Jump to content

High-definition television: Difference between revisions

From Wikipedia, the free encyclopedia
Browse history interactively
← Previous editNext edit →
Content deleted Content added
VisualWikitext
ClueBot (talk | contribs)
1,596,818 edits
m Reverting possible vandalism by Coldbore to version by 83.167.100.36. False positive? Report it. Thanks, ClueBot. (799236) (Bot)
Line 6: Line 6:
{{further|[[Analog high-definition television system]]}}
{{further|[[Analog high-definition television system]]}}


The term ''high definition'' once described a series of television systems originating from the late 19000s; however, these systems were only high definition when compared to earlier systems that were based on mechanical systems with as few as 30<!-- Bas 1926 broadcasts consisted of 30 vertical (actually curved) lines.> lines of resolion.
The term ''high definition'' once described a series of television systems originating from the late 1930s; however, these systems were only high definition when compared to earlier systems that were based on mechanical systems with as few as 30<!-- Baird's 1926 broadcasts consisted of 30 vertical (actually curved) lines. --> lines of resolution.


The British high definition TV service starials in August 1936 and a regular service in November 1936 using both the (mechanical) Baird 240 line and (electronic) Marconi-EMI [[405 line]] (377i) systems. The Baird system was discontinued in February 1937. In 1938 France followed with their own [[441 line]] system, variants of which was also used by a number of other countries. The US [[NTSC]] syjoined in 1941. In 1949 France introduced an even higher resolution standard at [[819 line]]s (768i), a system that would be high definition even by today's standards, but it was hrome only. All of these systems used interlacing and a 4:3 [[aspect ratio (image)|aspect ratio]] except the 240 line system which was progressive (actually described at the time by the technically correct term of 'sequential') and the 405 line system which started as 5:4 and later changed to 4:3. The 405 line system adopted the (at that time) dea of interlaced scanning to overcome the flicker problem of the 240 line with its 25 Hz fr40 line system could have doubled its frame rate but this would have meant that the transmithave doubled in bandwidth, an unacceptable option.
The British high definition TV service started trials in August 1936 and a regular service in November 1936 using both the (mechanical) Baird 240 line and (electronic) Marconi-EMI [[405 line]] (377i) systems. The Baird system was discontinued in February 1937. In 1938 France followed with their own [[441 line]] system, variants of which was also used by a number of other countries. The US [[NTSC]] system joined in 1941. In 1949 France introduced an even higher resolution standard at [[819 line]]s (768i), a system that would be high definition even by today's standards, but it was monochrome only. All of these systems used interlacing and a 4:3 [[aspect ratio (image)|aspect ratio]] except the 240 line system which was progressive (actually described at the time by the technically correct term of 'sequential') and the 405 line system which started as 5:4 and later changed to 4:3. The 405 line system adopted the (at that time) revolutionary idea of interlaced scanning to overcome the flicker problem of the 240 line with its 25 Hz frame rate. The 240 line system could have doubled its frame rate but this would have meant that the transmitted signal would have doubled in bandwidth, an unacceptable option.


Color broadcasts started at similarly higher resolutions, first with the US' NTSC color system in 1953, whithe earlier B&W systems and therefore had the same 525 lines (480i) of resolution. European standards did not follow until the 1960s, when the [[PAL]] and [[SECAM]] colour systems were added to the monochrome 625 line (576i) broadcasts.
Color broadcasts started at similarly higher resolutions, first with the US' NTSC color system in 1953, which was compatible with the earlier B&W systems and therefore had the same 525 lines (480i) of resolution. European standards did not follow until the 1960s, when the [[PAL]] and [[SECAM]] colour systems were added to the monochrome 625 line (576i) broadcasts.


Since the formal adoption of [[Digital Video Broadcasting]]'s (DVB) widescreen HDTV transmission modes in the early 2000s the 525-line [[NTSC]] (and [[PAL-M]]) systems as well as the European 625-line [[PAL]] and [[SECAM]] systems are now regarded as ''standard definition'' television systems. In Australia, the 625-line digital progressive system (with 576 active lfficially recognized as high definition.<ref>{{cite web|url=http://www.broadcastandmedia.com/articles/ff/0c0276ff.asp|title=SBS jubilant with its 576p HD broadcasts}}</ref>
Since the formal adoption of [[Digital Video Broadcasting]]'s (DVB) widescreen HDTV transmission modes in the early 2000s the 525-line [[NTSC]] (and [[PAL-M]]) systems as well as the European 625-line [[PAL]] and [[SECAM]] systems are now regarded as ''standard definition'' television systems. In Australia, the 625-line digital progressive system (with 576 active lines) is officially recognized as high definition.<ref>{{cite web|url=http://www.broadcastandmedia.com/articles/ff/0c0276ff.asp|title=SBS jubilant with its 576p HD broadcasts}}</ref>


=== Analog s==
=== Analog systems ===
In 1958, the [[Soviet Union]] developed ''Тransformator'' ({{lang-ru|Трансформ ''Transformer''), the first high-resolution (definition) television system capable of producing an image composed of 1,125 lines of resolution aided at providing teleconferenr military command. It was a research project and the system was never deployed in the military or broadcasting.<ref>{{cite web|url=http://rus.625-net.ru/625/2tvch.htm|title=HDTV in the Russian Federation: problems and prospects of implementation (in Russian)}}</ref>
In 1958, the [[Soviet Union]] developed ''Тransformator'' ({{lang-ru|Трансформатор}}, ''Transformer''), the first high-resolution (definition) television system capable of producing an image composed of 1,125 lines of resolution aided at providing teleconferencing for military command. It was a research project and the system was never deployed in the military or broadcasting.<ref>{{cite web|url=http://rus.625-net.ru/625/2007/01/tvch.htm|title=HDTV in the Russian Federation: problems and prospects of implementation (in Russian)}}</ref>
⚫
, the Japanese state broadcaster [[Nippon Hōsō Kyōkai|NHK]] first developed consumer high-definition television with a 5:3 aspect ratio, a slightly wider screen format than the usual ard.<ref>{{cite web|url=http://www.pcworld.com/article/id,132289-c,hdtv/article.html|title=Researchers Craft HDTV's Successor}}</ref> The system, known as Hi- or MUSE after its [[Multiple sub-Nyquist sampling encoding]] for encoding the signal, required about twice the bandwidth of the existing NTSC system but provided about four times the resolution (1080i/1125 lines). Satellite test broadcasts started in 1989, with regular testin in 1991 and regular broadcasting of [[Broadcasting Satellite (Japanese)|BS]]-9ch commenced on 25 November 1994, which featured commercial and NHK programming.
⚫
1, the MUSE system was demonstrated for the first time in the United States. It had the same 5:3 aspect ratio as the Japanese system.<ref>{{cite web|url=http://www.tech-notes.tv/Archive/tech_notes_002.htm|title=Digital TV Tech Notes, Issue #2}}</ref> Upon a demonstration of MUSE in Washington, US President [[Ronald Reagan]] was most impressed and officially declared it "a matter of national interest" to introduce HDTV to the USA.<ref>James Sudalnik and Victoria Kuhl, "High definition television"</ref>
⚫
Several systems were proposed as the new standard for the USA, including the Japanese MUSE system, but all were rejected by the FCC because of their higher bandwidth requirements. At the same time that the high definition systems were being studied, the number of television s was growing rapidly and bandwidth was already a problem. A new standard had to be radically efficient, needing less bandwidth for HDTV than the existing NTSC standard for SDTV.ise of digital compression ===
⚫
Since 1972, [[International Telecommunication Union]]'s radio telecommunications sec[ITU-R]]) ITU-R has been working on creating a global recommendation for Analogue HDTV. These recommendations however did not fit in the broadcasting bands which could reach homes. The standardization of [[MPEG-1]] in 1993 also led to the acceptance of recommendations ITU-R BT.709<ref>{{cite web|url=http://www.itu.int/ITU-R/index.asp?category=information&li25&lang=en|title=High definition television comes of age thanks to ITU}}</ref>. In anticipation of these standards the DVB organisation was formed, an alliance of broadcasters, consumer ics manufacturers and regulatory bodies. The DVB develops and agrees on specifications which are formally standardised by ETSI<ref>{{cite web|url=http://www.dvb.t_dvb/history/|title=History of the DVB Project}}</ref>.


⚫
In 1969, the Japanese state broadcaster [[Nippon Hōsō Kyōkai|NHK]] first developed consumer high-definition television with a 5:3 aspect ratio, a slightly wider screen format than the usual 4:3 standard.<ref>{{cite web|url=http://www.pcworld.com/article/id,132289-c,hdtv/article.html|title=Researchers Craft HDTV's Successor}}</ref> The system, known as Hi-Vision or MUSE after its [[Multiple sub-Nyquist sampling encoding]] for encoding the signal, required about twice the bandwidth of the existing NTSC system but provided about four times the resolution (1080i/1125 lines). Satellite test broadcasts started in 1989, with regular testing starting in 1991 and regular broadcasting of [[Broadcasting Satellite (Japanese)|BS]]-9ch commenced on 25 November 1994, which featured commercial and NHK programming.
⚫
DVB created first the sr [[DVB-S]] digital satellite TV, [[DVB-C]] digital cable TV and [[DVB-T]] digital terrestrial TV. These broadcasting systems can be used for both SDTV and HDTV. In the USA the Grand Alliased [[ATSC Standards|ATSC]] as the new standard for SDTV and HDTV. Both ATSC and DVB were based on the MPEG-2 standard. The [[DVB-S2]] standard is based on the newer and more efficient [[H.VC]] compression standards. Common for all DVB standards is the use of highly efficient modulation techniques for further reducing bandwidth, and foremost for reducing receiver-hardwantenna requirements.


⚫
In 1981, the MUSE system was demonstrated for the first time in the United States. It had the same 5:3 aspect ratio as the Japanese system.<ref>{{cite web|url=http://www.tech-notes.tv/Archive/tech_notes_002.htm|title=Digital TV Tech Notes, Issue #2}}</ref> Upon visiting a demonstration of MUSE in Washington, US President [[Ronald Reagan]] was most impressed and officially declared it "a matter of national interest" to introduce HDTV to the USA.<ref>James Sudalnik and Victoria Kuhl, "High definition television"</ref>
⚫
In 1983, the [[Internatommunication Union]]'s radio telecommunications sector ([[ITU-R]]) set up a working party (IWP11/6) with the aim of setting a single international HDTV standard. One of the thornier issues suitable /field refresh rate, with the world already strongly demarcated into two camps, 25/50Hz and 30/60Hz, related by reasons of picture stability to the frequency of their mainl supplies.


⚫
Several systems were proposed as the new standard for the USA, including the Japanese MUSE system, but all were rejected by the FCC because of their higher bandwidth requirements. At the same time that the high definition systems were being studied, the number of television channels was growing rapidly and bandwidth was already a problem. A new standard had to be radically efficient, needing less bandwidth for HDTV than the existing NTSC standard for SDTV.
⚫
The WP considered many nd through the 1980s served to encourage development in a number of video digital processing areas, not least conversion between the two main frame/field rates using [[motion vector]]s, which led to further developments in other areas. While a comprehensive HDTV standard was not in the end established, agreement on the aspect ratio was achieved.


=== Rise of digital compression ===
⚫
Initially the existing 5:3 aspect ratio had been the main candidate, but due to the influence of widescreen cinema, the aspect ratio 16:9 (1.78) eventually emerged as being a reasonable compromise between 5:3 (1.67) and the common 1.85 widescreen cinema format. (It has been [http://groups.google.com/group/rec.arts.movies.tech/browse_thread/thread/965029d4009833f2/9e7d2e0a5971a988?hl=en&lnk=st&q=%2216%3A9%22+%22geometric+mean%22+%22aspect+ratio%22#9e7d2e0a5971a988 suggested] that the 16:9 ratio was chosen as being the geometric mean of 4:3, [[Academy ratio]], and 2.e cinema format in common use, in order to minimize wasted screen space when displaying content with a variety of aspect ratios.)
⚫
Since 1972, [[International Telecommunication Union]]'s radio telecommunications sector ([[ITU-R]]) ITU-R has been working on creating a global recommendation for Analogue HDTV. These recommendations however did not fit in the broadcasting bands which could reach home users. The standardization of [[MPEG-1]] in 1993 also led to the acceptance of recommendations ITU-R BT.709<ref>{{cite web|url=http://www.itu.int/ITU-R/index.asp?category=information&link=hdtv-25&lang=en|title=High definition television comes of age thanks to ITU}}</ref>. In anticipation of these standards the DVB organisation was formed, an alliance of broadcasters, consumer electronics manufacturers and regulatory bodies. The DVB develops and agrees on specifications which are formally standardised by ETSI<ref>{{cite web|url=http://www.dvb.org/about_dvb/history/|title=History of the DVB Project}}</ref>.


⚫
DVB created first the standard for [[DVB-S]] digital satellite TV, [[DVB-C]] digital cable TV and [[DVB-T]] digital terrestrial TV. These broadcasting systems can be used for both SDTV and HDTV. In the USA the Grand Alliance proposed [[ATSC Standards|ATSC]] as the new standard for SDTV and HDTV. Both ATSC and DVB were based on the MPEG-2 standard. The [[DVB-S2]] standard is based on the newer and more efficient [[H.264/MPEG-4 AVC]] compression standards. Common for all DVB standards is the use of highly efficient modulation techniques for further reducing bandwidth, and foremost for reducing receiver-hardware and antenna requirements.
⚫
An aspect ratio of 16:9 was duly at the first meeting of the WP at the [[BBC]]'s R & D establishment in Kingswood Warren. The resulting ITU-R Recommendation ITU-R BT.709-2 ("[[Rec. 709]]") includes the 16:9 aspect ratio, a specified [[colorimetry]], and the scan modes [[1080i]] (1,080 actively-[[]] lines of resolution) and [[1080p]] (1,080 [[Progressive scan|progressively-scanned]] lines). The current [[Freeview (UK)|Freeview HD]] trials use [[MBAFF]], which contains both progressive and interlaced content in the same encoding.

⚫
In 1983, the [[International Telecommunication Union]]'s radio telecommunications sector ([[ITU-R]]) set up a working party (IWP11/6) with the aim of setting a single international HDTV standard. One of the thornier issues concerned a suitable frame/field refresh rate, with the world already strongly demarcated into two camps, 25/50Hz and 30/60Hz, related by reasons of picture stability to the frequency of their main electrical supplies.

⚫
The WP considered many views and through the 1980s served to encourage development in a number of video digital processing areas, not least conversion between the two main frame/field rates using [[motion vector]]s, which led to further developments in other areas. While a comprehensive HDTV standard was not in the end established, agreement on the aspect ratio was achieved.

⚫
Initially the existing 5:3 aspect ratio had been the main candidate, but due to the influence of widescreen cinema, the aspect ratio 16:9 (1.78) eventually emerged as being a reasonable compromise between 5:3 (1.67) and the common 1.85 widescreen cinema format. (It has been [http://groups.google.com/group/rec.arts.movies.tech/browse_thread/thread/965029d4009833f2/9e7d2e0a5971a988?hl=en&lnk=st&q=%2216%3A9%22+%22geometric+mean%22+%22aspect+ratio%22#9e7d2e0a5971a988 suggested] that the 16:9 ratio was chosen as being the geometric mean of 4:3, [[Academy ratio]], and 2.35:1, the widest cinema format in common use, in order to minimize wasted screen space when displaying content with a variety of aspect ratios.)

⚫
An aspect ratio of 16:9 was duly agreed at the first meeting of the WP at the [[BBC]]'s R & D establishment in Kingswood Warren. The resulting ITU-R Recommendation ITU-R BT.709-2 ("[[Rec. 709]]") includes the 16:9 aspect ratio, a specified [[colorimetry]], and the scan modes [[1080i]] (1,080 actively-[[interlaced]] lines of resolution) and [[1080p]] (1,080 [[Progressive scan|progressively-scanned]] lines). The current [[Freeview (UK)|Freeview HD]] trials use [[MBAFF]], which contains both progressive and interlaced content in the same encoding.


It also includes the alternative 1440×1152 [[HDMAC]] scan format. (According to some reports, a mooted 750 line (720p) format (720 progressively-scanned lines) was viewed by some at the ITU as an enhanced television format rather than a true HDTV format,<ref>{{cite web|url=http://www.tech-notes.tv/Archive/tech_notes_041.htm|title=Digital TV Tech Notes, Issue #41}}</ref> and so was not included, although 1920×1080i and 1280×[[720p]] systems for a range of frame and field rates were defined by several US [[SMPTE]] standards.)
It also includes the alternative 1440×1152 [[HDMAC]] scan format. (According to some reports, a mooted 750 line (720p) format (720 progressively-scanned lines) was viewed by some at the ITU as an enhanced television format rather than a true HDTV format,<ref>{{cite web|url=http://www.tech-notes.tv/Archive/tech_notes_041.htm|title=Digital TV Tech Notes, Issue #41}}</ref> and so was not included, although 1920×1080i and 1280×[[720p]] systems for a range of frame and field rates were defined by several US [[SMPTE]] standards.)


=== Demise of analog HD systems ===
=== Demise of analog HD systems ===
However, even that limited standardization of HDTV did not lead to its adoption, principally for technical and economic reasons. Early HDTV commercial experiments such as NHK's MUSE required over four times the bandwidth of a standard-definition broadcast, and despite efforts made to shrink the required bandwidth down to about two times that of SDTV, it was still only distributable by with one channel on a daily basis between seven broadcasters. In addition, recording and reproducing an HDTV signal was a significant technical challenge in the early years of HDTV. Japan remained the country with successful public broadcast analog HDTV. Digital HDTV in 2000 in Japan, and the analog service ended in the early hours of 1 October 2007.
However, even that limited standardization of HDTV did not lead to its adoption, principally for technical and economic reasons. Early HDTV commercial experiments such as NHK's MUSE required over four times the bandwidth of a standard-definition broadcast, and despite efforts made to shrink the required bandwidth down to about two times that of SDTV, it was still only distributable by satellite with one channel shared on a daily basis between seven broadcasters. In addition, recording and reproducing an HDTV signal was a significant technical challenge in the early years of HDTV. Japan remained the only country with successful public broadcast analog HDTV. Digital HDTV broadcasting started in 2000 in Japan, and the analog service ended in the early hours of 1 October 2007.


In Europe, 1,-line [[HD-MACtest broadcasts were performed in the early 1990s, but did not lead to any service
In Europe, analogue 1,250-line [[HD-MAC]] test broadcasts were performed in the early 1990s, but did not lead to any established public broadcast service.


==Inaugural HDTV broadcast in the United States==
==Inaugural HDTV broadcast in the United States==
Line 207: Line 212:


In the United States, as part of the FCC's ''plug and play'' agreement, cable companies are required to provide customers who rent HD set-top boxes with a set-top box with "functional"<!--quoted from agreement?--> [[Firewire]] (IEEE 1394) upon request. None of the [[direct broadcast satellite]] providers have offered this feature on any of their supported boxes, but some [[cable television|cable TV]] companies have. {{As of|2004|alt=As of July 2004}}, boxes are not included in the FCC mandate. This content is protected by encryption known as 5C.<ref>{{cite web|url=http://www.dtcp.com/data/wp_spec.pdf|title=5C Digital Transmission Content Protection White Paper|format=pdf|lastaccess=2006-06-20|date=[[1998-07-14]]}}</ref> This encryption can prevent duplication of content or simply limit the number of copies permitted, thus effectively denying most if not all [[fair use]] of the content.
In the United States, as part of the FCC's ''plug and play'' agreement, cable companies are required to provide customers who rent HD set-top boxes with a set-top box with "functional"<!--quoted from agreement?--> [[Firewire]] (IEEE 1394) upon request. None of the [[direct broadcast satellite]] providers have offered this feature on any of their supported boxes, but some [[cable television|cable TV]] companies have. {{As of|2004|alt=As of July 2004}}, boxes are not included in the FCC mandate. This content is protected by encryption known as 5C.<ref>{{cite web|url=http://www.dtcp.com/data/wp_spec.pdf|title=5C Digital Transmission Content Protection White Paper|format=pdf|lastaccess=2006-06-20|date=[[1998-07-14]]}}</ref> This encryption can prevent duplication of content or simply limit the number of copies permitted, thus effectively denying most if not all [[fair use]] of the content.

The game is playable by two to four players and is recommended by the manufacturer for children ages 3 - ∞. The object of the game is to use the lever on the back of a player's hippo to consume as many of the twenty white plastic marbles on the playing field as possible. Play ends when all of the marbles have been "eaten" by the hippos. The player whose hippo has "eaten" the most marbles wins.

The shaking of the lightweight playing field during play, particularly when children are pounding on the levers to make their hippos capture marbles, introduces a strong random element to the game. Winning is often a matter of pure luck and not of skill. The game also is very loud, with the constant slamming of the hippo lever. That, and the excitement of the high-anxiety style of play, combined with the giddiness of small children, will usually produce an unbelievable amount of noise.



== Table of terrestrial HDTV transmission systems ==
== Table of terrestrial HDTV transmission systems ==
Line 221: Line 221:
!colspan="4" align="left"| Source coding
!colspan="4" align="left"| Source coding
|-
|-
! MARIO
! Video
|colspan="3"| Main Profile syntax of ISO/IEC 13818-2 ([[MPEG-2]] &ndash; Video)
|colspan="3"| Main Profile syntax of ISO/IEC 13818-2 ([[MPEG-2]] &ndash; Video)
|-
|-
! MARIO
! Audio
| ATSC Standard A/52 ([[Dolby AC-3]]) || As defined in luigi's ass - as H.264 AVC and/or ISO/IEC 13818-3 (MPEG-2 &ndash; [[MPEG-1 Audio Layer II|Layer II Audio]]) and/or Dolby AC-3 || ISO/IEC 13818-7 (MPEG-2 &ndash; [[Advanced Audio Coding|AAC]] Audio)
| ATSC Standard A/52 ([[Dolby AC-3]]) || As defined in ETSI DVB TS 101 154 - as H.264 AVC and/or ISO/IEC 13818-3 (MPEG-2 &ndash; [[MPEG-1 Audio Layer II|Layer II Audio]]) and/or Dolby AC-3 || ISO/IEC 13818-7 (MPEG-2 &ndash; [[Advanced Audio Coding|AAC]] Audio)
|-
|-
!colspan="4" align="left"| Transmission system
!colspan="4" align="left"| Transmission system
Line 232: Line 232:
|colspan="3"|
|colspan="3"|
|-
|-
! Outer MARIO
! Outer coding
| R-S (207, 187, t = 10) ||colspan="2"| R-S (204, 188, t = 8)
| R-S (207, 187, t = 10) ||colspan="2"| R-S (204, 188, t = 8)
|-
|-
Line 238: Line 238:
| 52 R-S block ||convolutional (I=12, M=17, J=1) ||12 R-S block
| 52 R-S block ||convolutional (I=12, M=17, J=1) ||12 R-S block
|-
|-
! Inner MARIO
! Inner coding
| rate 2/3 [[Trellis modulation|Trellis]] code ||colspan="2"| Punctured convolution code(PCC): rate 1/2, 2/3, 3/4, 5/6, 7/8; constraint length = 7, Polynomials (octal) = 171, 133
| rate 2/3 [[Trellis modulation|Trellis]] code ||colspan="2"| Punctured convolution code(PCC): rate 1/2, 2/3, 3/4, 5/6, 7/8; constraint length = 7, Polynomials (octal) = 171, 133
|-
|-
! Inner interleaver
! MARIO
| 12 to 1 [[Trellis modulation|Trellis]] code ||colspan="2"| bit-wise, frequency, selectable time
| 12 to 1 [[Trellis modulation|Trellis]] code ||colspan="2"| bit-wise, frequency, selectable time
|-
|-

Revision as of 16:23, 21 October 2009

High-definition television (or HDTV) is a digital television broadcasting system with higher resolution than traditional television systems (standard-definition TV, or SDTV). HDTV is digitally broadcast; the earliest implementations used analog broadcasting, but today digital television (DTV) signals are used, requiring less bandwidth due to digital video compression.

Projection screen in a home theater, displaying a high-definition television image.

History of high-definition television

Further information: [[:Analog high-definition television system]]

The term high definition once described a series of television systems originating from the late 1930s; however, these systems were only high definition when compared to earlier systems that were based on mechanical systems with as few as 30 lines of resolution.

The British high definition TV service started trials in August 1936 and a regular service in November 1936 using both the (mechanical) Baird 240 line and (electronic) Marconi-EMI 405 line (377i) systems. The Baird system was discontinued in February 1937. In 1938 France followed with their own 441 line system, variants of which was also used by a number of other countries. The US NTSC system joined in 1941. In 1949 France introduced an even higher resolution standard at 819 lines (768i), a system that would be high definition even by today's standards, but it was monochrome only. All of these systems used interlacing and a 4:3 aspect ratio except the 240 line system which was progressive (actually described at the time by the technically correct term of 'sequential') and the 405 line system which started as 5:4 and later changed to 4:3. The 405 line system adopted the (at that time) revolutionary idea of interlaced scanning to overcome the flicker problem of the 240 line with its 25 Hz frame rate. The 240 line system could have doubled its frame rate but this would have meant that the transmitted signal would have doubled in bandwidth, an unacceptable option.

Color broadcasts started at similarly higher resolutions, first with the US' NTSC color system in 1953, which was compatible with the earlier B&W systems and therefore had the same 525 lines (480i) of resolution. European standards did not follow until the 1960s, when the PAL and SECAM colour systems were added to the monochrome 625 line (576i) broadcasts.

Since the formal adoption of Digital Video Broadcasting's (DVB) widescreen HDTV transmission modes in the early 2000s the 525-line NTSC (and PAL-M) systems as well as the European 625-line PAL and SECAM systems are now regarded as standard definition television systems. In Australia, the 625-line digital progressive system (with 576 active lines) is officially recognized as high definition.[1]

Analog systems

In 1958, the Soviet Union developed Тransformator (Template:Lang-ru, Transformer), the first high-resolution (definition) television system capable of producing an image composed of 1,125 lines of resolution aided at providing teleconferencing for military command. It was a research project and the system was never deployed in the military or broadcasting.[2]

In 1969, the Japanese state broadcaster NHK first developed consumer high-definition television with a 5:3 aspect ratio, a slightly wider screen format than the usual 4:3 standard.[3] The system, known as Hi-Vision or MUSE after its Multiple sub-Nyquist sampling encoding for encoding the signal, required about twice the bandwidth of the existing NTSC system but provided about four times the resolution (1080i/1125 lines). Satellite test broadcasts started in 1989, with regular testing starting in 1991 and regular broadcasting of BS-9ch commenced on 25 November 1994, which featured commercial and NHK programming.

In 1981, the MUSE system was demonstrated for the first time in the United States. It had the same 5:3 aspect ratio as the Japanese system.[4] Upon visiting a demonstration of MUSE in Washington, US President Ronald Reagan was most impressed and officially declared it "a matter of national interest" to introduce HDTV to the USA.[5]

Several systems were proposed as the new standard for the USA, including the Japanese MUSE system, but all were rejected by the FCC because of their higher bandwidth requirements. At the same time that the high definition systems were being studied, the number of television channels was growing rapidly and bandwidth was already a problem. A new standard had to be radically efficient, needing less bandwidth for HDTV than the existing NTSC standard for SDTV.

Rise of digital compression

Since 1972, International Telecommunication Union's radio telecommunications sector (ITU-R) ITU-R has been working on creating a global recommendation for Analogue HDTV. These recommendations however did not fit in the broadcasting bands which could reach home users. The standardization of MPEG-1 in 1993 also led to the acceptance of recommendations ITU-R BT.709[6]. In anticipation of these standards the DVB organisation was formed, an alliance of broadcasters, consumer electronics manufacturers and regulatory bodies. The DVB develops and agrees on specifications which are formally standardised by ETSI[7].

DVB created first the standard for DVB-S digital satellite TV, DVB-C digital cable TV and DVB-T digital terrestrial TV. These broadcasting systems can be used for both SDTV and HDTV. In the USA the Grand Alliance proposed ATSC as the new standard for SDTV and HDTV. Both ATSC and DVB were based on the MPEG-2 standard. The DVB-S2 standard is based on the newer and more efficient H.264/MPEG-4 AVC compression standards. Common for all DVB standards is the use of highly efficient modulation techniques for further reducing bandwidth, and foremost for reducing receiver-hardware and antenna requirements.

In 1983, the International Telecommunication Union's radio telecommunications sector (ITU-R) set up a working party (IWP11/6) with the aim of setting a single international HDTV standard. One of the thornier issues concerned a suitable frame/field refresh rate, with the world already strongly demarcated into two camps, 25/50Hz and 30/60Hz, related by reasons of picture stability to the frequency of their main electrical supplies.

The WP considered many views and through the 1980s served to encourage development in a number of video digital processing areas, not least conversion between the two main frame/field rates using motion vectors, which led to further developments in other areas. While a comprehensive HDTV standard was not in the end established, agreement on the aspect ratio was achieved.

Initially the existing 5:3 aspect ratio had been the main candidate, but due to the influence of widescreen cinema, the aspect ratio 16:9 (1.78) eventually emerged as being a reasonable compromise between 5:3 (1.67) and the common 1.85 widescreen cinema format. (It has been suggested that the 16:9 ratio was chosen as being the geometric mean of 4:3, Academy ratio, and 2.35:1, the widest cinema format in common use, in order to minimize wasted screen space when displaying content with a variety of aspect ratios.)

An aspect ratio of 16:9 was duly agreed at the first meeting of the WP at the BBC's R & D establishment in Kingswood Warren. The resulting ITU-R Recommendation ITU-R BT.709-2 ("Rec. 709") includes the 16:9 aspect ratio, a specified colorimetry, and the scan modes 1080i (1,080 actively-interlaced lines of resolution) and 1080p (1,080 progressively-scanned lines). The current Freeview HD trials use MBAFF, which contains both progressive and interlaced content in the same encoding.

It also includes the alternative 1440×1152 HDMAC scan format. (According to some reports, a mooted 750 line (720p) format (720 progressively-scanned lines) was viewed by some at the ITU as an enhanced television format rather than a true HDTV format,[8] and so was not included, although 1920×1080i and 1280×720p systems for a range of frame and field rates were defined by several US SMPTE standards.)

Demise of analog HD systems

However, even that limited standardization of HDTV did not lead to its adoption, principally for technical and economic reasons. Early HDTV commercial experiments such as NHK's MUSE required over four times the bandwidth of a standard-definition broadcast, and despite efforts made to shrink the required bandwidth down to about two times that of SDTV, it was still only distributable by satellite with one channel shared on a daily basis between seven broadcasters. In addition, recording and reproducing an HDTV signal was a significant technical challenge in the early years of HDTV. Japan remained the only country with successful public broadcast analog HDTV. Digital HDTV broadcasting started in 2000 in Japan, and the analog service ended in the early hours of 1 October 2007.

In Europe, analogue 1,250-line HD-MAC test broadcasts were performed in the early 1990s, but did not lead to any established public broadcast service.

Inaugural HDTV broadcast in the United States

HDTV technology was introduced in the United States in the 1990s by the Digital HDTV Grand Alliance, a group of television companies and MIT.[9][10] Field testing of HDTV at 199 sites in the United States was completed August 14, 1994.[11] The first public HDTV broadcast in the United States occurred on July 23, 1996 when the Raleigh, North Carolina television station WRAL-HD began broadcasting from the existing tower of WRAL-TV south-east of Raleigh, winning a race to be first with the HD Model Station in Washington, D.C., which began broadcasting July 31, 1996.[12][13][14] The American Advanced Television Systems Committee (ATSC) HDTV system had its public launch on October 29, 1998, during the live coverage of astronaut John Glenn's return mission to space on board the Space Shuttle Discovery.[15] The signal was transmitted coast-to-coast, and was seen by the public in science centers, and other public theaters specially equipped to receive and display the broadcast.[15][16]

First regular European HDTV broadcasts

Although HDTV broadcasts had been demonstrated in Europe since the early 1990s, the first regular broadcasts started on January 1, 2004 when Euro1080 launched the HD1 channel with the traditional Vienna New Year's Concert. Test transmissions had been active since the IBC exhibition in September 2003, but the New Year's Day broadcast marked the official start of the HD1 channel, and the start of HDTV in Europe.[17]

Euro1080, a division of the Belgian TV services company Alfacam, broadcast HDTV channels to break the pan-European stalemate of "no HD broadcasts mean no HD TVs bought means no HD broadcasts..." and kick-start HDTV interest in Europe.[18]

The HD1 channel was initially free-to-air and mainly comprised sporting, dramatic, musical and other cultural events broadcast with a multi-lingual soundtrack on a rolling schedule of 4 or 5 hours per day.

These first European HDTV broadcasts used the 1080i format with MPEG-2 compression on a DVB-S signal from SES Astra's 1H satellite at Europe's main DTH Astra 19.2°E position. Euro1080 transmissions later changed to MPEG-4/AVC compression on a DVB-S2 signal in line with subsequent broadcast channels in Europe.

Notation

HDTV broadcast systems are identified with three major parameters:

  • Frame size in pixels is defined as number of horizontal pixels × number of vertical pixels, for example 1280 × 720 or 1920 × 1080. Often the number of horizontal pixels is implied from context and is omitted.
  • Scanning system is identified with the letter p for progressive scanning or i for interlaced scanning.
  • Frame rate is identified as number of video frames per second. For interlaced systems an alternative form of specifying number of fields per second is often used.

If all three parameters are used, they are specified in the following form: [frame size][scanning system][frame or field rate] or [frame size]/[frame or field rate][scanning system]. Often, frame size or frame rate can be dropped if its value is implied from context. In this case the remaining numeric parameter is specified first, followed by the scanning system.

For example, 1920×1080p25 identifies progressive scanning format with 25 frames per second, each frame being 1,920 pixels wide and 1,080 pixels high. The 1080i25 or 1080i50 notation identifies interlaced scanning format with 25 frames (50 fields) per second, each frame being 1,920 pixels wide and 1,080 pixels high. The 1080i30 or 1080i60 notation identifies interlaced scanning format with 30 frames (60 fields) per second, each frame being 1,920 pixels wide and 1,080 pixels high. The 720p60 notation identifies progressive scanning format with 60 frames per second, each frame being 720 pixels high; 1,280 pixels horizontally are implied.

50Hz systems allow for only three scanning rates: 25i, 25p and 50p. 60Hz systems operate with much wider set of frame rates: 23.976p, 24p, 29.97i/59.94i, 29.97p, 30p, 59.94p and 60p. In the days of standard definition television, the fractional rates were often rounded up to whole numbers, like 23.98p was often called 24p, or 59.94i was often called 60i. High definition television allows using both fractional and whole rates, therefore strict usage of notation is required. Nevertheless, 29.97i/59.94i is almost universally called 60i, likewise 23.98p is called 24p.

For commercial naming of a product, the frame rate is often dropped and is implied from context (e.g., a 1080i television set). A frame rate can also be specified without a resolution. For example, 24p means 24 progressive scan frames per second, and 50i means 25 interlaced frames per second. Most HDTV systems support resolutions and frame rates defined either in the ATSC table 3, or in EBU specification. The most common are noted below.

High-definition display resolutions

Video format supported Native resolution (W×H) Pixels Aspect ratio (W:H) Description
Actual Advertised (Mpixel) Image Pixel
720p
1280×720 		1024×768
XGA 		786,432 0.8 16:9 4:3 Typically a PC resolution XGA; also a native resolution on many entry-level plasma displays with non-square pixels.
1280×720
 921,600 0.9 16:9 1:1 Typically one of the PC resolutions on WXGA, also used for 750-line video, as defined in SMPTE 296M, ATSC A/53, ITU-R BT.1543, Digital television, DLP and LCOS projection HDTV displays.
1366×768
WXGA 		1,049,088 1.0 683:384
(approx. 16:9) 		1:1
approx. 		Typically a TV resolution WXGA; also exists as a standardized HDTV displays as (HD Ready 720p,1080i), TV that used on LCD HDTV displays.
1080p/1080i
1920×1080 		1920×1080
 2,073,600 2.1 16:9 1:1 A standardized HDTV displays as (HD Ready 1080p) TV, that used on high-end LCD and Plasma HDTV displays. Used for 1125-line video, as defined in SMPTE 274M, ATSC A/53, ITU-R BT.709.
Video format supported Screen resolution (W×H) Pixels Aspect ratio (W:H) Description
Actual Advertised (Mpixel) Image Pixel
720p
1280×720 		1248×702
Clean Aperture 		876,096 0.9 16:9 1:1 Used for 750-line video with raster artifact/overscan compensation, as defined in SMPTE 296M.
1080p
1920×1080 		1888×1062
Clean aperture 		2,001,280 2.0 16:9 1:1 Used for 1125-line video with faster artifact/overscan compensation, as defined in SMPTE 274M.
1080i
1920×1080 		1440×1080
HDCAM/HDV 		1,555,200 1.6 4:3 4:3:1 Used for anamorphic 1125-line video in the HDCAM and HDV formats introduced by Sony and defined (also as a luminance subsampling matrix) in SMPTE D11.

Standard frame or field rates

  • 23.976 Hz (film-looking frame rate compatible with NTSC clock speed standards)
  • 24 Hz (international film and ATSC high definition material)
  • 25 Hz (PAL, SECAM film, standard definition, and high definition material)
  • 29.97 Hz (NTSC standard definition material)
  • 50 Hz (PAL & SECAM high definition material))
  • 60 Hz (ATSC high definition material)
A comparison of multiple TV resolution standards as if it were viewed on a fixed-pixel display at full 1080p resolution. View at full size for proper comparison.

At a minimum, HDTV has twice the linear resolution of standard-definition television (SDTV), thus showing greater detail than either analog television or regular DVD. The technical standards for broadcasting HDTV also handle the 16:9 aspect ratio images without using letterboxing or anamorphic stretching, thus increasing the effective image resolution.

The optimum format for a broadcast depends upon the type of videographic recording medium used and the image's characteristics. The field and frame rate should match the source and the resolution. A very high resolution source may require more bandwidth than available in order to be transmitted without loss of fidelity. The lossy compression that is used in all digital HDTV storage and transmission systems will distort the received picture, when compared to the uncompressed source.

Types of media

Standard 35 mm photographic film used for cinema projection has higher resolution than HDTV systems, and is exposed and projected at a rate of 24 frames per second. To be shown on television in PAL-system countries, cinema film is scanned at the TV rate of 25 frames per second, causing an acceleration of 4.1 percent, which is generally considered acceptable. In NTSC-system countries, the TV scan rate of 30 frames per second would cause a perceptible acceleration if the same were attempted, and the necessary correction is performed by a technique called 3:2 pull-down: over each successive pair of film frames, one is held for three video fields (1/20 of a second) and the next is held for two video fields (1/30 of a second), giving a total time for the two frames of 1/12 of a second and thus achieving the correct average film frame rate.

See also: Telecine

Non-cinematic HDTV video recordings intended for broadcast are typically recorded either in 720p or 1080i format as determined by the broadcaster. 720p is commonly used for Internet distribution of high-definition video, because all computer monitors operate in progressive-scan mode. 720p also imposes less strenuous storage and decoding requirements compared to both 1080i and 1080p. 1080p is usually used for Blu-ray Disc.

Contemporary systems

Main article: Large-screen television technology
Components of a typical satellite HDTV system:
1. HDTV Monitor
2. HD satellite receiver
3. Standard satellite dish
4. HDMI cable, DVI-D and audio cables, or audio and component video cables

Besides an HD-ready television set, other equipment is needed to view HD television. Cable-ready TV sets can display HD content without using an external box. They have a QAM tuner built-in and/or a card slot for inserting a CableCARD.[19]

High-definition image sources include terrestrial broadcast, direct broadcast satellite, digital cable, the high definition disc BD, Internet downloads, the PlayStation 3, and the Xbox 360.

Recording and compression

Main article: High-definition pre-recorded media and compression

HDTV can be recorded to D-VHS (Digital-VHS or Data-VHS), W-VHS (analog only), to an HDTV-capable digital video recorder (for example DirecTV's high-definition Digital video recorder, Sky HD's set-top box, Dish Network's VIP 622 or VIP 722 high-definition Digital video recorder receivers, or TiVo's Series 3 or HD recorders), or an HDTV-ready HTPC. Some cable boxes are capable of receiving or recording two or more broadcasts at a time in HDTV format, and HDTV programming, some free, some for a fee, can be played back with the cable company's on-demand feature.

The massive amount of data storage required to archive uncompressed streams meant that inexpensive uncompressed storage options were not available in the consumer market until recently. In 2008 the Hauppauge 1212 Personal Video Recorder was introduced. This device accepts HD content through component video inputs and stores the content in an uncompressed MPEG transport stream (.ts) file or Blu-ray format .m2ts file on the hard drive or DVD burner of a computer connected to the PVR through a USB 2.0 interface.

Realtime MPEG-2 compression of an uncompressed digital HDTV signal is prohibitively expensive for the consumer market at this time, but should become inexpensive within several years (although this is more relevant for consumer HD camcorders than recording HDTV). Analog tape recorders with bandwidth capable of recording analog HD signals such as W-VHS recorders are no longer produced for the consumer market and are both expensive and scarce in the secondary market.

In the United States, as part of the FCC's plug and play agreement, cable companies are required to provide customers who rent HD set-top boxes with a set-top box with "functional" Firewire (IEEE 1394) upon request. None of the direct broadcast satellite providers have offered this feature on any of their supported boxes, but some cable TV companies have. As of July 2004, boxes are not included in the FCC mandate. This content is protected by encryption known as 5C.[20] This encryption can prevent duplication of content or simply limit the number of copies permitted, thus effectively denying most if not all fair use of the content.

Table of terrestrial HDTV transmission systems

Main characteristics of three HDTV systems (DTMB is not compared here)
Systems ATSC DVB-T ISDB-T
Source coding
Video Main Profile syntax of ISO/IEC 13818-2 (MPEG-2 – Video)
Audio ATSC Standard A/52 (Dolby AC-3) As defined in ETSI DVB TS 101 154 - as H.264 AVC and/or ISO/IEC 13818-3 (MPEG-2 – Layer II Audio) and/or Dolby AC-3 ISO/IEC 13818-7 (MPEG-2 – AAC Audio)
Transmission system
Channel coding
Outer coding R-S (207, 187, t = 10) R-S (204, 188, t = 8)
Outer interleaver 52 R-S block convolutional (I=12, M=17, J=1) 12 R-S block
Inner coding rate 2/3 Trellis code Punctured convolution code(PCC): rate 1/2, 2/3, 3/4, 5/6, 7/8; constraint length = 7, Polynomials (octal) = 171, 133
Inner interleaver 12 to 1 Trellis code bit-wise, frequency, selectable time
Data randomization 16-bit PRBS
Modulation 8VSB (Only used for over the air transmission)
16VSB (Designed for cable, but rejected by the cable industry, cable TV uses 64QAM or 256QAM modulation as a de facto standard) 		COFDM
QPSK, 16QAM and 64QAM
Hierarchical modulation: multi-resolution constellation (16QAM and 64QAM)
Guard interval: 1/32, 1/16, 1/8 & 1/4 of OFDM symbol
Two modes: 2k and 8k FFT 		BST-COFDM with 13 frequency segments
DQPSK, QPSK, 16QAM and 64QAM
Hierarchical modulation: choice of three different modulations on each segment
Guard interval: 1/32, 1/16, 1/8 & 1/4 of OFDM symbol
Three modes: 2k, 4k and 8k FFT

TV resolution

See also

Wikimedia Commons has media related to High-definition television.

References

  1. ^ "SBS jubilant with its 576p HD broadcasts".
  2. ^ "HDTV in the Russian Federation: problems and prospects of implementation (in Russian)".
  3. ^ "Researchers Craft HDTV's Successor".
  4. ^ "Digital TV Tech Notes, Issue #2".
  5. ^ James Sudalnik and Victoria Kuhl, "High definition television"
  6. ^ "High definition television comes of age thanks to ITU".
  7. ^ "History of the DVB Project".
  8. ^ "Digital TV Tech Notes, Issue #41".
  9. ^ The Grand Alliance includes AT&T, General Instrument, MIT, Philips, Sarnoff, Thomson, and Zenith)
  10. ^ Carlo Basile; et al. (1995). "The U.S. HDTV standard: the Grand Alliance". IEEE Spectrum. 32 (4): 36–45. {{cite journal}}: Explicit use of et al. in: |author= (help)
  11. ^ HDTV field testing wraps up
  12. ^ History of WRAL Digital
  13. ^ WRAL-HD begins broadcasting HDTV
  14. ^ Comark transmitter first in at Model Station
  15. ^ a b Albiniak, Paige (1998-11-02). "HDTV: Launched and Counting". Broadcasting and cable. BNET. Retrieved 2008-10-24. {{cite news}}: Cite has empty unknown parameter: |coauthors= (help)
  16. ^ "Space Shuttle Discovery: John Glenn Launch". Internet Movie Database. 1998. Retrieved 2008-10-25. {{cite web}}: Cite has empty unknown parameter: |coauthors= (help)
  17. ^ "SES ASTRA and Euro1080 to pioneer HDTV in Europe" (Press release). SES ASTRA. October 23, 2003.
  18. ^ Bains, Geoff. "Take The High Road" What Video & Widescreen TV (April, 2004) 22-24
  19. ^ "HDTV information".
  20. ^ "5C Digital Transmission Content Protection White Paper" (pdf). 1998-07-14. {{cite web}}: Check date values in: |date= (help); Unknown parameter |lastaccess= ignored (help)
Retrieved from "https://en.wikipedia.org/w/index.php?title=High-definition_television&oldid=321216618"