A Multiframe Rate Compression-Free Video Recorder for Universal DTV Mastering in High Resolution

Metadata

Publisher: SMPTE — White Plains, NY, USA
Doc Type: Journal Article
Content Type: Original Research
Abbreviated Title: SMPTE J
Volume: 110, No. 5, pp. 283–289
Abstract: A number of proposals have been made for a single universal mastering format for DTV to cater to the multiple distribution formats, both high and standard-definition, now being encountered in this medium. Such a universal format is projected to reduce production costs and increase efficiency. A key element to support such a format has so far been missing: a videotape recorder of sufficient internal bandwidth to perform the basic functions expected of a classic post-production VTR, but at high-definition bit rates, and without recourse to compression. It is equally important that the machine be adaptable in frame rate, to cover both universal mastering and international distribution formats for DTV. It must also record more audio channels than earlier designs, to satisfy DTV's surround sound requirements. This paper describes a new device that satisfies these requirements. Adherence to important SMPTE standards is also covered, together with a development path planned for the recording of images in a pure data form as an alternative to video.
Publication Date: 2001-05-01
DOI: 10.5594/J17775
ISSN: Print: 0036-1682
Link: https://doi.org/10.5594/J17775
Author(s): David J. BancroftPhilips Broadcast, Calcot, Reading, RG31 7SD U.K.
bio
Dave Bancroft is business and technology development manager for the Film Imaging Group of Philips Digital Video Systems. Although his group is based in Weiterstadt, Germany, Bancroft operates out of the U.K. and contributes to long-term projects, such as DTV production, in the U.S. Bancroft began his career in broadcast engineering at the BBC in London, where he received his fundamental training and became an operations and maintenance engineer on outside broadcasts. He became particularly interested in videotape recording and related mechanical wonders and this led to an international odyssey, which kept him away from the U.K. for 20 years. During this time, he worked for RCA in Germany, Ampex Corp. in Greece, the Middle East, Africa, New York, and California. He joined Philips Digital Video Systems, or as it was formerly known, BTS, in 1992, with the assignment of HDTV marketing in Darmstadt. He moved his desk back to the U.K. in 1995 and took up his present position with Philips in 1997. Bancroft is a long-time member of SMPTE, where he represents Philips in several technology committees. He is an International Member of SMPTE's Executive Standards Committee. He is also a member of the Royal Television Society and the BKSTS in the U.K.
Copyright: © 2001 Society of Motion Picture and Television Engineers, Inc.

Bibliographic Reference(s)

Recent Advances in the Transfer and Manipulation of Film Images in the Data and HDTV Domains [Active]
Proposed SMPTE Standard for Television — 1920 × 1080 Scanning and Analog and Parallel Digital Interfaces for Multiple-Picture Rates [Active]
1. Advanced Television Systems Committee Specification A-53. EXTERNAL
12. Heitmann J.K.R. , “The SMPTE D-6 Digital Recording Format,” presented at the SMPTE Advanced Television and Electronic Imaging Conference, San Francisco, Feb. 1995 . Proc., pp. 92 – 101 . EXTERNAL
13. Manufactured by Philips Broadcast, Weiterstadt, Germany. EXTERNAL
14. Negative film has significant “exposure latitude”; which is generally exploited more than the latitude available in video cameras; hence during or after telecine transfer it may be necessary to expand part of the recovered density range of an over- or under-exposed negative to yield a satisfactory grayscale. This means more amplitude coding levels are required to avoid visible quantizing errors. Where this grayscale correction is deferred (e.g., in so-called “tape-to-tape” color correction), all equipment prior to this correction must maintain this greater precision (larger dynamic range). EXTERNAL
15. “Segmented” form means that the active lines from the total progressive frame, in this case 1080, are divided into odd-numbered lines (540) in a first segment, and the remaining even-numbered lines (540) in a second segment. The segment occurrence rate is then twice the progressive frame rate. There are two differences between this form and the more familiar interlaced form. First, this mode is confined to applications where the original source prior to segmentation has been scanned with a progressive scan sensor (e.g., film); this means that the motion phase of the two segments will be the same (which is not the case with true interlaced scanning). Second, it is required that there be no additional built-in vertical response filtering (e.g., by line-averaging in the sensor), as is the case with interlaced scanning, and which is present to prevent small area flicker and aliasing in interlaced displays. This is because “segmented” signals are intended to be converted back to progressive scan at some later stage. The purpose of this segmentation is to allow easier adaptation of equipment designed originally for interlaced operation, such as VTRs, and also via the doubling of effective vertical rate (in this case from 24 Hz to 48 Hz) to allow simple monitoring with a tolerable flicker frequency. EXTERNAL
16. SMPTE RP211, “Implementation of 24P, 25P, and 30P Segmented Frames for 1920 × 1080 Production Format” (this document used in conjunction with ref. 9). EXTERNAL
17. 23.98 Hz is the frame rate that results when 24.00 Hz is shifted by the same ratio (1/1.001) as when 60.00 Hz becomes 59.94 Hz (these numbers are rounded from the exact figures). A 23.98-Hz film transfer, for example, will be performed to yield 59.94-Hz field rate transmission standard video in nominal “525/60” countries. EXTERNAL
18. See note 15. EXTERNAL
19. SMPTE 292M, “Television—Bit-Serial Digital Interface for High-Definition Television Systems,” SMPTE J. , 107 : 849 , Sept. 1998 . EXTERNAL
20. The clock frequency is shifted downwards for the same reason as in ref. 17. EXTERNAL
21. See ref. 19. EXTERNAL
22. See minutes of specialist joint “Time Code & Reference for 1080/24P” Ad Hoc Group meeting, as part of SMPTE S22 Systems Technology meetings, held at Tektronix, Beaverton, Ore., May 1999 . EXTERNAL
24. “Spirit DataCine Film Scanner,” Philips Broadcast. EXTERNAL
25. “Specter Virtual DataCine,” Philips Broadcast . EXTERNAL
26. See ref. 11. EXTERNAL
3. A method used in 60-Hz field rate countries to convert from 24-frame film to a 60-Hz television field rate. EXTERNAL
4. There is no interlacing, but there may be segmentation (see ref. 15). EXTERNAL
5. ANSI/SMPTE 240M-1995, “Television—Signal Parameters—1125-Line High-Definition Production Systems,” SMPTE J. , 105 : 256 , Apr. 1996 ; and SMPTE 260M, “Television—Digital Representation and Bit-Parallel Interface—1125/60 High-Definition Production Systems,” SMPTE J., 101:305, Apr. 1992. EXTERNAL
6. Eureka EU-95 standard. EXTERNAL
7. Rec. ITU-R BT.709-4, “Parameter Values for the HDTV Standards for Production and International Programme Exchange,” ITU 2000 . EXTERNAL
8. 74.25 MHz at a 60.00-Hz field rate and derivatives; 74.25/1.001 MHz at a 59.94-Hz field rate and its derivatives. EXTERNAL
9. SMPTE 274M, “Television—1920 × 1080 Scanning and Analog and Parallel Digital Interfaces for Multiple Picture Rates,” SMPTE J. , 107 : 837 , Sept. 1998 . EXTERNAL

Source Data (JSON)

Full registry record with provenance metadata. Open directly: /api/doc/10.5594-J17775.json

Reference Tree

Explore all references and references to this document, as a navigable tree.

Open Reference Tree

Reference this Doc

Plain text (ISO 690 compliant)

Preview:

David J. Bancroft; A Multiframe Rate Compression-Free Video Recorder for Universal DTV Mastering in High Resolution, SMPTE Journal ( Volume: 110, Issue: 5, May 2001); SMPTE, 2001. Available at https://doi.org/10.5594/J17775

Snippet:

David J. Bancroft; A Multiframe Rate Compression-Free Video Recorder for Universal DTV Mastering in High Resolution, SMPTE Journal ( Volume: 110, Issue: 5, May 2001); SMPTE, 2001. Available at https://doi.org/10.5594/J17775

HTML (ISO 690 compliant)

Preview:

Snippet:

<span class="citation">David J. Bancroft; <cite>A Multiframe Rate Compression-Free Video Recorder for Universal DTV Mastering in High Resolution</cite>, SMPTE Journal ( Volume: 110, Issue: 5, May 2001); SMPTE, 2001. Available at <a href="https://doi.org/10.5594/J17775" target="_blank" rel="noopener">https://doi.org/10.5594/J17775</a></span>

SMPTE's HTML Pub

Preview:

Snippet:

<li>
David J. Bancroft; <cite id="bib-10-5594-j17775">A Multiframe Rate Compression-Free Video Recorder for Universal DTV Mastering in High Resolution</cite>, SMPTE Journal ( Volume: 110, Issue: 5, May 2001); SMPTE, 2001
<span class="doi">10.5594/J17775</span>
</li>