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3,500 | The Saturday Night Seder was a Passover Seder held on April 11, 2020 by StoryCourse in response to the COVID-19 pandemic; to provide relief and support to the public in an effort to combat the spread of the COVID-19 virus. The seder was sponsored by BuzzFeed and aired on their Tasty YouTube channel.
Overview
The seder was hosted by Jason Alexander on the fourth night of Passover | Saturday Night Seder |
3,501 | SEC TV (formerly SEC Network) was a syndicated package featuring live broadcasts of college football and basketball events from the Southeastern Conference. It was owned and operated by ESPN Regional Television and shown in more than 50 percent of households in the United States, mostly Southeastern United States markets. SEC TV's football games typically aired in the noon eastern slot that was former home to the Jefferson-Pilot/Raycom Sports SEC game of the week | SEC TV |
3,502 | Shelter from the Storm: A Concert for the Gulf Coast was a one-hour, commercial-free benefit concert television special that aired simulcast worldwide on September 9, 2005, at 8 p. m. ET/CT live (with a 30-second tape delay) from New York City and Los Angeles and tape delayed in the Mountain Time Zone and Pacific Time Zones | Shelter from the Storm: A Concert for the Gulf Coast |
3,503 | Stand Up to Cancer (SU2C) is a charitable program of the Entertainment Industry Foundation (EIF). SU2C aims to raise significant funds for translational cancer research through online and televised efforts. Central to the program is a telethon that was first televised by four major broadcast networks (ABC, NBC, CBS, Fox) in over 170 countries on September 5, 2008 | Stand Up to Cancer |
3,504 | Stronger Together, Tous Ensemble was a 90-minute Canadian benefit concert which aired on April 26, 2020, during the COVID-19 pandemic and a week after the 2020 Nova Scotia attacks. The program drew an audience of over 11,500,000 viewers and listeners, and was simulcast by every major Canadian television broadcast company, including Bell Media (CTV), Canadian Broadcasting Corporation (CBC Television), Rogers Media (Citytv), Corus Entertainment (Global), V, and numerous other television, radio, and Internet-based broadcast platforms. This made it both the largest multi-platform broadcast and highest viewed non-sporting broadcast in Canadian television history | Stronger Together, Tous Ensemble |
3,505 | The first AFL–NFL World Championship Game (known retroactively as Super Bowl I and referred to in contemporaneous reports, including the game's radio broadcast, as the Super Bowl) was an American football game played on January 15, 1967, at the Los Angeles Memorial Coliseum in Los Angeles, California. The National Football League (NFL) champion Green Bay Packers defeated the American Football League (AFL) champion Kansas City Chiefs by the score of 35–10.
Coming into the game, considerable animosity existed between the AFL and NFL, thus the teams representing the two rival leagues (Kansas City and Green Bay, respectively) felt additional pressure to win | Super Bowl I |
3,506 | TekWar is a television series, based on the TekWar novels ghost-written by Ron Goulart from outlines by William Shatner and developed for television by Stephen Roloff. The series follows Jake Cardigan (played by Greg Evigan), a former police officer turned private investigator working for Cosmos, a private security firm owned and operated by Walter Bascom.
The series was broadcast in Canada on CTV and in the United States on USA Network and the Sci Fi Channel | TekWar (TV series) |
3,507 | Thursday Night Football (often abbreviated as TNF) is the branding used for broadcasts of National Football League (NFL) games that broadcast primarily on Thursday nights. Most of the games kick off at 8:15 Eastern Time (8:20 prior to 2022 and 8:25 prior to 2018).
In the past, games in the package also air occasionally on Saturdays in the later portion of the season, as well as select games from the NFL International Series (these games were branded since 2017 as NFL Network Special) | Thursday Night Football |
3,508 | One World: Together at Home (also known as Together at Home) is a benefit concert that was organized by Global Citizen of New York City and curated by singer Lady Gaga in support of the World Health Organization. The special was intended to promote the practice of social distancing while staying together during the COVID-19 pandemic. On April 18, 2020, a six-hour pre-show was streamed online immediately prior to the television global broadcast | Together at Home |
3,509 | Tsunami Aid: A Concert of Hope was a worldwide benefit held for the tsunami victims of the 2004 Indian Ocean earthquake. It was broadcast on NBC and its affiliated networks of USA Network, Bravo, PAX, MSNBC, CNBC, Sci-Fi, Trio, Telemundo and other NBC Universal stations and was heard on any Clear Channel radio station. The benefit was led by the actor George Clooney on January 15, 2005, and was similar to America: A Tribute to Heroes (set up after the September 11th, 2001 attacks) | Tsunami Aid |
3,510 | Wanted sa Radyo (lit. transl. Wanted on Radio) is a public affairs show that airs on Monday to Friday from 2:00 to 4:00 pm (PST) on 92 | Wanted sa Radyo |
3,511 | Deontay Wilder vs. Tyson Fury II, billed as Unfinished Business, was a heavyweight professional boxing rematch between undefeated and reigning WBC champion Deontay Wilder and undefeated former unified heavyweight champion Tyson Fury, for the WBC and vacant The Ring heavyweight titles. The event took place on February 22, 2020, at the MGM Grand Garden Arena, Paradise, Nevada | Deontay Wilder vs. Tyson Fury II |
3,512 | The Academy Color Encoding System (ACES) is a color image encoding system created under the auspices of the Academy of Motion Picture Arts and Sciences. ACES is characterised by a color accurate workflow, with "seamless interchange of high quality motion picture images regardless of source". The system defines its own color primaries based on spectral locus as defined by the CIE xyY specification | Academy Color Encoding System |
3,513 | Ancillary data is data that has been added to given data and uses the same form of transport. Common examples are cover art images for media files or streams, or digital data added to radio or television broadcasts.
Television
Ancillary data (commonly abbreviated as ANC data), in the context of television systems, refers to a means which by non-video information (such as audio, other forms of essence, and metadata) may be embedded within the serial digital interface | Ancillary data |
3,514 | Avid DNxHD ("Digital Nonlinear Extensible High Definition") is a lossy high-definition video post-production codec developed by Avid for multi-generation compositing with reduced storage and bandwidth requirements. It is an implementation of SMPTE VC-3 standard.
Overview
DNxHD is a video codec intended to be usable as both an intermediate format suitable for use while editing and as a presentation format | Avid DNxHD |
3,515 | CineForm Intermediate is an open source (from October 2017) video codec developed for CineForm Inc by David Taylor, David Newman and Brian Schunck. On March 30, 2011, the company was acquired by GoPro which in particular wanted to use the 3D film capabilities of the CineForm 444 Codec for its 3D HERO System.
The press release in the GoPro acquisition noted that CineForm's codec had been used in movies including Slumdog Millionaire and Need For Speed | CineForm |
3,516 | DCI-P3 is an RGB color space first defined in 2005 as part of the Digital Cinema Initiative, to be used for digital theatrical motion picture distribution (DCDM). Display P3 is a variant developed by Apple Inc. for wide-gamut displays | DCI-P3 |
3,517 | A Digital Cinema Package (DCP) is a collection of digital files used to store and convey digital cinema (DC) audio, image, and data streams.
The term was popularized by Digital Cinema Initiatives, LLC in its original recommendation for packaging DC contents. However, the industry tends to apply the term to the structure more formally known as the composition | Digital Cinema Package |
3,518 | Digital Picture Exchange (DPX) is a common file format for digital intermediate and visual effects work and is a SMPTE standard (ST 268-1:2014). The file format is most commonly used to represent the density of each colour channel of a scanned negative film in an uncompressed "logarithmic" image where the gamma of the original camera negative is preserved as taken by a film scanner. For this reason, DPX is the worldwide-chosen format for still frames storage in most digital intermediate post-production facilities and film labs | Digital Picture Exchange |
3,519 | Dirac is an open and royalty-free video compression format, specification and system developed by BBC Research & Development. Schrödinger and dirac-research (formerly just called "Dirac") are open and royalty-free software implementations (video codecs) of Dirac. Dirac format aims to provide high-quality video compression for Ultra HDTV and beyond, and as such competes with existing formats such as H | Dirac (video compression format) |
3,520 | General eXchange Format (GXF), is a file exchange format for the
transfer of simple and compound clips between television program storage systems. It is a container format that can contain Motion JPEG (M-JPEG), MPEG, or DV-based video compression standards, with associated audio, time code, and user data that may include user-defined metadata.
GXF was developed by Grass Valley Group, then standardized by SMPTE as SMPTE 360M, and was extended in SMPTE RDD 14-2007 to include high-definition video resolutions | General Exchange Format |
3,521 | HDCAM is a high-definition video digital recording videocassette version of Digital Betacam introduced in 1997 that uses an 8-bit discrete cosine transform (DCT) compressed 3:1:1 recording, in 1080i-compatible down-sampled resolution of 1440×1080, and adding 24p and 23. 976 progressive segmented frame (PsF) modes to later models. The HDCAM codec uses rectangular pixels and as such the recorded 1440×1080 content is upsampled to 1920×1080 on playback | HDCAM |
3,522 | Material Exchange Format (MXF) is a container format for professional digital video and audio media defined by a set of SMPTE standards. A typical example of its use is for delivering advertisements to TV stations and tapeless archiving of broadcast TV programs. It is also used as part of the Digital Cinema Package for delivering movies to commercial theaters | Material Exchange Format |
3,523 | The Media Dispatch Protocol (MDP) was developed by the Pro-MPEG Media Dispatch Group to provide an open standard for secure, automated, and tapeless delivery of audio, video and associated data files. Such files typically range from low-resolution content for the web to HDTV and high-resolution digital intermediate files for cinema production.
MDP is essentially a middleware protocol that decouples the technical details of how delivery occurs from the business logic that requires delivery | Media Dispatch Protocol |
3,524 | MIDI time code (MTC) embeds the same timing information as standard SMPTE timecode as a series of small 'quarter-frame' MIDI messages. There is no provision for the user bits in the standard MIDI time code messages, and SysEx messages are used to carry this information instead. The quarter-frame messages are transmitted in a sequence of eight messages, thus a complete timecode value is specified every two frames | MIDI timecode |
3,525 | SMPTE 292 is a digital video transmission line standard published by the Society of Motion Picture and Television Engineers (SMPTE). This technical standard is usually referred to as HD-SDI; it is part of a family of standards that define a Serial Digital Interface based on a coaxial cable, intended to be used for transport of uncompressed digital video and audio in a television studio environment.
SMPTE 292 which expands upon SMPTE 259 and SMPTE 344 allowing for bit-rates of 1 | SMPTE 292 |
3,526 | SMPTE 356M is a SMPTE specification for a professional video format, it is composed of MPEG-2 video composed of only I-frames and using 4:2:2 chroma subsampling. 8 channel AES3 audio streams are also included. These AES3 audio usually contain 24 bit PCM audio samples | SMPTE 356M |
3,527 | SMPTE 372M is a standard published by SMPTE which expands upon SMPTE 259M, SMPTE 344M, and SMPTE 292M allowing for bit-rates of 2. 970 Gbit/s, and 2. 970/1 | SMPTE 372M |
3,528 | SMPTE 424M is a standard published by SMPTE which expands upon SMPTE 259M, SMPTE 344M, and SMPTE 292M allowing for bit-rates of 2. 970 Gbit/s and 2. 970/1 | SMPTE 424M |
3,529 | SMPTE 2022 is a standard from the Society of Motion Picture and Television Engineers (SMPTE) that describes how to send digital video over an IP network. Video formats supported include MPEG-2 and serial digital interface The standard was introduced in 2007 and has been expanded in the years since.
The standard is published in eight parts | SMPTE 2022 |
3,530 | SMPTE 2059 is a standard from the Society of Motion Picture and Television Engineers (SMPTE) that describes how to synchronize video equipment over an IP network. The standard is based on IEEE 1588-2008. SMPTE 2059 is published in two parts on 9 April 2015:
SMPTE 2059-1 – Defines signal generation based on time information delivered by the IEEE 1588 protocol | SMPTE 2059 |
3,531 | SMPTE ST 2071 is a suite of standards published by the Society of Motion Picture and Television Engineers (SMPTE) that define a framework, protocol, and method of service discovery for the control of objects within an Internet of Things. The standards focus on the interoperability and discoverability of objects within the network, and treat media as first-class citizen. The standard also describes a programming methodology that allows objects to describe their behaviors (features) to other objects over the network and allows objects to change their behavior dynamically at runtime | SMPTE 2071 |
3,532 | SMPTE 2110 is a suite of standards from the Society of Motion Picture and Television Engineers (SMPTE) that describes how to send digital media over an IP network. SMPTE 2110 is intended to be used within broadcast production and distribution facilities where quality and flexibility are more important than bandwidth efficiency.
History
SMPTE 2110 was based on the TR-03 and TR-04 work published by the Video Services Forum on 12 November 2015 | SMPTE 2110 |
3,533 | SMPTE color bars are a television test pattern used where the NTSC video standard is utilized, including countries in North America. The Society of Motion Picture and Television Engineers (SMPTE) refers to the pattern as Engineering Guideline (EG) 1-1990. Its components are a known standard, and created by test pattern generators | SMPTE color bars |
3,534 | SMPTE timecode ( or ) is a set of cooperating standards to label individual frames of video or film with a timecode. The system is defined by the Society of Motion Picture and Television Engineers in the SMPTE 12M specification. SMPTE revised the standard in 2008, turning it into a two-part document: SMPTE 12M-1 and SMPTE 12M-2, including new explanations and clarifications | SMPTE timecode |
3,535 | The Unique Material Identifier (UMID) is a SMPTE standard for providing a stand-alone method for generating a unique label designed to be used to attach to media files and streams. The UMID is standardized in SMPTE 330M. There are two types of UMID:
Basic UMID
contains the minimal components necessary for the unique identification (the essential metadata) The length of the basic UMID is 32 octets | Unique Material Identifier |
3,536 | SMPTE 421, informally known as VC-1, is a video coding format. Most of it was initially developed as Microsoft's proprietary video format Windows Media Video 9 in 2003. With some enhancements including the development of a new Advanced Profile, it was officially approved as a SMPTE standard on April 3, 2006 | VC-1 |
3,537 | SMPTE ST 2117-1, informally known as VC-6, is a video coding format.
Overview
The VC-6 codec is optimized for intermediate, mezzanine or contribution coding applications. Typically, these applications involve compressing finished compositions for editing, contribution, primary distribution, archiving and other applications where it is necessary to preserve image quality as close to the original as possible, whilst reducing bitrates, and optimizing processing, power and storage requirements | VC-6 |
3,538 | The following outline is provided as an overview of and topical guide to television broadcasting:
Television broadcasting: form of broadcasting in which a television signal is transmitted by radio waves from a terrestrial (Earth based) transmitter of a television station to TV receivers having an antenna.
Nature of television broadcasting
Television broadcasting can be described as all of the following:
Technology
Electronics technology
Telecommunication technology
Broadcasting technology
Types of television broadcasting
Terrestrial television
Closed-circuit television
Outside broadcasting
Direct broadcast satellite (DBS)
History of television broadcasting
History of television
Television broadcasting technology
Infrastructure and broadcasting system
Television set
List of television manufacturers
Satellite television
Microwave link
Television receive-only
Television transmitter
Transposer
Transmitter station
System standards
System A the 405 line system
441 line system
Broadcast television systems
System B
System G
System H
System I
System M
Terrestrial television
Television signals
Video signal
Analogue television synchronization
Back porch
Black level
Blanking level
Chrominance
Composite video
Frame (video)
Front porch
Horizontal blanking interval
Horizontal scan rate
Luma (video)
Overscan
Raster scan
Television lines
White clipper
Vertical blanking interval
VF bandwidth
VIT signals
The sound signal
Multichannel television sound
NICAM
Pre-emphasis
Sound in syncs
Zweikanalton
Broadcast signal
Beam tilt
Downlink CNR
Earth bulge
Frequency offset
Field strength in free space
Knife-edge effect
Null fill
Output power of an analog TV transmitter
Path loss
Radio propagation
Radiation pattern
Skew
Television interference
Modulation and frequency conversion
Amplitude modulation
Frequency mixer
Frequency modulation
Quadrature amplitude modulation
Vestigial sideband modulation (VSBF)
IF and RF signal
Differential gain
Differential phase
Distortion
Group delay and phase delay
Intercarrier method
Intermediate frequency
Noise (electronics)
Radio frequency
Residual carrier
Split sound system
Superheterodyne transmitter
Television channel frequencies
Ultra high frequency
Very high frequency
Zero reference pulse
Color TV
Colorburst
Color killer
Color television
Dot crawl
Hanover bars
NTSC
PAL
PAL-M
PALplus
PAL-S
SECAM
Stages and output equipment
Amplifiers
Antenna (radio)
Cavity amplifier
Diplexer
Dipole antenna
Dummy load
Electronic filter
Tetrode
Klystron
Measuring instruments
Distortionmeter
Field strength meter
Oscilloscope
Multimeter
Network analyzer
Psophometer
Vectorscope
Television broadcasting by country
See also
Outline of communication
Outline of telecommunication
Outline of radio
External links
TVRadioWorld TV stations directory
W9WI. com (Terrestrial repeater and TV hobbyist information)
TV Coverage maps and Signal Analysis
A History of Television at the Canada Science and Technology Museum
The Encyclopedia of Television at the Museum of Broadcast Communications
The Evolution of TV, A Brief History of TV Technology in Japan NHK
Television's History – The First 75 Years
Worldwide Television Standards
Global TV Market Data
Television in Color, April 1944 one of the earliest magazine articles detailing the new technology of color television
Littleton, Cynthia | Outline of television broadcasting |
3,539 | The technology of television has evolved since its early days using a mechanical system invented by Paul Gottlieb Nipkow in 1884. Every television system works on the scanning principle first implemented in the rotating disk scanner of Nipkow. This turns a two-dimensional image into a time series of signals that represent the brightness and color of each resolvable element of the picture | Technology of television |
3,540 | An active shutter 3D system (a. k. a | Active shutter 3D system |
3,541 | 3D television (3DTV) is television that conveys depth perception to the viewer by employing techniques such as stereoscopic display, multi-view display, 2D-plus-depth, or any other form of 3D display. Most modern 3D television sets use an active shutter 3D system or a polarized 3D system, and some are autostereoscopic without the need of glasses. As of 2017, most 3D TV sets and services are no longer available from manufacturers | 3D television |
3,542 | 4G- filter is a low-pass filter or notch filter, to be used in OTA-reception installations (both collective and individual) if one is using an older/unfiltered TV antenna, without the risk of interference caused by the cellular transmitters on the higher channels. (See following section. )
These filters are usually used for existing facilities as for new installations in urban or rural areas, antennas and amplifiers sold from the application of the new standard may be already be configured to receive, with good signal gain, only TV channels from 14 to 51 of the UHF band, the other higher channels (former TV channels 52 to 83) being attenuated | 4G-LTE filter |
3,543 | The 7JP4 is an early black and white or monochrome cathode ray tube (also called picture tube and kinescope). It was a popular type used in late 1940s low cost and small table model televisions. The 7JP4 has a 7" diameter round screen which was often partially masked | 7JP4 |
3,544 | 10K resolution refers to a horizontal display resolutions of approximately 10,000 pixels. Unlike 4K UHD and 8K UHD, there are no 10K resolutions defined in the UHDTV broadcast standard. The first 10K displays demonstrated were ultrawide "21:9" screens with a resolution of 10240 × 4320, the same vertical resolution as 8K UHD | 10K resolution |
3,545 | 16K resolution is a display resolution with approximately 16,000 pixels horizontally. The most commonly discussed 16K resolution is 15360 × 8640, which doubles the pixel count of 8K UHD in each dimension, for a total of four times as many pixels. This resolution has 132 | 16K resolution |
3,546 | 180-line is an early electronic television system. It was used in Germany after March 22, 1935, using telecine transmission of film, intermediate film system, or cameras using the Nipkow disk. Simultaneously, fully electronic transmissions using cameras based on the iconoscope began on January 15, 1936 with a definition of 375-lines | 180-line television system |
3,547 | 343-line is the number of scan lines in some early electronic monochrome analog television systems. Systems with this number of lines were used with 30 interlaced frames per second the United States by from 1935 to 1938, and with 25 interlaced frames per second in the Soviet Union from 1937 onwards. A similar system was under development in Poland in 1939 | 343-line television system |
3,548 | 375-line corresponds to two different electronic television systems, both using 375 scan lines. One system (monochrome, 50 fields per second, interlaced) was used in Germany after 1936 along with the 180-line system, being replaced in a few years by the superior 441-line system. It was also tested in Italy around the same time | 375-line television system |
3,549 | The 405-line monochrome analogue television broadcasting system was the first fully electronic television system to be used in regular broadcasting. The number of television lines influences the image resolution, or quality of the picture.
It was introduced with the BBC Television Service in 1936, suspended for the duration of World War II, and remained in operation in the UK until 1985 | 405-line television system |
3,550 | 441-line is the number of scan lines in some early electronic monochrome analog television systems. Systems with this number of lines were used with 25 interlaced frames per second in France from 1937 to 1956, Germany from 1939 to 1943, Italy from 1939 to 1940, as well as by RCA in the United States with 30 interlaced frames per second from 1938 to 1941. Broadcasts were planned in Finland for 1940, but eventually cancelled due to World War II | 441-line television system |
3,551 | The 455-line standard, also known as 450-line, was a Frenchblack-and-white analog television broadcasting norm employed between 1937 and 1939. It was later replaced by the 441-line format, which remained in use until 1956.
Historical Background
In 1931, in Paris, Georges Mandel, the Minister of Posts, provided support to the Compagnie des Compteurs (CdC) in conducting mechanical television experiments | 455-line television system |
3,552 | 525-line (or EIA 525/60) is an American standard-definition television resolution used since July 1, 1941, mainly in the context of analog TV broadcast systems. It consists of a 525-line raster, with 480 lines carrying the visible image at 30 interlaced frames per second. It was eventually adopted by countries using 60 Hz utility frequency as TV broadcasts resumed after World War II | 525 lines |
3,553 | The 567-line television system was an experimental late 1940s proposal by Philips of the Netherlands for a European television system, with some test transmissions being made from Eindhoven.
The first mention of the system appeared in an article from 1938, published in the Philips' technical bulletin, on a transportable demonstration TV station, running an at 50 fields (25 frames) per second, but no more details were provided. Most of the technology was to be borrowed from the American 525-lines system, the difference being the reduction of horizontal scan frequency from 15,750 to 14,175 Hz | 567-line television system |
3,554 | 576i is a standard-definition digital video mode, originally used for digitizing analog television in most countries of the world where the utility frequency for electric power distribution is 50 Hz. Because of its close association with the legacy colour encoding systems, it is often referred to as PAL, PAL/SECAM or SECAM when compared to its 60 Hz (typically, see PAL-M) NTSC-colour-encoded counterpart, 480i.
The 576 identifies a vertical resolution of 576 lines, and the i identifies it as an interlaced resolution | 576i |
3,555 | 625-line (or CCIR 625/50) is a late 1940s European analog standard-definition television resolution standard. It consists of a 625-line raster, with 576 lines carrying the visible image at 25 interlaced frames per second. It was eventually adopted by countries using 50 Hz utility frequency as regular TV broadcasts resumed after World War II | 625 lines |
3,556 | 819-line was an analog monochrome TV system developed and used in France as television broadcast resumed after World War II. Transmissions started in 1949 and were active up to 1985, although limited to France, Belgium and Luxembourg. It is associated with CCIR System E and F | 819 line |
3,557 | In television electronics, A-MAC carries digital information: sound, and data-teletext on an FM subcarrier at 7 MHz. Since the vision bandwidth of a standard MAC signal is 8. 4 MHz, the horizontal resolution on A-MAC has to be reduced to make room for the 7 MHz carrier | A-MAC |
3,558 | Acetrax was a video on demand company which was founded in the UK and Switzerland and incorporated as a Swiss company in Zürich in 2006. The company was later acquired by Sky, a British telecommunications company. The company provided over-the-top (OTT) content in Europe, for connected TVs | Acetrax |
3,559 | In television technology, Active Format Description (AFD) is a standard set of codes that can be sent in the MPEG video stream or in the baseband SDI video signal that carries information about their aspect ratio and other active picture characteristics. It has been used by television broadcasters to enable both 4:3 and 16:9 television sets to optimally present pictures transmitted in either format. It has also been used by broadcasters to dynamically control how down-conversion equipment formats widescreen 16:9 pictures for 4:3 displays | Active Format Description |
3,560 | Advanced Digital Broadcast (ADB) is a company which provides software, system and services to pay-TV and telecommunication operators, content distributors and property owners around the world. The company specializes also in the development of digital connectivity devices such as set-top boxes and residential gateways.
ADB's global headquarters are located in Bellevue, Switzerland | Advanced Digital Broadcast |
3,561 | Advanced television is an array of features enabled by digital technology that significantly change analog television as it has come to be known during the 20th century. The term "advanced television" was first used at the MIT Media Lab in the early 1990s to explain why high-definition television was only an early step in the foreseeable enhancements to the medium. In 1996, David Weiss defined "advanced television" in his book, Issues in Advanced Television Technology to describe "an agglomeration of techniques, based largely on digital signal processing and transmission, that permits far more program material to be carried through channels than existing analog systems can manage | Advanced television |
3,562 | The Advent VideoBeam is a big-screen television that was invented in the 1970s by Advent Corporation, founded by Henry Kloss. Both picture and sound are projected from the television's projector base towards a curved screen, where they are reflected back towards the viewer. It is a plug-and-play system, which means it has few adjustments, to make it easier to install | Advent Video Beam Television |
3,563 | The Aiken tube was the first successful flat panel black and white television. Originally designed in the early 1950s, a small number of tubes were built in 1958 for military use in a collaboration with Kaiser Industries. An extended patent battle followed with a similar technology developed in the United Kingdom and planned commercial production for the home market never started | Aiken tube |
3,564 | EvoTV is a range of digital media players developed by Amkette that brings internet and web2. 0 features to the television. EvoTV was envisioned to be a substitute to the growing range of Smart TVs in the market | Amkette EvoTV |
3,565 | Analog high-definition television has referred to a variety of analog video broadcast television systems with various display resolutions throughout history.
Before 1940
On 2 November 1936 the BBC began transmitting the world's first public regular analog "high definition" television service from the Victorian Alexandra Palace in north London. It therefore claims to be the birthplace of television broadcasting as we know it today | Analog high-definition television system |
3,566 | Analog passthrough is a feature found on some digital-to-analog television converter boxes. Boxes without analog passthrough only allow digital TV to be viewed on older, analog-only TVs. Those with analog passthrough allow both digital and analog television to be viewed on older TVs | Analog passthrough |
3,567 | Analog television is the original television technology that uses analog signals to transmit video and audio. In an analog television broadcast, the brightness, colors and sound are represented by amplitude, phase and frequency of an analog signal.
Analog signals vary over a continuous range of possible values which means that electronic noise and interference may be introduced | Analog television |
3,568 | The Apple Interactive Television Box (AITB) is a television set-top box developed by Apple Computer (now Apple Inc. ) in partnership with a number of global telecommunications firms, including British Telecom and Belgacom. Prototypes of the unit were deployed at large test markets in parts of the United States and Europe in 1994 and 1995, but the product was canceled shortly thereafter, and was never mass-produced or marketed | Apple Interactive Television Box |
3,569 | Apple TV is a digital media player and microconsole developed and marketed by Apple Inc. It is a small network appliance hardware that plays received media data such as video and audio to a television set or external display. Since its second generation model, it is an HDMI-compliant source device and can only be connected to an enhanced-definition or high-definition widescreen television through HDMI to function | Apple TV |
3,570 | == VHF ==
Japan
People's Republic of China
Original P. R. C | Asian television frequencies |
3,571 | Below are the published ATSC standards for ATSC digital television service, issued by the Advanced Television Systems Committee.
A/49: Ghost Canceling Reference Signal for NTSC (for adjacent-channel interference or co-channel interference with analog NTSC stations nearby)
A/52B: audio data compression (Dolby AC-3 and E-AC-3)
A/53E: "ATSC Digital Television Standard" (the primary document governing the standard)
A/55: "Program Guide for Digital Television" (now deprecated in favor of A/65 PSIP)
A/56: "System Information for Digital Television" (now deprecated in favor of A/65 PSIP)
A/57A: "Content Identification and Labeling for ATSC Transport" (for assigning a unique digital number to each episode of each TV show, to assist DVRs)
A/63: "Standard for Coding 25/50 Hz Video" (for use with PAL and SECAM-originated programming)
A/64A "Transmission Measurement and Compliance for Digital Television"
A/65C: "Program and System Information Protocol for Terrestrial Broadcast and Cable" (PSIP includes virtual channels, electronic program guides, and content ratings)
A/68: "PSIP Standard for Taiwan" (defines use of Chinese characters via Unicode 3. 0)
A/69: recommended practices for implementing PSIP at a TV station
A/70A: "Conditional Access System for Terrestrial Broadcast"
A/71: "ATSC Parameterized Services Standard"
A/72: "Video System Characteristics of AVC in the ATSC Digital Television System" (implementing H | List of ATSC standards |
3,572 | An ATSC (Advanced Television Systems Committee) tuner, often called an ATSC receiver or HDTV tuner, is a type of television tuner that allows reception of digital television (DTV) television channels that use ATSC standards, as transmitted by television stations in North America, parts of Central America, and South Korea. Such tuners are usually integrated into a television set, VCR, digital video recorder (DVR), or set-top box which provides audio/video output connectors of various types. Another type of television tuner is a digital television adapter (DTA) with an analog passthrough | ATSC tuner |
3,573 | Audio description, (AD) also referred to as a video description, described video, or more precisely visual description, is a form of narration used to provide information surrounding key visual elements in a media work (such as a film or television program, or theatrical performance) for the benefit of blind and visually impaired consumers. These narrations are typically placed during natural pauses in the audio, and sometimes overlap dialogue if deemed necessary. Occasionally when a film briefly has subtitled dialogue in a different language, such as Greedo's confrontation with Han Solo in the 1977 film Star Wars: A New Hope, the narrator will read out the dialogue in character | Audio description |
3,574 | An audio router is a device that transports audio signals from inputs to outputs.
Inputs and Outputs
The number of inputs and outputs varies dramatically. The way routers are described is normally number of inputs by number of outputs e | Audio router |
3,575 | == How it works ==
To start the recognition, a short media clip (audio, video, or both) is selected from within a media file or captured as displayed on a device such as a smart TV. Using techniques such as fingerprinting and watermarking, the selected content is compared by the ACR software with a database of known recorded works. If the fingerprint of the media clip finds a match, the ACR software returns the corresponding metadata regarding the media as well as other associated or recommended content back to the client application for display to the user, or for collection by the device manufacturer or a data aggregator | Automatic content recognition |
3,576 | AV. link, also known under the trade names nexTViewLink, SmartLink, Q-Link, EasyLink, etc. , is a protocol to carry control information between audio-visual devices connected via the SCART (EIA Multiport) connector | AV.link |
3,577 | B-MAC is a form of analog video encoding, specifically a type of Multiplexed Analogue Components (MAC) encoding. MAC encoding was designed in the mid 80s for use with Direct Broadcast Satellite systems. Other analog video encoding systems include NTSC, PAL and SECAM | B-MAC |
3,578 | In the context of broadcasting, backhaul refers to uncut program content that is transmitted point-to-point to an individual television station or radio station, broadcast network or other receiving entity where it will be integrated into a finished TV show or radio show. The term is independent of the medium being used to send the backhaul, but communications satellite transmission is very common. When the medium is satellite, it is called a wildfeed | Backhaul (broadcasting) |
3,579 | John Logie Baird (; 13 August 1888 – 14 June 1946) was a Scottish inventor, electrical engineer, and innovator who demonstrated the world's first live working television system on 26 January 1926. He went on to invent the first publicly demonstrated colour television system and the first viable purely electronic colour television picture tube. In 1928 the Baird Television Development Company achieved the first transatlantic television transmission | John Logie Baird |
3,580 | BBC Research & Development is the technical research department of the BBC.
Function
It has responsibility for researching and developing advanced and emerging media technologies for the benefit of the corporation, and wider UK and European media industries, and is also the technical design authority for a number of major technical infrastructure transformation projects for the UK broadcasting industry.
Structure
BBC R&D is part of the wider BBC Design & Engineering, and is led by Jatin Aythora, Director, Research & Development | BBC Research & Development |
3,581 | The Computer Generated 2 was an ident used by BBC2 between 16 June 1979 and 30 March 1986. It was the first computer generated television station identification in the world.
Launch
The ident package was launched in June 1979 | BBC Two "Computer Generated 2" ident |
3,582 | The beam-index tube is a color television cathode ray tube (CRT) design, using phosphor stripes and active-feedback timing, rather than phosphor dots and a beam-shadowing mask as developed by RCA. Beam indexing offered much brighter pictures than shadow-mask CRTs, reducing power consumption, and as they used a single electron gun rather than three, they were easier to build and required no alignment adjustments.
Philco led the development of the beam-indexing concept in a series of experimental devices they called the Apple tube | Beam-index tube |
3,583 | The Belling-Lee connector (also type 9,52, but largely only in the context of its specification, IEC 61169, Part 2: Radio-frequency coaxial connector of type 9,52) is commonly used in Europe, parts of South-East Asia, and Australia, to connect coaxial cables with each other and with terrestrial VHF/UHF roof antennas, antenna signal amplifiers, CATV distribution equipment, TV sets, and FM and DAB radio receivers. In these countries, it is known colloquially as a PAL antenna connector, IEC antenna connector, or simply as a TV aerial plug. It is one of the oldest coaxial connectors still commonly used in consumer devices | Belling-Lee connector |
3,584 | Belweder was the brand name of the OT1471 television set, manufactured in People's Republic of Poland (PRL) from 1957 to 1960 at the Warszawskie Zakłady Telewizyjne (WZT). It was the second (after the Wisła) TV set made in Poland and the first one designed entirely domestically.
The communist authorities of the PRL saw TV set manufacturing not only as satisfying the consumption needs of the citizens, but also a way of popularizing a potentially powerful propaganda medium, which is why the development of television in general and the TV sets in particular enjoyed strong support within the reality of a centrally planned economy | Belweder (TV set) |
3,585 | Video black level is defined as the level of brightness at the darkest (black) part of a visual image or the level of brightness at which no light is emitted from a screen, resulting in a pure black screen.
Video displays generally need to be calibrated so that the displayed black is true to the black information in the video signal. If the black level is not correctly adjusted, visual information in a video signal could be displayed as black, or black information could be displayed as above black information (gray) | Black level |
3,586 | In analog video, blanking occurs between horizontal lines and between frames. In raster scan equipment, an image is built up by scanning an electron beam from left to right across a screen to produce a visible trace of one scan line, reducing the brightness of the beam to zero (horizontal blanking), moving it back as fast as possible to the left of the screen at a slightly lower position (the next scan line), restoring the brightness, and continuing until all the lines have been displayed and the beam is at the bottom right of the screen. Its intensity is then reduced to zero again (vertical blanking), and it is rapidly moved to the top left to start again, creating the next frame | Blanking (video) |
3,587 | In video technology, blanking level is the level of the composite video signal during the front and back porches of the video signal.
The composite video signal is actually the video information superimposed on blanking. The total level of the composite video signal (blanking + video) is 1000 mV | Blanking level |
3,588 | A broadcast relay station, also known as a satellite station, relay transmitter, broadcast translator (U. S. ), re-broadcaster (Canada), repeater (two-way radio) or complementary station (Mexico), is a broadcast transmitter which repeats (or transponds) the signal of a radio or television station to an area not covered by the originating station | Broadcast relay station |
3,589 | Broadcast television systems (or terrestrial television systems outside the US and Canada) are the encoding or formatting systems for the transmission and reception of terrestrial television signals.
Analog television systems were standardized by the International Telecommunication Union (ITU) in 1961, with each system designated by a letter (A-N) in combination with the color standard used (NTSC, PAL or SECAM) - for example PAL-B, NTSC-M, etc. ) | Broadcast television systems |
3,590 | This list of broadcast formats is a review of the most popular formats used to broadcast video information over cable television, satellite television, the Internet, and other means. Video broadcasting was popularized by the advent of the television during the middle of the twentieth century. Recently, Internet streaming has almost surpassed television as the top video broadcast platform | List of broadcast video formats |
3,591 | Broadcast-safe video (broadcast legal or legal signal) is a term used in the broadcast industry to define video and audio compliant with the technical or regulatory broadcast requirements of the target area or region the feed might be broadcasting to. In the United States, the Federal Communications Commission (FCC) is the regulatory authority; in most of Europe, standards are set by the European Broadcasting Union (EBU).
Broadcast safe video
Broadcast safe standard-definition video
Broadcast safe 625 video
Broadcast safe standards for 625 lines of standard-definition (Inaccurately referred to as PAL, a colour encoding that is usually used with such systems) video are:
Common name = 625/50i (576i)
Commonly used digital SD SDI baseband signal = SMPTE 259M-C, 270 Mbit/s bitrate
Commonly used No | Broadcast-safe |
3,592 | BT. 1120 is a digital interface standard for HDTV studio signals published by the International Telecommunication Union. As of October 2017, the current version of BT | BT.1120 |
3,593 | Burst phase is the first ten cycles of colorburst in the "porch" of the synchronising pulse in the PAL (Phase Alternation Line) broadcast television systems format. The frequency of this burst is 4. 43361875 MHz; it is precise to | Burst phase |
3,594 | C-MAC is the television technology variant approved by the European Broadcasting Union (EBU) for satellite transmissions. The digital information is modulated using 2-4PSK (phase-shift keying), a variation of quadrature PSK where only two of the phaser angles (±90°) are used.
The data capacity for C-MAC is 3 Mbit/s | C-MAC |
3,595 | The camera control unit (CCU) is typically part of a live television broadcast chain. It is responsible for powering the professional video camera, handling signals sent over the camera cable to and from the camera, and can be used to control various camera parameters remotely.
History
Before cameras became self-contained units, broadcast cameras required vast racks of control units just to generate a usable picture | Camera control unit |
3,596 | A cathode-ray tube (CRT) is a vacuum tube containing one or more electron guns, which emit electron beams that are manipulated to display images on a phosphorescent screen. The images may represent electrical waveforms (oscilloscope), pictures (television set, computer monitor), radar targets, or other phenomena. A CRT on a television set is commonly called a picture tube | Cathode-ray tube |
3,597 | CCIR System A was the 405-line analog broadcast television system adopted in the UK and Ireland. System A service started in 1936 and was discontinued in 1985.
Specifications
Some of the important specs are listed below | CCIR System A |
3,598 | CCIR System B (originally known as the "Gerber Standard") was the 625-line VHF analog broadcast television system which at its peak was adopted by more than one hundred countries, either with PAL or SECAM colour. It usually associated with CCIR System G for UHF broadcasts.
System B was the first internationally accepted 625-line broadcasting standard in the world | CCIR System B |
3,599 | CCIR System D is an analog broadcast television system used in Bulgaria, Latvia, Lithuania, Poland, Romania, Slovakia, Czech Republic, Hungary, Albania and the People's Republic of China, Mongolia, Kyrgyzstan, North Korea, Tajikistan, Turkmenistan, Uzbekistan, Armenia, Azerbaijan, Georgia, Kazakhstan, Moldova, Russia, Ukraine and Belarus paired with the PAL/SECAM duel-standard colour. Initially known as the I. B | CCIR System D |
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