1. G H PATEL COLLEGE OF ENGINEERING AND TECHNOLOGY ACTIVE LEARNING ASSIGNMENT - EDTV Prepared By: Lay Rakesh Tolat (130110111029) Saifuddin Slatewala(130110111058) Deep Talati(130110111059) 2151101: AUDIO-VIDEO SYSTEMS Guided By: Prof. Rohit Parmar

2. G H PATEL COLLEGE OF ENGINEERING AND TECHNOLOGY 2 Table of Contents: Enhanced Definition Television or Extended Definition Television  Connectivity  Broadcast and display Digital Equipment For TV Studios Electronic Control of Studio Lights  Types of Control Consoles Digital Audio Recording and Editing Color Receivers of New Generation References

3. G H PATEL COLLEGE OF ENGINEERING AND TECHNOLOGY 3 Enhanced-Definition Television Enhanced-definition television, or extended-definition television (EDTV) is an American Consumer Electronics Association (CEA) marketing shorthand term for certain digital television (DTV) formats and devices. Specifically, this term defines formats that deliver a picture superior to that of standard- definition television (SDTV) but not as detailed as high-definition television (HDTV).

4. G H PATEL COLLEGE OF ENGINEERING AND TECHNOLOGY 4 Continued: The term refers to devices capable of displaying 480-line or 576-line signals in progressive scan, commonly referred to as 480p (NTSC-HQ) and 576p (PAL) respectively, as opposed to interlaced scanning, commonly referred to as 480i (NTSC) or 576i (PAL). High-motion is optional for EDTV. In other countries definitions may vary.

5. G H PATEL COLLEGE OF ENGINEERING AND TECHNOLOGY 5 Connectivity: As EDTV signals require more bandwidth (due to frame doubling) than is feasible with SDTV connection standards, such as composite video, SCART or S-Video, then higher bandwidth media must be used to accommodate the additional data transfer. To achieve EDTV, consumer electronic devices such as a progressive scan DVD player or modern video game consoles must be connected through at least a component video cable (typically using 3 RCA cables for video), a VGA connector, or a DVI or HDMI connector. For over-the-air television broadcasts, EDTV content uses the same connectors as HDTV.

6. G H PATEL COLLEGE OF ENGINEERING AND TECHNOLOGY 6 Broadcast and displays: EDTV broadcasts use less digital bandwidth than HDTV, so TV stations can broadcast several EDTV stations at once. Like SDTV, EDTV signals are broadcast with non-square pixels. Since the same number of horizontal pixels are used in 4:3 and 16:9 broadcasts, the 16:9 mode is sometimes referred to as anamorphic widescreen. Most EDTV displays use square pixels, yielding a resolution of 852 × 480. However since no broadcasts use this pixel count, such displays always scale anything they show. The only sources of 852 × 480 video are Internet downloads and some video games. Unlike 1080i and SDTV formats, progressive displays (such as plasma displays and LCDs) can show EDTV signals without the need to interlace them first. This can result in a reduction of motion artifacts. However to achieve this most progressive displays require the broadcast to be frame doubled (i.e., 25 to 50 and 30 to 60) to avoid the same motion flicker issues that interlacing fixes.

7. G H PATEL COLLEGE OF ENGINEERING AND TECHNOLOGY 7 Digital Equipments For TV Studios: Digital Video Cameras: Studio Field

8. G H PATEL COLLEGE OF ENGINEERING AND TECHNOLOGY 8 Continued: Microphones: HandheldLapelMicrophone Desk Stands

9. G H PATEL COLLEGE OF ENGINEERING AND TECHNOLOGY 9 Continued: Fluid Head TripodsOn-Camera Light and Battery

10. G H PATEL COLLEGE OF ENGINEERING AND TECHNOLOGY 10 Continued: Video Distribution AmplifierDigital Video Mixer (Digital Video Effects Processor)

11. G H PATEL COLLEGE OF ENGINEERING AND TECHNOLOGY 11 Continued: Mini DV / SVHS ComboDVD PlayerCharacter Generator

12. G H PATEL COLLEGE OF ENGINEERING AND TECHNOLOGY 12 Continued: 8 Input Audio/Mic MixerAudio Mixer Headphones

13. G H PATEL COLLEGE OF ENGINEERING AND TECHNOLOGY 13 Continued: Audio Monitor:Monitor Amplifier: TV Monitors: PREVIEW:PROGRAM:

14. G H PATEL COLLEGE OF ENGINEERING AND TECHNOLOGY 14 Electronic Control of Studio Lights : A lighting control console (also called a light board, lighting board, or lighting desk) is an electronic device used in theatrical lighting design to control multiple lights at once. They are used throughout the entertainment industry and are normally placed at the Front of House (FOH) position or in a control booth. All lighting control consoles can control dimmers which control the intensity of the lights. Many modern consoles can control Intelligent lighting (lights that can move, change colors and gobo patterns), fog machines and hazer, and other special effects devices. Some consoles can also interface with other electronic performance hardware (i.e. sound boards, projectors, media servers, automated winches and motors, etc.) to improve synchronization or unify their control. FIG:- A Marquee lighting control console made by Entertainment

15. G H PATEL COLLEGE OF ENGINEERING AND TECHNOLOGY 15 Types of control consoles: Consoles vary in size and complexity, from small preset boards to dedicated moving light consoles. The purpose of all lighting consoles, however is the same: to consolidate control of the lights into an organized, easy-to-use system, so that the lighting designer can concentrate on producing a good show. Preset boards: An Acclaim two-scene preset board by ETC Preset boards are the most basic lighting consoles—and also the most prevalent in smaller installations. They consist of two or more identical fader banks, called scenes. The faders (control slides) on these scenes can be manually adjusted. Each scene has the same number of channels which control the same dimmers. So the console operator can build a scene offline or in "blind", a cross-fader or sub master is used to selectively mix or fade between the different scenes. FIG:-An Acclaim two-scene preset board by ETC

16. G H PATEL COLLEGE OF ENGINEERING AND TECHNOLOGY 16 Types of control consoles: Memory consoles: Memory-based consoles have become very popular in almost all larger installations, particularly theatres. This type of controller has almost completely replaced preset consoles as controllers of choice. Memory consoles are preferable in productions where scenes do not change from show to show, such as a theatre production, because scenes are designed and digitally recorded, so there is less room for human error, and less time between lighting cues is required to produce the same result. Many memory consoles have a bank of faders. These faders can be programmed to control a single channel (a channel is a lighting designer's numerical name for a dimmer or group of dimmers) or a group of channels (known as a ""sub master""). The console may also have provision to operate in analog to a manual desk for programming scenes or live control. On some more advanced consoles, faders can be used to control effects, chases (sequences of cues), and moving light effects (if the console can control moving lights). FIG:-An Express series memory console

17. G H PATEL COLLEGE OF ENGINEERING AND TECHNOLOGY 17 Digital Audio Recording and Editing: The advent of digital sound recording and later the compact disc in 1982 brought significant improvements in the durability of consumer recordings. The CD initiated another massive wave of change in the consumer music industry, with vinyl records effectively relegated to a small niche market by the mid-1990s. However, the record industry fiercely resisted the introduction of digital systems, fearing wholesale piracy on a medium able to produce perfect copies of original released recordings. However, the industry succumbed to the inevitable, though using various protection system (principally Serial Copy Management System, or SCMS). The most recent and revolutionary developments have been in digital recording, with the development of various uncompressed and compressed digital audio file formats, processors capable and fast enough to convert the digital data to sound in real time, and inexpensive mass storage FIG:-Graphical representation of a sound wave in analog (red) and 4-bit digital (blue).

18. G H PATEL COLLEGE OF ENGINEERING AND TECHNOLOGY 18 Digital Audio Recording and Editing: This generated a new type of portable digital audio player. The minidisc player, using ATRAC compression on small, cheap, re-writeable discs was introduced in the 1990s but became obsolescent as solid-state non-volatile flash memory dropped in price. As technologies that increase the amount of data that can be stored on a single medium, such as Super Audio CD, DVD-A, Blu-ray Disc and HD DVD become available, longer programs of higher quality fit onto a single disc. Sound files are readily downloaded from the Internet and other sources, and copied onto computers and digital audio players. Digital audio technology is used in all areas of audio, from casual use of music files of moderate quality to the most demanding professional applications. New applications such as internet radio and podcasting have appeared. Technological developments in recording and editing have transformed the record, movie and television industries in recent decades. Audio editing became practicable with the invention of magnetic tape recording, but digital audio and cheap mass storage allows computers to edit audio files quickly, easily, and cheaply. FIG:-A digital sound recorder from Sony

19. G H PATEL COLLEGE OF ENGINEERING AND TECHNOLOGY 19 Digital Audio Recording and Editing: Today, the process of making a recording is separated into tracking, mixing and mastering. Multitrack recording makes it possible to capture signals from several microphones, or from different 'takes' to tape or disc, with maximized headroom and quality, allowing previously unavailable flexibility in the mixing and mastering stages for editing, level balancing, compressing and limiting, adding effects such as reverberation, equalization, flanging, and much more. Software There are many different digital audio recording and processing programs running under several computer operating systems for all purposes, from professional through serious amateur to casual user. Digital dictation software for recording and transcribing speech has different requirements; intelligibility and flexible playback facilities are priorities, while a wide frequency range and high audio quality are not.

20. G H PATEL COLLEGE OF ENGINEERING AND TECHNOLOGY 20 Color Receivers of New Generation: SMPTE color bars is a television test pattern used where the NTSC video standard is utilized, including countries in North America. The Society of Motion Picture and Television Engineers (SMPTE) refers to this test pattern as Engineering Guideline EG 1-1990. The components of this pattern are a known standard. Comparing this pattern as received to the known standard gives video engineers an indication of how an NTSC video signal has been altered by recording or transmission and what adjustments must be made to bring it back to specification. The pattern is also used for setting a television monitor or receiver to reproduce NTSC chrominance and luminance information correctly. An extended version of SMPTE color bars signal, developed by the Japanese Association of Radio Industry and Businesses as ARIB STD-B28 and standardized as SMPTE RP 219:2002. (High-Definition, Standard- Definition Compatible Color Bar Signal) was introduced to test HDTV signal with an aspect ratio of 16:9 that can be down converted to a SDTV color bar signal with an aspect ratio of either 4:3 or 16:9.

21. G H PATEL COLLEGE OF ENGINEERING AND TECHNOLOGY 21 Color Receivers of New Generation: The Color bar signal is generated with unconventionally slow rise and fall time value to facilitate video level control and monitor color adjustments of HDTV and SDTV equipment. In an SMPTE color bar image, the top two-thirds of the television picture contain seven vertical bars of 75% intensity. In order from left to right, the colors are white, yellow, cyan, green, magenta, red, and blue. This sequence runs through all seven possible combinations that use at least one of the three basic color components of green, red, and blue, with blue cycling on and off between every bar, red cycling on and off every two bars, and green on for the leftmost four bars and off for the rightmost three. Because green contributes the largest share of luminance, followed by red, then blue, this sequence of bars thus appears on a waveform monitor in luminance mode as a downward staircase from left to right. The graticule of a vectorscope is etched with boxes showing the permissible regions where the traces from these seven bars are supposed to fall if the signal is properly adjusted.

22. G H PATEL COLLEGE OF ENGINEERING AND TECHNOLOGY 22 Color Receivers of New Generation: An alternate form of color bars is the 100% Color Bars pattern, or RGB pattern, which consists of eight vertical bars of 100% intensity, and does not include the castellation or luminance patterns. Like the SMPTE standard ("75%") pattern, the color order is white, yellow, cyan, green, magenta, red, and blue, but with an additional column of saturated black. This pattern is used to check peak color levels and color saturation as well as color alignment. The 100% pattern is not as common or as useful as the SMPTE standard 75% pattern, but many pieces of test equipment generate both patterns, and can be selected to generate either one. Many professional cameras can be set to generate a 100% pattern for calibration to broadcast or recording equipment, especially in a multi-camera installation where all camera signals must match. There is another 75% pattern that consists of the same eight columns as the 100% pattern, but at 75% intensity. This pattern is very seldom used. Although color bars were designed to calibrate analog NTSC equipment, they remain widely used within modern digital television facilities. Using color bars allows video, RGB, LCD, and Plasma displays, as well as duplication, television and webcast facilities, to maintain the intended chroma and luminance levels.

23. G H PATEL COLLEGE OF ENGINEERING AND TECHNOLOGY 23 References:- Modern Color Television by R. R. Gulati. Audio Video by R. G. Gupta Wikipedia Etc.

24. G H PATEL COLLEGE OF ENGINEERING AND TECHNOLOGY 24