Digital Video

Digital video

Digital Video

Little by little, all the equipment for the production of television and video programs in the world is going digital. Why is this happening? Not at all due to the fact that digital methods are admired by all and that the image quality is radically improving, the reasons for such a transition are mainly economic, because now both the price and the cost of operating a digital complex are less than a traditional analog one with the same functions. Now that digital technology has reached a certain maturity, analog equipment is suddenly less efficient, less reliable, and much less profitable.

DIGITAL VIDEO

EN The very foundations of video production and delivery of images to the viewer are currently being revised, and the dynamics of change in the current age – digital – is much higher than in analog. Today, for example, the 4: 3 aspect ratio is gradually being replaced by the 16: 9 aspect ratio, interlaced-progressive (non-interlaced) scanning and changing encoding standards increase image quality. The economy also dictates the need to compress video information. Naturally, any compression degrades the quality of the rendering and is applied not for a good life, but out of necessity.

Do not think that video compression was not used before and that it only appeared with the advent of digital technologies. No, compression has always been used, but only before it was analog, and today it is necessary to make it completely digital, getting rid, as much as possible, of double compression, that is, both analog and digital.

Modern digital compression methods, which have replaced analog, especially when combined with computer technology, can not only improve the quality of the video itself, but also expand the possibilities of video production and optimize the display of audiovisual products.

Basic concepts of digital transformation
P Essentially, the digital representation, or digitization, is a partition of the domain of a continuous function in some intervals and the representation of this function as a set of values ​​at the end of these intervals. So, for a digital sound signal, the second interval on the time scale is divided into 32, 44 or 48 intervals, in each sample the sound is measured and its value is stored with a certain representation precision, generally from 14 to 20 bits. These operations are called sampling processes, that is, the representation of any continuous quantity (in this case, sound) through periodic discrete measurements. After that, they say that the sound is digitized with a sample rate of 32 to 48 kHz, respectively, and a bit depth of 14 to 20 bits. Therefore, the digital current

In digital video, the process of sampling a value is simply generalized to a multivalued function that has an area of ​​value, not a number, but an image (that is, it becomes three-dimensional) in order to break the solid lines of an image (scanning beam) in so-called pixels, or image elements, our three-dimensional. the space will be because when the image is presented at each moment of time, it is not a value, as in sound, but the whole image: a frame. As a result, the video signal is also represented as a sequence of integers, in other words, as a stream of data.

In the case of (separate) component analog video signals, each channel must simultaneously transmit three color components (red – red, green – green and blue – blue, i.e. RGB) or a luminance signal together with signals of color difference (YUV). The conversion of RGB color components into YUV components is one by one, but the latter method allows to emphasize the change in the brightness of the signal, for which the human eye provides a separate perception mechanism, with the help of the rods. in the retina, in contrast to the perception of color made by the cells of the cone. Rods are more sensitive than cones, so in systems with separate component coding (e.g.

Sampling theory, in turn, requires that the sampling frequency be at least twice the bandwidth of the signal to be digitized. In the case of a broadband signal (for sound, that is, for example, the simultaneous reproduction of several octaves of frequencies), the sampling frequency must be at least twice the highest frequency of the input signal analog