Basic TV Technology: Digital and Analog

Transcription

1 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 is an imprint of Elsevier

2 Contents INTRODUCTION ACKNOWLEDGMENTS xi xiii THE ATOM AND ELECTRICITY 2 The Parts of the Atom The Flow of Electrons through Metals BASIC CIRCUITS 4 Direct Current (DC) Alternating Current (AC) UNITS OFMEASUREMENT(I) 6 Voltage Current Power Resistance Mathematical Symbols and Formulas UNITSOFMEASUREMENT(2) 8 Frequency AC Frequency Impedance FIELDS (INDUCTION) AND NOISE 10 Fields (Induction) Noise Signal-to-Noise Ratio ABBREVIATIONS 12 Kilo Mega Giga Milli Micro Nano CATHODE RAY TUBES (CRTS) 14 Interlace Scanning Progressive Scanning NEED FOR INTERLACE SCANNING 16 BLANKING 18 Horizontal Blanking Vsrtical Blanking WAVEFORM DISPLAY

3 CHARGE-COUPLED DEVICES 22 CCD Layout and Operation Broadcast-Quality Requirements AN INTRODUCTION TO DIGITAL (1) 24 What Is Digital? What Computers Do AN INTRODUCTION TO DIGITAL (2) 26 Bits and Bytes Binary Numbering System ANALOG AND DIGITAL 28 A to D Conversion Sampling and Quantizing D to A Conversion COLOR SYSTEMS 30 Color versus Black and White Additive and Subtractive Colors Complementary Colors HOW THE EYE SEES LIGHT (1) 32 Color Temperature HOW THE EYE SEES LIGHT (2) 34 Filters Black Balance White Balance DIGITAL ENCODING RATIOS 36 From Black and White to Color Digital ResponsestoThis Situation CODECS 38 COMPOSITE ENCODING 40 Home Video Cameras COLOR CRTS 42 Convergence PLASMA DISPLAY SCREEN 44 How It Works LCD SCREENS 46 ANALOG SYNC GENERATORS 48 ANALOG SYNC GENERATOR SIGNALS (1) 50 Drive Pulses Blanking Pulses Sync Pulses Color Burst ANALOG SYNC GENERATOR SIGNALS (2) 52 Combining Sync with Video VI

4 VECTORSCOPES 54 Reading the Vectorscope Color Bar Display PAL 56 ANALOG SYNC FLOW DIAGRAMS 58 Distribution Amplifiers CAMERA FLOW DIAGRAMS 60 COMBiNING SYNC AND CAMERA FLOW DIAGRAMS 62 Out-of-Phase Cameras VIDEO SWITCHERS 64 Vertical Interval Switchers Component Switchers Digital Switchers Special Effects SWITCHER APPLICATIONS 66 Production and Editing Switchers On-Air Switchers Routing Switchers PRODUCTION SWITCHER FLOW DIAGRAM 68 Switcher Buses Switcher Outputs SWITCHER TRANSITIONS AND SPECIAL EFFECTS 70 Wipes SPECIAL EFFECTS KEYS LUMINANCE KEYS 72 Linear or Transparent Keys SPECIAL EFFECTS KEYS CHROMA KEYS 74 COMPOSITE VERSUS COMPONENT VIDEO 76 Problems of Composite Video Component Video Y/C COLOR DIFFERENCE COMPONENT VIDEO 78 DIGITAL SPECIAL EFFECTS 80 Compressions Pushes Flips Rotations Other Special Effects DIGITAL INTERPOLATION 82 Manipulation Interpolation VII

5 ANALOG VIDEOTAPE RECORDING TECHNOLOGY 84 Recorders Videotape Recording Heads ANALOG VIDEO RECORDING STANDARDS AND FORMATS 86 Audio versus Video Recording Helical Video Recording OTHER TRACKS AND LOCKUP (1) 88 Sound and Contra! Tracks VTR Lockup Capstan Lock OTHER TRACKS AND LOCKUP (2) 90 Verticai Lock (Capstan Servo) Frame Lock Horizontal Lock TIME BASE ERROR 92 EXTERNAL CAUSES OF TIME BASE ERROR 94 GyroscopicTime Base Error TIME BASE ERROR CORRECTION 96 TIME BASE CORRECTORS (1) 98 What a Time Base Corrector Does How a TBC Works Horizontal Sync as a Clock TIME BASE CORRECTORS (2) 100 D to A Conversion Video Proc Amp Window of Correction LARGER ANALOG SYNC PROBLEMS AND SOLUTIONS 102 Nonsynchronous Sources Frame Synchronizer OTHER ADVANTAGES OFTBCS AND FRAME SYNCHRONIZERS 104 Dynamic Tracking Heads Freeze Frames TBCs, VTRs, and Production DIGITAL VIDEOTAPE RECORDERS 106 DV Video DIGITAL VIDEO SERVERS 108 Problems of Videotape Video Servers DISC-BASED RECORDERS 110 viii

6 EDITING ANALOG VIDEOTAPE 112 Physical Cutting and Splicing Electronic Editing THE EDITING PROCESS (1) 114 THE EDITING PROCESS (2) 116 TYPESOFEDITS 118 Assemble Edits Insert Edits EDITING METHODS MANUAL 120 Manual Editing EDITING METHODS CONTROL TRACK COUNTERS 122 SMPTETIME CODE EDITING 124 OFF-LINE AND ON-LINE EDITING 126 Off-Line Editing On-Line Editing EDITING BY COMPUTER 128 Drop Frame/Non-Drop Frame Editing PROBLEMS OF TRADITIONAL EDITING 130 NONLINEAR EDITING 132 VIDEO COMPRESSION 134 SPATIAL COMPRESSION 136 Entropy Reduction Entropy Encoding TEMPORAL COMPRESSION 138 MPEG COMPRESSION STANDARD 140 COMPUTER GRAPHICS FOR VIDEO 142 Originating Computer Graphics Interface between People and Machines CHARACTER GENERATORS 144 CREATING IMAGERY AND EFFECTS 146 Computer-Generated Imagery (CGI) Digital Video Effects THE DIGITAL STUDIO 148 OPEN ARCHITECTURE EQUIPMENT VERSUS DEDICATED EQUIPMENT 150 DRAWBACKS OF OPEN ARCHITECTURE EQUIPMENT 152 HIGH-DEFINITION TV 154 Production HDTV Standards versus Broadcast HDTV Standards ATSC HIGH-DEFINITION BROADCAST STANDARD 156 STANDARD DEFINITION DIGITAL TELEVISION (SDTV) 158 IX

7 AUDIO FOR VIDEO 160 The Early Years Mono and Stereo SURROUND SOUND Stereo PROFESSIONAL AND CONSUMER AUDIO 164 Impedance Balanced and Unbalanced Audio COMBINING AUDIO COMPONENTS 166 Line and Mic Levels Analog and Digital Professional and Consumer Equipment MICROPHONES, MIXERS, AND LOUDSPEAKERS 168 Microphones Mixers Loudspeakers SOUND RECORDERS FOR VIDEO 170 DAT DIGITAL AUDIO WORKSTATIONS (DAW) 172 FURTHER READING 175 GLOSSARY 177 INDEX 187 X