The Digital Fact Book - Quantel

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4:3The aspect ratio of PAL and NTSC traditional television pictures, originally chosen to match35mm film. All broadcast television pictures were 4:3 until the introduction of high definitionwhen a wider image was considered to be more absorbing for viewers. For display tubemanufacturers the most efficient aspect ratio would be 1:1 – square – as this is inherentlythe strongest, uses less glass and weighs less. 16:9 tubes are more expensive to produce.Such restraints do not apply to panels basic on LED, Plasma or SED technologies.4:4:4One of the ratios of sampling frequencies used to digitize the luminance and color differencecomponents (Y, B-Y, R-Y) or, more usually, the RGB components of a video signal. In thisratio there is always an equal number of samples of all components. RGB 4:4:4 is commonlyused in standard computer platform-based equipment, when scanning film or for high-endpost including that used for cinematography.In the converged media world, big screen requirements for cinema demand a new high levelof picture quality. Film is commonly scanned in RGB for digital intermediate and effectswork, and recorded directly to disks. The signal is then kept in the RGB form all the waythrough the DI process to the film recorder – making the best use of the full RGB data.For the rapidly growing market of digital cinema exhibition the DCI has recommendedXÝ´Zćhromaticity which can be derived from RGB using a 3D LUT.See also: 2K, XÝ´Z´, Digital intermediate, Dual link4:4:4:4As 4:4:4, except that the key signal (a.k.a. alpha channel) is included as a fourth component,also sampled at 13.5 MHz (74.25 MHz at HD).See also: Dual link422P@MLSee MPEG-24f scA sampling rate locked to four times the frequency of color subcarrier (f sc). For example,D2 and D3 digital VTRs, little used today, sample composite video at the rate of 4 x colorsubcarrier frequency (i.e. 17.7 MHz PAL and 14.3 MHz NTSC). Its use is declining as allnew digital equipment is based on component video where color subcarrier does not existand sampling clock signals are derived from the line frequency.See also: Component video17
A4KSee Film formats5.1 AudioSee Discrete 5.1 Audio50P and 60PThese indicate a video format that has 50 or 60 progressive frames per second and usuallyrefers to high definition. The original digital television standards only included progressiveframe rates above 30 Hz for image sizes up to 720 lines – thus limiting the total videodata. More recently this has been expanded up to 60 Hz for the larger 1080-line televisionstandards to provide the best of the best – the maximum HD image size with a fast rate forrendition of fast action and progressive frames for optimum vertical resolution (better thaninterlaced scans). The baseband signal produces twice the data rates of the equivalentinterlaced (50I and 60I) formats, pushing up equipment specifications.See also: SDI (3G SDI)601See ITU-R BT.601709See ITU-R BT.7097.1See Discrete 5.1 Audio8 VSB/16 VSBSee VSBAACAdvanced Audio Coding, a codec originally known as MPEG-2 NBC (non-backwardscompatible), is considered the successor to MP3, with about 25 percent efficiencyimprovement. However this performance has more recently been considerably enhancedwith aacPlus, also known as High Efficiency AAC (HE-AAC), and included in MPEG-4and delivers CD quality stereo at 48 kb/s and 5.1 surround sound at 128 kb/s.Websites: (AAC) www.audiocoding.com, (aacPlus) www.codingtechnologies.com18
Page 1 and 2: The Digital Fact BookConverged medi
Page 3 and 4: Extract from a letter from Michael
Page 5 and 6: Quantel and digital technologyIn 19
Page 7 and 8: 2003 QColor - powerful in-context c
Page 9 and 10: Abbreviationsbit b kilobit kbbits p
Page 11 and 12: Digital terms0:2:2See: Dual Link100
Page 13 and 14: 13.5 MHzThis is the sampling freque
Page 15 and 16: 3:2 Pull-down (a.k.a. 2:3 Pull-down
Page 17: 4:2:0A sampling system used to digi
Page 21 and 22: AActive pictureThe area of a TV fra
Page 23 and 24: AAliasingUndesirable ‘beating’
Page 25 and 26: AArchiveLong-term storage of inform
Page 27 and 28: AAspect ratio1. - of pictures. The
Page 29 and 30: AAVCHDAdvanced Video Codec High Def
Page 31 and 32: BBandwidthThe amount of information
Page 33 and 34: BBit (b)Binary digIT = bitOne mathe
Page 35 and 36: BBroadbandGeneral term referring to
Page 37 and 38: CCamera negative (film)Camera negat
Page 39 and 40: CChrominanceThe colorpart of a tele
Page 41 and 42: CCOFDMCoded Orthogonal Frequency Di
Page 43 and 44: CColor Transform Language (CTL)Colo
Page 45 and 46: CCommon Image Format (CIF)The ITU h
Page 47 and 48: CCompression ratioThe ratio of the
Page 49 and 50: CConsolidationClearing continuous s
Page 51 and 52: CCo-sited samplingThis is a samplin
Page 53 and 54: DD2A VTR standard for digital compo
Page 55 and 56: DatacastingBroadcasting data.See: I
Page 57 and 58: DefragmentationSee FragmentationDDe
Page 59 and 60: DensityThe density (D) of a film is
Page 61 and 62: Digital BetacamSee: BetacamDDigital
Page 63 and 64: DDigital keying and chroma keyingDi
Page 65 and 66: DD-ILADigital Direct Drive Image Li
Page 67 and 68: DDitherIn digital television, analo
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DDMD(Texas Instruments Inc.) Digita
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DDown-resDecreasing the size of vid
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DDual linkThe bandwidth of SDI and
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DDVBDigitalVideo Broadcasting,the g
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DTo maximize quality and playing ti
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DDynamic Rounding ®Dynamic Roundin
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EElectronic program guides (EPG)DTV
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EEthernetEthernet is a form of Loca
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Fibre Channel (FC)An integrated set
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Format Width mm Height mmFull Frame
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Flash - double and tripleDouble fla
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FFrame-rate conversionThe process o
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Generation lossThe signal degradati
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Grading (a.k.a. color timing)Gradin
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H.264See: MPEG-4HANAHigh-Definition
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HDShort for HDTV.HHDCAMAssigned D11
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HDR, HDRIHigh Dynamic Range Imaging
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HIPPIHigh performance parallel inte
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HVDHolographic versatile disk - a
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I-frame only (a.k.a. I-only)A video
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Inter-frame (compression)Compressio
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Interpolation (spatial)Defining the
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IP over DVBThe delivery of IP data
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ITU-R BT.601This standard defines t
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JPEG 2000 (.JP2)This is an image co
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Latency (of data)The delay between
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Linear (keying)In linear keying the
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MasterThe master of an edited progr
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MoiréRefers to a distortion that a
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MPEG-2ISO/IEC 13818. A family of in
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MPEG-4ISO/IEC 14496. MPEG-4 covers
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MPEG-21Started in June 2001, workon
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MXFThe Material eXchange Format, SM
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Non drop-frame timecodeTimecode tha
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Offline (editing)A decision-making
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Over samplingSampling information a
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PerfShort for perforations. It is a
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Progressive (scan)Method of scannin
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RAIDRedundant Array of Independent
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Resolution co-existenceTerm coined
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RS 422Not to be confused with 4:2:2
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However, in practice it can be diff
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SDKSoftware Developers Kit. Typical
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Server (file)A storage system that
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SNMPSimple Network Management Proto
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StEMStandard Evaluation Material wa
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StopA ratio of amount of light wher
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2K and 4K2K is a format used in dig
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Sub-pixelA spatial resolution small
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Table 3 (ATSC)Table 3 of the ATSC D
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Technical gradeA technical grade is
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True random accessQuantel term for
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UnicodeUnicode allows computers to
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VC-1VC-1 is a video codec specifica
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VersioningIn recent times demand fo
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VSBVestigial Sideband modulation -
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Windows MediaAudio and video compre
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Y, Cr, CbThe digital luminance and
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‘601’ describes sampling at sta
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Sampling (clock) frequencyThe (cloc
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Perfect results?Today the whole ana
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CameraCamera negativesRush prints v
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White paper - Stereoscopic 3D postS
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As well as these problems, there ar
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Finally, the most important require
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Standards onlineEBU offers many doc
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DirectoryAESThe Audio Engineering S
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Quantel contacts and addressesUKQua
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Compass, Enterprise sQ, eQ, FrameMa
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The Digital Fact Book - Quantel

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