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Problems on Video Coding
Problems on Video Coding Guan-Ju Peng Graduate Institute of Electronics Engineering, National Taiwan University 1 Problem 1 How to display digital video designed for TV industry on a computer screen with best quality? .. Hint: computer display is 4:3, 1280x1024, 72 Hz, pro- gressive. Supposing the digital TV display is 4:3 640x480, 30Hz, Interlaced. The problem becomes how to convert the video signal from 4:3 640x480, 60Hz, Interlaced to 4:3, 1280x1024, 72 Hz, progressive. First, we convert the video stream from interlaced video to progressive signal by a suitable de-interlacing algorithm. Thus, we introduce the de-interlacing algorithms ¯rst in the following. 1.1 De-Interlacing Generally speaking, there are three kinds of methods to perform de-interlacing. 1.1.1 Field Combination Deinterlacing ² Weaving is done by adding consecutive ¯elds together. This is ¯ne when the image hasn't changed between ¯elds, but any change will result in artifacts known as "combing", when the pixels in one frame do not line up with the pixels in the other, forming a jagged edge. This technique retains full vertical resolution at the expense of half the temporal resolution. ² Blending is done by blending, or averaging consecutive ¯elds to be displayed as one frame. Combing is avoided because both of the images are on top of each other. This instead leaves an artifact known as ghosting. The image loses vertical resolution and 1 temporal resolution. This is often combined with a vertical resize so that the output has no numerical loss in vertical resolution. The problem with this is that there is a quality loss, because the image has been downsized then upsized. -
Flexibility for Alternative Content
ALTERNATIVE CONTENT DMS SCALERS More flexibility for Alternative Content Kinoton’s Markus Näther explains the technology behind the company’s DMS Scalers -Cinema projectors using Series analog component, composite, S-Video and why high-quality cinema scalers employ very II 2K DLP Cinema® technology VGA inputs for connecting PCs or laptops, DVD complex mathematical algorithms to achieve support not only true 2K content, players, satellite receivers, digital encoders, smooth transitions. Pixels to be added are but also different video formats. cable receivers and many other sources, up to interpolated from the interim values of their If it comes to alternative content, HDMI inputs for Blu-Ray players etc. Premium neighbouring pixels, and if pixels have to be D scalers even offer SDI and HD-SDI inputs for though, they quickly reach their limits – the deleted, the same principle is used to smooth range of different picture resolutions, video professional sources. the transitions between the residual pixels. rendering techniques, frame rates and refresh Perfect Image Adjustment How well a scaler accomplishes this demanding rates used on the video market is simply too The different video sources – like classic TV, task basically depends on its processing power. large. Professional media scalers can convert HDTV, DVD or Blu-Ray, just to name the most Kinoton’s premium scaler model DMS DC2 incompatible video signals into the ideal input common ones – work with different image PRO realises image format changes without signal for D-Cinema projectors, and in addition resolutions. The ideal screen resolution for any loss of sharpness, the base model HD DMS enhance the projector’s capabilities of connect- the projection of alternative content with 2K still provides an acceptable image quality for ing alternate content sources. -
A R R I T E C H N I C a L N O T E
A R R I T E C H N I C A L N O T E P - 1013 USA TV Ground Glass Markings Summary This note describes the frame outlines relevant to shooting film for television in the USA. The Important Frame Outlines to Know Both the markings on the ground glass and telecine calibration films are based on international standards that assure that an object framed in a given spot through the viewfinder will appear on that same spot in telecine. When shooting for television, one should be familiar with the following frame lines: Camera Aperture TV Transmission TV Safe Action TV Safe Title (not shown on most ground glasses) Please note that the frame outlines pictured above are for a Super 35 ground glass, and will be slightly different for other formats. Also note that TV Safe Title is usually not shown on most ground glasses. Full Aperture Corresponds to the full amount of negative film exposed. Caution: most ground glasses will permit viewing outside of this area, but anything outside of this area will not be recorded on film. This outline is usually found on ground glasses, but not in telecine. TV Transmission The full video image that is transmitted over the air. Sometimes also called “TV Scanned”. TV Safe Action Since most TV sets crop part of the TV Transmission image, a marking inside of TV Transmission has been defined. Objects that are within the TV Safe Action lines will be visible on most TV sets. This marking is sometimes referred to as “The Pumpkin”. -
Spirit 4K® High-Performance Film Scanner with Bones and Datacine®
Product Data Sheet Spirit 4K® High-Performance Film Scanner with Bones and DataCine® Spirit 4K Film Scanner/Bones Combination Digital intermediate production – the motion picture workflow in which film is handled only once for scan- ning and then processed with a high-resolution digital clone that can be down-sampled to the appropriate out- put resolution – demands the highest resolution and the highest precision scanning. While 2K resolution is widely accepted for digital post production, there are situations when even a higher re- solution is required, such as for digital effects. As the cost of storage continues to fall and ultra-high resolu- tion display devices are introduced, 4K postproduction workflows are becoming viable and affordable. The combination of the Spirit 4K high-performance film scanner and Bones system is ahead of its time, offe- ring you the choice of 2K scanning in real time (up to 30 frames per second) and 4K scanning at up to 7.5 fps depending on the selected packing format and the receiving system’s capability. In addition, the internal spatial processor of the Spirit 4K system lets you scan in 4K and output in 2K. This oversampling mode eli- minates picture artifacts and captures the full dynamic range of film with 16-bit signal processing. And in either The Spirit 4K® from DFT Digital Film Technology is 2K or 4K scanning modes, the Spirit 4K scanner offers a high-performance, high-speed Film Scanner and unrivalled image detail, capturing that indefinable film DataCine® solution for Digital Intermediate, Commer- look to perfection. cial, Telecine, Restoration, and Archiving applications. -
24P and Panasonic AG-DVX100 and AJ-SDX900 Camcorder Support in Vegas and DVD Architect Software
® 24p and Panasonic AG-DVX100 and AJ-SDX900 camcorder support in Vegas and DVD Architect Software Revision 3, Updated 05.27.04 The information contained in this document is subject to change without notice and does not represent a commitment on the part of Sony Pictures Digital Media Software and Services. The software described in this manual is provided under the terms of a license agreement or nondisclosure agreement. The software license agreement specifies the terms and conditions for its lawful use. Sound Forge, ACID, Vegas, DVD Architect, Vegas+DVD, Acoustic Mirror, Wave Hammer, XFX, and Perfect Clarity Audio are trademarks or registered trademarks of Sony Pictures Digital Inc. or its affiliates in the United States and other countries. All other trademarks or registered trademarks are the property of their respective owners in the United States and other countries. Copyright © 2004 Sony Pictures Digital Inc. This document can be reproduced for noncommercial reference or personal/private use only and may not be resold. Any reproduction in excess of 15 copies or electronic transmission requires the written permission of Sony Pictures Digital Inc. Table of Contents What is covered in this document? Background ................................................................................................................................................................. 3 Vegas .......................................................................................................................................................................... -
Avid DS - Your Future Is Now
DSWiki DSWiki Table Of Contents 1998 DS SALES BROCHURE ............................................. 4 2005 DS Wish List ..................................................... 8 2007 Unfiltered DS Wish List ............................................. 13 2007 Wish Lists ....................................................... 22 2007DSWishListFinalistsRound2 ........................................... 28 2010 Wish List ........................................................ 30 A ................................................................. 33 About .............................................................. 53 AchieveMoreWithThe3DDVE ............................................. 54 AmazonStore ......................................................... 55 antler .............................................................. 56 Arri Alexa ........................................................... 58 Avid DS - Your Future Is Now ............................................. 59 Avid DS for Colorists ................................................... 60 B ................................................................. 62 BetweenBlue&Green ................................................... 66 Blu-ray Copy ......................................................... 67 C ................................................................. 68 ColorItCorrected ...................................................... 79 Commercial Specifications ............................................... 80 Custom MC Color Surface Layouts ........................................ -
185 for Presentation July 8, 1971, NATIONAL CABLE TELEVISION
185 For presentation July 8, 1971, NATIONAL CABLE TELEVISION ASSOCIATION, Washington, D. C. TELECINE SYSTEMS FOR THE CATV ORIGINATION CENTER by Kenneth K. Kaylor Phil ips Broadcast Equipment Corp. Although 11 1 ive'' programming is considered a necessary part of the program origination services of a community-oriented CATV system, tele- cine facilities will hold the key to success or failure of such an operation from an economic standpoint. The word 11 tele-cine11 was developed during the early days of television broadcasting to define those facil i- ties devoted to the video reproduction of the various film media. Since the original commercial telecine television camera was an 11 iconoscope11 camera which had a very large sensitive surface (about 11 11 3 x 4 ), a film projector was focused onto the sensor by using a standard projection lens as shown in Fig. 1. This technique was quite simple and optical alignment was very easy. E1 im i nat i ng the 11 Shutte r Bar" effect In the case of motion picture film, the theatre projector had to be modified in order to prevent a "shutter bar" effect caused by the 186 difference in frame rates between television and motion picture stan dards. Standard sound motion picture film operates at 24 frames per second while the U. S. standard for television scanning is 30 frames per second. The intermittent mechanism had to be modified so that the 1ength of time between "pu 11 -downs" a 1 te rnates between 1/20 and 1/30 second. The average of these two fractions is 1/24 second, or the time demanded by the standard 24-frame-per-second motion picture projection rate. -
EBU Tech 3315-2006 Archiving: Experiences with TK Transfer to Digital
EBU – TECH 3315 Archiving: Experiences with telecine transfer of film to digital formats Source: P/HDTP Status: Report Geneva April 2006 1 Page intentionally left blank. This document is paginated for recto-verso printing Tech 3315 Archiving: Experiences with telecine transfer of film to digital formats Contents Introduction ......................................................................................................... 5 Decisions on Scanning Format .................................................................................... 5 Scanning tests ....................................................................................................... 6 The Results .......................................................................................................... 7 Observations of the influence of elements of film by specialists ........................................ 7 Observations on the results of the formal evaluations .................................................... 7 Overall conclusions .............................................................................................. 7 APPENDIX : Details of the Tests and Results ................................................................... 9 3 Archiving: Experiences with telecine transfer of film to digital formats Tech 3315 Page intentionally left blank. This document is paginated for recto-verso printing 4 Tech 3315 Archiving: Experiences with telecine transfer of film to digital formats Archiving: Experience with telecine transfer of film to digital formats -
Improved Television Systems: NTSC and Beyond
• Improved Television Systems: NTSC and Beyond By William F. Schreiber After a discussion ofthe limits to received image quality in NTSC and a excellent results. Demonstrations review of various proposals for improvement, it is concluded that the have been made showing good motion current system is capable ofsignificant increase in spatial and temporal rendition with very few frames per resolution. and that most of these improvements can be made in a second,2 elimination of interline flick er by up-conversion, 3 and improved compatible manner. Newly designed systems,for the sake ofmaximum separation of luminance and chromi utilization of channel capacity. should use many of the techniques nance by means of comb tilters. ~ proposedfor improving NTSC. such as high-rate cameras and displays, No doubt the most important ele but should use the component. rather than composite, technique for ment in creating interest in this sub color multiplexing. A preference is expressed for noncompatible new ject was the demonstration of the Jap systems, both for increased design flexibility and on the basis oflikely anese high-definition television consumer behaL'ior. Some sample systems are described that achieve system in 1981, a development that very high quality in the present 6-MHz channels, full "HDTV" at the took more than ten years.5 Orches CCIR rate of 216 Mbits/sec, or "better-than-35mm" at about 500 trated by NHK, with contributions Mbits/sec. Possibilities for even higher efficiency using motion compen from many Japanese companies, im sation are described. ages have been produced that are comparable to 35mm theater quality. -
Curriculum Vitae
Curriculum Vitae Morgan Rengasamy 10 Strickland Avenue Lindfield, Sydney, NSW 2070 Australia [email protected] +61 (02) 98807705 - Home +61 (0) 401 080 400 -mobile Objective Utilising the invaluable skill sets gained to push the boundaries of what is achievable in the realms of Colour correction, working as a team player in a dynamic, and creatively stimulating, post -production company. Personal Details: British Citizen D.O.B. 13 July 1958 Status: Married Four Sons and one Daughter Work History: Worked In the Film & Video industry since 1985 Colourist since 1991.Experience of a broad spectrum of film Scanners ranging from, Cintel’s Jumpscan telecine, Mk3, through to the Rascal Digital, plus Philips Spirit Datacine. Grading systems: Davinci, Pandora, Filmlight. Present: Freelance Colourist/ Consultant Previous: 09/2000 to 09/2003 Seoulvisions Postproduction. Seoul, Korea. Head of Telecine Department Rank Cintel Rascal Digital & DaVinci 2K plus 09/1997 to 09/2000 Omnicon Postproduction Pty ltd. Senior Colourist Sydney Australia. URSA Diamond & Davinci 07/96 to 09/97 Freelance Durran, Paris. Freelance Colourist Rank Mk3 & DaVinci Work History continued: Film Teknic, Norway. Consultant / Trainer URSA Gold, & Davinci Fritihof Film to Video, Stockholm Freelance Colourist URSA Gold & Davinci The House postproduction, London Freelance Colourist URSA Diamond & DaVinci La truka, Spain Trainer / Demonstrator Spirit & DaVinci Fame postproduction Thailand Freelance Colourist / Consultant URSA Diamond & DaVinci 07/95 to 07/96 The House postproduction London Head of Telecine URSA Diamond & DaVinci 04/94 to 07/95 Rushes postproduction, London Senior Colourist URSA Gold/ DaVinci 04/89 to 04/94 SVC Postproduction, London Edit assist / Colourist Jump scan, Rank Mk3, URSA & DaVinci 08/86 to 04/89 Rank Video Duplication Tape operator Professional Martial Arts instructor Barista Variety of Work: Commercials, music Videos, & Long form. -
Film Printing
1 2 3 4 5 6 7 8 9 10 1 2 3 Film Technology in Post Production 4 5 6 7 8 9 20 1 2 3 4 5 6 7 8 9 30 1 2 3 4 5 6 7 8 9 40 1 2 3111 This Page Intentionally Left Blank 1 2 3 Film Technology 4 5 6 in Post Production 7 8 9 10 1 2 Second edition 3 4 5 6 7 8 9 20 1 Dominic Case 2 3 4 5 6 7 8 9 30 1 2 3 4 5 6 7 8 9 40 1 2 3111 4 5 6 7 8 Focal Press 9 OXFORD AUCKLAND BOSTON JOHANNESBURG MELBOURNE NEW DELHI 1 Focal Press An imprint of Butterworth-Heinemann Linacre House, Jordan Hill, Oxford OX2 8DP 225 Wildwood Avenue, Woburn, MA 01801-2041 A division of Reed Educational and Professional Publishing Ltd A member of the Reed Elsevier plc group First published 1997 Reprinted 1998, 1999 Second edition 2001 © Dominic Case 2001 All rights reserved. No part of this publication may be reproduced in any material form (including photocopying or storing in any medium by electronic means and whether or not transiently or incidentally to some other use of this publication) without the written permission of the copyright holder except in accordance with the provisions of the Copyright, Designs and Patents Act 1988 or under the terms of a licence issued by the Copyright Licensing Agency Ltd, 90 Tottenham Court Road, London, England W1P 0LP. Applications for the copyright holder’s written permission to reproduce any part of this publication should be addressed to the publishers British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging in Publication Data A catalogue record -
TELEVISION and VIDEO PRESERVATION 1997: a Report on the Current State of American Television and Video Preservation Volume 1
ISBN: 0-8444-0946-4 [Note: This is a PDF version of the report, converted from an ASCII text version. It lacks footnote text and some of the tables. For more information, please contact Steve Leggett via email at "[email protected]"] TELEVISION AND VIDEO PRESERVATION 1997 A Report on the Current State of American Television and Video Preservation Volume 1 October 1997 REPORT OF THE LIBRARIAN OF CONGRESS TELEVISION AND VIDEO PRESERVATION 1997 A Report on the Current State of American Television and Video Preservation Volume 1: Report Library of Congress Washington, D.C. October 1997 Library of Congress Cataloging-in-Publication Data Television and video preservation 1997: A report on the current state of American television and video preservation: report of the Librarian of Congress. p. cm. þThis report was written by William T. Murphy, assigned to the Library of Congress under an inter-agency agreement with the National Archives and Records Administration, effective October 1, 1995 to November 15, 1996"--T.p. verso. þSeptember 1997." Contents: v. 1. Report - ISBN 0-8444-0946-4 1. Television film--Preservation--United States. 2. Video tapes--Preservation--United States. I. Murphy, William Thomas II. Library of Congress. TR886.3 .T45 1997 778.59'7'0973--dc 21 97-31530 CIP Table of Contents List of Figures . Acknowledgements. Preface by James H. Billington, The Librarian of Congress . Executive Summary . 1. Introduction A. Origins of Study . B. Scope of Study . C. Fact-finding Process . D. Urgency. E. Earlier Efforts to Preserve Television . F. Major Issues . 2. The Materials and Their Preservation Needs A.