A Technical Introduction to Digital Video by Charles A. Poynton

By Charles A. Poynton

Utilizing desktops and communique structures, you could gather, strategy, transmit, and show photographic-quality nonetheless colour images. however the ambitions of tender movement and exact colour replica are elusive. The applied sciences of electronic video which are essential to in attaining those very important targets have remained inaccessible even to technical professionals-until now.

during this special ebook, an across the world famous professional addresses electronic video from the viewpoint of computing and communications. A Technical advent to electronic Video is an approachable and definitive connection with the rules, algorithms, criteria, and strategies of electronic video.

when you are a working laptop or computer method fashion designer, engineer, programmer, or technician, you should use this booklet that will help you follow electronic video to computing device systems.

while you are a tv expert, this e-book may help you to use electronic video platforms, apparatus, and methods to the rising quarter of multimedia.

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As explained in Gamma in film, on page 96, it is important for perceptual reasons to “stretch” the contrast ratio of a reproduced image when viewed in a dim surround. 5 Image reproduction in video. ver ser Intensity from the scene is reproduced at the display, b O with a scale factor to account for overall intensity change. However, the ability of vision to detect an intensity difference is not uniform from black to white, but is approximately a constant ratio – about 1 percent – of the intensity.

Component digital video, 4:2:2 A version of Rec. 601 uses 18 MHz sampling to produce a picture aspect ratio of 16:9. The standard interface for 4:2:2 component digital video is Rec. ITU-R 601-4. 75 MHz. 375 MHz – that is, the color difference signals are horizontally subsampled by a factor of 2:1 with respect to luma. 94 systems (858 S/TL) and 625/50 systems (864 S/TL). 94 and 625/50. 94 and 625/50 systems, and have been standardized with the designation D-1. That designation properly applies to the tape format, not the signal interface.

A system is perceptually uniform if a small perturbation to a component value is approximately equally perceptible across the range of that value. The volume control on your radio is designed to be perceptually uniform: Rotating the knob 10 degrees produces approximately the same perceptual increment in volume anywhere across the range of the control. If the control were physically linear, the logarithmic nature of loudness perception would place all of the perceptual “action” of the control at the bottom of its range.

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