A Guide to Standard and High-Definition Digital …

1 A Guide to Standard and High-Definition Digital video Measurements3G, Dual Link and ANC Data InformationPrimerA Guide to Standard and High-Definition Digital video of ContentsIn The Beginning ..1 Traditional television ..1 The New Digital Television ..2 Numbers describing an analog world ..2 Component Digital video ..2 Moving Forward from Analog to Digital ..3 The RGB component signal ..3 Gamma correction ..4 Gamma correction is more than correction for CRT response ..5 Conversion of R'G'B' into luma and color difference ..5 The Digital video Interface ..7601 sampling ..9 The parallel Digital interface ..11 The serial Digital interface (SDI) ..12 High-Definition video builds on Standard definition principles ..14 Timing and Synchronization ..17 Analog video timing ..17 Horizontal timing ..18 Vertical timing ..20 Analog High-Definition component video parameters ..24 Digital Studio Scanning Formats ..25 Segmented frame production formats.

2 25 Digital Studio Synchronization and Timing ..27 Telecine synchronization ..30 Dual link and 3G ..31 Digital Audio ..45 Embedded audio in component Digital video ..46 Extended embedded audio ..47 Systemizing AES/EBU audio ..48 Basic HD embedded audio ..49 Audio control packet ..51 How to monitor multi-channel audio ..52 Audio channels in surround sound ..52 The surround sound display ..53 Ancillary data ..55 video Measurements ..61 Monitoring and measuring tools ..61 Monitoring Digital and analog signal ..62 Assessment of video signal degradation ..62 video amplitude ..62 Signal amplitude ..63 Frequency response ..65 Group delay ..65 Non-linear effects ..66 Differential gain ..67 Differential phase ..67 Digital System Testing ..67 Stress testing ..67 Cable-length stress testing ..67 SDI check field ..68In-service testing ..68 Eye-pattern testing ..70 Jitter testing ..72 SDI status display ..76 Cable-length measurements.

3 76 Timing between video sources ..77 Intrachannel timing of component signals ..78 Waveform method ..78 Timing using the Tektronix Lightning display ..78 Bowtie method ..79 Operating a Digital Television System ..81 RGB and color-difference waveforms ..81 Component gain balance ..81 The vector display ..81 The Lightning display ..83 The Diamond display ..84 The Arrowhead display ..85 How to Monitor Gamut ..86 definition of Limits ..88 Conclusion ..89 Appendix A Color and Colorimetry ..90 White ..91 Red, green, and blue components ..91 Gamut, legal, valid ..94 Format conversion tables ..96 Appendix B Television Clock Relationships ..97 Appendix C Standard definition Analog Composite video Parameters ..98 Appendix D Reference standards and Practices for Television ..99 Appendix E Bibliography ..100 Appendix F Glossary ..101 Acknowledgements ..107 About the authors ..107 Disclaimer .. Guide to Standard and High-Definition Digital video MeasurementsPrimerA Guide to Standard and High-Definition Digital video The BeginningIt is tempting to think of Digital television as something very scientific and even complex.

4 But when we view the end result, we find something very familiar; something television engineershave sought since the very an experience that justkeeps getting better and quality video and audio conveying the artist s performance to the viewing audience. The only thing new in Digital television is the way the message gets from here to there. Does it really matter how the message travels? The artist andthe viewer (and in many countries, the advertiser) probably don tcare what path the signal takes. They can benefit from Digital television s improved performance without knowing the details. Ah, but the that s where the fun comes in. Those of us involved in the technical side of television do care; and we dobenefit from the significant advances in television science over the past 60+ and in particular the advances brought about by Digital television over the past 20 video , Digital audio, and associated ancillary data signalstogether make up the Digital television signal.

5 In the analog world of television, video and audio can exist in totally separate pathsfrom source to the home television receiver. Digital signals may beorganized with much more freedom, with video , audio, and othersignals working together as a stream of data. All we need to knowis how the data is organized to pick out what we televisionWe can call analog video and analog audio the elements of traditional television. But it is important to realize we are still tryingto accomplish the traditional and maybe more. Digital television builds on analog, and our understanding of Digital television builds on what we already know about analog into the camera lens and sound into the microphone, are still analog. Light from the display and sound to your ears are still analog phenomena. We already know that analog video is a sampling of light of brightness represented by a voltage. And additional information provides the color of the samples.

6 The samples aresynchronized through the transmission system to reproduce animage of the original scene on our display. Analog video travels as a serial stream of voltage values containing all of the data necessary to make a picture when the receiver knows what to do with the information. So you can see that by just substituting a few words, and by just doing a few things differently to takeadvantage of what we have learned over the past fifty years, we can understand that Digital video is really not very different than analog video . So if we start with analog light and end with analog light, why use Digital video at all? In many cases, the camera sensor is still producing analog video , but it is now common to almost immediately convert the varying analog voltage representing theinstantaneous value of video to Digital for handling with essentiallyno degradation. In some cases, such as computer-generated videoor graphics, the video will start out in Digital format, and with thenew Digital television systems, it can reach the display never goingto can still send and receive television signals via analog NTSC,PAL, or SECAM transmissions, but we are already using digitaltransmissions to convey higher quality, more efficient television signals to the home.

7 Digital television is an available part of everyday life. Some of us will use it and contribute to its improvement. Some of us will take advantage of it withoutneeding to know the details. A Guide to Standard and High-Definition Digital video New Digital TelevisionDigital signals have been a part of television for many years, at first buried inside equipment such as test signal and character generators; later throughout entire systems. In this primer, we willdeal first with the video portion of the television signal for will be Digital as well, and will take its place in the Digital datastream for recovery at the television receiver. Digital audio will bediscussed in later video is a simple extension of analog video . Once we understand analog video , it is easy to understand how Digital videois created, handled, processed, and converted to and from and Digital video have many of the same constraints, andmany of the problems that may occur in the Digital domain are aresult of incorrect analog source video .

8 Therefore, it is important tohave standards to reference for the design and operation of bothanalog and Digital video describing an analog worldEarly Digital video was merely a Digital description of the analogNTSC or PAL composite analog video signal. standards were written to describe operating limits and specify the number data describing each voltage level and how each number was generated and recovered. Because of the high speed of the data, it was common to handle Digital video data internally on an eight-or ten-bit bus, and initial standards described a multi-wire externalconnection as well. The standards also described certain ancillaryand housekeeping data to synchronize the receiver and the transported data, and to permit additional services such as embedded audio. Later, as higher processing speeds becamepractical, a single wire composite serial interface Standard was developed. In its basic form, Digital video is a numeric representation of analog voltage, with number data occurring fast enough to accommodate changing video and necessary ancillary Digital videoThe designers of early analog special effects equipment recognizedthe advantage of keeping the red, green, and blue video channelsseparate as much as possible during any processing.

9 The NTSCand PAL encoding/decoding process is not transparent and multiplegenerations of encoding and decoding progressively degrade thesignal. The signal in the camera starts out with independent channels of red, green, and blue information, and it is best to handle these signals through the system with as few format generations as possible before encoding them into NTSC or PAL for transmission to the home. But handling three separatecoordinated channels of information through the television plantpresents logistic and reliability problems. From a practical standpoint, these three signals should all coexist on one wire, or commonly a single coaxial cable. As it turns out, we can simply matrix these three components, the red, green, and bluevideo channels, to a more efficient set consisting of luma and twocolor-difference signals; digitize each of them, and multiplex thedata onto a single coaxial cable. We can handle this data signalmuch as we do traditional NTSC or PAL composite video .

10 Now weare handling a high -speed stream of numeric data. Although thisdata signal contains energy changing at a much faster rate than the 5 to 6 MHz energy in an NTSC or PAL video signal, it can behandled losslessly and with less maintenance over reasonable distances. Once the video signal is in the Digital domain, we caneasily extract its components for individual processing and recombine them again in the Digital domain without any further loss or interaction among the and Digital techniques contribute significant advan-tages in video quality control, and the speed of Digital devices hasmade the bandwidth of High-Definition video practical. Digital alsolends itself to processing with various compression algorithms toreduce the total amount of data needed. It is now possible to convey High-Definition video and associated multichannel audio in the bandwidth required for high -quality real-time analog video . The subject of video compression is covered in many publications(see Bibliography) and will not be addressed in this Guide to Standard and High-Definition Digital video Forward from Analog to DigitalThe Digital data stream can be easily broken down into its separatecomponents, often serving the same function as their analog counterparts.