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Preface | xiii | |
1 | Introduction | 1 |
Digital television | 1 | |
Why digital? | 1 | |
More channels | 3 | |
Wide-screen pictures | 3 | |
'Cinema' sound | 4 | |
Associated services | 4 | |
Conditional access | 6 | |
Transmission techniques | 6 | |
Receiver technology | 6 | |
The future ... | 7 | |
2 | Foundations of television | 8 |
A brief history of television | 8 | |
The introduction of colour | 9 | |
The physics of light | 9 | |
Physiology of the eye | 10 | |
Psychology of vision - colour perception | 12 | |
Metamerism - the great colour swindle | 13 | |
Persistence of vision | 14 | |
The physics of sound | 14 | |
Fourier | 16 | |
Transients | 16 | |
Physiology of the ear | 17 | |
Psychology of hearing | 18 | |
Masking | 19 | |
Temporal masking | 20 | |
Film and television | 21 | |
Television | 22 | |
Television signals | 24 | |
H sync and V sync | 24 | |
Colour television | 26 | |
NTSC and PAL colour systems | 27 | |
SECAM colour system | 31 | |
Shadowmask tube | 32 | |
Vestigial sideband modulation | 33 | |
Audio for television | 34 | |
NICAM 728 digital stereo sound | 35 | |
Recording television signals | 35 | |
Colour under | 36 | |
Audio tracks | 38 | |
Timecode | 38 | |
Longitudinal timecode (LTC) | 38 | |
Vertical interval timecode (VITC) | 40 | |
PAL and NTSC | 40 | |
User bits | 40 | |
Teletext | 40 | |
Analogue high definition television (HDTV) | 41 | |
MAC | 43 | |
PALplus | 43 | |
1125/60 and 1250/50 HDTV systems | 44 | |
1250/50 European HDTV | 44 | |
3 | Digital video and audio coding | 45 |
Digital fundamentals | 45 | |
Sampling theory and conversion | 46 | |
Theory | 46 | |
The mechanism of sampling | 48 | |
Aliasing | 49 | |
Quantization | 49 | |
Digital-to-analogue conversion | 50 | |
Jitter | 51 | |
Aperture effect | 51 | |
Dither | 51 | |
Digital video interfaces | 52 | |
Timing relationships | 54 | |
Clock signal | 56 | |
Filter templates | 56 | |
Parallel digital interface | 57 | |
Serial digital interface | 58 | |
HDTV serial interface | 60 | |
Digital audio interfaces | 60 | |
AES/EBU or IEC958 type 1 interface | 61 | |
SPDIF or IEC958 type 2 interface | 62 | |
Data | 63 | |
Practical digital audio interface | 65 | |
TOSlink optical interface | 65 | |
Unbalanced (75 ohm) AES interface | 69 | |
Serial multi-channel audio digital interface (MADI) | 70 | |
Data format | 70 | |
Scrambling and synchronization | 71 | |
Electrical format | 72 | |
Fibre optic format | 72 | |
Embedded audio in video interface | 72 | |
4 | Digital signal processing | 76 |
Introduction | 76 | |
Digital manipulation | 77 | |
Digital filtering | 77 | |
Digital image processing | 79 | |
Point operations | 79 | |
Window operations | 80 | |
Transforming between time and frequency domains | 84 | |
The Fourier transform | 84 | |
Phase | 86 | |
Windowing | 87 | |
2-D Fourier transforms | 89 | |
5 | Video data compression | 91 |
Basic concepts | 91 | |
Entropy, redundancy and artefacts | 91 | |
Lossless compression | 92 | |
De-correlation | 93 | |
Lossless DPCM and Lossy DPCM | 95 | |
Frame differences and motion compensation | 96 | |
Fourier transform based methods of compression | 98 | |
Transform coding | 100 | |
A practical mix | 103 | |
JPEG | 104 | |
Motion JPEG (MJPEG) | 106 | |
MPEG | 106 | |
Levels and profiles | 107 | |
Main profile at main level (MP@ML) | 108 | |
Main level at 4:2:2 profile (ML@4:2:2P) | 108 | |
Frames or fields | 108 | |
MPEG coding | 110 | |
MPEG coding hardware | 114 | |
Statistical multiplexing | 114 | |
6 | Audio data compression | 116 |
Compression based on logarithmic representation | 116 | |
NICAM | 117 | |
Psychoacoustic masking systems | 117 | |
MPEG layer I compression (PASC) | 118 | |
MPEG layer II audio coding (MUSICAM) | 119 | |
MPEG layer III | 120 | |
Dolby AC-3 | 120 | |
7 | Digital audio production | 122 |
Digital line-up levels and metering | 122 | |
The VU meter | 123 | |
The PPM meter | 124 | |
Opto-electronic level indication | 125 | |
Standard operating levels and line-up tones | 126 | |
Digital line-up | 126 | |
Switching and combining audio signals | 127 | |
Digital audio consoles | 128 | |
Sound mixer architecture | 128 | |
Mixer automation | 129 | |
Digital tape machines | 130 | |
Digital two-track recording | 130 | |
Digital multi-tracks | 131 | |
Digital audio workstations | 132 | |
Audio file formats | 133 | |
WAV files | 133 | |
AU files | 134 | |
AIFF and AIFC | 134 | |
MPEG | 134 | |
VOC | 135 | |
Raw PCM data | 135 | |
Surround-sound formats | 135 | |
Dolby surround | 135 | |
Dolby digital (AC-3) | 138 | |
Rematrixing | 138 | |
Dynamic range compression | 138 | |
MPEG-II extension to multi-channel audio | 139 | |
Pro-logic compatibility | 139 | |
IEC 61937 interface | 139 | |
Dynamic range compression | 140 | |
Multilingual support | 140 | |
Editing MPEG layer II audio | 140 | |
8 | Digital video production | 141 |
Switching and combining video signals | 141 | |
Digital video effects | 143 | |
What is a video transition? | 143 | |
The cut | 144 | |
The dissolve | 144 | |
The fade | 146 | |
Wipes | 146 | |
Split-screens | 147 | |
Keys | 147 | |
Posterize | 148 | |
Chroma-key | 149 | |
Off-line editing | 151 | |
Computer video standards | 152 | |
Vector and bitmap graphics - what's the difference? | 154 | |
Graphic file formats | 155 | |
Windows Bitmap (.BMP) | 156 | |
PCX | 156 | |
TARGA | 156 | |
GIF | 156 | |
JPEG | 157 | |
Computer generated images (CGI) and animation | 157 | |
Types of animation | 158 | |
Software | 159 | |
2D systems | 159 | |
Paint-system functions | 159 | |
Compositing | 165 | |
Morphing and warping | 166 | |
Rotorscoping | 167 | |
3D graphics and animation | 168 | |
Matrices | 169 | |
Imaging | 171 | |
Light | 172 | |
Ray tracing | 174 | |
Hard disk technology | 175 | |
Winchester hard disk drive technology | 176 | |
Other disk technologies | 176 | |
Hard drive interface standards | 177 | |
IDE drives | 177 | |
SCSI | 178 | |
Fibre channel | 178 | |
Firewire | 178 | |
RAID | 179 | |
RAID 1 | (mirroring) | 180 |
Raid 2 | (bit striping with error correction) | 180 |
Raid 3 | (bit striping with parity) | 180 |
Raid 4 | (striping with fixed parity) | 181 |
Raid 5 | (striping with striped parity) | 181 |
Media server | 181 | |
Open media framework | 182 | |
Virtual sets | 182 | |
9 | The MPEG multiplex | 183 |
A 'packetized' interface | 183 | |
Deriving the MPEG-II multiplex | 184 | |
The PES packet format | 184 | |
Transport stream | 186 | |
Packet synchronization | 186 | |
Packet identification (PID) | 186 | |
Program association tables and program map tables | 186 | |
Error handling | 187 | |
The adaption header | 187 | |
Synchronization and timing signals | 187 | |
System and program clock references | 188 | |
Presentation timestamps | 188 | |
Splicing bitstreams | 189 | |
Conditional access table (CAT) | 189 | |
DVB service information | 189 | |
Conditional access | 190 | |
SimulCrypt and Multicrypt | 190 | |
Channel coding | 191 | |
Randomization (or Scrambling) | 191 | |
Reed-Solomon encoding | 192 | |
Convolutional interleaving | 193 | |
Standard electrical interfaces for MPEG-II transport stream | 194 | |
Synchronous parallel interface | 194 | |
Synchronous serial interface | 195 | |
The asynchronous serial interface (ASI) | 196 | |
10 | Broadcasting digital video | 198 |
Digital modulation | 198 | |
Quadrature amplitude modulation | 198 | |
Modulation for satellite and cable systems | 202 | |
Establishing reference phase | 203 | |
Convolutional or Viterbi coding | 203 | |
Terrestrial transmission - DVB-T (COFDM) and US ATSC (8-VSB) systems | 204 | |
Coded orthogonal frequency division multiplexing (COFDM) | 205 | |
Practical COFDM | 206 | |
Adding a guard period to OFDM modulation | 206 | |
The advantages of COFDM | 207 |
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Add Newnes Guide to Digital Television, Richard Brice's descriptions are clear and accurate, but not burdened with too much jargon, and with maths kept to an absolute minimum. The Newnes Guide to Digital Television provides a down-to-earth guide to all aspects of Dig, Newnes Guide to Digital Television to the inventory that you are selling on WonderClubX
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Add Newnes Guide to Digital Television, Richard Brice's descriptions are clear and accurate, but not burdened with too much jargon, and with maths kept to an absolute minimum. The Newnes Guide to Digital Television provides a down-to-earth guide to all aspects of Dig, Newnes Guide to Digital Television to your collection on WonderClub |