1.
Graphics display resolution
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The graphics display resolution is the width and height dimensions of an electronic visual display device, such as a computer monitor, in pixels. Certain combinations of width and height are standardized and typically given a name, a higher display resolution in a display of the same size means that displayed content appears sharper. The favored aspect ratio of mass market display industry products has changed gradually from 4,3, then to 16,10, and then to 16,9, the 4,3 aspect ratio generally reflects older products, especially the era of the cathode ray tube. The 16,10 aspect ratio had its largest use in the 1995–2010 period, and the 16,9 aspect ratio tends to reflect post-2010 mass market computer monitor, laptop, and entertainment products displays. The 4,3 aspect ratio was common in older cathode ray tube displays. The 16,10 ratio allowed some compromise between showing older 4,3 aspect ratio broadcast TV shows, but also allowing better viewing of widescreen movies. However, around the year 2005, entertainment industry displays gradually moved from 16,10 to the 16,9 aspect ratio, by about 2007, virtually all mass market entertainment displays were 16,9. In 2011, 1920×1080 was the resolution in the most heavily marketed entertainment market displays. The next standard, 3840×2160 emerged on the market in 2013, also in 2013, displays with 2560×1080 appeared, which closely approximate the common CinemaScope movie standard aspect ratio of 2. 35–2.40. In 2014,21,9 screens with pixel dimensions of 3440×1440 became available as well, in this time frame, with the notable exception of Apple, almost all desktop, laptop, and display manufacturers gradually moved to promoting only 16,9 aspect ratio displays. By 2011, the 16,10 aspect ratio had virtually disappeared from the Windows laptop display market, one consequence of this transition was that the highest available resolutions moved generally downward. NHD is a resolution of 640×360 pixels, which is exactly one ninth of a Full HD frame. Pixel doubling nHD frames will form one 720p frame and pixel tripling nHD frames will form one 1080p frame, one drawback of this resolution is that the vertical resolution is not an even multiple of 16, which is a common macroblock size for video codecs. Video frames encoded with 16×16 pixel macroblocks would be padded to 640×368, H.264 codecs have this padding and cropping ability built-in as standard. The same is true for qHD and 1080p but the amount of padding is more for lower resolutions such as nHD. To avoid storing the eight lines of padded pixels, some prefer to encode video at 624×352. When such video streams are encoded from HD frames or played back on HD displays in full screen mode they are scaled by non-integer scale factors. True nHD frames on the hand has integer scale factors
2.
BT.709
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ITU-R Recommendation BT.709, more commonly known by the abbreviations Rec.709 or BT.709, standardizes the format of high-definition television, having 16,9 aspect ratio. The first edition of the standard was approved in 1990, Rec.709 refers to HDTV systems having roughly two million luma samples per frame. Rec.709 has two parts, Part 2 codifies current and prospective 1080i and 1080p systems with square sampling, in an attempt to unify 1080-line HDTV standards, part 2 defines a common image format with picture parameters independent of the picture rate. Part 1 codifies what are now referred to as 1035i30 and 1152i25 HDTV systems, the 1035i30 system is now obsolete, having been superseded by 1080i and 1080p square-sampled systems. The 1152i25 system was used for equipment in Europe and was never commercially deployed. Rec.709 specifies the following picture rates,60 Hz,50 Hz,30 Hz,25 Hz and 24 Hz, fractional rates having the above values divided by 1.001 are also permitted. Initial acquisition is possible in either progressive or interlaced form, video captured as progressive can be transported with either progressive transport or progressive segmented frame transport. Video captured as interlaced can be transported with interlace transport, in cases where a progressive captured image is transported as a segmented frame, segment/field frequency must be twice the frame rate. Rec.709 defines an R’G’B’ encoding and a Y’CBCR encoding, in the 8-bit encoding, the R’, B’, G’, and Y’ channels have a nominal range of, and the CB and CR channels have a nominal range of with 128 as the neutral value. So in R’G’B’, reference black is and reference white is, and in Y’CBCR, reference black is, values outside the nominal ranges are allowed, but typically they would be clamped for broadcast or for display. Values 0 and 255 are reserved as timing references, and may not contain color data, 709s 10-bit encoding uses nominal values four times those of the 8-bit encoding. 709s nominal ranges are the same as those defined in ITU Rec, note that red and blue are the same as the EBU Tech 3213 primaries while green is halfway between EBU Tech 3213 and SMPTE C. In coverage of the CIE1931 color space the Rec.709 color space is almost identical to Rec.601, when converting between the various HD and SD formats, it would be correct to compensate for the differences in the primaries. Correcting for differences in the primaries would cause the color bars on the converted tape to be inaccurate. Incorrect color bars will cause a master to be rejected by quality control checks, HDTV according to Rec.709 forms luma using R’G’B’ coefficients 0.2126,0.7152, and 0.0722. 601, the match the primaries and white points, so luma corresponds more closely to luminance. Some experts feel that the advantages of correct matrix coefficients do not justify the change from Rec.601 coefficients, although worldwide agreement on a single R’G’B’ system was achieved upon the adoption of Rec. 709, adoption of different luma coefficients created a second flavour of Y’CBCR, Rec.709 is written as if it specifies the capture and transfer characteristics of HDTV encoding - that is, as if it were scene-referred
3.
Image resolution
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Image resolution is the detail an image holds. The term applies to digital images, film images. Higher resolution means more image detail, image resolution can be measured in various ways. Resolution quantifies how close lines can be to other and still be visibly resolved. Resolution units can be tied to physical sizes, to the size of a picture. Line pairs are used instead of lines, a line pair comprises a dark line. A line is either a line or a light line. A resolution of 10 lines per millimeter means 5 dark lines alternating with 5 light lines, photographic lens and film resolution are most often quoted in line pairs per millimeter. The resolution of digital cameras can be described in different ways. Resolution is the capability of the sensor to observe or measure the smallest object clearly with distinct boundaries, there is a difference between the resolution and a pixel. A pixel is actually a unit of the digital Resolution depends upon the size of the pixel, usually, with any given lens setting, the smaller the size of the pixel, the higher the resolution will be and the clearer the object in the image will be. Images having smaller pixel sizes might consist of more pixels, the number of pixels correlates to the amount of information within the image. An image of N pixels height by M pixels wide can have any less than N lines per picture height. Other conventions include describing pixels per unit or pixels per area unit. None of these pixel resolutions are true resolutions, but they are referred to as such. Below is an illustration of how the image might appear at different pixel resolutions. An image that is 2048 pixels in width and 1536 pixels in height has a total of 2048×1536 =3,145,728 pixels or 3.1 megapixels, one could refer to it as 2048 by 1536 or a 3. 1-megapixel image. Or, you can think of it as a low quality image if printed at about 28.5 inches wide
4.
High-definition video
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High-definition video is video of higher resolution and quality than standard-definition. While there is no standardized meaning for high-definition, generally any video image with more than 480 horizontal lines or 576 horizontal lines is considered high-definition. 480 scan lines is generally the even though the majority of systems greatly exceed that. Images of standard resolution captured at rates faster than normal, by a camera may be considered high-definition in some contexts. Some television series shot on video are made to look as if they have been shot on film. The first electronic scanning format,405 lines, was the first high definition television system, from 1939, Europe and the US tried 605 and 441 lines until, in 1941, the FCC mandated 525 for the US. In wartime France, René Barthélemy tested higher resolutions, up to 1,042, in late 1949, official French transmissions finally began with 819. In 1984, however, this standard was abandoned for 625-line color on the TF1 network, modern HD specifications date to the early 1980s, when Japanese engineers developed the HighVision 1, 125-line interlaced TV standard that ran at 60 frames per second. The Sony HDVS system was presented at a meeting of television engineers in Algiers, April 1981. HighVision video is still usable for HDTV video interchange, but there is almost no modern equipment available to perform this function, attempts at implementing HighVision as a 6 MHz broadcast channel were mostly unsuccessful. All attempts at using this format for terrestrial TV transmission were abandoned by the mid-1990s, Europe developed HD-MAC, a member of the MAC family of hybrid analogue/digital video standards, however, it never took off as a terrestrial video transmission format. HD-MAC was never designated for video interchange except by the European Broadcasting Union, in essence, the end of the 1980s was a death knell for most analog high definition technologies that had developed up to that time. In the end, however, the DVB standard of resolutions, the FCC officially adopted the ATSC transmission standard in 1996, with the first broadcasts on October 28,1998. In the early 2000s, it looked as if DVB would be the video standard far into the future, high definition video is defined threefold, by, The number of lines in the vertical display resolution. High-definition television resolution is 1,080 or 720 lines, in contrast, regular digital television is 480 lines or 576 lines. However, since HD is broadcast digitally, its introduction sometimes coincides with the introduction of DTV, additionally, current DVD quality is not high-definition, although the high-definition disc systems Blu-ray Disc and the HD DVD are. The scanning system, progressive scanning or interlaced scanning, progressive scanning redraws an image frame when refreshing each image, for example 720p/1080p. Interlaced scanning yields greater image resolution if subject is not moving, the number of frames or fields per second
5.
Interlaced video
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Interlaced video is a technique for doubling the perceived frame rate of a video display without consuming extra bandwidth. The interlaced signal contains two fields of a video frame captured at two different times and this enhances motion perception to the viewer, and reduces flicker by taking advantage of the phi phenomenon. This effectively doubles the resolution as compared to non-interlaced footage. Interlaced signals require a display that is capable of showing the individual fields in a sequential order. CRT displays and ALiS plasma displays are made for displaying interlaced signals, Interlaced scan refers to one of two common methods for painting a video image on an electronic display screen by scanning or displaying each line or row of pixels. This technique uses two fields to create a frame, one field contains all odd-numbered lines in the image, the other contains all even-numbered lines. A Phase Alternating Line -based television set display, for example, the two sets of 25 fields work together to create a full frame every 1/25 of a second, but with interlacing create a new half frame every 1/50 of a second. To display interlaced video on progressive displays, playback applies deinterlacing to the video signal. The European Broadcasting Union has argued against interlaced video in production and they recommend 720p 50 fps for the current production format—and are working with the industry to introduce 1080p 50 as a future-proof production standard. 1080p 50 offers higher vertical resolution, better quality at lower bitrates, despite arguments against it, television standards organizations continue to support interlacing. It is still included in digital video formats such as DV, DVB. Progressive scan captures, transmits, and displays an image in a similar to text on a page—line by line. The interlaced scan pattern in a CRT display also completes such a scan, the first pass displays the first and all odd numbered lines, from the top left corner to the bottom right corner. The second pass displays the second and all even numbered lines and this scan of alternate lines is called interlacing. A field is an image that contains only half of the lines needed to make a complete picture, persistence of vision makes the eye perceive the two fields as a continuous image. In the days of CRT displays, the afterglow of the displays phosphor aided this effect, interlacing provides full vertical 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 576i 50 and 720p 50 specify the frame rate for progressive scan formats, but for interlaced formats they typically specify the field rate. This can lead to confusion, because industry-standard SMPTE timecode formats always deal with frame rate, not field rate
6.
1080p
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1080p is a set of HDTV high-definition video modes characterized by 1080 horizontal lines of vertical resolution, the p stands for progressive scan, id est non-interlaced. The term usually assumes a widescreen ratio of 16,9. It is often marketed as full HD, to contrast 1080p with 720p resolution screens, 1080p video signals are supported by ATSC standards in the United States and DVB standards in Europe. Small camcorders, smartphones and digital cameras can capture still and moving images in 1080p resolution.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 and 1080p60 signal. In the United States, the original ATSC standards for HDTV supported 1080p video, in July 2008, the ATSC standards were amended to include H. 264/MPEG-4 AVC compression and 1080p at 50,59.94 and 60 frames per second. Such frame rates require H. 264/AVC High Profile Level 4.2, in Europe, 1080p25 signals have been supported by the DVB suite of broadcasting standards. The 1080p50 format is considered to be a production format and, eventually. EBU requires that legacy MPEG-4 AVC decoders should avoid crashing in the presence of SVC and/or 1080p50 packets, the ITU-T BT.2100 standard that includes advanced 1080p video was subsequently published in July 2016. There is no word when any of the networks will consider airing at 1080p in the foreseeable future. However, satellite services utilize the 1080p/24-30 format with MPEG-4 AVC/H.264 encoding for pay-per-view movies that are downloaded in advance via satellite or on-demand via broadband. At this time, no pay service such as USA, HDNET, etc. nor premium movie channel such as HBO. For material that originates from a progressive scanned 24 frame/s source, MPEG-2 lets the video be coded as 1080p24 and these progressively-coded frames are tagged with metadata instructing a decoder how to perform a 3,2 pulldown to interlace them. In June 2016, Germany commenced terrestrial broadcasts of eight 1080p50 high-definition channels, using DVB-T2 protocol with HEVC encoding, a total of 40 channels will be available by March 2017. Blu-ray Discs are able to hold 1080p HD content, and most movies released on Blu-ray Disc produce a full 1080p HD picture when the player is connected to a 1080p HDTV via an HDMI cable. The Blu-ray Disc video specification allows encoding of 1080p23.976, 1080p24, 1080i50, generally this type of video runs at 30 to 40 megabits per second, compared to the 3.5 megabits per second for conventional standard definition broadcasts. Smartphones with 1080p FullHD display have been available on the market since 2012, as of the end of 2014, it is the standard for mid-range to high-end smartphones and many of the flagship devices of 2014 used even higher resolutions. 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-rays 30 to 40 megabits per second
7.
Widescreen
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Widescreen images are a variety of aspect ratios used in film, television and computer screens. In film, a film is any film image with a width-to-height aspect ratio greater than the standard 1.37,1 Academy aspect ratio provided by 35mm film. For television, the screen ratio for broadcasts was 4,3. Between the 1990s and early 2000s,16,9 TV displays came into wide use and they are typically used in conjunction with high-definition television receivers, or Standard-Definition DVD players and other digital television sources. With computer displays, aspect ratios wider than 4,3 are also called widescreen, widescreen computer displays were previously of 16,10 aspect ratio, but now are usually 16,9. Widescreen was first used in the film of the Corbett-Fitzsimmons Fight in 1897 and this was not only the longest film that had been released to date at 100 minutes, it was also the first widescreen film being shot on 63mm Eastman stock with five perforations per frame. Widescreen was first widely used in the late 1920s in some films and newsreels. Claude Autant-Lara released a film Pour construire un feu in the early Henri Chretien widescreen process, in 1927, The American aka The Flag Maker was released. In 1926, Spoor and Berggren had released a Natural Vision film of Niagara Falls, the Natural Vision widescreen process used 63. 5mm film and had a 2,1 aspect ratio. On May 26,1929, Fox Film Corporation released Fox Grandeur News, which premiered at Graumans Chinese Theatre in Hollywood on October 2,1930, all of which were also made in the 70mm Fox Grandeur process. On November 13,1930, United Artists released The Bat Whispers directed by Roland West in a 70mm widescreen process known as Magnafilm, warner Brothers released Song of the Flame and Kismet in a widescreen process they called Vitascope. In 1930, after experimenting with the system called Fanthom Screen for The Trail of 98, MGM filmed The Great Meadow in Realife—however, its unclear if it was ever released in that widescreen process due to declining interest of the movie-going public. S. However, a few producers and directors, among them Alfred Hitchcock, have been reluctant to use the anamorphic widescreen size featured in such formats as Cinemascope. Hitchcock alternatively used VistaVision, a widescreen process developed by Paramount Pictures. Masked widescreen was introduced in April 1953, a detriment is that the film grain size is thus increased because only part of the image is being expanded to full height. Films are designed to be shown in cinemas in masked widescreen format, in such an instance, a photographer will compose for widescreen, but protect the full image from things such as microphones and other filming equipment. Standardized flat wide screen ratios are 1.66,1,1.75,1,1.85,1,1.85,1 has become the predominant aspect ratio for the format. 35mm anamorphic – This type of widescreen is used for CinemaScope, Panavision, the film is essentially shot squeezed, so that the actors appear vertically elongated on the actual film
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