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Digital Cinema Concepts
Digital Cinema Concepts review: Final output format
For material that originates from a progressive scanned 24 frame/s source (such as film), MPEG-2 lets the video be coded as 1080p24, irrespective of the final output format. These progressively-coded frames are tagged with metadata (literally, fields of the PICTURE header) instructing a decoder how to perform a 3:2 pulldown to interlace them. While the formal output of the MPEG-2 decoding process from such stations is 1080i60, the actual content is coded as 1080p24 and can be viewed as such (using a process known as inverse telecine) since no information is lost even when the broadcaster performs the 3:2 pulldown.
Full HD Consumer televisions
AV equipment manufacturers have adopted the term Full HD to mean a set can display all available HD resolutions up to 1080p. The term is misleading, however, because it does not guarantee the set is capable of rendering digital video at all frame rates encoded in source files with 1080 pixel vertical resolution. Most notably, a "Full HD" set is not guaranteed to support the 1080p24 format, leading to consumer confusion.
DigitalEurope (formerly EICTA) maintains the HD ready 1080p logo program that requires the certified TV sets to support 1080p24, 1080p50, and 1080p60, without overscan/underscan and picture distortion.Digital Cinema Concepts HD979
Digital Cinema Concepts HD979 for sale: 1080p production format
1080p50/p60 production format will require a whole new range of studio equipment including cameras, storage and editing systems, and contribution links (such as Dual-link HD-SDI and 3G-SDI) as it has doubled the data rate of current 50 or 60 fields interlaced 1920x1080 from 1.485 Gbit/s to nominally 3 Gbit/s using uncompressed RGB encoding. Most current revisions of SMPTE 372M, SMPTE 424M and EBU Tech 3299 require YCbCr color space and 4:2:2 chroma subsampling for transmitting 1080p50 (nominally 2.08 Gbit/s) and 1080p60 signal.
Recent studies show that for digital broadcasts compressed with H.264/AVC, transmission bandwidth savings of interlaced video over fully progressive video are minimal even when using twice the frame rate, i.e., 1080p50 signal (50 progressive frames per second) actually produces the same bit rate as 1080i50 signal (25 interlaced frames or 50 sub-fields per second).
Contrast ratio capability
It is common to market only the dynamic contrast ratio capability of a display (when it is better than its static contrast ratio only on paper), which should not be directly compared to the static contrast ratio. A plasma display with a 4,000,000:1 static contrast ratio will show superior contrast to an LCD (with LED or CCFL backlight) with 30,000,000:1 dynamic and 20,000:1 static contrast ratio when the input signal contains a full range of brightnesses from 0 to 100% simultaneously. They will, however, be on par when input signal ranges only from 0 to 20% brightness. Digital Cinema Concepts sell
Digital Cinema Concepts:Contrast ratio measure
There is no official, standardized way to measure contrast ratio for a system or its parts, nor is there a standard for defining "Contrast Ratio" that is accepted by any standards organization so ratings provided by different manufacturers of display devices are not necessarily comparable to each other due to differences in method of measurement, operation, and unstated variables. Manufacturers have traditionally favored measurement methods that isolate the device from the system, whereas other designers have more often taken the effect of the room into account. An ideal room would absorb all the light reflecting from a projection screen or emitted by a CRT, and the only light seen in the room would come from the display device. With such a room, the contrast ratio of the image would be the same as the contrast ratio of the device. Real rooms reflect some of the light back to the displayed image, lowering the contrast ratio seen in the image.
For material that originates from a progressive scanned 24 frame/s source (such as film), MPEG-2 lets the video be coded as 1080p24, irrespective of the final output format. These progressively-coded frames are tagged with metadata (literally, fields of the PICTURE header) instructing a decoder how to perform a 3:2 pulldown to interlace them. While the formal output of the MPEG-2 decoding process from such stations is 1080i60, the actual content is coded as 1080p24 and can be viewed as such (using a process known as inverse telecine) since no information is lost even when the broadcaster performs the 3:2 pulldown.
Full HD Consumer televisions
AV equipment manufacturers have adopted the term Full HD to mean a set can display all available HD resolutions up to 1080p. The term is misleading, however, because it does not guarantee the set is capable of rendering digital video at all frame rates encoded in source files with 1080 pixel vertical resolution. Most notably, a "Full HD" set is not guaranteed to support the 1080p24 format, leading to consumer confusion.
DigitalEurope (formerly EICTA) maintains the HD ready 1080p logo program that requires the certified TV sets to support 1080p24, 1080p50, and 1080p60, without overscan/underscan and picture distortion.Digital Cinema Concepts HD979
Digital Cinema Concepts HD979 for sale: 1080p production format
1080p50/p60 production format will require a whole new range of studio equipment including cameras, storage and editing systems, and contribution links (such as Dual-link HD-SDI and 3G-SDI) as it has doubled the data rate of current 50 or 60 fields interlaced 1920x1080 from 1.485 Gbit/s to nominally 3 Gbit/s using uncompressed RGB encoding. Most current revisions of SMPTE 372M, SMPTE 424M and EBU Tech 3299 require YCbCr color space and 4:2:2 chroma subsampling for transmitting 1080p50 (nominally 2.08 Gbit/s) and 1080p60 signal.
Recent studies show that for digital broadcasts compressed with H.264/AVC, transmission bandwidth savings of interlaced video over fully progressive video are minimal even when using twice the frame rate, i.e., 1080p50 signal (50 progressive frames per second) actually produces the same bit rate as 1080i50 signal (25 interlaced frames or 50 sub-fields per second).
Digital Cinema Concepts
Contrast ratio capability
It is common to market only the dynamic contrast ratio capability of a display (when it is better than its static contrast ratio only on paper), which should not be directly compared to the static contrast ratio. A plasma display with a 4,000,000:1 static contrast ratio will show superior contrast to an LCD (with LED or CCFL backlight) with 30,000,000:1 dynamic and 20,000:1 static contrast ratio when the input signal contains a full range of brightnesses from 0 to 100% simultaneously. They will, however, be on par when input signal ranges only from 0 to 20% brightness. Digital Cinema Concepts sell
Digital Cinema Concepts:Contrast ratio measure
There is no official, standardized way to measure contrast ratio for a system or its parts, nor is there a standard for defining "Contrast Ratio" that is accepted by any standards organization so ratings provided by different manufacturers of display devices are not necessarily comparable to each other due to differences in method of measurement, operation, and unstated variables. Manufacturers have traditionally favored measurement methods that isolate the device from the system, whereas other designers have more often taken the effect of the room into account. An ideal room would absorb all the light reflecting from a projection screen or emitted by a CRT, and the only light seen in the room would come from the display device. With such a room, the contrast ratio of the image would be the same as the contrast ratio of the device. Real rooms reflect some of the light back to the displayed image, lowering the contrast ratio seen in the image.
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