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Considered Class B digital video channel is a kind of channel with gamut conversion, compression codec and other procedures, the conventional component video test signals are "illegal" and "invalid" when going through the Class B channel. In order to solve this problem, this paper studied the design principles applied to the component video test signals used for Class B digital video channels, and three kinds of standard definition test signals and one kind of high definition test signal used for the Class B digital video channel are designed with the parameters of the GY/T 243-2010 "Standard-definition digital video TV channel technical requirements and methods of measurement", and these signals are implemented based on the Tektronix TG8000 multiformat test signal generator with XML language. Finally, a set of measurement experiments are performed with the test signals implemented in this paper.

Various stimulus components (video, orally-presented questions) and response components (multiple-choice, written, orally-given replies) of situational judgement tests of occupational social competency were investigated as to their impact upon the validity for a behavior-oriented role playing criterion while keeping test content constant. The stimulus component video alone had no impact upon validity. The response components contributed to validity. Validity increased with improved fidelity of response components. Concerning stimulus-response-combinations, the validity of two video tests (r = 0.17 and r = 0.36) was not higher than the validity of similar oral questioning (r = 0.13 and r = 0.37) but was significantly lower than a situational interview (r = 0.59). Response fidelity proved to be a bottleneck regarding validity of video tests. As a result, it is recommended that, in order to maximize validity of video and multimedia efforts, the developers of video- and multimedia tests focus special attention on response fidelity.

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.

Theoretical and experimental evaluation of the objective signal-to-noise performance of component video signals is described. Using a mathematical model, an expression for the component video-signal-to-noise ratio, called the display-signal-to-noise-ratio (DSNR), is derived for Gaussian white noise input. Using this model the signal-to-noise performance of 100% saturated primary and secondary colors are analyzed for a PAL-I video system. In order to verify the theoretical results, an electronic color video circuit was implemented. Using this simulator, objective noise impairments in 100% saturated primary and secondary colors have been determined. >

An IP based set-top box (STB) is essentially a lightweight computer used to receive video over the Internet and convert it to analog or digital signals understood by the television. During this transformation from a digital image to an analog video signal many different types of distortions can occur. Some of these distortions will affect the image quality in a negative way. If these distortions could be measured they might be corrected and give the system a better image quality. This thesis is a continuation of two previous theses where a custom hardware for sampling analog component video signals was created. A software used to communicatewith the sampling hardware and perform several different measurementson the samples collected has been created in this thesis. The analog video signal quality measurement system has been compared to a similar commercial product and it was found that all except two measurement methods gave very good results. The remaining two measurement methods gave acceptable result. However the differences might be due to differences in implementation. The most important thing for the measurement system is to have consistency. If a system has consistency then any changes leading to worse videoquality can be found.

An IP based set-top box (STB) is essentially a lightweight computer used to receive video over the Internet and convert it to analog or digital signals understood by the television. During this transformation from a digital image to an analog video signal many different types of distortions can occur. Some of these distortions will affect the image quality in a negative way. If these distortions could be measured they might be corrected and give the system a better image quality. This thesis is a continuation of two previous theses where a custom hardware for sampling analog component video signals was created. A software used to communicatewith the sampling hardware and perform several different measurementson the samples collected has been created in this thesis. The analog video signal quality measurement system has been compared to a similar commercial product and it was found that all except two measurement methods gave very good results. The remaining two measurement methods gave acceptable result. However the differences might be due to differences in implementation. The most important thing for the measurement system is to have consistency. If a system has consistency then any changes leading to worse videoquality can be found.

A description is given of a small-size, light-weight SNG (satellite news gathering) transmission system developed at NHK (Japan Broadcasting Corporation) using digital video-audio bit-reduction technology, which can be used to transmit news from remote gathering spots to the main station (broadcasting station) immediately. The input to the equipment is the component video signal of 4:2:2 conforming to CCIR Rec. 601-1. The composite NTSC signal also may be input. The component video signal is bit-reduced to 7 Mb/s, 11 Mb/s, and 18 Mb/s, respectively, before transmission. The bit-reduction technology used in the system is the adaptive DCT (discrete cosine transformation) using a block-matched motion vector. The system's usefulness has been verified by transmission experiments via satellites. >

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).

Publisher Summary This chapter provides an overview of the common video signal formats and their timing. It gives definitions of several terms related to video signals including SDTV (Standard Definition Television), NTSC (National Television System Committee), HDTV (High-Definition Television), active video, aspect ratio, and color bars. Digital component video is digital video that uses three separate color components, such as R'G'B' or YCbCr. In digital component video, the video signals are in digital form (YCbCr or R'G'B'), being encoded to composite NTSC, PAL, or SECAM only when it is necessary for broadcasting or recording purposes. 480i and 480p systems include interlaced analog composite video, progressive analog component video, interlaced digital component video, and progressive digital component video at 480 active scan lines per frame. 576i and 576p systems include analog composite video, interlaced analog component video, progressive analog component video, interlaced digital component video, and progressive digital component video at 576 active scan lines per frame. 720p systems include progressive analog component video and progressive digital component video at 720 active scan lines per frame. 1080i and 1080p systems include interlaced analog component video, progressive analog component video, interlaced digital component video, and progressive digital component video at 1080 active scan lines per frame.

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. >

Publisher Summary The chapter reviews the video timing, and the analog and digital representations of various video formats, including 480i, 480p, 576i, 576p, 720p, 1080i, and 1080p. They come in a wide variety of options, number of scan lines, interlaced vs. progressive, analog vs. digital, and so on. The chapter provides an overview of the common video signal formats and their timing. In a digital component video, the video signals are in digital form (YCbCr or R'G'B'), being encoded to composite National Television System Committee (NTSC), Phase Alternation Line (PAL), or Sequential Color with Memory (SECAM) only when it is necessary for broadcasting or recording purposes. For 8-bit systems, the values of 00H and FFH are reserved for timing information. For 10-bit systems, the values of 000H-003H and 3FCH-3FFH are reserved for timing information, to maintain compatibility with 8-bit systems.

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. >

An experimental digital VCR system for home use is described. A high-quality moving picture is obtained by a newly developed bit rate reduction technology, which is based on subband and three-dimensional DCT (discrete cosine transform) coding. A high-density magnetic recording method which adopts a 12-to-15 modulation scheme and superimposed error correction coding enable sufficient recording time with a small cassette. Component video signals with a ration of 4:2:2 were compressed to about the ratio of 1/7, keeping a high quality, using the subband and 3-D-DCT coding method. >

Publisher Summary This chapter discusses the digital video and display electronics. Digital video comprises a series of orthogonal bitmap digital images displayed in rapid succession at a constant rate. In the context of video, these images are called frames. We measure the rate at which frames are displayed in FPS. Many analog and digital recording formats are in use, and digital video clips can also be stored on a computer file system as files that have their own formats. In addition to the physical format used by the data storage device or transmission medium, the stream of ones and zeros, which is sent, must be in a particular digital of which a number is available. Serial Data Transport Interface is a way of transmitting data packets over a Serial Digital Interface (SDI) datastream, which means that standard SDI infrastructure can be used. The video decoder decodes chroma and luma signal and is referred to as the decoder. The video encoder encodes the chroma and the luma back into the composite signal. Video decoders and encoders are generally specified in terms of video performance. Further, the best performance can be obtained by utilizing the native RGB component video rather than composite signals. Flat panel LCD-based displays have steadily increased over the past few years. The charge-coupled-device (CCD) and contact-image-sensor (CIS) are widely used in consumer imaging systems such as scanners and digital cameras. Touch screens have become widespread in hand-held PDAs and other computer products.

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 analyzes the way in which an encoder forms U and V color difference components, the way in which modulated chroma (C) is formed, and the way in which a decoder demodulates back to U and V. The chapter outlines composite National Television System Committee (NTSC) and Phase Alternate Line (PAL) color encoding. The designers of NTSC color television intended that chroma would be based upon I and Q components. Nowadays, I and Q components are essentially obsolete, and U and V components are generally used. Y'UV coding is unique to composite NTSC and PAL: It is has no place in component video, HDTV, or computing.

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.

This chapter draws attention to the concepts of Luma and color differences. It provides detailed information on the B'-Y' . R'-Y' components, the basis for P B P R and C B C R , P B P R components used for analog interface, and C B C R used for digital interface. The chapter explains that if two color difference components having excursions identical to luma are to be formed, then P B and P R color difference components are used. One method of extending the color gamut of an R'G'B' system is to allow components to excurse below zero and above unity. Rec. 1361 is based upon Rec. 709 primaries, but enables the RGB tristimulus components to excurse from -1/4 to +4/3. In discussing conversions between high-definition television (HDTV) and standard-definition television (SDTV), the chapter explains that the differences among the EBU, SMPTE, and Rec. primaries are negligible for practical purposes. New equipment should be designed to Rec. 709. Also, SDTV and HDTV have effectively converged to the transfer function specified in Rec. 709. Consequently, R'G'B' coding uses essentially identical parameters worldwide, for SDTV and HDTV.

Converting a standard analog television signal into a digital component video or computer graphics format entails: clock and sync acquisition, color reference acquisition, sampling and quantization, filtering, linear algebra, and quadrature demodulation. The paper traces a high performance video decoding algorithm and maps it to the architecture of a cost-effective new mixed-signal integrated circuit set from Raytheon Semiconductor. >

This paper describes the realization of a video encoder/decoder chip set for the consumer use digital video cassette recorder (VCR). The two chips with a 5 Mb external DRAM either encode the CCIR601 digital component video signal into the standard-definition digital VCR (DV) format or decode the DV format signal into a component video signal. The compression rate of the intraframe compression is about 1/6. The total power dissipation of the two LSI's is 142 mW at 2 V internal supply voltage, which is more than one order of magnitude smaller than the recently reported MPIEG2 (MP@ML) encoder systems. Low power was achieved primarily due to the compression scheme which is optimized for large-scale integration (LSI) implementation. The 0.5-/spl mu/m 2-V CMOS standard cell library was also effective in reducing the power consumption. Each chip, fabricated in two-layer metal 0.5-/spl mu/m CMOS technology, contains about 500 k transistors on 71 mm/sup 2/ and 79 mm/sup 2/ die, respectively.

Summary form only given. The subject of this paper is the color converter core for a Xilinx FPGA that can be used for RGB to YUV color conversions. Luminance and color difference coded signals (YUV) are used by many component video systems. Conversion from RGB (Red-Green- Blue) is necessary to feed a device requiring YUV input. There are many converter cores but they use only constant transformation coefficients and are optimized only by one parameter i.e. maximum input data frequency. The described converter is. optimized by two parameters: 1) the required input data frequency; and 2) the minimum of hardware complexity.

Sensor fusion of up to three disparate imagers can readily be achieved by assigning each component video stream to a separate channel any standard RBG color monitor such as with television or personal computer systems. Provided the component imagery is pixel registered, such a straightforward systems can provide improved object-background separation, yielding quantifiable human-factors performance improvement compared to viewing monochrome imagery of a single sensor. Consideration is given to appropriate dynamic range management of the available color gamut, and appropriate color saturation in the presence of imager noise.

The Disney Channel has been playing to air from video servers since November I, 1996. Twenty-four hours a day, seven days a week, all programming and promotional materials play to air from a pair of redundant video servers under the control of an automation system. Living with video servers is becoming a reality for all broadcasters. Whether servers are used facility-wise or only in isolated areas, broadcast engineers must understand how to use them effectively and be aware of their particular failure modes. Experience with computer operating systems and modern computer networking techniques is not only helpful, it is essential. The Disney/ABC Cable Group's Network Operation Center (NOC) in Burbank, CA., was built in the summer of 1996. The NOC went into operation in November 1996, with the origination of the Disney Channel from a new all-digital facility with ITU-R 601 digital component video and four channels of AES/EBU digital audio. Many rules have changed in moving from the analog VTR world to the digital server world. Simultaneous introduction of a digital facility, automated network playback system, and video servers taught the Disney engineering staff many lessons. In this paper, we intend to relate our experiences to help others plan and understand the coming change to server-based facilities.

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.

The objective of this paper is to investigate the theoretical aspects of colorimetric noise analysis ofcomponent video signals for an optical fibre video transmission systems. The design of a low noise optical fibre colour video transmission system requires information regarding the degradation of various hues, or at least the colours to which the eye is more sensitive, in the presence of system noise. An expression for objectivecomponent video signal-to-noise ratio, called the Display Signal-to-Noise Ratio (DSNR), is derived for both subcarrier frequency and amplitude modulated systems, for the first time. The DSNR expression take into account the effects television receiver decoding and the nonlinearity of the display tube. A fundamental relationship between the input composite video SNR and the DSNR is established. Using this analysis, impairments in various hues at different saturations and atdifferent luminances are examined. The effect of the input noise spectrum on displayed primary colours is also

A new serial digital interface is being proposed to handle both 4:2:2 digital component video and 4fsc digital composite video. It is a 10 bit system that also allows for possible expansion of the current 8 bit digital video standard, CCIR-601. Sony is manufacturing this serial digital IC with a complete range of coprocessors. The use of scrambled nonreturn to zero inverted has made it possible to implement a complete serialiser and deserialiser each on a single VLSI chip.

A set of video signal processor VLSIs has been developed using 2-/spl mu/m p-well CMOS technology. These VLSIs perform bidirectional transformation between NTSC (National Television System Committee) composite video signals and component video signals, both of which contain luminance signals and two kinds of color signals. A special circuit configuration is used for the line memory, and an automatic layout program for uniformly structured circuits is developed for the layout design of the digital filters. A design effort of only 12 man-months, which includes logic, circuit, and layout design, is required for each VLSI using CAD systems. These VLSIs have proved effective in reducing the cost of video signal transmission systems.