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R.j. Green - One of the best experts on this subject based on the ideXlab platform.
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Component Video signal-to-noise ratio analysis of FM and AM television system
IEEE Transactions on Communications, 1994Co-Authors: B. Selvan, R.j. GreenAbstract:The objective signal-to-noise performance of Component colour Video signals is analysed in this paper for FM and AM-VSB Video transmission systems. In the analysis, the effect of splitting the composite Video signal into its Components, by subcarrier demodulation and colour decoding, is taken into consideration. The effect of non linearity of the display is also included in the analysis. An expression for objective Component signal-to-noise ratio is derived for both the transmission systems. A relationship between the conventional composite Video SNR and the Component Video SNR is established. Effective noise transfer, between the input and various stages of Video signal processing, is discussed in detail. Noise spectral density analysis, for fully saturated primary colours, is evaluated quantitatively for a PAL-I Video system. Finally, SNR performance of various hues at constant luminance is evaluated, and the results obtained are compared with the subjective noise visibility tests first carried out in 1957. >
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Component Video Signal-To-Noise Ratio of FM and AM Television System
1994Co-Authors: B. Selvan, R.j. GreenAbstract:The objective signal-to-noise performance of Component colour Video signals is analysed in this paper for FM and AM-VSB Video transmission systems. In the analysis, the effect of splitting the composite Video signal into its Components, by subcarrier demodulation and colour decoding, is taken into consideration. The effect of non linearity of the display is also included in the analysis. An expression for objective Component signal-to-noise ratio is derived for both the transmission systems. A relationship between the conventional composite Video SNR and the Component Video SNR is established. Effective noise transfer, between the input and various stages of Video signal processing, is discussed in detail. Noise spectral density analysis, for fully saturated primary colours, is evaluated quantitatively for a PAL-I Video system. Finally, SNR performance of various hues at constant luminance is evaluated, and the results obtained are compared with the subjective noise visibility tests first carried out in 1957.
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Objective noise performance evaluation of Component Video signals using an electronic color Video simulator
IEEE Transactions on Broadcasting, 1993Co-Authors: B. Selvan, R.j. GreenAbstract: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. >
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Component Video signal-to-noise ratio analysis of optical fiber Video transmission systems
Emerging Optoelectronic Technologies, 1992Co-Authors: B. Selvan, R.j. GreenAbstract:Abstract 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
B. Selvan - One of the best experts on this subject based on the ideXlab platform.
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Component Video signal-to-noise ratio analysis of FM and AM television system
IEEE Transactions on Communications, 1994Co-Authors: B. Selvan, R.j. GreenAbstract:The objective signal-to-noise performance of Component colour Video signals is analysed in this paper for FM and AM-VSB Video transmission systems. In the analysis, the effect of splitting the composite Video signal into its Components, by subcarrier demodulation and colour decoding, is taken into consideration. The effect of non linearity of the display is also included in the analysis. An expression for objective Component signal-to-noise ratio is derived for both the transmission systems. A relationship between the conventional composite Video SNR and the Component Video SNR is established. Effective noise transfer, between the input and various stages of Video signal processing, is discussed in detail. Noise spectral density analysis, for fully saturated primary colours, is evaluated quantitatively for a PAL-I Video system. Finally, SNR performance of various hues at constant luminance is evaluated, and the results obtained are compared with the subjective noise visibility tests first carried out in 1957. >
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Component Video Signal-To-Noise Ratio of FM and AM Television System
1994Co-Authors: B. Selvan, R.j. GreenAbstract:The objective signal-to-noise performance of Component colour Video signals is analysed in this paper for FM and AM-VSB Video transmission systems. In the analysis, the effect of splitting the composite Video signal into its Components, by subcarrier demodulation and colour decoding, is taken into consideration. The effect of non linearity of the display is also included in the analysis. An expression for objective Component signal-to-noise ratio is derived for both the transmission systems. A relationship between the conventional composite Video SNR and the Component Video SNR is established. Effective noise transfer, between the input and various stages of Video signal processing, is discussed in detail. Noise spectral density analysis, for fully saturated primary colours, is evaluated quantitatively for a PAL-I Video system. Finally, SNR performance of various hues at constant luminance is evaluated, and the results obtained are compared with the subjective noise visibility tests first carried out in 1957.
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Objective noise performance evaluation of Component Video signals using an electronic color Video simulator
IEEE Transactions on Broadcasting, 1993Co-Authors: B. Selvan, R.j. GreenAbstract: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. >
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Component Video signal-to-noise ratio analysis of optical fiber Video transmission systems
Emerging Optoelectronic Technologies, 1992Co-Authors: B. Selvan, R.j. GreenAbstract:Abstract 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
Charles Poynton - One of the best experts on this subject based on the ideXlab platform.
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576 i Component Video
Digital Video and HDTV, 2003Co-Authors: Charles PoyntonAbstract: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.
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480 i Component Video
Digital Video and HDTV, 2003Co-Authors: Charles PoyntonAbstract: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.
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Component Video color coding for HDTV
Digital Video and HDTV, 2003Co-Authors: Charles PoyntonAbstract: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.
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NTSC and PAL chroma modulation
Digital Video and HDTV, 2003Co-Authors: Charles PoyntonAbstract: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.
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NTSC Y'IQ system
Digital Video and HDTV, 2003Co-Authors: Charles PoyntonAbstract:The designers of National Television System Committee (NTSC) considered 600 kHz of chroma bandwidth to be insufficient, and they devised a scheme to form modulated chroma from I and Q Components, where Q was band limited to about 600 kHz, NTSC's wideband I scheme incurred some increase in complexity over equiband U and V encoding, however, the NTSC decided in 1953 that the improved color detail would be worthwhile. The block diagram of a Y'IQ encoder is also shown in the chapter. The I and Q Components are low pass filtered to 1.3 AAHz and 0.6 AAHz respectively. Chroma bandwidth for NTSC broadcast is now effectively limited to 600 kHz. Y'IQ coding is unique to composite NTSC. It has no place in PAL, Component Video, HDTV, or computing. it is incorrect to apply I and Q (or U and V) scaling or notation. Phase Alternating Line (PAL) and SECAM are based upon equiband U and V Components; Component analog systems use equiband Y'PBPR; and Component digital systems use equibanci Y'CBCR.
Keith Jack - One of the best experts on this subject based on the ideXlab platform.
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Chapter 3 – Video Signals
Digital Video and DSP, 2008Co-Authors: Keith JackAbstract: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.
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Chapter 2 – Color Spaces
Digital Video and DSP, 2008Co-Authors: Keith JackAbstract:Publisher Summary This chapter discusses color spaces in Videos. A color space is a mathematical representation of a set of colors. The three most popular color models are RGB (used in computer graphics); YIQ, YUV, or YcbCr (used in Video systems); and CMYK (used in color printing). All of the color spaces can be derived from the RGB information supplied by devices such as cameras and scanners. The RGB color space is widely used for computer graphics and displays. Red, green, and blue are three primary additive colors (meaning that individual Components are added together to form a desired color) and are represented by a three-dimensional, Cartesian coordinate system. The YUV color space is used by the PAL (Phase Alternation Line), NTSC (National Television System Committee), and SECAM (Sequentiel Couleur Avec Memoire or Sequential Color with Memory) composite color Video standards. The YIQ color space is derived from the YUV color space and is optionally used by the NTSC composite color Video standard. The YCbCr color space was developed as part of ITU-R BT.601 during the development of a worldwide digital Component Video standard. The HSI (hue, saturation, intensity) and HSV (hue, saturation, value) color spaces were developed to be more “intuitive” in manipulating color and were designed to approximate the way humans perceive and interpret color.
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Chapter 1 – Video Overview
Digital Video and DSP, 2008Co-Authors: Keith JackAbstract: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).
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Chapter 4 – Video Signals Overview
Video Demystified, 2007Co-Authors: Keith JackAbstract:Publisher Summary This chapter provides an overview of the common Video signal formats and their timing. Video formats discussed include 480i, 480p, 576i, 576p, 720p, 1080i, and 1080p. 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. NTSC and PAL are analog composite Video signals that carry all timing and color information within a single signal. Analog Component signals are comprised of three signals—analog, R’G’B’, or YPbPr. Referred to as 480i, the frame rate is usually 29.97 Hz (30/1.001) for compatibility with NTSC timing. The analog interface uses 525 lines per frame, with active Video present on lines 23–262 and 286–525.
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Video Signals Overview
Video Demystified, 2005Co-Authors: Keith JackAbstract: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.
T Nakagawa - One of the best experts on this subject based on the ideXlab platform.
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low power Video encoder decoder chip set for digital vcrs
International Solid-State Circuits Conference, 1996Co-Authors: K Hasegawa, K Ohara, T Kamada, Y Nagaoka, Katsuhisa Yano, E Yamauchi, Takao Kashiro, T NakagawaAbstract: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.
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Low-power Video encoder/decoder chip set for digital VCRs
IEEE Journal of Solid-State Circuits, 1996Co-Authors: K Hasegawa, K Ohara, T Kamada, Y Nagaoka, Katsuhisa Yano, E Yamauchi, Takao Kashiro, A. Oka, T NakagawaAbstract: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.