Digital Cinema Concepts: 1080p Internet content
Several websites, including YouTube, allow videos to be uploaded in the 1080p format. YouTube streams 1080p content at approximately 4 megabits per second compared to Blu-ray's 30 to 40 megabits per second. Digital distribution services also deliver 1080p content, such as movies available on Blu-ray Disc and/or from broadcast sources. This can include distribution services like peer-to-peer websites and public or private tracking networks.
Netflix is offering SuperHD content in the US and other countries through select internet providers since 2013.
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 review
Digital Cinema Concepts HD979 for sale: Full horizontal detail
Interlacing provides full horizontal detail with the same bandwidth that would be required for a full progressive scan of twice the perceived frame rate and refresh rate. To prevent flicker, all analog broadcast television systems used interlacing.
Format identifiers like 576i50 and 720p50 specify the frame rate for progressive scan formats—but for interlaced formats, they typically specify the field rate (which is twice the frame rate). This can lead to confusion, because industry-standard SMPTE timecode formats always deal with frame rate, not field rate. To avoid confusion, SMPTE and EBU always use frame rate to specify interlaced formats, e.g., 480i60 is 480i/30, 576i50 is 576i/25, and 1080i50 is 1080i/25. This convention assumes that each frame in an interlaced signal contains two sub-fields in sequence.
Digital Cinema Concepts i sell
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 HD979
Digital Cinema Concepts HD979:Higher contrast ratio
There are ways to achieve a higher contrast ratio. As you have likely noticed, commercial and high end movie theaters are always dark, including black walls and ceilings. Movie theaters and high end installations go through all this trouble because projectors look their best when there is no light in the room. In high end installations this even includes stray light reflected off of the projection screen. Stray and ambient light will reduce the contrast of the image and work to make the blacks appear more grey, essentially washing out the image. A projector does not projector black, black is the absence of light. Any light falling on the screen from a source other than the projector will raise the absolute black level and reduce the contrast. Ideally, a home theater should have little to no ambient light present. However, most people do not want to darken the walls of their home theater or multipurpose rooms just to achieve ideal theater conditions. The other option is to purchase a high-contrast gray screen which will improve black levels and the contrast ratio of the projector image. For the best possible image, proceed with any steps necessary to eliminate ambient light and reflective surfaces on the walls and ceiling.
Several websites, including YouTube, allow videos to be uploaded in the 1080p format. YouTube streams 1080p content at approximately 4 megabits per second compared to Blu-ray's 30 to 40 megabits per second. Digital distribution services also deliver 1080p content, such as movies available on Blu-ray Disc and/or from broadcast sources. This can include distribution services like peer-to-peer websites and public or private tracking networks.
Netflix is offering SuperHD content in the US and other countries through select internet providers since 2013.
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 review
Digital Cinema Concepts HD979 for sale: Full horizontal detail
Interlacing provides full horizontal detail with the same bandwidth that would be required for a full progressive scan of twice the perceived frame rate and refresh rate. To prevent flicker, all analog broadcast television systems used interlacing.
Format identifiers like 576i50 and 720p50 specify the frame rate for progressive scan formats—but for interlaced formats, they typically specify the field rate (which is twice the frame rate). This can lead to confusion, because industry-standard SMPTE timecode formats always deal with frame rate, not field rate. To avoid confusion, SMPTE and EBU always use frame rate to specify interlaced formats, e.g., 480i60 is 480i/30, 576i50 is 576i/25, and 1080i50 is 1080i/25. This convention assumes that each frame in an interlaced signal contains two sub-fields in sequence.
Digital Cinema Concepts i sell
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 HD979
Digital Cinema Concepts HD979:Higher contrast ratio
There are ways to achieve a higher contrast ratio. As you have likely noticed, commercial and high end movie theaters are always dark, including black walls and ceilings. Movie theaters and high end installations go through all this trouble because projectors look their best when there is no light in the room. In high end installations this even includes stray light reflected off of the projection screen. Stray and ambient light will reduce the contrast of the image and work to make the blacks appear more grey, essentially washing out the image. A projector does not projector black, black is the absence of light. Any light falling on the screen from a source other than the projector will raise the absolute black level and reduce the contrast. Ideally, a home theater should have little to no ambient light present. However, most people do not want to darken the walls of their home theater or multipurpose rooms just to achieve ideal theater conditions. The other option is to purchase a high-contrast gray screen which will improve black levels and the contrast ratio of the projector image. For the best possible image, proceed with any steps necessary to eliminate ambient light and reflective surfaces on the walls and ceiling.
Digital Cinema Concepts