.indiana.edu/fclj/vol49/iss3/2 This Article is brought to you for free and open access by the Law School Journals at Digital Repository @ Maurer Law. It has been accepted for inclusion in Federal Communications Law Journal by an authorized editor of Digital Repository @ Maurer Law. For more information, please contact [email protected]. Digital Television and the Allure of Auctions: The Birth and Stillbirth of DTV Legislation Ellen P. Goodman* I. INTRODUCTION ................................... 517 II. ORIGINS OF THE DTV PRovIsIoNs OF THE 1996 ACT .... 519 A. The Regulatory Process ..................... 519 B. The FirstBills ............................ 525 1. The Commerce Committee Bills ............. 526 2. Budget Actions ......................... 533 C. The Passage of the 1996Act .................. 537 Ill. THE AFTERMATH OF THE 1996 ACT ................ 538 A. Setting the Stage .......................... 538 B. The CongressionalHearings .................. 542 IV. CONCLUSION ................................ 546 I. INTRODUCTION President Clinton signed into law the Telecommunications Act of 1996 (1996 Act or the Act) on February 8, 1996.1 The pen he used to sign the Act was also used by President Eisenhower to create the federal highway system in 1957 and was later given to Senator Albert Gore, Sr., the father of the highway legislation. -
Digital Television Systems
This page intentionally left blank Digital Television Systems Digital television is a multibillion-dollar industry with commercial systems now being deployed worldwide. In this concise yet detailed guide, you will learn about the standards that apply to fixed-line and mobile digital television, as well as the underlying principles involved, such as signal analysis, modulation techniques, and source and channel coding. The digital television standards, including the MPEG family, ATSC, DVB, ISDTV, DTMB, and ISDB, are presented toaid understanding ofnew systems in the market and reveal the variations between different systems used throughout the world. Discussions of source and channel coding then provide the essential knowledge needed for designing reliable new systems.Throughout the book the theory is supported by over 200 figures and tables, whilst an extensive glossary defines practical terminology.Additional background features, including Fourier analysis, probability and stochastic processes, tables of Fourier and Hilbert transforms, and radiofrequency tables, are presented in the book’s useful appendices. This is an ideal reference for practitioners in the field of digital television. It will alsoappeal tograduate students and researchers in electrical engineering and computer science, and can be used as a textbook for graduate courses on digital television systems. Marcelo S. Alencar is Chair Professor in the Department of Electrical Engineering, Federal University of Campina Grande, Brazil. With over 29 years of teaching and research experience, he has published eight technical books and more than 200 scientific papers. He is Founder and President of the Institute for Advanced Studies in Communications (Iecom) and has consulted for several companies and R&D agencies. -
BA(Prog)III Yr 14/04/2020 Displays Interlacing and Progressive Scan
BA(prog)III yr 14/04/2020 Displays • Colored phosphors on a cathode ray tube (CRT) screen glow red, green, or blue when they are energized by an electron beam. • The intensity of the beam varies as it moves across the screen, some colors glow brighter than others. • Finely tuned magnets around the picture tube aim the electrons onto the phosphor screen, while the intensity of the beamis varied according to the video signal. This is why you needed to keep speakers (which have strong magnets in them) away from a CRT screen. • A strong external magnetic field can skew the electron beam to one area of the screen and sometimes caused a permanent blotch that cannot be fixed by degaussing—an electronic process that readjusts the magnets that guide the electrons. • If a computer displays a still image or words onto a CRT for a long time without changing, the phosphors will permanently change, and the image or words can become visible, even when the CRT is powered down. Screen savers were invented to prevent this from happening. • Flat screen displays are all-digital, using either liquid crystal display (LCD) or plasma technologies, and have replaced CRTs for computer use. • Some professional video producers and studios prefer CRTs to flat screen displays, claiming colors are brighter and more accurately reproduced. • Full integration of digital video in cameras and on computers eliminates the analog television form of video, from both the multimedia production and the delivery platform. • If your video camera generates a digital output signal, you can record your video direct-to-disk, where it is ready for editing. -
Additive Synthesis, Amplitude Modulation and Frequency Modulation
Additive Synthesis, Amplitude Modulation and Frequency Modulation Prof Eduardo R Miranda Varèse-Gastprofessor [email protected] Electronic Music Studio TU Berlin Institute of Communications Research http://www.kgw.tu-berlin.de/ Topics: Additive Synthesis Amplitude Modulation (and Ring Modulation) Frequency Modulation Additive Synthesis • The technique assumes that any periodic waveform can be modelled as a sum sinusoids at various amplitude envelopes and time-varying frequencies. • Works by summing up individually generated sinusoids in order to form a specific sound. Additive Synthesis eg21 Additive Synthesis eg24 • A very powerful and flexible technique. • But it is difficult to control manually and is computationally expensive. • Musical timbres: composed of dozens of time-varying partials. • It requires dozens of oscillators, noise generators and envelopes to obtain convincing simulations of acoustic sounds. • The specification and control of the parameter values for these components are difficult and time consuming. • Alternative approach: tools to obtain the synthesis parameters automatically from the analysis of the spectrum of sampled sounds. Amplitude Modulation • Modulation occurs when some aspect of an audio signal (carrier) varies according to the behaviour of another signal (modulator). • AM = when a modulator drives the amplitude of a carrier. • Simple AM: uses only 2 sinewave oscillators. eg23 • Complex AM: may involve more than 2 signals; or signals other than sinewaves may be employed as carriers and/or modulators. • Two types of AM: a) Classic AM b) Ring Modulation Classic AM • The output from the modulator is added to an offset amplitude value. • If there is no modulation, then the amplitude of the carrier will be equal to the offset. -
FMS6404 — Precision Composite Video Output with Sound Trap And
FMS6404 — Precision Composite October 2011 FMS6404 Precision Composite Video Output with Sound Trap and Group Delay Compensation Features Description The FMS6404 is a single composite video 5th-order Video Output with Sound Trap 7.6MHz 5th-Order Composite Video Filter . Butterworth low-pass video filter optimized for minimum . 14dB Notch at 4.425MHz to 4.6MHz for Sound Trap overshoot and flat group delay. The device contains an Capable of Handling Stereo audio trap that removes video information in a spectral location of the subsequent RF audio carrier. The group 50dB Stopband Attenuation at 27MHz on . delay compensation circuit pre-distorts the signal to CV Output compensate for the inherent receiver intermediate . > 0.5dB Flatness to 4.2MHz on CV Output frequency (IF) filter’s group delay distortion. Equalizer and Notch Filter for Driving RF Modulator In a typical application, the composite video from the with Group Delay of -180ns DAC is AC coupled into the filter. The CV input has DC- restore circuitry to clamp the DC input levels during No External Frequency Selection Components . video synchronization. The clamp pulse is derived from or Clocks the CV channel. < 5ns Group Delay on CV Output All outputs are capable of driving 2VPP, AC- or DC- . AC-Coupled Input coupled, into either a single or dual video load. A single video load consists of a series 75Ω impedance . AC- or DC-Coupled Output matching resistor connected to a terminated 75Ω line. and Group Delay Compensation . Capable of PAL Frequency for CV This presents a total of 150Ω of loading to the part. -
A Look at SÉCAM III
Viewer License Agreement You Must Read This License Agreement Before Proceeding. This Scroll Wrap License is the Equivalent of a Shrink Wrap ⇒ Click License, A Non-Disclosure Agreement that Creates a “Cone of Silence”. By viewing this Document you Permanently Release All Rights that would allow you to restrict the Royalty Free Use by anyone implementing in Hardware, Software and/or other Methods in whole or in part what is Defined and Originates here in this Document. This Agreement particularly Enjoins the viewer from: Filing any Patents (À La Submarine?) on said Technology & Claims and/or the use of any Restrictive Instrument that prevents anyone from using said Technology & Claims Royalty Free and without any Restrictions. This also applies to registering any Trademarks including but not limited to those being marked with “™” that Originate within this Document. Trademarks and Intellectual Property that Originate here belong to the Author of this Document unless otherwise noted. Transferring said Technology and/or Claims defined here without this Agreement to another Entity for the purpose of but not limited to allowing that Entity to circumvent this Agreement is Forbidden and will NOT release the Entity or the Transfer-er from Liability. Failure to Comply with this Agreement is NOT an Option if access to this content is desired. This Document contains Technology & Claims that are a Trade Secret: Proprietary & Confidential and cannot be transferred to another Entity without that Entity agreeing to this “Non-Disclosure Cone of Silence” V.L.A. Wrapper. Combining Other Technology with said Technology and/or Claims by the Viewer is an acknowledgment that [s]he is automatically placing Other Technology under the Licenses listed below making this License Self-Enforcing under an agreement of Confidentiality protected by this Wrapper. -
Contrast Sensitivity
FUNDAMENTALS OF MULTIMEDIA TECHNOLOGIES Lecture slides BME Dept. of Networked Systems and Services 2018. Synopsis – Psychophysical fundamentals of the human visual system – Color spaces, video components and quantization of video signal – ITU-601 (SD), and ITU-709 (HD) raster formats, sampling frequencies, UHDTV recommendations – Basics of signal compression: differential quantization, linear prediction, transform coding – JPEG (DCT based transform coding) – Video compression: motion estimation and motion compensated prediction, block matching algorithms, MPEG-1 and MPEG-2, – H-264/MPEG-4 AVC: differences from MPEG-2 Multimedia Tech. 2 What is our aim, and why? – Components of a video format • size (resolution, raster) • frame rate • representation of a color pixel (color space, luma/chroma components) – Two main goals: • finding a video format, that ensures indistinguishable video quality from the real, original scene • derive a source encoder methodology resulting in unnoticeable errors for Human Visual System – Suitable representation/encoding method, adapted to human vision ! important to know basics of human vision Multimedia Tech. 3 Visible spectrum Visible light and colors – The Human Visual System (HVS) is sensitive to a narrow frequency band of the electromagnetic spectrum: • frequencies/wavelengths between ultraviolet (UV) and infrared (IR): between ca. 400 and 700 nm of wavelength – Different wavelengths: different color experiences for HVS – Basic perceived colors: • blue, cyan, green, yellow, orange, red, purple. • White (and