By Charles A. Poynton

Utilizing desktops and verbal exchange structures, one could gather, strategy, transmit, and reveal photographic-quality nonetheless colour photographs. however the pursuits of delicate movement and exact colour replica are elusive. The applied sciences of electronic video which are essential to in achieving those vital ambitions have remained inaccessible even to technical professionals-until now.

during this specific publication, an across the world well-known professional addresses electronic video from the point of view of computing and communications. A Technical creation to electronic Video is an approachable and definitive connection with the foundations, algorithms, criteria, and strategies of electronic video.

while you are a working laptop or computer method dressmaker, engineer, programmer, or technician, you should use this ebook that will help you how you can practice electronic video to machine systems.

when you are a tv expert, this ebook might help you to use electronic video platforms, gear, and strategies to the rising quarter of multimedia.

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Extra resources for A Technical Introduction to Digital Video

Sample text

It is important that the individual power functions at each stage are kept under tight control, both in the design and the processing of the film. To a first approximation, the intent is to obtain roughly unity gamma through the entire series of cascaded processes. Individual steps may depart from linearity, as long as approximate linearity is restored at the end of the chain. Now, here’s a surprise. If a film system is designed and processed to produce exactly linear reproduction of intensity, reflection prints look fine.

7 MHz. Composite digital processing was necessary in the early days of digital video, but most image manipulation operations cannot be accomplished in the composite domain. During the 1980s there was widespread deployment of component digital processing equipment and component videotape recorders (DVTRs), recording 4:2:2 signals using the D-1 standard. However, the data rate of a component 4:2:2 signal is roughly twice that of a composite signal. Four-timessubcarrier composite digital coding was resurrected to enable a cheap DVTR; this became the D-2 standard.

In industrial and consumer video, subcarrier usually free-runs with respect to line sync. SECAM sums luma and chroma without using frequency interleaving. SECAM has no application in the studio. See page 254. Transcoding among different color encoding methods having the same raster standard is accomplished by luma/chroma separation, color demodulation, and color remodulation. CHAPTER 1 BASIC PRINCIPLES 27 Composite digital video, 4fSC The earliest digital video equipment processed signals in composite form.

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