Chapter 2. RECORDING TECHNIQUES AND ANIMATION HARDWARE. 2.1 Real-Time Versus Single-Frame Animation

Size: px
Start display at page:

Download "Chapter 2. RECORDING TECHNIQUES AND ANIMATION HARDWARE. 2.1 Real-Time Versus Single-Frame Animation"

Transcription

1 Chapter 2. RECORDING TECHNIQUES AND ANIMATION HARDWARE Copyright (c) 1998 Rick Parent All rights reserved 2.1 Real-Time Versus Single-Frame Animation 2.2 Film Technology 2.3 Video Technology 2.4 Animation Hardware 2.1 Real-Time Versus Single-Frame Animation Animation can either be generated in real-time or in single-frame mode. Real-time implies that the images are being generated at a fast enough rate to produce the perception of persistence of motion. For general purposes, the rate capable of producing this perception is usually taken to be 1/24th of a second; the actual rate depends on the types of images being viewed and on the specific viewing conditions. Unfortunately, it s not uncommon to hear people speak of real-time when referring to rates as low as five frames a second. If the imagery cannot be produced at a fast enough rate to provide real-time animation, then it can be generated a single frame at a time and each frame can be recorded on some medium so that it can be played back at animation rates later (i.e., rates fast enough to produce persistence of motion). The difference between real-time animation and single-frame animation is dependent on image quality, the computational complexity of the motion, and the power of the hardware that is being used to calculate the motion and render the images. Model-based motion control algorithms (e.g. computational fluid dynamics) can require processing that is too intense to be done in real-time. Sometimes it is possible to pre-compute the motion and then render in real-time. The reader should note a distinction here in the two processes taking place: motion control and rendering. In one possible scenario, the motion control might be sophisticated simulations of physical processes that brings a supercomputer to its knees. But at the end of the calculation, a series of transformations for objects over multiple times is produced which the display hardware can read in and render in real time. At the other extreme, simple motion control such as linear interpolation, may be used in conjunction with a software ray tracer for the rendering. In this case, the motion calculation may be able to run at real-time rates but the renderer can t produce images in real-time. Another distinction to be made is between playback rate and update rate. The playback rate is the rate at which frames are displayed on the display device. The update rate is the rate at which the motion is computed. For example, common with some cartoons, the update rate may be as low as 8 frames a second even though the playback rate is 30 frames a second. Similarly, with interlaced scan (explained below), the update rate may be 60 times a second while the playback rate is 30 frames a second. 2.2 Film Technology The first computer animation used film to record the single frames. Single frame film technology has been around for a long time; it had been used in the late 1800s to produce some of the first film animation. The 1 of 8 1/8/99 12:01 PM

2 requirements are a film recorder that is capable of precise positioning of a single frame of film over the shutter in a static situation. If the positioning is not precise enough, then the image will jitter or float when played back. For each frame, the image is displayed and the shutter is opened and then closed during which time the film is exposed to the image. The film can then be advanced to the next frame and the next image displayed in preparation of the next frame exposure. The opening and closing of the shutter can be done manually, although this is a very human labor intensive operation. It is facilitated greatly if there is a computer interface to such a camera. This technology had been developed for traditional single frame animation (stop motion animation). One advantage of film technology is the resolution of the medium itself. The emulsion that coats the film celluloid can capture very high frequency image components. The early film medium was 16mm film. The problem with this technology was the standard use of 16 frames per second playback rate which often is not fast enough to avoid flicker. The 35mm standard that employs 24 frames per second playback rate results in a much more stable image and has been used for most of the computer animation captured on film. For very high quality animation, a 70mm standard is used with a playback rate of 24 fps. 70mm usually requires that images be calculated at least at 2000 by 2000 resolution which drives up the cost of computer generated animation. An easy way to transfer an image onto film is to position a camera in front of the screen, plot an image on the computer screen, open the camera shutter, close the camera shutter, advance the film to the next frame and repeat the process. Drawbacks of this approach include difficulties in eliminating extraneous light, the curvature of the screen, color shifting, and mechanical difficulties in maintaining a stable device. Another thing to keep in mind is that the image on the computer screen is not a static image, but one that is continuously being drawn, decaying and being redrawn (refreshed) on the screen, even if it is a static image. Therefore it is important that the camera shutter be open for several refreshes of the computer screen so that a solid image is recorded on the film or that it be precisely coordinated with the screen refresh so that an entire single refresh is captured on film. Usually, the former approach is taken due to its relative simplicity. Some of the early computer animation used random vector displays to render the frames. A color filter was placed on the camera and that component of the image was scanned out while the camera lens was open. The process was repeated for the various color components (usually red, green and blue). Currently there are many film products made specifically for computer animation. Film recorders have a special high-resolution, flat screen onto which the image is drawn so as to minimize distortion of the image. On some, mounting brackets allow either SLR cameras or single frame motion cameras to be mounted on the unit. Film plotters use special electronics that draw an image directly onto the film without the intermediate screen involved. Typically, these special purpose recorders and plotters are designed as very high-resolution devices (e.g., 4000 by 4000). Some of the main drawbacks to using film technology are 1) the medium (film) can t be reused and 2) there is a delay between the time the recording is done and the time it can be viewed (developing). 2.3 Video Technology The advent of video technology and the fact that it is driven by a mass consumer market has brought it into the price range of just about everybody. This has resulted in affordable video single-frame recorders and controllers. 2 of 8 1/8/99 12:01 PM

3 Video technology is based on a raster scan display refreshing format. Raster scan refers to the pattern used to scan out the image: top-to-bottom a line at a time, left-to-right along a line. A line is called a scanline. The image is drawn by an electron beam which strikes a phosphor-coated screen which emits photons in the form of light. The intensity of the electron beam is controlled by the image being scanned out whether that image is stored in the digital memory of a computer, or generated by the similar raster scanning of a video camera. After a scan of an individual scanline, the electron beam is turned off and is positioned at the beginning of the next scanline line. The time it takes to do this is called the vertical retrace interval and the signal which notifies the electronics of this is called vertical blanking or vertical sync. When the beam gets to the bottom of the image, it is turned off and is returned to the top left of the screen. The time it takes to do this is called the horizontal retrace interval and the signal which notifies the electronics of this is called horizontal blanking or horizontal sync. A complete scan of all the scanlines of an image is called a frame. In some video formats, all of the scanlines are done at once (progressive scan). In other video formats every odd-numbered scanline is done on one pass and every even-numbered scanline is done on the next pass (interlaced scan). In interlaced scan, each pass is called a field (two fields per frame). The NTSC Standard The National Television Systems Committee (NTSC) in 1941 established 525-line, Hz field rate, 2:1 interlaced monochrome television in the United States. In 1953, 525-line Hz field rate, 2:1 interlaced, composite color television signals were established. Broadcast video must correspond to this specific standard. The standard sets specific times for a horizontal scanline time, a frame time, the amplitude and duration of the vertical sync pulse, etc. Home video units typically generate much sloppier signals and would not qualify for broadcast. There are encoders that can strip old sync signals, etc. off a video signal and re-encode it so that it does correspond to broadcast quality standards. The specific pieces of video equipment will be mentioned later in this section. There are 525 total scanline-times per frame-time in NTSC format frames are transmitted per second. There is a 2:1 interlace of the scanlines in alternate fields. Of the 525 total raster lines, 480 contain picture information; the remainder comprise vertical scanning overhead. The aspect ratio of a 525-line television picture is 4:3, so equal vertical and horizontal resolution are obtained at a horizontal resolution of 480 times 4/3 or 640 pixels per scanline. PAL and SECAM are the other two standards in use around the world. They differ from NTSC in specifics, like the number of scanlines per frame and the refresh rate, but both are interlaced raster formats. One of the reasons that television technology uses interlaced scanning is, when a camera is providing the image, the motion is updated every field thus producing smoother motion. Black and White Signal A black and white video signal is basically a single line that has the sync information and intensity signal superimposed on one signal. The vertical and horizontal sync pulses are negative with respect to a reference level with vertical sync being a much longer pulse than horizontal sync. On either side of the sync pulses are reference levels called the front-porch and back-porch. Between horizontal sync pulses, which identify the period between scanlines, is the active scanline interval. During the active scanline interval, the intensity of the signal controls the intensity of the electron beam of the monitor as it scans out the image. Color Monitors and Gamma Correction A color monitor has three electron guns, each of which can be focused on one of three phosphor coatings on the screen. These phosphors are almost always some shade of red, green and blue. One way to drive a color 3 of 8 1/8/99 12:01 PM

4 monitor is to have four lines going into it: red, green, blue, and sync. Sometimes green and sync are superimposed onto one line in which case it resembles a black and white TV signal. In this case a monitor would have three lines going into it: red, green/sync, and blue. It is often the case that a doubling of the input value on one of the lines does not result in a doubling of the light emitted from the screen. Gamma correction is a modulation of the input signal used to compensate for the non-linear response of the display screen. In graphics systems this is often done by a look-up table which converts the input value to a new value such that a linear response is produced at the screen output. Incorporating Color into the B&W Signal When color came on the scene in broadcast television, the engineers were faced with incorporating the color information in such a way so that black & white TVs could still display a color signal and color TVs could still display black & white signals. The solution was to encode color into a high-frequency component that was superimposed on the intensity signal of the black and white video. A reference signal for the color component was added to the back-porch of each horizontal back-porch, called the color burst. The color was encoded as an amplitude and phase shift with respect to this reference signal. A signal that has separate lines for the color signals is referred to as a component signal. Signals such as the color TV signal with all of the information superimposed on one line is referred to as a composite signal. Because of the limited room for information in the color signal of the composite signal, the TV engineers optimized the color information for a particular hue which they considered most important: Caucasian skin tone. Because of that, the RGB information had to be converted into a different color space: YIQ. Y is luminance and is essentially the intensity information found in the black and white signal. It is computed as: Y= 0.299*R *G *B The YIQ television signal is similar to the CIE defined YUV (or XYZ) color spaces in that the Y s (luminance) are the same. U and V are color difference signals and are scaled versions of B-Y (by.5/.866) and R-Y (by.5/.701) respectively. The I and Q chromanence signals used in television pick up the remaining two degrees of freedom of the UV space. I and Q are the signals used to modulate the amplitude and phase shift of the 3.58Mz color frequency reference signal. The phase of this chroma signal, C, conveys a quantity related to hue, and its amplitude conveys a quantity related to color saturation. In fact, the I and Q stand for "in phase" and "quadrature" respectively. The NTSC system mixes Y and C together and conveys the result on one piece of wire. The result of this addition operation is not theoretically reversible; the process of separating luminance and color often confuses one for the other (e.g., the appearance of color patterns seen on TV shots of people wearing black and white seersucker suits). Notes on Video Standards composite video format PAL, SECAM NTSC IDTV, EDTV, HDTV NTSC format 525 line, Hz, interlaced (525/59.94/2:1) 4:3 aspect ratio 480 scanlines; w/aspect => 640 pixels b&w is sync and amplitude with specifics for timings 4 of 8 1/8/99 12:01 PM

5 Color NTSC - add while maintaining compatibility to b&w signal color burst MHz subcarrier YUV (similar to YIQ actually used; In-phase & Quadrature) Y = luminance =.299R +.587G +.114B U = B-Y V = R-Y I,Q are U,V space coordinate system to actually encode color info I,Q carry color info; use less bandwidth for these I,Q modulate 3.58MHz subcarrier; Q (quadrature) phase - hue, I (in-phase) amplitude - saturation SVHS and ED-Beta format connectors - Y&C on separate wires SVHS has severely limited bandwidth for chroma PAL & SECAM 625/50/2:1 (still 4:3 aspect ratio) PAL and SECAM are actually the color modulation methods. PAL similar to NTSC 576 lines have picture info IDTV - improved definition TV processing that involves use of field store and/or frame store (memory) techniq receiver. e.g., de-interlacing at the receiver involve no change to picture origination equipment and no change to emission st EDTV - extended (or enhanced) definition television employs techniques at transmitter and receiver that are transparent to existing e.g., separation of luminance and color components by pre-combining the signals transmission (reduce NTSC artifacts such as dot crawl e.g., use of progressive scan at camera and de-interlacing at receiver require changes in picture origination equipment but complies with emission regulations HDTV - High Definition TV approx. twice horizontal and twice vertical resolution, component color coding, aspect ration 16:9 and frame rate of at least 24Hz. e.g., 1120/60.00/2:1 Video Tape Formats Both the size of the tape, the speed of the tape and the encoding format contribute the quality that can be supported by a particular video format. Common tape sizes are 1/2", 3/4", 1" and 2". Up until about 15 years ago, before 1" made its debut, 1/2" was strictly consumer grade, 3/4" was industrial strength and 2" was professional broadcast quality. Current common 1/2" video formats are VHS, BetaCam, S-VHS, and ED-Beta. VHS and BetaCam are the two consumer grade video formats. They differ primarily on the speed of the tape which results in how much information you can record in a single frame; the more tape used per frame the more information that can be stored and, therefore, the better image and/or sound can be recorded and played back. S-VHS is a format in which the Y and C signals are kept separate when played back, thus avoiding the problems created when the signals are superimposed. All video equipment actually records signals this way, but S-VHS allows the Y signal (luminance) to be recorded at a higher than normal resolution. The color information is recorded to the same fidelity that it is on VHS. In addition, the sound is encoded differently from regular VHS also resulting in greater fidelity. The advantages of S-VHS are especially pronounced when played back on an S-VHS compatible television. Digital Video Formats In addition, there are two digital formats, D1 and D2. They were both originally 8-bit formats, but have 5 of 8 1/8/99 12:01 PM

6 recently been expanded to 10-bit. Current recording devices are still 8-bit, but supporting equipment like frame synchronizers, switchers, etc. handles 10 bit formats. D-1 came first and is a component format. It uses YUV coding, so-called 4:2:2, which means that the U and V components are horizontally sub-sampled 2-to-1. Luminance is sampled at 13.5 MHz, 720 samples per picture width. Aggregate data rate is roughly 27 MB/s (megabytes per second). D-1 was standardized back when the industry thought it would make the composite-analog to component-digital transition in one fell swoop. But that didn t happen. The cost was somewhere above $100K. Ampex saw a niche and came up with the less expensive D-2 composite NTSC digital format (i.e., digitized NTSC). The composite signal is sampled at four-times-color-sub-carrier, about Mz at one byte per sample (aggregate data rate, of course, MB/s). It has all the impairment of NTSC, but with the reliability and performance of digital. It uses the same cassette as D-1. Notes on Video Facility components of video facility image generation camera computer (either single-frame or real-time) video signal generation scan converter (high resolution averaging down to NTSC resolution and e NTSC encoder (RGB to NTSC conversion) sync generator time-base corrector (used for image capture or broadcast quality signal image storage Single frame VCR controllers OR film recorder digital still store laser disc image manipulation paint systems image processing image compositing video compositor digital compositing chroma keys wipes mattes monitoring scopes NTSC signal monitor RGB v. NTSC monitor Animation Recording System The main problem in producing animation is, of course, recording the frames in a sequence so that they can be played back as an animation sequence. There are various alternatives for recording video in sequence. One is to record it on the video tape directly. This requires a video recorder capable of recording a single frame at a time and it requires a video controller that can control the recorder based on signals it gets from a computer. Another medium on which single frames can be recorded are digital disks. These must be capable of real-time conversion of and playback of the video signal. abekas D1 format for input and output. NTSC encoder and sync generator $64.5K for 25 sec; +$50K for +25sec. digital editing 6 of 8 1/8/99 12:01 PM

7 single frame video need NTSC encoder and sycn generator ($5K for both) $12K - for controller with external controls (e.g., lyon-lamb) 1", 3/4" or new 1/2" single frame recorders at least $6K for single frame recorder (SONY 3/4") new 1/2" single frame might be cheaper (ED-Beta) laser disk Panasonic, SONY ($20K) 45 sec per side of disk at $300 per disk SONY is analogue recording? 2.4 Animation Hardware Special purpose graphics hardware can produce real-time or near real-time computer animation. It comes in the form of anything from flight simulators to graphics workstations to personal computers with built-in graphics processors. While the term real-time is loosely defined in manufacturer s claims, true real-time performance would produce on the order of thirty frames of animation a second. Notice the difference between refresh-rate, which is the number of times the image on the display gets refreshed (typically thirty or sixty frames a second on most displays), and animation-rate which refers to the number of different images that can be produced and displayed. Saturday morning cartoons have degenerated into the range of six to eight frames of animation per second (while the TVs they are shown on still operate at the refresh rate of thirty frames a second). Simulators are special-purpose computer graphics systems that are designed to only produce displays of shaded imagery in response to human manipulated controls in mock-up cockpits. Usually most of the database is static containing few moving objects such as planes, boats, tanks, cars, etc. A human operator manipulates controls which the simulator samples, processes and updates the status of the vehicle being simulated. This results in a new viewpoint which must be used to produce new images on the screens of the cockpit. Graphics workstations have built-in display processors which can typically handle tens of thousands of polygons in real-time. However, the definition of a display polygon varies from spec to spec and can drastically impact performances statistics. Silicon Graphics, HP, DEC and SUN are among the manufacturers that support special graphics facilities in otherwise general purpose workstations to enhance display performance. Applications programs, if they are fast enough, can then produce polygon definitions at real-time rates and pass the polygons on to the rendering engines inside these workstations. Some personal computers, most notably the Amiga, also have some special-purpose graphics hardware built in to operate in the same way. However, at this level the support is almost exclusively for two-dimensional graphics. Check out the following list of hardware (under construction): digital storage and editing system for video: Newteck Incorporated digital video editing system Miro motion tracking system: Polhemus motion tracking system: Ascension Digital Film and Video Services: Cine-BYTE Imaging Inc. workstation: HP workstation: SGI 7 of 8 1/8/99 12:01 PM

8 workstation: DEC workstation: SUN workstation: Intergraph workstation: DeskStation Technology workstation: Flight Technologies Go back to Table of Contents Go to Previous Chapter: Chapter 1. Introduction Go to Next Chapter: Chapter 3. Display Considerations Rick Parent -- last updated 8/1/98 8 of 8 1/8/99 12:01 PM

Multimedia Systems Video I (Basics of Analog and Digital Video) Mahdi Amiri April 2011 Sharif University of Technology

Multimedia Systems Video I (Basics of Analog and Digital Video) Mahdi Amiri April 2011 Sharif University of Technology Course Presentation Multimedia Systems Video I (Basics of Analog and Digital Video) Mahdi Amiri April 2011 Sharif University of Technology Video Visual Effect of Motion The visual effect of motion is due

More information

Television History. Date / Place E. Nemer - 1

Television History. Date / Place E. Nemer - 1 Television History Television to see from a distance Earlier Selenium photosensitive cells were used for converting light from pictures into electrical signals Real breakthrough invention of CRT AT&T Bell

More information

Chapter 3 Fundamental Concepts in Video. 3.1 Types of Video Signals 3.2 Analog Video 3.3 Digital Video

Chapter 3 Fundamental Concepts in Video. 3.1 Types of Video Signals 3.2 Analog Video 3.3 Digital Video Chapter 3 Fundamental Concepts in Video 3.1 Types of Video Signals 3.2 Analog Video 3.3 Digital Video 1 3.1 TYPES OF VIDEO SIGNALS 2 Types of Video Signals Video standards for managing analog output: A.

More information

Comp 410/510. Computer Graphics Spring Introduction to Graphics Systems

Comp 410/510. Computer Graphics Spring Introduction to Graphics Systems Comp 410/510 Computer Graphics Spring 2018 Introduction to Graphics Systems Computer Graphics Computer graphics deals with all aspects of 'creating images with a computer - Hardware (PC with graphics card)

More information

To discuss. Types of video signals Analog Video Digital Video. Multimedia Computing (CSIT 410) 2

To discuss. Types of video signals Analog Video Digital Video. Multimedia Computing (CSIT 410) 2 Video Lecture-5 To discuss Types of video signals Analog Video Digital Video (CSIT 410) 2 Types of Video Signals Video Signals can be classified as 1. Composite Video 2. S-Video 3. Component Video (CSIT

More information

Presented by: Amany Mohamed Yara Naguib May Mohamed Sara Mahmoud Maha Ali. Supervised by: Dr.Mohamed Abd El Ghany

Presented by: Amany Mohamed Yara Naguib May Mohamed Sara Mahmoud Maha Ali. Supervised by: Dr.Mohamed Abd El Ghany Presented by: Amany Mohamed Yara Naguib May Mohamed Sara Mahmoud Maha Ali Supervised by: Dr.Mohamed Abd El Ghany Analogue Terrestrial TV. No satellite Transmission Digital Satellite TV. Uses satellite

More information

Technical Bulletin 625 Line PAL Spec v Digital Page 1 of 5

Technical Bulletin 625 Line PAL Spec v Digital Page 1 of 5 Technical Bulletin 625 Line PAL Spec v Digital Page 1 of 5 625 Line PAL Spec v Digital By G8MNY (Updated Dec 07) (8 Bit ASCII graphics use code page 437 or 850) With all this who ha on DTV. I thought some

More information

NAPIER. University School of Engineering. Advanced Communication Systems Module: SE Television Broadcast Signal.

NAPIER. University School of Engineering. Advanced Communication Systems Module: SE Television Broadcast Signal. NAPIER. University School of Engineering Television Broadcast Signal. luminance colour channel channel distance sound signal By Klaus Jørgensen Napier No. 04007824 Teacher Ian Mackenzie Abstract Klaus

More information

1. Broadcast television

1. Broadcast television VIDEO REPRESNTATION 1. Broadcast television A color picture/image is produced from three primary colors red, green and blue (RGB). The screen of the picture tube is coated with a set of three different

More information

Multimedia. Course Code (Fall 2017) Fundamental Concepts in Video

Multimedia. Course Code (Fall 2017) Fundamental Concepts in Video Course Code 005636 (Fall 2017) Multimedia Fundamental Concepts in Video Prof. S. M. Riazul Islam, Dept. of Computer Engineering, Sejong University, Korea E-mail: riaz@sejong.ac.kr Outline Types of Video

More information

ANTENNAS, WAVE PROPAGATION &TV ENGG. Lecture : TV working

ANTENNAS, WAVE PROPAGATION &TV ENGG. Lecture : TV working ANTENNAS, WAVE PROPAGATION &TV ENGG Lecture : TV working Topics to be covered Television working How Television Works? A Simplified Viewpoint?? From Studio to Viewer Television content is developed in

More information

Audio and Video II. Video signal +Color systems Motion estimation Video compression standards +H.261 +MPEG-1, MPEG-2, MPEG-4, MPEG- 7, and MPEG-21

Audio and Video II. Video signal +Color systems Motion estimation Video compression standards +H.261 +MPEG-1, MPEG-2, MPEG-4, MPEG- 7, and MPEG-21 Audio and Video II Video signal +Color systems Motion estimation Video compression standards +H.261 +MPEG-1, MPEG-2, MPEG-4, MPEG- 7, and MPEG-21 1 Video signal Video camera scans the image by following

More information

Mahdi Amiri. April Sharif University of Technology

Mahdi Amiri. April Sharif University of Technology Course Presentation Multimedia Systems Video I (Basics of Analog and Digital Video) Mahdi Amiri April 2014 Sharif University of Technology Video Visual Effect of Motion The visual effect of motion is due

More information

decodes it along with the normal intensity signal, to determine how to modulate the three colour beams.

decodes it along with the normal intensity signal, to determine how to modulate the three colour beams. Television Television as we know it today has hardly changed much since the 1950 s. Of course there have been improvements in stereo sound and closed captioning and better receivers for example but compared

More information

Dan Schuster Arusha Technical College March 4, 2010

Dan Schuster Arusha Technical College March 4, 2010 Television Theory Of Operation Dan Schuster Arusha Technical College March 4, 2010 My TV Background 34 years in Automation and Image Electronics MS in Electrical and Computer Engineering Designed Television

More information

An Overview of Video Coding Algorithms

An Overview of Video Coding Algorithms An Overview of Video Coding Algorithms Prof. Ja-Ling Wu Department of Computer Science and Information Engineering National Taiwan University Video coding can be viewed as image compression with a temporal

More information

Types of CRT Display Devices. DVST-Direct View Storage Tube

Types of CRT Display Devices. DVST-Direct View Storage Tube Examples of Computer Graphics Devices: CRT, EGA(Enhanced Graphic Adapter)/CGA/VGA/SVGA monitors, plotters, data matrix, laser printers, Films, flat panel devices, Video Digitizers, scanners, LCD Panels,

More information

Elements of a Television System

Elements of a Television System 1 Elements of a Television System 1 Elements of a Television System The fundamental aim of a television system is to extend the sense of sight beyond its natural limits, along with the sound associated

More information

Introduction to Computer Graphics

Introduction to Computer Graphics Introduction to Computer Graphics R. J. Renka Department of Computer Science & Engineering University of North Texas 01/16/2010 Introduction Computer Graphics is a subfield of computer science concerned

More information

MULTIMEDIA TECHNOLOGIES

MULTIMEDIA TECHNOLOGIES MULTIMEDIA TECHNOLOGIES LECTURE 08 VIDEO IMRAN IHSAN ASSISTANT PROFESSOR VIDEO Video streams are made up of a series of still images (frames) played one after another at high speed This fools the eye into

More information

5.1 Types of Video Signals. Chapter 5 Fundamental Concepts in Video. Component video

5.1 Types of Video Signals. Chapter 5 Fundamental Concepts in Video. Component video Chapter 5 Fundamental Concepts in Video 5.1 Types of Video Signals 5.2 Analog Video 5.3 Digital Video 5.4 Further Exploration 1 Li & Drew c Prentice Hall 2003 5.1 Types of Video Signals Component video

More information

4. ANALOG TV SIGNALS MEASUREMENT

4. ANALOG TV SIGNALS MEASUREMENT Goals of measurement 4. ANALOG TV SIGNALS MEASUREMENT 1) Measure the amplitudes of spectral components in the spectrum of frequency modulated signal of Δf = 50 khz and f mod = 10 khz (relatively to unmodulated

More information

2.2. VIDEO DISPLAY DEVICES

2.2. VIDEO DISPLAY DEVICES Introduction to Computer Graphics (CS602) Lecture 02 Graphics Systems 2.1. Introduction of Graphics Systems With the massive development in the field of computer graphics a broad range of graphics hardware

More information

Display Technologies CMSC 435. Slides based on Dr. Luebke s slides

Display Technologies CMSC 435. Slides based on Dr. Luebke s slides Display Technologies CMSC 435 Slides based on Dr. Luebke s slides Recap: Transforms Basic 2D Transforms: Scaling, Shearing, Rotation, Reflection, Composition of 2D Transforms Basic 3D Transforms: Rotation,

More information

TERMINOLOGY INDEX. DME Down Stream Keyer (DSK) Drop Shadow. A/B Roll Edit Animation Effects Anti-Alias Auto Transition

TERMINOLOGY INDEX. DME Down Stream Keyer (DSK) Drop Shadow. A/B Roll Edit Animation Effects Anti-Alias Auto Transition A B C A/B Roll Edit Animation Effects Anti-Alias Auto Transition B-Y Signal Background Picture Background Through Mode Black Burst Border Bus Chroma/Chrominance Chroma Key Color Bar Color Matte Component

More information

Ch. 1: Audio/Image/Video Fundamentals Multimedia Systems. School of Electrical Engineering and Computer Science Oregon State University

Ch. 1: Audio/Image/Video Fundamentals Multimedia Systems. School of Electrical Engineering and Computer Science Oregon State University Ch. 1: Audio/Image/Video Fundamentals Multimedia Systems Prof. Ben Lee School of Electrical Engineering and Computer Science Oregon State University Outline Computer Representation of Audio Quantization

More information

Multimedia Systems Video I (Basics of Analog and Digital Video) Mahdi Amiri November 2015 Sharif University of Technology

Multimedia Systems Video I (Basics of Analog and Digital Video) Mahdi Amiri November 2015 Sharif University of Technology Course Presentation Multimedia Systems Video I (Basics of Analog and Digital Video) Mahdi Amiri November 2015 Sharif University of Technology Video Visual Effect of Motion The visual effect of motion is

More information

A Digital Video Primer

A Digital Video Primer June 2000 A Digital Video Primer f r o m t h e A d o b e D y n a m i c M e d i a G r o u p June 2000 VIDEO BASICS Figure 1: Video signals A A Analog signal Analog Versus Digital Video One of the first

More information

Part 1: Introduction to Computer Graphics

Part 1: Introduction to Computer Graphics Part 1: Introduction to Computer Graphics 1. Define computer graphics? The branch of science and technology concerned with methods and techniques for converting data to or from visual presentation using

More information

10 Digital TV Introduction Subsampling

10 Digital TV Introduction Subsampling 10 Digital TV 10.1 Introduction Composite video signals must be sampled at twice the highest frequency of the signal. To standardize this sampling, the ITU CCIR-601 (often known as ITU-R) has been devised.

More information

VIDEO Muhammad AminulAkbar

VIDEO Muhammad AminulAkbar VIDEO Muhammad Aminul Akbar Analog Video Analog Video Up until last decade, most TV programs were sent and received as an analog signal Progressive scanning traces through a complete picture (a frame)

More information

Midterm Review. Yao Wang Polytechnic University, Brooklyn, NY11201

Midterm Review. Yao Wang Polytechnic University, Brooklyn, NY11201 Midterm Review Yao Wang Polytechnic University, Brooklyn, NY11201 yao@vision.poly.edu Yao Wang, 2003 EE4414: Midterm Review 2 Analog Video Representation (Raster) What is a video raster? A video is represented

More information

Audiovisual Archiving Terminology

Audiovisual Archiving Terminology Audiovisual Archiving Terminology A Amplitude The magnitude of the difference between a signal's extreme values. (See also Signal) Analog Representing information using a continuously variable quantity

More information

Rec. ITU-R BT RECOMMENDATION ITU-R BT PARAMETER VALUES FOR THE HDTV STANDARDS FOR PRODUCTION AND INTERNATIONAL PROGRAMME EXCHANGE

Rec. ITU-R BT RECOMMENDATION ITU-R BT PARAMETER VALUES FOR THE HDTV STANDARDS FOR PRODUCTION AND INTERNATIONAL PROGRAMME EXCHANGE Rec. ITU-R BT.79-4 1 RECOMMENDATION ITU-R BT.79-4 PARAMETER VALUES FOR THE HDTV STANDARDS FOR PRODUCTION AND INTERNATIONAL PROGRAMME EXCHANGE (Question ITU-R 27/11) (199-1994-1995-1998-2) Rec. ITU-R BT.79-4

More information

Traditionally video signals have been transmitted along cables in the form of lower energy electrical impulses. As new technologies emerge we are

Traditionally video signals have been transmitted along cables in the form of lower energy electrical impulses. As new technologies emerge we are 2 Traditionally video signals have been transmitted along cables in the form of lower energy electrical impulses. As new technologies emerge we are seeing the development of new connection methods within

More information

4. Video and Animation. Contents. 4.3 Computer-based Animation. 4.1 Basic Concepts. 4.2 Television. Enhanced Definition Systems

4. Video and Animation. Contents. 4.3 Computer-based Animation. 4.1 Basic Concepts. 4.2 Television. Enhanced Definition Systems Contents 4.1 Basic Concepts Video Signal Representation Computer Video Format 4.2 Television Conventional Systems Enhanced Definition Systems High Definition Systems Transmission 4.3 Computer-based Animation

More information

Interfaces and Sync Processors

Interfaces and Sync Processors Interfaces and Sync Processors Kramer Electronics has a full line of video, audio and sync interfaces. The group is divided into two sections Format Interfaces and Video Sync Processors. The Format Interface

More information

BTV Tuesday 21 November 2006

BTV Tuesday 21 November 2006 Test Review Test from last Thursday. Biggest sellers of converters are HD to composite. All of these monitors in the studio are composite.. Identify the only portion of the vertical blanking interval waveform

More information

PTIK UNNES. Lecture 02. Conceptual Model for Computer Graphics and Graphics Hardware Issues

PTIK UNNES. Lecture 02. Conceptual Model for Computer Graphics and Graphics Hardware Issues E3024031 KOMPUTER GRAFIK E3024032 PRAKTIK KOMPUTER GRAFIK PTIK UNNES Lecture 02 Conceptual Model for Computer Graphics and Graphics Hardware Issues 2014 Learning Objectives After carefully listening this

More information

Digital Media. Daniel Fuller ITEC 2110

Digital Media. Daniel Fuller ITEC 2110 Digital Media Daniel Fuller ITEC 2110 Daily Question: Video How does interlaced scan display video? Email answer to DFullerDailyQuestion@gmail.com Subject Line: ITEC2110-26 Housekeeping Project 4 is assigned

More information

Computer Graphics. Raster Scan Display System, Rasterization, Refresh Rate, Video Basics and Scan Conversion

Computer Graphics. Raster Scan Display System, Rasterization, Refresh Rate, Video Basics and Scan Conversion Computer Graphics Raster Scan Display System, Rasterization, Refresh Rate, Video Basics and Scan Conversion 2 Refresh and Raster Scan Display System Used in Television Screens. Refresh CRT is point plotting

More information

Reading. 1. Displays and framebuffers. History. Modern graphics systems. Required

Reading. 1. Displays and framebuffers. History. Modern graphics systems. Required Reading Required 1. Displays and s Angel, pp.19-31. Hearn & Baker, pp. 36-38, 154-157. OpenGL Programming Guide (available online): First four sections of chapter 2 First section of chapter 6 Optional

More information

Television System. EE 3414 May 9, Group Members: Jun Wei Guo Shou Hang Shi Raul Gomez

Television System. EE 3414 May 9, Group Members: Jun Wei Guo Shou Hang Shi Raul Gomez Television System EE 3414 May 9, 2003 Group Members: Jun Wei Guo Shou Hang Shi Raul Gomez Overview Basic Components of TV Camera Transmission of TV signals Basic Components of TV Reception of TV signals

More information

Essentials of the AV Industry Welcome Introduction How to Take This Course Quizzes, Section Tests, and Course Completion A Digital and Analog World

Essentials of the AV Industry Welcome Introduction How to Take This Course Quizzes, Section Tests, and Course Completion A Digital and Analog World Essentials of the AV Industry Welcome Introduction How to Take This Course Quizzes, s, and Course Completion A Digital and Analog World Audio Dynamics of Sound Audio Essentials Sound Waves Human Hearing

More information

Part 1: Introduction to computer graphics 1. Describe Each of the following: a. Computer Graphics. b. Computer Graphics API. c. CG s can be used in

Part 1: Introduction to computer graphics 1. Describe Each of the following: a. Computer Graphics. b. Computer Graphics API. c. CG s can be used in Part 1: Introduction to computer graphics 1. Describe Each of the following: a. Computer Graphics. b. Computer Graphics API. c. CG s can be used in solving Problems. d. Graphics Pipeline. e. Video Memory.

More information

Camera Interface Guide

Camera Interface Guide Camera Interface Guide Table of Contents Video Basics... 5-12 Introduction...3 Video formats...3 Standard analog format...3 Blanking intervals...4 Vertical blanking...4 Horizontal blanking...4 Sync Pulses...4

More information

Digital Video Editing

Digital Video Editing Digital Video Editing 18-04-2004 DVD Video Training in Adobe Premiere Pro WWW.VC-STUDIO.COM Video Signals: Analog signals are made up of continuously varying waveforms. In other words, the value of the

More information

GLOSSARY. 10. Chrominan ce -- Chroma ; the hue and saturation of an object as differentiated from the brightness value (luminance) of that object.

GLOSSARY. 10. Chrominan ce -- Chroma ; the hue and saturation of an object as differentiated from the brightness value (luminance) of that object. GLOSSARY 1. Back Porch -- That portion of the composite picture signal which lies between the trailing edge of the horizontal sync pulse and the trailing edge of the corresponding blanking pulse. 2. Black

More information

Understanding Multimedia - Basics

Understanding Multimedia - Basics Understanding Multimedia - Basics Joemon Jose Web page: http://www.dcs.gla.ac.uk/~jj/teaching/demms4 Wednesday, 9 th January 2008 Design and Evaluation of Multimedia Systems Lectures video as a medium

More information

TV Synchronism Generation with PIC Microcontroller

TV Synchronism Generation with PIC Microcontroller TV Synchronism Generation with PIC Microcontroller With the widespread conversion of the TV transmission and coding standards, from the early analog (NTSC, PAL, SECAM) systems to the modern digital formats

More information

Spatio-temporal inaccuracies of video-based ultrasound images of the tongue

Spatio-temporal inaccuracies of video-based ultrasound images of the tongue Spatio-temporal inaccuracies of video-based ultrasound images of the tongue Alan A. Wrench 1*, James M. Scobbie * 1 Articulate Instruments Ltd - Queen Margaret Campus, 36 Clerwood Terrace, Edinburgh EH12

More information

Lecture 2 Video Formation and Representation

Lecture 2 Video Formation and Representation 2013 Spring Term 1 Lecture 2 Video Formation and Representation Wen-Hsiao Peng ( 彭文孝 ) Multimedia Architecture and Processing Lab (MAPL) Department of Computer Science National Chiao Tung University 1

More information

VIDEO 101 LCD MONITOR OVERVIEW

VIDEO 101 LCD MONITOR OVERVIEW VIDEO 101 LCD MONITOR OVERVIEW This provides an overview of the monitor nomenclature and specifications as they relate to TRU-Vu industrial monitors. This is an ever changing industry and as such all specifications

More information

Objectives: Topics covered: Basic terminology Important Definitions Display Processor Raster and Vector Graphics Coordinate Systems Graphics Standards

Objectives: Topics covered: Basic terminology Important Definitions Display Processor Raster and Vector Graphics Coordinate Systems Graphics Standards MODULE - 1 e-pg Pathshala Subject: Computer Science Paper: Computer Graphics and Visualization Module: Introduction to Computer Graphics Module No: CS/CGV/1 Quadrant 1 e-text Objectives: To get introduced

More information

3. Displays and framebuffers

3. Displays and framebuffers 3. Displays and framebuffers 1 Reading Required Angel, pp.19-31. Hearn & Baker, pp. 36-38, 154-157. Optional Foley et al., sections 1.5, 4.2-4.5 I.E. Sutherland. Sketchpad: a man-machine graphics communication

More information

h t t p : / / w w w. v i d e o e s s e n t i a l s. c o m E - M a i l : j o e k a n a t t. n e t DVE D-Theater Q & A

h t t p : / / w w w. v i d e o e s s e n t i a l s. c o m E - M a i l : j o e k a n a t t. n e t DVE D-Theater Q & A J O E K A N E P R O D U C T I O N S W e b : h t t p : / / w w w. v i d e o e s s e n t i a l s. c o m E - M a i l : j o e k a n e @ a t t. n e t DVE D-Theater Q & A 15 June 2003 Will the D-Theater tapes

More information

Basic TV Technology: Digital and Analog

Basic TV Technology: Digital and Analog Basic TV Technology: Digital and Analog Fourth Edition Robert L. Hartwig AMSTERDAM. BOSTON. HEIDELBERG LONDON. NEW YORK. OXFORD PARIS. SAN DIEGO. SAN FRANCISCO SINGAPORE. SYDNEY TOKYO ELSEVIER Focal Press

More information

Displays. History. Cathode ray tubes (CRTs) Modern graphics systems. CSE 457, Autumn 2003 Graphics. » Whirlwind Computer - MIT, 1950

Displays. History. Cathode ray tubes (CRTs) Modern graphics systems. CSE 457, Autumn 2003 Graphics. » Whirlwind Computer - MIT, 1950 History Displays CSE 457, Autumn 2003 Graphics http://www.cs.washington.edu/education/courses/457/03au/» Whirlwind Computer - MIT, 1950 CRT display» SAGE air-defense system - middle 1950 s Whirlwind II

More information

Composite Video vs. Component Video

Composite Video vs. Component Video Composite Video vs. Component Video Composite video is a clever combination of color and black & white information. Component video keeps these two image components separate. Proper handling of each type

More information

An FPGA Based Solution for Testing Legacy Video Displays

An FPGA Based Solution for Testing Legacy Video Displays An FPGA Based Solution for Testing Legacy Video Displays Dale Johnson Geotest Marvin Test Systems Abstract The need to support discrete transistor-based electronics, TTL, CMOS and other technologies developed

More information

Reading. Display Devices. Light Gathering. The human retina

Reading. Display Devices. Light Gathering. The human retina Reading Hear & Baker, Computer graphics (2 nd edition), Chapter 2: Video Display Devices, p. 36-48, Prentice Hall Display Devices Optional.E. Sutherland. Sketchpad: a man-machine graphics communication

More information

Understanding Digital Television (DTV)

Understanding Digital Television (DTV) Understanding Digital Television (DTV) Tom Ohanian and Michael Phillips, Avid Technology The DTV story will continue to develop and change. Avid currently has the only DNLE Editor where users are able

More information

iii Table of Contents

iii Table of Contents i iii Table of Contents Display Setup Tutorial....................... 1 Launching Catalyst Control Center 1 The Catalyst Control Center Wizard 2 Enabling a second display 3 Enabling A Standard TV 7 Setting

More information

ESI VLS-2000 Video Line Scaler

ESI VLS-2000 Video Line Scaler ESI VLS-2000 Video Line Scaler Operating Manual Version 1.2 October 3, 2003 ESI VLS-2000 Video Line Scaler Operating Manual Page 1 TABLE OF CONTENTS 1. INTRODUCTION...4 2. INSTALLATION AND SETUP...5 2.1.Connections...5

More information

Reading. Displays and framebuffers. Modern graphics systems. History. Required. Angel, section 1.2, chapter 2 through 2.5. Related

Reading. Displays and framebuffers. Modern graphics systems. History. Required. Angel, section 1.2, chapter 2 through 2.5. Related Reading Required Angel, section 1.2, chapter 2 through 2.5 Related Displays and framebuffers Hearn & Baker, Chapter 2, Overview of Graphics Systems OpenGL Programming Guide (the red book ): First four

More information

VGA Port. Chapter 5. Pin 5 Pin 10. Pin 1. Pin 6. Pin 11. Pin 15. DB15 VGA Connector (front view) DB15 Connector. Red (R12) Green (T12) Blue (R11)

VGA Port. Chapter 5. Pin 5 Pin 10. Pin 1. Pin 6. Pin 11. Pin 15. DB15 VGA Connector (front view) DB15 Connector. Red (R12) Green (T12) Blue (R11) Chapter 5 VGA Port The Spartan-3 Starter Kit board includes a VGA display port and DB15 connector, indicated as 5 in Figure 1-2. Connect this port directly to most PC monitors or flat-panel LCD displays

More information

Users Manual FWI HiDef Sync Stripper

Users Manual FWI HiDef Sync Stripper Users Manual FWI HiDef Sync Stripper Allows "legacy" motion control and film synchronizing equipment to work with modern HDTV cameras and monitors providing Tri-Level sync signals. Generates a film-camera

More information

SingMai Electronics SM06. Advanced Composite Video Interface: HD-SDI to acvi converter module. User Manual. Revision 0.

SingMai Electronics SM06. Advanced Composite Video Interface: HD-SDI to acvi converter module. User Manual. Revision 0. SM06 Advanced Composite Video Interface: HD-SDI to acvi converter module User Manual Revision 0.4 1 st May 2017 Page 1 of 26 Revision History Date Revisions Version 17-07-2016 First Draft. 0.1 28-08-2016

More information

Computer Graphics. Introduction

Computer Graphics. Introduction Computer Graphics Introduction Introduction Computer Graphics : It involves display manipulation and storage of pictures and experimental data for proper visualization using a computer. Typically graphics

More information

!"#"$%& Some slides taken shamelessly from Prof. Yao Wang s lecture slides

!#$%&   Some slides taken shamelessly from Prof. Yao Wang s lecture slides http://ekclothing.com/blog/wp-content/uploads/2010/02/spring-colors.jpg Some slides taken shamelessly from Prof. Yao Wang s lecture slides $& Definition of An Image! Think an image as a function, f! f

More information

Assessing and Measuring VCR Playback Image Quality, Part 1. Leo Backman/DigiOmmel & Co.

Assessing and Measuring VCR Playback Image Quality, Part 1. Leo Backman/DigiOmmel & Co. Assessing and Measuring VCR Playback Image Quality, Part 1. Leo Backman/DigiOmmel & Co. Assessing analog VCR image quality and stability requires dedicated measuring instruments. Still, standard metrics

More information

RECOMMENDATION ITU-R BT Studio encoding parameters of digital television for standard 4:3 and wide-screen 16:9 aspect ratios

RECOMMENDATION ITU-R BT Studio encoding parameters of digital television for standard 4:3 and wide-screen 16:9 aspect ratios ec. ITU- T.61-6 1 COMMNATION ITU- T.61-6 Studio encoding parameters of digital television for standard 4:3 and wide-screen 16:9 aspect ratios (Question ITU- 1/6) (1982-1986-199-1992-1994-1995-27) Scope

More information

EECS150 - Digital Design Lecture 12 Project Description, Part 2

EECS150 - Digital Design Lecture 12 Project Description, Part 2 EECS150 - Digital Design Lecture 12 Project Description, Part 2 February 27, 2003 John Wawrzynek/Sandro Pintz Spring 2003 EECS150 lec12-proj2 Page 1 Linux Command Server network VidFX Video Effects Processor

More information

Hardcopy. Prerequisites. An understanding of the nature of color and visual communication, and an appreciation of what makes an effective image.

Hardcopy. Prerequisites. An understanding of the nature of color and visual communication, and an appreciation of what makes an effective image. Hardcopy Prerequisites An understanding of the nature of color and visual communication, and an appreciation of what makes an effective image. Introduction You have worked hard to analyze a problem and

More information

So far. Chapter 4 Color spaces Chapter 3 image representations. Bitmap grayscale. 1/21/09 CSE 40373/60373: Multimedia Systems

So far. Chapter 4 Color spaces Chapter 3 image representations. Bitmap grayscale. 1/21/09 CSE 40373/60373: Multimedia Systems So far. Chapter 4 Color spaces Chapter 3 image representations Bitmap grayscale page 1 8-bit color image Can show up to 256 colors Use color lookup table to map 256 of the 24-bit color (rather than choosing

More information

SM02. High Definition Video Encoder and Pattern Generator. User Manual

SM02. High Definition Video Encoder and Pattern Generator. User Manual SM02 High Definition Video Encoder and Pattern Generator User Manual Revision 0.2 20 th May 2016 1 Contents Contents... 2 Tables... 2 Figures... 3 1. Introduction... 4 2. acvi Overview... 6 3. Connecting

More information

Color Spaces in Digital Video

Color Spaces in Digital Video UCRL-JC-127331 PREPRINT Color Spaces in Digital Video R. Gaunt This paper was prepared for submittal to the Association for Computing Machinery Special Interest Group on Computer Graphics (SIGGRAPH) '97

More information

Communication Theory and Engineering

Communication Theory and Engineering Communication Theory and Engineering Master's Degree in Electronic Engineering Sapienza University of Rome A.A. 2018-2019 Practice work 14 Image signals Example 1 Calculate the aspect ratio for an image

More information

SHRI SANT GADGE BABA COLLEGE OF ENGINEERING & TECHNOLOGY, BHUSAWAL Department of Electronics & Communication Engineering. UNIT-I * April/May-2009 *

SHRI SANT GADGE BABA COLLEGE OF ENGINEERING & TECHNOLOGY, BHUSAWAL Department of Electronics & Communication Engineering. UNIT-I * April/May-2009 * SHRI SANT GADGE BABA COLLEGE OF ENGINEERING & TECHNOLOGY, BHUSAWAL Department of Electronics & Communication Engineering Subject: Television & Consumer Electronics (TV& CE) -SEM-II UNIVERSITY PAPER QUESTIONS

More information

Video Compression Basics. Nimrod Peleg Update: Dec. 2003

Video Compression Basics. Nimrod Peleg Update: Dec. 2003 Video Compression Basics Nimrod Peleg Update: Dec. 2003 Video Compression: list of topics Analog and Digital Video Concepts Block-Based Motion Estimation Resolution Conversion H.261: A Standard for VideoConferencing

More information

Motion Video Compression

Motion Video Compression 7 Motion Video Compression 7.1 Motion video Motion video contains massive amounts of redundant information. This is because each image has redundant information and also because there are very few changes

More information

Getting Images of the World

Getting Images of the World Computer Vision for HCI Image Formation Getting Images of the World 3-D Scene Video Camera Frame Grabber Digital Image A/D or Digital Lens Image array Transfer image to memory 2 1 CCD Charged Coupled Device

More information

Chrominance Subsampling in Digital Images

Chrominance Subsampling in Digital Images Chrominance Subsampling in Digital Images Douglas A. Kerr Issue 2 December 3, 2009 ABSTRACT The JPEG and TIFF digital still image formats, along with various digital video formats, have provision for recording

More information

Software Analog Video Inputs

Software Analog Video Inputs Software FG-38-II has signed drivers for 32-bit and 64-bit Microsoft Windows. The standard interfaces such as Microsoft Video for Windows / WDM and Twain are supported to use third party video software.

More information

Module 1: Digital Video Signal Processing Lecture 3: Characterisation of Video raster, Parameters of Analog TV systems, Signal bandwidth

Module 1: Digital Video Signal Processing Lecture 3: Characterisation of Video raster, Parameters of Analog TV systems, Signal bandwidth The Lecture Contains: Analog Video Raster Interlaced Scan Characterization of a video Raster Analog Color TV systems Signal Bandwidth Digital Video Parameters of a digital video Pixel Aspect Ratio file:///d

More information

Home Theater Video Processors

Home Theater Video Processors Home Theater Video Processors Home Theater Video P rocessors 3 Introduction T o Video Scanning P rocessors -------------------------------------- 167 Understanding P rogressive Scanning ----------------------------------------------

More information

Colour Reproduction Performance of JPEG and JPEG2000 Codecs

Colour Reproduction Performance of JPEG and JPEG2000 Codecs Colour Reproduction Performance of JPEG and JPEG000 Codecs A. Punchihewa, D. G. Bailey, and R. M. Hodgson Institute of Information Sciences & Technology, Massey University, Palmerston North, New Zealand

More information

VP2780-4K. Best for CAD/CAM, photography, architecture and video editing.

VP2780-4K. Best for CAD/CAM, photography, architecture and video editing. VP2780-4K Best for CAD/CAM, photography, architecture and video editing. The 27 VP2780-4K boasts an ultra-high 3840 x 2160 4K UHD resolution with 8 million pixels for ultimate image quality. The SuperClear

More information

CS2401-COMPUTER GRAPHICS QUESTION BANK

CS2401-COMPUTER GRAPHICS QUESTION BANK SRI VENKATESWARA COLLEGE OF ENGINEERING AND TECHNOLOGY THIRUPACHUR. CS2401-COMPUTER GRAPHICS QUESTION BANK UNIT-1-2D PRIMITIVES PART-A 1. Define Persistence Persistence is defined as the time it takes

More information

Nintendo. January 21, 2004 Good Emulators I will place links to all of these emulators on the webpage. Mac OSX The latest version of RockNES

Nintendo. January 21, 2004 Good Emulators I will place links to all of these emulators on the webpage. Mac OSX The latest version of RockNES 98-026 Nintendo. January 21, 2004 Good Emulators I will place links to all of these emulators on the webpage. Mac OSX The latest version of RockNES (2.5.1) has various problems under OSX 1.03 Pather. You

More information

Monitor and Display Adapters UNIT 4

Monitor and Display Adapters UNIT 4 Monitor and Display Adapters UNIT 4 TOPIC TO BE COVERED: 4.1: video Basics(CRT Parameters) 4.2: VGA monitors 4.3: Digital Display Technology- Thin Film Displays, Liquid Crystal Displays, Plasma Displays

More information

2.4.1 Graphics. Graphics Principles: Example Screen Format IMAGE REPRESNTATION

2.4.1 Graphics. Graphics Principles: Example Screen Format IMAGE REPRESNTATION 2.4.1 Graphics software programs available for the creation of computer graphics. (word art, Objects, shapes, colors, 2D, 3d) IMAGE REPRESNTATION A computer s display screen can be considered as being

More information

VIDEO 101: INTRODUCTION:

VIDEO 101: INTRODUCTION: W h i t e P a p e r VIDEO 101: INTRODUCTION: Understanding how the PC can be used to receive TV signals, record video and playback video content is a complicated process, and unfortunately most documentation

More information

RECOMMENDATION ITU-R BT (Questions ITU-R 25/11, ITU-R 60/11 and ITU-R 61/11)

RECOMMENDATION ITU-R BT (Questions ITU-R 25/11, ITU-R 60/11 and ITU-R 61/11) Rec. ITU-R BT.61-4 1 SECTION 11B: DIGITAL TELEVISION RECOMMENDATION ITU-R BT.61-4 Rec. ITU-R BT.61-4 ENCODING PARAMETERS OF DIGITAL TELEVISION FOR STUDIOS (Questions ITU-R 25/11, ITU-R 6/11 and ITU-R 61/11)

More information

Digital Media. Daniel Fuller ITEC 2110

Digital Media. Daniel Fuller ITEC 2110 Digital Media Daniel Fuller ITEC 2110 Daily Question: Video In a video file made up of 480 frames, how long will it be when played back at 24 frames per second? Email answer to DFullerDailyQuestion@gmail.com

More information

BARCOVISION 708 SERIES

BARCOVISION 708 SERIES BARCOVISION 708 SERIES The Ultimate Large Screen Multimedia Experience BARCOVISION 708MM & BARCOVISION 708 Photo courtesy: Home Theater Magazine Home Theater Cine-excitement at home The BARCOVISION 708

More information

L14 - Video. L14: Spring 2005 Introductory Digital Systems Laboratory

L14 - Video. L14: Spring 2005 Introductory Digital Systems Laboratory L14 - Video Slides 2-10 courtesy of Tayo Akinwande Take the graduate course, 6.973 consult Prof. Akinwande Some modifications of these slides by D. E. Troxel 1 How Do Displays Work? Electronic display

More information

Downloads from: https://ravishbegusarai.wordpress.com/download_books/

Downloads from: https://ravishbegusarai.wordpress.com/download_books/ 1. The graphics can be a. Drawing b. Photograph, movies c. Simulation 11. Vector graphics is composed of a. Pixels b. Paths c. Palette 2. Computer graphics was first used by a. William fetter in 1960 b.

More information

. ImagePRO. ImagePRO-SDI. ImagePRO-HD. ImagePRO TM. Multi-format image processor line

. ImagePRO. ImagePRO-SDI. ImagePRO-HD. ImagePRO TM. Multi-format image processor line ImagePRO TM. ImagePRO. ImagePRO-SDI. ImagePRO-HD The Folsom ImagePRO TM is a powerful all-in-one signal processor that accepts a wide range of video input signals and process them into a number of different

More information

Video Signals and Circuits Part 2

Video Signals and Circuits Part 2 Video Signals and Circuits Part 2 Bill Sheets K2MQJ Rudy Graf KA2CWL In the first part of this article the basic signal structure of a TV signal was discussed, and how a color video signal is structured.

More information