Broadcast Engineer Media

Menkominfo Will Review Digital TV Regulation

2012-03-04T02:24:00.000-08:00

Regulation of the Minister No. 22 and 23 of 2012 on the migration of analog to digital TV will be reviewed by the Minister of Communications and Information Technology (Menkominfo) Tifatul Sembiring, after receiving pressure from members of the House Refresentative.

"It is our review we will talk again with their neighbors digital regulation, as well as the global direction of the ITU conference in 2006 in Geneva, Switzerland," said Tifatul, when found in Kemenkominfo office, Jakarta, Wednesday (22/2 / 2012).

Tifatul added, the time given for long enough, from 2010, even 2009 is a trial and the trial consortium of private digital TV and will continue until 2018.

"This means there is a period of transition for 8 years. In the period of 8 years, electronic devices usually function works well in the 2 or 3 years. So if later on they would replace television, buy a digital," advises Tifatul.

Previously, under the Community Care Broadcasting Indonesia (Masyarakat Peduli Penyiaran IndonesiaMasppindo) the process of migrating analog TV to digital TV that tender place on 6 April 2012 by the Ministry of Communications and Information assessed in a hurry.

Masspindo also requested that Permenkominfo No. 23 of 2011 on radio frequency master plan for digital terrestrial television broadcasting in the 478-649 MHz radio frequency band to be revised.

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Source: : http://techno.okezone.com/read/2012/02/22/54/580481/menkominfo-akan-kaji-ulang-peraturan-soal-tv-digital

Communication and Information Minister: Let's Move to Digital TV

2012-02-21T18:12:00.001-08:00

Minister of Communications and Information Tifatul Sembiring invites the general public so that the migration from analog television to digital television. This was done to fulfill the international obligations of digital television broadcasts. International Telecommunication Union (ITU) or the international telecommunications authorities have been given a deadline to all countries in the world, so that at the latest, June 17, 2015 all broadcasters do with digital broadcasting. As a result of that deadline, the regular analog television watched daily will not be able to receive the broadcast again. On that date, inevitably, people should switch to a television that can capture digital broadcasts.

"Trends in technology can not be resisted. Starting from analog television in the form of tubes, transistors, IC and then to digital, LCD and so on. Just as the telecommunications industry starting from 2G, 3G, LTE and beyond," said Tifatul in Jakarta, Monday (30 / 1/2012).

As an early stage, the government has carried out tests on digital television broadcasts on Televisi Republik Indonesia (TVRI) in the four cities of Jakarta, Bandung, Surabaya and Batam since 2010.Tifatul ensure digital television broadcasting will produce a clean picture and sound are clear. Even according to Law No. 32 of 2002, digital television will ensure diversity of ownership, diversity of content and network station system that will not cause the monopoly case.

Time and Implementation of Technical

The government will split the organizers multiplexer (mux) with the organizers broadcast, the zone was 33, now 15 zones with in 1 zone there are 6 mux and 1 mux there are 12 channels. So in one zone will be available 72-channel digital television. The Government ensures there is no longer the monopoly of broadcasting and the opportunities open to its fullest. Examples for Jakarta and Banten area included in a zone that allows any television channel 72.

"So far, only the television industry is dominated by large players. Small television industry that have not been accommodated'll also be able to compete and can live with the digital broadcast," he added.

The Government expects the migration from analog to digital television given limits until 2018. In the transition period, consumers who have analog televisions need a set top box to receive digital broadcasts. Set top box (like decoder) from the digital transmitter to the receiver analog is being produced and tested by vocational students. The plan they will sell it for Rp 85,000 per unit. Currently, the price of set top box in the Glodok Jakarta will sell for around Rp 135,000. The Government also supports the set top box is produced purely from the local content produced by vocational student.

Not Burdensome

The Government ensures that the digital television broadcast will not burden the people. The government only appealed to people who still have analog televisions to buy a set top box to receive digital television broadcasts. From now on, the Communication and Information Ministry in cooperation with the Trade Ministry and appealed to the television company that produces digital television and began to stop production of analog television.

In addition, the government also is counting decoder opportunity to help poor people and is expected to spend Rp 300 billion.

"For now people can buy the set top box. There is still a transitional period of seven years before the moratorium on analog television (turned off). It’s good when they can buy a digital television," he added.

According to the Rules

Digital television has also been conducted in European countries. So is the Japanese who have been using dual system. Tifatul consider that to rebuild the country, Indonesia should not be missed, especially in terms of technology and information. With digital television frequency of use is believed to be more efficient. Government use frequencies in the 474 Mhz to 570 Mhz. In this way there is no longer a company have two frequencies in one zone. In principle, Tifatul said, there is no national television, unless they are networked with other zones. On digital television, the industry of Production House and Content provider is predicted will grow.

"In order for the digital television industry is increasingly focused, we're finished eight regulation of Minister that support the implementation of digital broadcasting," he explained.

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Source : http://tekno.kompas.com/read/2012/01/30/1743088/Menkominfo.Ayo.Pindah.ke.TV.Digital

Technorati Tags: digital television,2g,3g,lte,multiplexer,set top boxes,decoder

Comparison of Wireless Communication HME DX-200 with BTR-700

2012-01-09T22:35:00.000-08:00

In organizational life, the communication factor is one element that is important for coordination among the work units so that all functions and tasks running smoothly and in accordance with the wishes. This also applies to the production process, where communication of PD (program director) must get to his crew (cameramen, audioman, lightingman, floor director, production assistance, etc.) are good and clear. Unfortunately, the subject of this communication system is rarely discussed compared to audio, video and lighting system.

There are two types of communication systems, ie using a cable (wired) and wireless. For the type of communication using a cable, usually used for the cameraman, lightingman and audioman where in the production process is not very mobile, stay in position respectively. For the communication using cable, the main constraint is that if used by the crew who worked very mobile such as FD (Floor Director) and PA (Production Assistance) because it is very troublesome. The main problem of communication using this cable is if the cord not good and or the cord is very long (usually if it is used for lighting crew communication using a followspot) will result in the audio to be noise, so to follow spot is usually used HT alone. If this long cable problem could be overcome, then the use of communications cables are highly recommended because it does not interfere with other frequency devices (primarily wireless hand mick and wireless clip on).

For wireless communications, usually used by the crew FD (Floor Director), PA (Production Assistance) and the production crew (for the production crew, they usually ask for a stand-alone communication system, with separate lane PD). The main constraints on the range of frequencies. There are two products from the wireless communication is frequently used, namely from Clearcom and Telex. Below are discussed the comparison of both types of wireless clearcom the following price and where it is feasible tool for use by considering the economic function as well.

Wireless communication is first discussed is from Clearcom HME-DX200. HME DX-200 has RF Frequency Range 2.4 - 2.4835 GHz FHSS (Frequency-hopping spread spectrum). Base transmitt power of 100mW. License-Free Operation, and Channel Diversity Antenna, Wireless Channel Isolated, Simultaneous 2-wire and 4-wire operation. Remotely "unlatch" beltpacs from transmitting, beltpacks transmitt power 100 mW, Voice Prompt, ISO + Mode, Internal beltpack antenna, Low Battery Indication LED Blink and Voice Prompt. Beltpack weight 7.4 oz. HME-DX200 Clearcom prices according http://www.proaudio.com/ and http://www.proaudiosuppliers.com of $ 7,426.00.

Wireless Communication The second is from Telex BTR 700. BTR 700 has RF Frequency Range 518-740 MHz synthesized. Base transmitt power 50 mW max (high) 5mW (normal). No License-Free Operation, No Antenna and Channel Diversity, No. Isolated Wireless Channel, Simultaneous No. 2-wire and 4-wire operation. No Remotely "unlatch" beltpacs from transmitting, beltpacks transmitt power 50 mW Max, No Voice Prompt, No ISO + Mode, No Internal beltpack antenna, Low Battery Indication LED only. Beltpack weight 15 oz. Telex BTR-700 prices according http://www.bhphotovideo.com and http://www.fullcompass.com for $ 4,095,

From both the specification of these tools, look at all that the HME-DX200 is more powerful, both transmitt power base and beltpack transmitt power so it has a sizable emittance very far, even through walls studio walls. However, this tool has a weakness, where the price is quite expensive compared to the BTR-700. vice versa with the BTR-700, although the transmission power closer, but the price is economical.

BTR-700 suitable for shooting in the area that is not too large as in the studio because the signal is still acceptable. HME-DX200 will be very suitable for use in the process of shooting in the area that is wide enough, like in the stadium, the field (for the music program), JCC, etc. given the transmission power very far.

Similarly, at a glance review of comparative wireless communication HME DX200 with the BTR-700.

For the purposes of correspondence, the author can be reached at @ agusrusmawan.

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Tag Technorati: {grup-tag}hme,dx-200,btr-700,communication system,wired communication,wireless communication

Tag Technorati: {grup-tag}RF frequency range,fhss,base transmitt power,antenna and channel diversity,wireless isolated channel,simultaneous 2-wire and 4-wire operation,remotely unlatch,voice prompt,iso+ mode,internal beltpack antenna

Technical Review The Program of MANTAP ANTV

2011-11-25T06:25:00.000-08:00

MANTAP program is a musical program presented by the TV station ANTV to its loyal viewers. MANTAP presents viewers music that are popular today, where the genre of music that's more likely to pop that was popular. Musical events that are present every day at 15:00 to 16:00 slot filled afternoon event where the clock is no other TV stations that broadcast music events. MANTAP program aired live from mall to mall or other crowded places, to entertain its loyal viewers who called KUMAN (KUmpulan anak MANtap).

To broadcast the event, ANTV using the OB Van for support of video system, 2 pieces of 48-channel mixer for audio system, 2 pieces of 100 KVA generator set to support power systems, and lighting to help the lighting in addition to using natural light from the sun due to the afternoon hours of shooting day and location of most outdoor.

For the video system, the program MANTAP using 5 cameras with the details of camera 1 and 4 handheld to take pictures of the area around the stage, camera 2 and 3 using a tripod in front of the stage and jimmy jib getting on camera 5. This type of camera used is a Sony DXC D-55. For a video switcher using FOR-A 16 input, while for monitoring use multiviewer evertz 16 inputs and plasma 42 ". To play the material, whether it's OBB, bump in, bump out, as well as material of coverage, use 2 pieces of VTR Player Sony MSW-2100P, while recording material for broadcast, used a piece VTR Sony DVW-M2000P (though MANTAP program aired live, but still must be recorded for documentation and for airing re-compilation if needed). for a video signal to the SNG (Satellite News Gathering), used a digital video signal SDI (Serial digital Interface) of the switcher PGM output as the main and output of the DDA (digital Distribution Amplifier) as a back up.

For the audio system, use two 48-channel audio mixer with a piece designated for broadcast mixer (PM5D) and a piece for FOH mixer at once doubles the monitor mixer (M7CL). Path from microphone to the mixer using a splitter so as not to interfere with each other between the two mixers. Microphone used is a 15-WHM (Wireless Hand Mic) for the vowel (either a host or a singer), 3 WCO (Wireless Clip On) for gimmic, 19 Mic Cables for band instruments, 5 gunmic to take the audience atmosphere and a headset for magician (one segment where the show magician gimmick to showcase his skill). For audio systems, use the analog signals.

For supply power resource for equipment, used 2 pieces of Genset (Generator Set) with a capacity of 100 KVA with power factor 0.8 so that the resulting pure power of 80 KW. Given MANTAP program aired live, then use the UPS (Uninterruptible power supply) to anticipate if there are problems with the generator can still be supplied by the UPS during power on the displacement of the main generator to back up so the program MANTAP keep it running smoothly. UPS is used has a capacity of 10 KVA with a power factor of 0.7 so that the pure power generated only 7 KW. Given the power generated is small enough, then the UPS is only used for the video system in the OB van, Broadcast Mixer and wireless handmic.

For the lighting, use HMI 4 KW x 2 for keylight and PAR 64 2 bars to the needs of the backlight as well as an accent on stage. For general lighting, use natural light, the sun because we airing on the afternoon.

Similarly glimpse technical review of the program MANTAP ANTV that aired every day from 15:00 to 16:00.

For the purposes of correspondence, the author can be reached at @ agusrusmawan

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Samsung Expansion 3D TV in Indonesia

2010-04-14T00:11:00.001-07:00

Samsung launch the expansion of television with the ability of three-dimensional (3D) in Indonesia. Korean producers began to market the product lines that include LCD, LED, Plasma TV up, with the cheapest price of USD 20 million.

"We make bold to be a pioneering marketer of a full 3D high definition TV in Indonesia with a complete product line," said Yoo-Young KIM, Managing Director of PT Samsung Electronics Indonesia.

The TV series was released Samsung 3D TV series includes LED 7000, 8000, and 9000. Then the 750 series LCD, and Plasma TV series 8000 and 7000. At the same time, Samsung also released a Blu-Ray DVD player with 3D BD-C6900 series.

"The success of 3D films in the cinema has become an inspiration to us," said Yoo-Young. "Indeed, the 3D movie now no much. But we believe that one day there was a trend. More and more films are adopting 3D," he continued.

When tested, Samsung 3D TV offers a relatively clear picture to display 2D or 3D. The shift from 2D to 3D is done by simply pressing a single button on the TV remote.

To enjoy the spectacle of 3D, Samsung includes special glasses. If you want to purchase additional glasses, Samsung sold it for a price of U.S. $ 900 or nearly Rp 1 million.

3D spectacle also can still be enjoyed even with the slope angle of view up to 42 degrees. Samsung 3D TV also offers Internet connections that can be accessed via a cable connection or Wi-Fi wireless broadband.

Sharp Color and More Energy Efficient

According to Dicky Derajat, Group Head of Product Marketing TV Samsung, for its color LCD has a sharpness level 16 times better than previous LCD TV products.

"Meanwhile, LED TV, its energy consumption 25% lowers than the previous LED TV. And for Plasma TVs 43% reduced energy consumption," he said.

According to Yoo-Young, Samsung 3D TV was first launched in the United States in March. Since then, within one month starting debut around the world including in Indonesia.

"We do not set an initial target because it only wants to educate the market. However, from an initial target of our current estimates released LED 3D TV in Korea, his request was two times more than ordinary LEDs. Market 3D is much greater," he concluded.

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Technorati Tags: 3d tv,3d movie

3D impressions in the World Cup 2010

2010-04-09T01:05:00.001-07:00

Approximately 25 matches in World Cup 2010 will get a touch different. How not, the station ready to show that these parties with the three-dimensional effect alias 3D.

ESPN is ready to provide these nuances in the mat the World Cup next summer. According to the United States television network, the 3D television system will be done in prime time in South Africa meet the Mexican next June 1.

Besides the party, at least 24 other parties will also be shown in 3D. To enjoy this effect, the audience would also have to wear special glasses.

Probably not a bit pessimistic with a buzz EPSN earlier, or even less convinced by its application later. To be sure, this 3D system is said to have experienced trials during recent years.

"This is a scientific project that has been and still continue to run for us," stated Vice President of Business Strategy Planning ESPN to Bryan Burns, quoted by the Guardian.

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Business Tower Belongs to Indonesia

2010-02-14T22:59:00.001-08:00

Foreigners can only hope that the rules of the revised telecommunications tower business. However, regulators insisted, at least until the current tower providers still have 100% of domestic companies.

The policy refers to the minister Regulation No.2/2008 on the guidelines with the telecommunications tower construction and the Joint Decree between the three ministers from the Department of Communication and Information, Ministry of the country, the Department of Public Works and Capital Investment Coordinating Board.

"According to the rules, providers and contractors towers still have 100% national company," explained Heru Sutadi, Member of the Indonesian Telecommunications Regulation Agency.

This assertion is made regulators to reject the proposal from the National Team Increasing Export Investments, who asked about the construction of the tower rules to be reviewed for revision.

Rules proposed to be revised are Article 5, paragraphs 1 and 2 in Permenkominfo No.2/2008, which was closed for the tower business of foreign investment. Pepi team wants to rule in accordance with the rules in the Negative List of Investment.

BRTI itself assess the provision of the tower have properly managed by the company in the country. Because, in this sector, local companies do not require too much capital and high technology.

"Providers or contractors of the tower can be foreign, only if the tower was built by the operators who are already foreign element," said Heru.

Currently there are around 45,000 towers spread in Indonesia, and 13% of them provided by local companies. Business value of the tower in 2008 and the new estimated to reach Rp 100 billion. But in the next three years, the business value is projected to rise to tens of trillions.

However, the value of tower business is still quite small compared to the total telecommunications businesses around Rp 70 trillion to Rp 100 trillion.

According to the Secretary General Depkominfo Basuki Yusuf Iskandar, who enjoyed local portion no more than 3%. The rest was taken out by foreign companies.

Thus, Heru rate naturally enjoyed a small portion of local companies, not to be disturbed again by foreigners. This step is supported by the Institute of Empowerment and Development of Information Society.

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Technorati Tags: business tower

Black Burst or Reference Sync or Genlock (continuation)

2010-01-27T21:36:00.001-08:00

Now in the days of advanced technology, tv spg products can be packed in 1 chip. Majority TV equipment producing the video signal (camera, VTR recorders, character generator, computer graphic, title generator, vision mixer / switcher) has been completed spg.

So "synchronization" video signals that all is absolute in the studio operating system. synchronize the video signals are absolutely required at the time until the video input mixer, the input routing switcher that can be processed into packaging a good video program (sync).

As we all know that in the video mixer can process mixing function video signals, among others: Mixing, Cut, Fade, Overlay, Special Effects, Keying, cropping, etc.. In the video mixer operation is usually equipped with 2 alarm condition indicator for each of its input video signal.

Condition 1: sync, the video signal is synchronized with each other. All video mixer operating functions can be done with good.

Condition 2: no sync is out of sync. Only the Cut functions operating, and even then the output video signal is not good (frame jumping or frames running or random) during the transition image.

Some of the equipment connected in the studio system installation. This means that there are some TV SPG used. Although some SPG has the same frequency but the timing / phase can vary. This is because, when turn on each equipment can not be together (in the time scale nano / micro second). equate or sync pulse timing synchronization is done by using a generator locking method or abbreviated genlock. Selected a set of tv spg a command center, called MASTER SPG.

MASTER SPG will give the command / drive other existing spg. SPG that receives the command is called the Slave spg. Outline spg master circuit in a television studio is as follows, image 3

Master SPG may also receive the command signal genlock, and so while the Slave SPG. Equipment that has spg to be a Master SPG.

Thus the discussion of sync, may be useful.

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Technorati Tags: black burst,reference sync,genlock,tv spg,sync,no sync

Black Burst or Reference Sync or Genlock

2010-01-13T20:03:00.001-08:00

In an age TVRI, we often see an event where the picture was interrupted in the middle, and then we do not know why, maybe is a technical error. Currently, there are also (although very rarely) something like that, where, suddenly in the middle of the drawing, and slowly rise or fall before returning to the original frame, probably because it improved? Actually, why did it happen? Among the broadcast engineer, usually immediately suspected that it happened because genlock missing (genlock not there) so that the picture does not sync. There are several genlock reference to it, some say sync, black burst or reference sync or whether the creature actually was?

In the television studio operations and primarily for the video signal, then the TV Synchronizing pulse or genlock or sync or black burst or sync reference was instrumental synchronize several video signals from various sources. Henceforth all words are abbreviated with just sync.

Sync that produced by means of (self contain) or the instrument (in the other instrument) called SPG (Sync Pulse Generator) TV. Signal that resulting TV SPG the main is few pulses and option some of the video test signal. Technical Specifications sync pulses (PAL standard used in Indonesia) are as follows:

No	Name of Pulse	Width of pulse	Period of Pulse (Pulse Repeating Rate/Duration/Frequency
1	Horizontal Sync, H sync	4,7 µs	64 µs or 1H or 15625 Hz
2	Vertical Sync, V sync	2,5 H	20 ms called 1 V or 50 Hz
3	Equalizing, Eq	2,35 µs	32 µs
4	Horisontal Blanking, H bl	12 µs	64 µs
5	Vertical Blanking, V bl	25 H	20 ms
6	Colour Subcarrier (sinusoida), Fsc		225 ns or 4,433 MHz

When SYNC contains a complete (6 bags), then called: COMPOSITE SYNC.

This complete sync called by TV engineers Black Burst, abbreviated as BB. Please note that Vsync, hbl, Vbl is facultative inclusion. While Eq, and the FSC only included a few samples. For details see figure 1 and 2 below

Figure 1: from the end of the first field (odd) until the beginning of the second field (even).

Figure 2: from the end of the second field (even) until the beginning of the first field (odd).

SYNC signal get another term synonym BB because:

FSC in position at the level of the beginning of each video Black 1 H and displayed only a few cycles (Burst) every 64 us.

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Continued on next posting……………….

Technorati Tags: black burst,reference sync,genlock,sync,tv synchronizing fulse,spg,sync pulse generator,horizontal sync,h sync,vertical sync,v sync,equalizing,horizontal blanking,vertical blanking,colour subcarrier,composite sync,first field,second field

State Satellite Slot Must Managed Indonesia Companies

2010-01-08T00:52:00.001-08:00

The government argues that the management of the satellite slot owned by the state should ideally be through a company that has a legal entity in Indonesia.

"It's a matter of clarity of payment BHP ([Biaya Hak penggunaan] Cost Use Rights) frequency and taxes," said Secretary General Depkominfo(department of communication and information), Basuki Yusuf Iskandar in Depkominfo building, Jakarta.

This assertion is related to the loss of a satellite INDOSTAR II - which uses slot Indonesia - after purchase by foreign companies of the SES World Skies from Protostar.

Protostar is partners of Media Citra INDOSTAR (MCI) - as Indovision pay TV provider - which operates INDOSTAR II in the form of cooperation condo satellite (a satellite to fill several slots). "We will seek clarification from MCI," said Basuki.

According to him, the management of the satellite slots in the country by foreign companies, in the short term, no problem. Provided, that the company must first local legal entities.

"Because, if the slot is left empty, can be re-drawn by the ITU (International Telecommunication Union). This dilemma must be understood, because the investment to build expensive," he explained.

Executing tasks Director General of Post and Telecommunication said that, to put a satellite management issues in Indonesia, the government would soon complete the relevant ministerial regulations satellites. "Especially the problem satellite scheme condo agreement," he concluded.

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Technorati Tags: state satellite slot must managed indonesia companies,bhp,biaya hak penggunaan,cost use right,depkominfo,indostar II,itu,protostar,media citra indostar,mci,indovision,international telecommunication union

Development of Broadcast TV

2010-01-05T22:43:00.001-08:00

Before discussing the historical development of TV broadcasting, it is better we understand the term "broadcast" and the concept of broadcast TV. The term "broadcast" means to send / broadcast to all over. Transmitter antenna emits electromagnetic radio waves that can be captured by the receiving antenna. TV transmitter has 2 functions, which emits sound information (aural) and transmitting the image information (visual).

Actually, the concept of TV broadcasting is an extension method of broadcasting news programs and other entertainment. Like the concept of media voices in radio, then TV is added to the concept of visualization or image. The ability of TV sets to reproduce images, text, graphics and visual information made not only used for entertainment and information purposes only but also for commercial purposes.

Now turn to the development of TV broadcasting. In line with technological developments in broadcast TV receiver, it is also developing TV broadcast. Initially known only TV sets with screen monochrome (black and white), but later developed a color TV. TV broadcasting began in 1945, since the Federal Communications Commission (FCC) approved the use of VHF channels 2 to 13. When first broadcast, the TV uses channel 1 at the frequency from 44 to 50 MHz. However, because of interference problems, channel 1 is no longer used for broadcast TV, but for another purpose, namely to mobile radio services (mobile radio).

At first, the TV broadcast receiver that is widely used is RCA model TS 630, which sold for $ 400 in 1946. RCA is comprised of 30 vacuum tubes, including monochrome picture tube with a convex 10-inch screen. 2 main series used in this receiver is a provider of high voltage power to the flyback (high-voltage flyback supply fed) to the circuit output and automatic frequency control (AFC) for synchronization during the scanning process in a horizontal picture frame. AFC has the advantage, namely resistance to noise interference. Until now, the two circuits are still used in all receivers, both on the TV monochrome or color.

Broadcast TV on the TV color system was developed from previously applied monochrome screen. In its application is found problem with scanning standards. It is situated on the wheel using the existing mechanical scanning in monochrome screen TV system. In addition, in the color TV too much bandwidth usage on a 6 MHz channel. Thus, in experiments conducted in 1949 by CBS and RCA. CBS system using the color wheel around with different scanning frequencies with monochrome television standards. Meanwhile, RCA system as a whole to apply electronically and the appropriate scanning frequency. In 1954 the FCC adopted a color system has been revised, prepared by the National Television System Committee (NTSC). NTSC system is applied in the United States, Japan, and many more countries in the continent of North America and the South.

In 1952 the canal from 14 to 83 (frequency from 470 to 890 MHz) approved its use by the FCC for broadcast TV, to better provide opportunities for TV stations broadcast the program. This canal is known as UHF channels. In 1962 the transmission of broadcast TV for the whole world is built the first time. This is supported by satellite technology. Satellite placed in space to act as relay stations associated with the earth station receiver. We have had quite a lot of orbiting satellites to support the development of TV broadcasting.

Source : Basic Television and Video System

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Technorati Tags: broadcast tv,tv transmitter,monochrome,flyback,afc,automatic frequency control,scanning,cbs,rca,fcc,ntsc,uhf channels

DVB-H (Digital Video Broadcast- Handheld)

2010-01-04T00:32:00.001-08:00

Abbreviations such as DVB-S for satellite services, DVB-C for cable services and DVB-T for Terrestrial must have been quite familiar to the engineers who worked in television broadcasting. But many who have never heard the term DVB-H.

Transmission system in terrestrial TV broadcasting (DVB-T) is considered good enough as a broadcasting system with a target receiver in homes, offices, cars and so on. DVB-T is suitable for reception on mobile devices, even if the recipient is moving at high speed, e.g. up to 170 km / hour. However, if the receiving device is operated with a battery, using a single antenna on the extensive network of single-frequency receiver and the device is moving at high speed, then the choice to the DVB-H. DVB-H based on DVB-T standard that already exists and is intended to support the reception of broadcasting services in the small terminals / handhelds that usually move. For example handheld devices such as mobile phones inside the building, car or even a high-speed trains.

The idea of DVB-H actually been there since 2000 when a small group of scientists studying the possibility is there that should be changed to DVB-T if you want to apply this technology to the handheld receiver. In 2002, a commercial module of DVB set of commercial requirements for this new service scenarios. Furthermore formed ad-hoc group to determine the required technical specifications.

The first task of this group is to evaluate whether the DVB-T can support these new services without having to be modified. In conclusion, DVB-T has a very good performance in many aspects and as a whole can support this service. However, the devices operated by battery, the service can not be fully granted. That is why the required modifications in DVB-T so that the DVB released what they call "a call for technology" - invited the scientists to research and find the best solution to the problems - in January 2003. The results of this DVB-H will then be evaluated at the end of 2003.

The new DVB-H standard, without changing and disturbing the DVB-T standard for reception in stationary devices, will provide new business possibilities for a variety of companies, ranging from operators, broadcasters and cellular operators as well as for manufacturing and chip-manufacturing producers handheld devices. For service broadcasting, this new technology will be a new vehicle to attract more viewers, while the audience is moving. For cellular operators, this technology offers a more efficient way for delivery of a variety of multimedia content.

This is certainly a very good news for the broadcaster. In this way, it would be possible for broadcasters to serve its customers in a way entirely new: "Whenever Wherever Services". This also means an opportunity to attract millions of new customers of mobile phone users.

Obviously this becomes a very good news for mobile users / mobile phone. This new standard will further pamper them with multimedia content that is more diverse and cheaper, when they move around. It makes sense for a long television services into primary care in the community, but the facility does not exist on the mobile handset. Besides being circuit talking, messaging, Internet browsing, radio, photo and video cameras, TV services are supposed to complement the features offered so that the union of all kinds of multimedia becomes reality. Logically, mobile phone users would be very happy if they can watch their favorite shows anywhere, using the devices they carry all day

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Comparison of Standard System Digital (8VSB vs. COFDM vs. Segmented OFDM)

2009-12-29T20:47:00.001-08:00

No doubt that the shift toward digital television is something that should happen. As we all know, there are three different standards are used around the world for the system DTTB (Digital Terrestrial Television Broadcasting). DTV (ATSC) developed and used in the USA, Canada, South Korea and several other countries. DVB-T in Europe, Australia and Singapore, and ISDB-T in Japan.

Standard DTV (ATSC) is based on single carrier communication method while the DVB-T and ISDB-T to develop a multi-carrier method. ATSC Standards had received resistance from some broadcasters in the USA because of weaknesses in the case of poor performance in dense environments with multipath interference (e.g. in most urban areas) who fear it would disrupt the NTSC service area that already exist. However, the development of receiver technologies are expected to handle this multipath interference. Another reason is incompatibility with portable and mobile applications. 8-VSB is used by ATSC does not support the application in portable and mobile receiver. However, the ATSC 8-VSB with its advantages in terms of performance ratio carrier-to-noise (C / N) a better, higher data rate, lower power consumption for the same coverage area, and resistance to impulse noise.

COFDM that Used in DVB-T is known to have weaknesses in terms of resistance to the impulse noise that would be quite disturbed by the noise sources such impulse dimmer lights, refrigerator, heating equipment, hair dryer, spark plugs and course three-wheeler motorcycle. On the other hand, COFDM system has a better performance against multipath interference static and dynamic and offers the advantage of using a single frequency network (1 frequency enough for 1 state) and portable and mobile reception.

ISDB-T which was developed in Japan has reliability in terms of resistance to impulse noise and good performance in multipath interference with the echo that is not too strong. Some field test results even mentioned that the system used in Japan is the most reliable on the acceptance of indoor, outdoor as well as intermediate. In addition, the transmission mode can be easily changed according to the needs of broadcasters. The disadvantage is ISDB-T tended to show poor performance in a strong echo that is almost impossible to receive signals at almost the same amplitude of the echo signal amplitude information. In addition, performance in terms of resistance to multipath interference under DVB-T.

Convergence should not just technology issues. Basically, convergence should be seen as the discovery of new business models, including for television in the digital era today. Give what is asked by the public so far - mobility and portability - will be closer to customers broadcaster. Market development in hand held device into a public demand for evidence about the mobility and portability. It is necessary for the proper modulation technique.

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Technorati Tags: comparison of standard system digital,8vsb,cofdm,segmented ofdm,dttb,digital terrestrial television broadcasting,dtv,atsc,dvb-t,isdb-t,ntsc

FS1 From AJA

2009-12-13T20:39:00.001-08:00

Frame Synchronizations or frame sync commonly abbreviated as common as part of the broadcast equipment. As the name implies, the frame sync is a tool used to perform frame synchronization. The tool usually used when there is an equipment that does not have a reference input and the output will be incorporated into systems that already have their own reference. For example, if we want to insert the output from the computer into the system. Before you put into the system, the output of the machine first entered into the input frame sync (depending on the output of the computer, can be composite, component or SDI), after which the output is already given frame sync reference input entered into the system. If not passed into frame sync first, then what happens is if the input is in the "take", the video does not sync, like the picture "rolling" or there is a line between images (horizontally split image). This last I saw in one of the national private TV station, on 5 April 2009 on the breaking news coverage of elections who the presenter a woman (I do not know the exact name of the show). Where program blink (not normal). This is probably because the sync disconnected. I believe the incident happened in the studio, because once signed the ad, the picture returned to normal (to my knowledge, to increase advertising of the MCR).

So far, for frame sync equipment, I used to use the product Leitch (Harris), in addition to synchronize the frame, the tool can also be used as an audio / video converter, as well as audio / video processor. Apparently, since NAB 2008. AJA, a company engaged in the field of video systems, issued FS1, SD / HD / Video Frame Synchronizer and Converter.

Features FS1
• SD1 HD up / down Conversion
• SD1 SD aspect ratio conversion
• cross-HD1 HD Conversion (720p/1080i)
• Up / down / cross converting with both inputs and outputs converted formats in SD / HD SDI (with synchronization between the two)
• HD cross simultaneously converting down converted SD\ output SDI
• Dual HD / SD SDI input and output
• Composite / S-video input and output with TBC
• 8-channel AES and balanced analog audio input and output
• 8-channel embedded audio input and output
• standard redundant power supply is fully
• 10/100 LAN with SNMP, embedded web server for remote control
• Video processor amplifier
• Audio processing
• Closed-captioned, including support to HD up-conversion SD
• Optimize the style chassis for use in the engine room with a simple panel and remote web browser user interface
• Alphanumeric for the front panel and the display shows the setting graphics input / output and shows the parameters / selection editing
• LED status indicators for the monitoring system is sophisticated
• 1 GPI inputs and outputs, TTL, isolated

AJA FS1 has a flexible feature which is usually referred to as architecture-"anything in, anything out". FS1 Universal SD / HD / Audio / Video Frame Synchronizer and Converter can work simultaneously between SD and HD video, with video capabilities full 10-bit broadcast quality and 24-bit audio. FS1 supports virtually all input and output, analog and digital, SD and HD. FS1 can convert up or down between SD and HD and provides HD and SD outputs simultaneously. Cross-conversion between HD formats are also supported, with simultaneous output of both. For audio, the FS1 supports 8-channel AES, balanced analog or embedded audio with full flexibility and control of audio processing. FS1 supports closed captioning and closed captioning conversions between SD and HD formats. FS1 also be used for networking, web-base support and SNMP remote control.
With the ability and functions similar to a type of equipment, but by offering a cheaper price, then the FS1 eligible for consideration.

authorized dealer aja in Indonesia is PT. Media Integra at http://www.mediaintegra.co.id/

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source : www.aja.com

Technorati Tags: FS1,framesync,mediaintegra,snmp,syncro,frame,leitch

Search : Broadcast Product Made In Local

2009-12-08T19:31:00.001-08:00

Current broadcasting, both radio and television developed rapidly, almost in every district, even today, in every village has a radio station. Since the Reformation, the permission to establish national private TV station also opened as wide as possible, so stand up several new private television stations nationwide, as TransTV, Trans7 (was TV7), TVOne (formerly Lativi), Metro TV, SCTV, and others. Even though the current license for the establishment of a national private television stations were closed, investors had not lost his mind, in accordance with existing regulations, this trend is now changing to establish a network of local TV and even TV subscription (pay). For local TV, we definitely know JakTV, O Channel, DAAI, JTV, etc., to the front is not an impossible one would much more established network of local TV, local TV networks such as what happened in the radio broadcasting company, because the rules are available lead there. For TV, we must recognize as the first indovision standing and largest of the number of subscribers for the time being, although the former had to be balanced by ASTRO, but since the bankrupt of ASTRO, the Telkomvision currently ranked second in terms of number of subscribers.

Based on the information I have ever read, Depkominfo (Department of Communication and Informations) has given permission for the establishment of a new subscription television stations to some companies, this course will further increase the number of options to potential customers and increasingly heated rivalry between the subscription television stations. Positive value is, the heat of competition, it is expected that the subscription television station managers will also provide subscription price is cheaper (because of tariff war, as happened in the telecommunications company) also provides a better alternative educational show and quality according to taste its customers in order not to be left by fans. In addition to the establishment of the company's new subscription television, it will open new job opportunities for people who have expertise in these fields, both working in the broadcasting company, PH, and Postpro Agency.

Creating a broadcasting company is not an easy job, the broadcasting company known as the capital-intensive firms. This happens because the equipment used by nearly all foreign-made products where purchasing must use the dollar or Euro. For the first year, more than 70% of the budget for the purchase of budgeted corporate broadcasting equipment, for the second year onwards, the budget will fall drastically, since only for operations and maintenance alone. But, according to the age of most of the tools only for 5 years, then in year 6, should be budgeted for replacement of equipment (it was done by a company who cares age operational tool, but for those who only just noticed the economic element, which is patchily may or cannibals, but if for the system? hard once to add embroidery / cannibal, which is often the system hangs or even not working at all) is certainly a very large value. That condition is a very ironic, on the one hand, the existence of the broadcasting companies are helping the situation this country who are slumped in opening employment is very large. On the one hand, this becomes an irony, because the moment our country is low, but our foreign exchange flows to rush out of the country for the purchase of broadcasting equipment. It is right to give advantage to the vendor of broadcast equipment provider is, but still greater benefits received by the manufacturer of broadcasting equipment and of course his country. “Companies spend money in the form of dollars / Euros for the purchase of broadcasting equipment and receive revenues in dollars from advertising”. How long those rights will continue to happen?

Therefore, to participate lift the national economy was slumped, and arouse a sense of love and proud of the products in the country (which of course quality and competitive price), so now I'm looking for a local broadcasting equipment manufacturers. If now, I really do not expect a manufacturer of equipment such as cameras, VTR, switcher, mixer, news automation, on-air automation etc., may suffice as accessories used with various connectors (XLR, BNC. Phono, RCA), Patch Panel, Rack mount and other accessories; to the front then we expect a manufacturer that makes equipment much more sophisticated. But if any producer who has an outside broadcasting equipment that, of course, very grateful. Indonesia-made products made host in his own country. For colleagues who have the equipment or also has information about the equipment, can contact me

But, I also have the experience, when asking the price one transmitter to the famous state in the country, for the same transmitter power. But it was m

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Technorati Tags: made in local,localtv

ore expensive than products made in Italy, besides the price is the price of the warehouse while the price Italy products already on-location. If this keeps up, how will this nation forward? People would be search foreign products better and cheaper

Indonesian Fully Digital In 2015

2009-12-06T23:35:00.001-08:00

Jakarta (ANTARA-NEWS) - Indonesia no later than the year 2015 will be all-digital for all electronic devices including television.

“In 2015-2016 Indonesia is expected to have ‘totally digital’,” said Director General SKDI ([Sistem Komunikasi dan Disemasi Informasi] Communication Systems and Information Dissemination) Department Komunikasi dan Informatika [Department of Communication and Information] (Depkominfo), Freddy H. Tulung, in Jakarta, Tuesday.

He said that in 2015-2016 is estimated analog equipment is becoming obsolete because of his age getting older and no longer produced. “We expect even more rapid than that because every year we have an annual evaluation of the effort to ‘totally switch off analogue’ with digital”, he said.

Freddy suggests there are three phases to the program of digitizing all the equipment in Indonesia.

Throughout 2008 and it allocates time for socializing digital equipment.

In 2009-2010 it began to test and continue to socialize in a wider area.

“Gradually we began issuing digital licenses and stop for a particular region analogous permission”, he said.

In the period 2012-2015, it will widen the digital coverage to various regions not only in big cities but also towns and cities were small.

March 2009, for example, digital television broadcasts have started can be seen by the public in the Greater Jakarta in the early stages. Digital television broadcasting or digital broadcasting is a type of television broadcasting using digital modulation and compression systems to broadcast video signals, audio, and data to the television.

Digital television is developed due to changes in the external environment, ie analog TV market was saturated and because of competition with satellite broadcasting systems and cable. In addition, other factors that cause is the development of

Technorati Tags: totally digital,dissemination,obsolete,digital television broadcasting,digital modulation,satellite broadcasting system

technology, especially digital signal processing, digital transmission technology, semiconductor technology, and technology high-resolution equipment

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Installation TMC PostPro in Tendean Square

2009-12-03T19:48:00.001-08:00

Installing 2 pieces editing suites, audio-video and 1 audio post pro with VTR Digital Betacam, Betacam VTR and VTR MiniDV Analog using VTR system and Centralized patching. Computer interface between the MAC and VTR using AJA KONA products. By using the patching system will save money for the purchase of VTR and VTR's position need not removable if there is going to transfer, print or capture of an editing suite with others.

In the usual way (do not use patching system), if we want to transfer in the edit 1, for example, then we should move the VTR into the edit room 1 and install it, and if we want to print in edit 2, then we took off the cable and move the VTR to edit 2 and install again. Of course, if it is done continuously be very inconvenient and certainly makes a lot of time wasted to install and take them off again. using patching system, so that off and just in patch panel enough, without having to move the device a fairly heavy The VTR. If we do not want to move the VTR from an edit suite to another, then we must prepare a minimum of 1 per 1 VTR editing suites, which of course it is a complete waste of money, especially if the edit suite a lot. is not flexible. With system patching, then embraced the matrix pattern, each edit suite which can connect with any of the VTR, as well as VTR, can connect with the edit suite anywhere, very practical and economical.

For colleagues who are looking for an alternative post-pro studios both video and audio, then post pro tattoo studio can be one of the references. With a complete VTR equipment both digital and analogue and using Final Cut Pro software is a tattoo studio pro Post can provide service as expected.

CP : Mr. Arisman Chandra (Tato Studio PostPro, Tendean Square)

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Technorati Tags: vtr digital betacam,betacam vtr,vtr miniDV,vtr system,centralized patching

Television Broadcast Industry and the Opportunity

2009-09-02T21:57:00.001-07:00

The growth of Television Broadcast Industry in Indonesia has increased significantly in this decade. The scale of operations will be different among stations depend on the business, target audience, licenses and other factors. This variety will impact to the system applied at every station. Another critical factor in Television Broadcast Industry is the time to welcome the Digital Technology. This is the era of transition to digital technology where every single decision made to add or replace a component in a Broadcast System should be determined carefully.

A tight competition among Stations not only for the program content, Continuity of the Operations and Broadcast Quality will affect directly to the income of the station.

Who is MAS

Commercial and Private Broadcast Television Industry in Indonesia started on the year of 1988. The founder of MAS have involved since the ground work of the constructions and setup a platform of operations in Engineering Division and the development for many years. MAS was established since the year of 2000. The owners of MAS has worked together with most of the internationally reputable Vendors, Factories, Consultant, System Integrators which involved in the Television Industry for more than 15 years. This experience has made MITRABIZ ANDALAN SOLUSI always lead in supporting the best for the Stations Achievement in the Engineering aspect such as :

Technical Consultation, Technical adviser and Technical assistant for Stations in planning and expansion of Station’s Broadcast facility.

Helping Stations to Supervise and Monitor the execution of the construction

Integrate, Supply and Install.

Train and develop Human Resources in Broadcasting Operations and Technology

Assessment and Auditing the existing Engineering System in a Station

Takes pride in its ability to customize solutions for your specific business needs. Whether it is modifying a product, building a custom solution, or customizing a control panel, we are problem solvers who will do what it takes to develop the right solution to make your job easier. l.

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Source : www.mitrabiz.co.id

Video Server

2009-05-24T22:41:00.000-07:00

A video server is a computer based device (also called a 'host') dedicated to delivering video.

Unlike PCs or Macs, both being multi-application devices, a video server is designed for one purpose; provisioning video, often for broadcaster. A professional grade video server records, stores, and plays back multiple streams of video without any degradation in the video signal. Broadcast quality video servers often store hundreds of hours of compressed video (in different codecs ), play out multiple and synchronised simultaneous streams of video, and offer quality interfaces such as SDI for digital video and XLR for balanced analog audio or AES/EBU digital audio and also Time Code.

They allow to natively record in the same codec that is used in the editing software to prevent any wasted time in transcoding.

Broadcast automation

In the TV broadcast industry, a server is a used to store broadcast quality images and allows several users to edit stories using the images they contain simultaneously.

The video server can be used in a number of contexts, some of which include:

News: providing short news video clips as part of a news website (such as CNN.
Production: enhance live events with instant replays and slow motion and highligths (sport production)
Instruction: delivering course material in video format.
Public Access: delivering city specific information to residents over a cable system.
Surveillance: deliver real-time video images of protected sites.
Entertainment: deliver film trailers or music videos.

Features

Typically, a video server can do the following:

ingest of different sources : video cameras (multiple angles), satellite data feeds, disk drives and other video servers. This can be done in different codecs.
temporary or definitive storage of these video feeds.
maintain a clear structure of all stored media with approriate metadata to allow fast search : name, remarks, rating, date, time code, etc.
video editing of the different clips
transfer those clips to other video servers or playouts direclty (via IP interface or SDI)

Generally, they have several bi directional channels (record and ingest) for video and audio. A perfect synchronisation is necessary between those channels to manage the feeds.

Video Surveillance

In the surveillance context, an IP video server converts analog video signals into IP video streams. The IP video server can stream digitized video over IP networks in the same way that an IP Camera can. Because an IP Video server uses IP protocols, it can stream video over any network that IP can use, including via a modem for access over a phone or ISDN connection. With the use of a video server attached to an analog camera, the video from an existing surveilance system can be converted and networked into a new IP surveillance system.

In the video security industry a video server is a device to which one or more video sources can be attached. Video servers are used to give existing analog systems network connectivity. Video servers are essentially transmission/ telemetry / monitoring devices. Viewing is done using a web browser or in some cases supplied software. These products also allow the upload of images to the internet or direct viewing from the internet. In order to upload to the internet an account with an ISP (internet service provider) may be required. Manufacturers of video servers include well known names in the global security industry such as Sony, Honeywell Security, Bosch Security, Axis Communications and Videor Technical.

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Television: A Brief History and Overview (Part 2)

2009-05-17T20:21:00.000-07:00

The End of Spinning Disks

Electronic television, which used cathode ray tubes as receivers and transmitters, was developed simultaneously and independently in the United States in the early 1920s by Vladimir K. Zworykin and Philo T. Farnsworth. They both built on the tube developed in 1897 by Karl Ferdinand Braun in Germany.
The first regular broadcasts of electronic television for the public began in 1936. In London, England, they were using 405 horizontal scanning lines. France adopted a 455-line electronic system that year. As well, the Berlin Olympics were telecast with 441 lines, and watched in special viewing rooms by the people of Berlin and Leipzig. In the United States, the first public showing of television was at the 1939 World's Fair in New York, using a 340-line system. Two years later, in 1941, an industry-wide engineering committee adopted standards for a 525-line system based on specifications developed by the Radio Corporation of America (RCA). At that time there were about 7,000 television sets in the U.S., most of them in New York. However, during the Second World War, telecasting was reduced from 15 hours a week to just 4.
The system was authorized by the Federal Communications Commission (FCC) in the United States and became known as NTSC, named after the National Television System Committee, which developed it. But, it was after World War II that regular broadcasting actually began, and after 1945, television developed rapidly throughout the world, most of Europe choosing a 625-line system that was incompatible with the U.S. 525-line standard.
When peacetime activities resumed, television mania quickly swept the continent, on both sides of the border. Etiquette columns in the local paper urged consumers to purchase sets for the dining room to prevent families from eating in the living room. Non-TV set owners watched several hours a week at other peoples' homes. Optometrists offered special TV-watching glasses to prevent "telestrain" and viewers were advised to shift their gaze when viewing for long periods. In polls of the day, two-thirds said they did less reading, and two-thirds also did less visiting. Magazine readership went down 25%, and local bars had their patronage reduced by the same amount (that is, until they got their own TV sets!)

Colour
stoundingly, and over the objections of much of the U.S. television industry, the FCC in 1950 approved a mechanical colour television system that was incompatible with the millions of black-and-white sets then in use. It had been developed by the Columbia Broadcasting System (CBS) and involved placing rotating coloured filter wheels over both the camera imaging device and the home receiver. Eventually, a second National Television System Committee was convened to develop a compatible colour system.
The 525-line NTSC colour system gained FCC approval in 1953, but it was ten years before the public responded and bought colour sets in any significant numbers. In Europe, two different 625-line colour systems were introduced (PAL and SECAM.)
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Television: A Brief History and Overview

2009-05-15T03:28:00.000-07:00

Since its start in the 1920s, broadcasting in general has provoked a variety of responses from institutions affected by it. Many businesses see it as the most important contemporary advertising medium, but many educators regard it as a foe of literacy and serious thought. Many critics have pointed out its tendency toward escapism.
In 1927 (before television), H. G. Wells condemned radio as useful only to "very sedentary persons living in badly lighted houses or otherwise unable to read...and who have no capacity for thought or conversation."
By 1961, Newton Minow (then chair of the FCC in the U.S.) had described television as a "vast wasteland...of game shows, violence...sadism, murder, western bad men, western good men, private eyes, gangsters, more violence, and cartoons."
It's been said that television technology is the most advanced technology on the planet. That may be a debatable point, but without a doubt, it's become part of our lives. We've witnessed man's first steps on the moon, and colour pictures from planets in the solar system. And all of this can be yours, in the privacy of your own home, for a relatively small investment.
Whatever its achievements, or whatever its failings, there's no doubt that television is capable of exerting an influence that no other medium of communication can match. This is something to think about the next time you pull a dissolve lever, roll a tape, aim a camera, slide an audio fader, count out a video, type a line of electronic text...
How It All Began
The basic concept of television - the transmission of images over distances - had challenged scientists even before the invention of the movies or radio.

In 1875, George Carey in Boston proposed a system of a grid of photoelectric cells facing the image to be transmitted, connected up, in parallel, to a similar grid made up of light bulbs. It was, by definition, a very low resolution system, and would have required thousands of connections from the photocells to the bulbs
The Nipkow scanning disc, the basis of mechanical television, was invented in 1883. It was simply a metal disc perforated by holes arranged in a spiral. When it revolved, the disc could scan a picture placed behind it. The resulting changes in light intensity were picked up by a photoelectric cell, which converted the changes in light to an electrical signal. This signal was then sent via electric wires to a receiver where there was an identical disc turning at the same speed in front of a lamp whose brightness changed according to the received signal. By rapidly changing the picture, the illusion of movement was achieved. Nipkow's ideas were just that - ideas, since this technology couldn't actually be implemented with the materials available in the late 19th century
The present system of electronic television was proposed in detail by a Scotsman, A. A. Campbell-Swinton, in 1908, but again, his ideas were theoretical in nature, since the ability to put together cathode ray tubes wasn't ready for prime time.
The many early television schemes envisioned transmission through wires, not over the air. Guglielmo Marconi's invention of the wireless radio (1895) spurred efforts toward over-the-air transmission of pictures, and in the late 1920s, radio and motion pictures were combined.
Charles Francis Jenkins, the inventor of the modern motion picture projector, in 1928 began regular broadcasts of crude "radiomovies" in Washington, D.C., using motion-picture film as a source.

John Logie Baird in 1926 developed a similar mechanical TV system in Britain, based on Nipkow's concepts, which became the basis for the BBC's first regular television broadcasts. Also in the 1920s, Baird developed and demonstrated the first colour television system and the first videodisc system.

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What's In A Television Station

2009-04-23T21:17:00.001-07:00

The TV Station As A Whole

The basic television system consists of equipment and people to operate it so that we can produce TV programs. The stuff you'll find in a television station (gifpicture 255K) consists of (and this list is not exhaustive!):

one or more television cameras
lighting, to see what we're shooting
one or more audio consoles, along with sound control equipment, to manipulate the sounds we generate with microphones, audio recorders and players, and other devices
one or more videotape recorders, in any of a number of formats
one or more video switchers, to select video sources, perform basic transitions between those sources, and to create special effects
EFP (electronic field production) shooting and production equipment, and storage facilities
perhaps a post-production editing facility, to assemble videotaped segments together
some special effects: either visual or aural; electronic, optical or mech

The Studio

Whether or not you work in a traditional studio or a new "studioless" environment, the same principles apply. You'll still need:

an intercom system (with headset stations for floor directors)
floor monitors (video and audio)
electrical outlets for both regular AC and lighting equipment

In addition, your control room or control centre will have:

various program and preview monitors
program audio speakers
time of day clock
video switcher
an audio control room, with audio console, cart machines, turntable and/or CD player, reel to reel and/or cassette and/or DAT recorder, and auxiliary audio enhancement equipment

Other Areas

You will also need the services of:

central VTR, with its various videotape machines
master control, without which this whole TV program can't get on the air
an engineering department to keep all of this running, and design and build new and improved facilities

Source;

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Component Measurement Techniques

2009-03-29T23:40:00.001-07:00

Overview

Although the basic monitoring and measuring techniques for component signals are not much

different from those for composite signals, additional special methods have been devised that allow certain component measurements to be made with greater ease or accuracy. Both basic and special measurement techniques are discussed in this section, with emphasis on the special component techniques.

While the synchronizing and reference portions of the video signal have known characteristics that can be tested, the active (picture) portion of the waveform is quite arbitrary. We usuall don’t know precisely what image the video represents, so we can’t detect distortions by just looking at the waveform itself. Rather we

must replace the picture with a known test signal and deduce from it how well the system will handle actual video signals

Fig 1a. The Tektronix TG2000 Signal Generation Platform is capable of producing signals in a variety of video formats, including component analog

Fig 1b. The Tektronix 1760 series of component waveform/vector monitors have facilities for displaying both component and composite video signals.

Many test signals have been designed to enable easy and accurate component video measurements, and specialized test and monitoring instruments are available for evaluating these signals.

Caution: There are essentially three different standards for the CAV color difference format. Make sure you know the signal requirements for your specific equipment before you proceed with measurements

Equipment Requirements

For testing component equipment and systems you need a component test signal generator and a component waveform monitor. All of the examples in this book were generated using Tektronix component generators, such as the TG2000 (Figure 2a) and component waveform monitors, such as the 1760 series (Figure 2b). The TG2000 is a programmable signal generator, based on a modular platform architecture. This allows it to be configured for virtually any video format and standard, including analog component. The standard analog
generator module (AVG1) comes complete with all of the component test signals described in this book.

The 1760 series is a family of combination waveform/vector monitors, with multiformat capability. They feature eight loop-through video inputs, allowing them to monitor two composite and two component analog signals. This is particular-ly useful, as most component video facilities must also handle composite signals as well.

Miscellaneous Guidelines

The examples in this section are organized by measurement type: amplitude, timing, or signal validity. If a particular test signal and waveform monitor display present information about more than one characteristic of the signal, they may be discussed in more than one context. The thoroughness of video measurements can range from simple and perfunctory to complex and meticulous. When considering which equipment and measurement techniques are most appropriate, it’s important to consider your objective:

Perhaps you just wish to know if the video is present, along with some very general information about its content or quality. You’re only trying to find out whether the video is from a camera or from a test signal feed, whether sync is present, etc. On the other hand, you may need enough information to quickly determine if your equipment is working well enough to do the job at hand. You want to know if the level is about right, if everything is terminated correctly, if the black level on the camera has been set, etc. At times, however, you may need to go into much greater depth, using care and even calculations to accurately measure or adjust the characteristics of your equipment.

The examples in the remainder of this section cover a variety of techniques, at differing levels of complexity, for measuring and evaluating component signals. As you gain experience, you’ll
probably add others to your bag of tricks.

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How Critical is Timing?

2009-03-25T02:20:00.001-07:00

The relative timing of two three-wire component signals involves many of the same issues as the relative timing of two composite signals. But small internal timing errors affect signals in component form very differently from those in composite.Internal timing problems in composite signals include differential phase distortion, burst phase error, and chrominance vs. luminance delay. These problems occur when certain parts of the signal are advanced or delayed relative to others. Even small errors of this type — especially timing errors between the reference burst and the chrominance subcarriers — may distort large areas of color in the image. These large effects in composite signals become evident during decoding. Because the color difference signals are conveyed with suppressed carrier modulation, it’s necessary to regenerate the (sub)carrier as part of the demodulation process. But since the color burst conveys the subcarrier phase information, any timing errors between the burst and the modulated chrominance signal will result in serious color distortions

Internal timing problems in component signals result from differences in timing among the three components that form a video signal. (Such problems are sometimes referred to as “interchannel’’ timing errors.) Small internal timing errors will cause slight horizontal displacements that produce distortions only around vertical lines or edges. In a single-pass component system (like most ENG facilities) relative timing is usually not an issue. It takes fairly large timing
errors — as much as 10 to 30 nanoseconds between channels — to produce noticeable edge artifacts in a component video image. Keep in mind, however, that timing errors can be cumulative if video is passed through the same channels many times in a complex process. In that case, even a few nanoseconds of error might be troublesome

What About Amplitude?

Component systems are prone to different kinds of amplitude errors from composite. In composite signals, the most likely amplitude imbalance results from frequency response problems. Since the color difference components
have been shifted to frequencies high in the video band, their level may not match that of the lower frequency luminance signal. Such chrominance vs.
luminance gain errors affect the saturation of colored areas, manifesting themselves as either too much or too little color.

Component signals risk another kind of amplitude error: Because the color difference components travel separate paths, they can be mismatched to each other as well as to the luminance component. Gain ratio errors between the chrominance components cause hue problems in the image. Mixed colors will be wrong. (The effect will look somewhat like small burst phase errors in a composite system.) In some cases, errors in gain ratio between components will generate an “illegal’’ signal — one that exceeds its specified amplitude range. Even if a signal is within the amplitude limits in one format, it can exceed the limits when translated to a new format. An illegal signal may suffer permanent damage by being clipped or otherwise distorted in subsequent processing and is likely to cause other problems as well

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Why Keep the Components Separate?

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Keeping the components separate is likely to improve picture quality because encoding a color signal is not a very clean process. Encoding is done by modulating a pair of RF subcarriers with the color difference components, using suppressed carrier AM techniques. The side-bands generated in the modulation process are then combined with the luminance signal.
Although the scanning format and subcarrier frequencies are chosen to minimize problems, the system is not perfect. Whenever video is encoded, some information about the image is lost, and unavoidable artifacts of the modulation and combining processes are generated. These effects are often referred to as the “footprint’’ left on the video signal by the encoding and decoding processes. Encoded video itself is relatively prone to distortion. The chrominance information is carried high in the video frequency spectrum as sidebands above and below the subcarrier frequency (3.58 MHz in NTSC, 4.43 MHz in PAL).

These high frequency signals often have high amplitudes as well. Such signals are difficult to handle without distortion in recording and distribution equipment. Decoding a composite signal can also contribute undesirable artifacts. Chroma crawl, busy edges, loss of detail in colored areas, and cross-color “rainbows’’ are encode/decode artifacts that are all too familiar.

These artifacts are especially troublesome when generating a

chroma key signal from a composite source. The key signal will often have edge problems related to the “busyness’’ of the decoded signal.

Transcoding from RGB to other component formats uses linear processes without the severe bandlimiting and modulation steps needed for encoding. The RGB video developed in the camera (or other source) therefore suffers little distortion in being translated to another component format. A key signal, for example, will be cleaner if it can be derived from component video that has never been encoded. In fact, the fewer times a signal is encoded and decoded, the better its quality will be. Each pass through the process adds a little more to the footprint, and although the impairments can be improved by using comb filters and other complex techniques, they can never be completely eliminated. By reducing the required number of encode/decode steps, editing in component format generally leads to an improved image.

Do Components Present Unique Problems?

Although component signals are quite robust, they are not “bulletproof.’’ Two kinds of potential problems exist: those that are inherent to both composite and component systems and those that are peculiar to components. The advantages of component technology are achieved by maintaining separate, parallel paths for the component signals. Just as for composite video, these paths must be “clean’’ in terms of familiar characteristics such as frequency response,

transient response, noise, hum,etc. Monitoring the individual components for these attributes employs essentially the same techniques as are used for composite signals.Most of the quality control issues that are unique to component video are related to differences, primarily in gain or timing, between the three signal paths. The components must be a matched set, and anything that changes the relationships between them will cause a distortion in the image they represent. Editing and post production bring together signals that may have come from different sources and/or may have taken different paths through the system. This increases the chances for problems in both composite and component facilities, but the risk is greater for component systems in which multiple paths (usually three in parallel) are used for each signal.

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