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This paper proposes a method for controlling video images during a performance using video signals in the audio domain, and applying an intentional misuse of video compression algorithms for artistic ends. A demonstration performance system using this representation method is also described. The system consists of hardware for converting a component video signal into an audio signal, and software for easy control of image to control the frequency, amplitude, rhythm, and wave shape. The proposed representation method seeks to create a unique relationship between video and audio signals, and shows a new perspective regarding the use of computational devices.

Serial Digital 4:2:2 Component Video, commonly called Serial D-1, is fast becoming the video format of choice for broadcast and editing professionals. Several problems arise, however, when designing the electronics which support this format, and several special techniques are used to alleviate these problems. This paper provides an overview of Serial D-1 video, the issues which arise when designing and debugging Serial D-1 circuit boards, and how to solve these problems.

This paper proposes a method for controlling video images in performance using video signals in the audio domain. It also describes a demonstration performance system using this representation method. This system consists of hardware for converting the component video signal to audio and software for easy control of image to produce the pitch(frequency), intensity(amplitude), rhythm and timbre(wave shape). Also included is data for verification of effectiveness of the proposed system and method of performance operation using a questionnaire survey of subject experiment, and demonstration of audio-visual performance in a public hall. This proposed representation method was created as a new unique relationship between video and audio signals, and also shows a new aspect of computer as a musical instrument.

Publisher Summary This chapter presents an overview of the engineering essentials of video techniques. Although there are many variations and implementation techniques, video signals are just a way of transferring visual information from one point to another. The information may be from a VCR, DVD player, a channel on the local broadcast, cable television, or satellite system, the Internet, cell phone, MP3 player, or one of many other sources. Invariably, the video information must be transferred from one device to another. A color space is a mathematical representation for a color. Initially, video contained only gray scale, or black-and-white, information. When color broadcasts were being developed, attempts were made to transmit color video using RGB (red, green, blue) color space data, but that technique occupied too much bandwidth so other alternative color spaces were developed. Component video is video using three separate color components, such as YCbCr (digital), YPbPr (analog), or R'G'B' (digital or analog). Composite video uses a single signal to contain color, brightness and timing information. Compression is an important part of video technology. MPEG stands for Moving Picture Experts Group, an international standards group that develops various compression algorithms. MPEG video compression takes advantage of the redundancy on a frame-by-frame basis of a normal video sequence. Many standards organizations are involved in specifying video standards, including Advanced Television Systems Committee (ATSC), Association of Radio Industries and Businesses (ARIB), Cable Television Laboratories, Video Electronics Standards Association (VESA), and Consumer Electronics Associations (CEA).

Digital component video is useful in applications that generate or process video in digital component form. Paint systems and special effects devices are good examples. Digital composite video has advantages in storage and distribution due to the comparably reduced bit density, and implementation because of compatibility with existing analog composite facilities. The gap between the two digital families can be bridged with a digital format translator. Translation is not simple and carries penalties that are not usually expected in digital environments. The process of conversion between 4:2:2 component and 4fsc composite is outlined, with some discussion on the associated problems.

A traditional description of the video spectrum and a three-dimensional representation of video that is useful in understanding advanced television (ATV) are provided. Component video systems are described highlighting the desirable characteristics, such as no crosstalk between the components that make up the color signal, which virtually all ATV systems seek to achieve. The three categories of ATV-high-definition television (HDTV), enhanced definition or extended quality television (EDTV/EQTV), and improved definition television (IDTV)-are explained. The basic approaches to ATV and the influence that the FCC (US Federal Communication Commission) has had on shaping the typical systems in theses categories are discussed. Standardization efforts are evaluated. It is concluded that the two delivery systems with long-range potential for highest-quality ATV are fiber-based networks and prerecorded material for home players. The likely time windows for the success of different forms of ATV are predicted, along with speculation about the effect of competition between the three areas of ATV for market share. The general ATV market potential is considered. Video processing is addressed. The importance of display technology for ATV and the need for a CRT replacement are discussed. >

An experimental digital VCR (DVCR hereinafter) was developed. The DVCR has two new technologies for reduction of tape consumption. One is a bit rate reduction technology of a component video signal down to around 25 Mbps and the other is a high density recording technology. The bit rate reduction technology is based on an 8/spl times/8/2/spl times/4/spl times/8 two dimensional DCT (Discrete Cosine Transform) and a VLC (Variable Length Coding) that completes over 5 macro blocks. Editing, trick plays and invisible error concealments also have been realized by this bit rate reduction while keeping the playback picture quality very high. The high density recording technology is based on ME tape and an ATF (Automatic Track Finding) system. A track pitch of 10 /spl mu/m and a bit length on tape of 0.25 /spl mu/m have been realized. The possibility of a higher linear recording density has been confirmed through theoretical analysis, simulations and experiments. >

The FRAMES project within the RDN CRC (Cooperative Research Centre for Research Data Networks) is developing an experimental environment for video content-based retrieval and dynamic virtual video synthesis from archives of video data. The FRAMES research prototype is a video synthesis system incorporating an association engine for automatically generating associative sequences of video data. Authors preparing video descriptions, association specifications, and component video sequences require guidelines for developing the primitive video components and semantic representations required to create particular film forms. High level formal models of film and video provide such a methodology. In particular, categorical, associational, and abstract film forms can be generated based upon video component descriptors and specifications, while narrative and rhetorical forms require the introduction of independent rules or relations expressing causal and rhetorical relationships, respectively.

This chapter details the scanning, timing, sync structure, and picture structure of 576i25 video. The scanning and timing information applies to all variants of 576i25 video, both analog and digital. The sync information relates to component analog, composite analog, and composite digital systems. 576i video represents stationary or moving two-dimensional images sampled temporally at a constant rate of 25 frames per second. A frame comprises a total of 625 horizontal raster lines of equal duration uniformly scanned top to bottom and left to right, with 2:1 interlace to form a first field and a second field. Scanning lines in the second field are displaced vertically by half of the vertical sampling pitch, and delayed temporally by half of the frame time, from scanning lines in the first field. To define vertical sync, the frame is divided into intervals of halfline duration. Each halfline either contains no sync information, or commences with the assertion of a sync pulse having one of the three durations, each having a tolerance of ± 100 μs. Sync in 576i systems contains several differences from 480i sync.

This chapter details the scanning, timing, sync structure, and picture structure of 480i29.97 video. The scanning and timing information in this chapter applies to all variants of 480i video, both analog and digital. The sync information relates to component analog, composite analog, and composite digital systems. 480i video represents stationary or moving two-dimensional images sampled temporally at a constant rate of 30/1.001 frames per second. A frame comprises a total of 525 horizontal raster lines of equal duration uniformly scanned top to bottom and left to right. Scanning has 2:1 interlace to form a first, as well as a second field; scan lines in the second field are displaced vertically by half the vertical sampling pitch, and delayed temporally by half the frame time, from scanning lines in the first field. To define vertical sync, the frame is divided into intervals of halfline duration. Each halfline either contains no sync information or commences with the assertion of a sync pulse having one of three durations, each having a tolerance of ±0.100 μs.

MPEG-2 is a generic coding and multiplexing specification for video, audio and associated data. It is intended to serve a range of applications, bit-rates, qualities and services. The MPEG-2 video specification defines the syntax of the coded representation of the video, known as the video elementary bit stream, and the decoding process required to reconstruct a component video sequence. This paper introduces the principles used in MPEG-2 video compression systems, outlines the general structure of a coder and decoder, and describes defined subsets of the specification known as profiles.