Television is certainly one of the most influential forces of our time. Through the device called a television set or TV, you are able to receive news, sports, entertainment, information and commercials. The average American spends between two and five hours a day glued to "the tube"!
Have you ever wondered about the technology that makes television possible? How is it that dozens or hundreds of channels of full-motion video arrive at your house, in many cases for free? How does your television decode the signals to produce the picture? How will the new digital television signals change things? If you have ever wondered about your television (or, for that matter, about your computer monitor), then read on! In this article, we'll answer all of these questions and more.
TV Pixels and Your Brain
Let's start at the beginning with a quick note about your brain. There are two amazing things about your brain that make television possible. By understanding these two facts, you gain a good bit of insight into why televisions are designed the way they are.
The first principle is this: If you divide a still image into a collection of small colored dots, your brain will reassemble the dots into a meaningful image. This is no small feat, as any researcher who has tried to program a computer to understand images will tell you. The only way we can see that this is actually happening is to blow the dots up so big that our brains can no longer assemble them, like this:
Most people, sitting right up close to their computer screens, cannot tell what this is a picture of -- the dots are too big for your brain to handle. If you stand 10 to 15 feet away from your monitor, however, your brain will be able to assemble the dots in the image and you will clearly see that it is the baby's face. By standing at a distance, the dots become small enough for your brain to integrate them into a recognizable image.
Both televisions and computer screens (as well as newspaper and magazine photos) rely on this fusion-of-small-colored-dots capability in the human brain to chop pictures up into thousands of individual elements. On a TV or computer screen, the dots are called pixels. The resolution of your computer's screen might be 800x600 pixels, or maybe 1024x768 pixels.
TV Motion and Your Brain
The human brain's second amazing feature relating to television is this: If you divide a moving scene into a sequence of still pictures and show the still images in rapid succession, the brain will reassemble the still images into a single, moving scene. Take, for example, these four frames from the example video:
Each one of these images is slightly different from the next. If you look carefully at the baby's left foot (the foot that is visible), you will see that it is rising in these four frames. The toy also moves forward very slightly. By putting together 15 or more subtly different frames per second, the brain integrates them into a moving scene. Fifteen per second is about the minimum possible -- any fewer than that and it looks jerky.
When you download and watch the MPEG file offered at the beginning of this section, you see both of these processes at work simultaneously. Your brain is fusing the dots of each image together to form still images and then fusing the separate still images together into a moving scene. Without these two capabilities, TV as we know it would not be possible.
The Cathode Ray Tube
A few TVs in use today rely on a device known as the cathode ray tube, or CRT, to display their images. LCDs and plasma displaysare other common technologies. It is even possible to make a television screen out of thousands of ordinary 60-watt light bulbs! You may have seen something like this at an outdoor event like a football game. Let's start with the CRT, however.
The terms anode and cathode are used in electronics as synonyms for positive and negative terminals. For example, you could refer to the positive terminal of a battery as the anode and the negative terminal as the cathode.
In a cathode ray tube, the "cathode" is a heated filament (not unlike the filament in a normal light bulb). The heated filament is in a vacuum created inside a glass "tube." The "ray" is a stream of electrons that naturally pour off a heated cathode into the vacuum.
Electrons are negative. The anode is positive, so it attracts the electrons pouring off the cathode. In a TV's cathode ray tube, the stream of electrons is focused by a focusing anode into a tight beam and then accelerated by an accelerating anode. This tight, high-speed beam of electrons flies through the vacuum in the tube and hits the flat screen at the other end of the tube. This screen is coated with phosphor, which glows when struck by the beam.
A few TVs in use today rely on a device known as the cathode ray tube, or CRT, to display their images. LCDs and plasma displaysare other common technologies. It is even possible to make a television screen out of thousands of ordinary 60-watt light bulbs! You may have seen something like this at an outdoor event like a football game. Let's start with the CRT, however.
The terms anode and cathode are used in electronics as synonyms for positive and negative terminals. For example, you could refer to the positive terminal of a battery as the anode and the negative terminal as the cathode.
In a cathode ray tube, the "cathode" is a heated filament (not unlike the filament in a normal light bulb). The heated filament is in a vacuum created inside a glass "tube." The "ray" is a stream of electrons that naturally pour off a heated cathode into the vacuum.
Electrons are negative. The anode is positive, so it attracts the electrons pouring off the cathode. In a TV's cathode ray tube, the stream of electrons is focused by a focusing anode into a tight beam and then accelerated by an accelerating anode. This tight, high-speed beam of electrons flies through the vacuum in the tube and hits the flat screen at the other end of the tube. This screen is coated with phosphor, which glows when struck by the beam.
Inside a CRT
As you can see in the drawing, there's not a whole lot to a basic cathode ray tube.
There is a cathode and a pair (or more) of anodes. There is the phosphor-coated screen. There is a conductive coating inside the tube to soak up the electrons that pile up at the screen-end of the tube. However, in this diagram you can see no way to "steer" the beam -- the beam will always land in a tiny dot right in the center of the screen.
That's why, if you look inside any TV set, you will find that the tube is wrapped in coils of wires. On the next page, you'll get a good view of steering coils.
TV Steering Coils
As you can see in the drawing, there's not a whole lot to a basic cathode ray tube.
There is a cathode and a pair (or more) of anodes. There is the phosphor-coated screen. There is a conductive coating inside the tube to soak up the electrons that pile up at the screen-end of the tube. However, in this diagram you can see no way to "steer" the beam -- the beam will always land in a tiny dot right in the center of the screen.
That's why, if you look inside any TV set, you will find that the tube is wrapped in coils of wires. On the next page, you'll get a good view of steering coils.
TV Steering Coils
The steering coils are simply copper windings (see How Electromagnets Work for details on coils). These coils are able to create magnetic fields inside the tube, and the electron beam responds to the fields. One set of coils creates a magnetic field that moves the electron beam vertically, while another set moves the beam horizontally. By controlling the voltages in the coils, you can position the electron beam at any point on the screen.
TV Phosphors
Electrical fields may cause a large number of ghost sightings. Learn about electrical fields and find out how electrical fields relate to ghosts.
A phosphor is any material that, when exposed to radiation, emits visible light. The radiation might be ultraviolet light or a beam of electrons. Any fluorescent color is really a phosphor -- fluorescent colors absorb invisible ultraviolet light and emit visible light at a characteristic color.
In a CRT, phosphor coats the inside of the screen. When the electron beam strikes the phosphor, it makes the screen glow. In a black-and-white screen, there is one phosphor that glows white when struck. In a color screen, there are three phosphors arranged as dots or stripes that emit red, green and blue light. There are also three electron beams to illuminate the three different colors together.
There are thousands of different phosphors that have been formulated. They are characterized by their emission color and the length of time emission lasts after they are excited.
Electrical fields may cause a large number of ghost sightings. Learn about electrical fields and find out how electrical fields relate to ghosts.
A phosphor is any material that, when exposed to radiation, emits visible light. The radiation might be ultraviolet light or a beam of electrons. Any fluorescent color is really a phosphor -- fluorescent colors absorb invisible ultraviolet light and emit visible light at a characteristic color.
In a CRT, phosphor coats the inside of the screen. When the electron beam strikes the phosphor, it makes the screen glow. In a black-and-white screen, there is one phosphor that glows white when struck. In a color screen, there are three phosphors arranged as dots or stripes that emit red, green and blue light. There are also three electron beams to illuminate the three different colors together.
There are thousands of different phosphors that have been formulated. They are characterized by their emission color and the length of time emission lasts after they are excited.
The Black-and-White TV Signal
In a black-and-white TV, the screen is coated with white phosphor and the electron beam "paints" an image onto the screen by moving the electron beam across the phosphor a line at a time. To "paint" the entire screen, electronic circuits inside the TV use the magnetic coils to move the electron beam in a "raster scan" pattern across and down the screen. The beam paints one line across the screen from left to right. It then quickly flies back to the left side, moves down slightly and paints another horizontal line, and so on down the screen.
In this figure, the blue lines represent lines that the electron beam is "painting" on the screen from left to right, while the red dashed lines represent the beam flying back to the left. When the beam reaches the right side of the bottom line, it has to move back to the upper left corner of the screen, as represented by the green line in the figure. When the beam is "painting," it is on, and when it is flying back, it is off so that it does not leave a trail on the screen. The term horizontal retrace is used to refer to the beam moving back to the left at the end of each line, while the term vertical retrace refers to its movement from bottom to top.
As the beam paints each line from left to right, the intensity of the beam is changed to create different shades of black, gray and white across the screen. Because the lines are spaced very closely together, your brain integrates them into a single image. A TV screen normally has about 480 lines visible from top to bottom. In the next section, you'll find out how the TV "paints" these lines on the screen.
Painting the TV Screen
Standard TVs use an interlacing technique when painting the screen. In this technique, the screen is painted 60 times per second but only half of the lines are painted per frame. The beam paints every other line as it moves down the screen -- for example, every odd-numbered line. Then, the next time it moves down the screen it paints the even-numbered lines, alternating back and forth between even-numbered and odd-numbered lines on each pass. The entire screen, in two passes, is painted 30 times every second. The alternative to interlacing is called progressive scanning, which paints every line on the screen 60 times per second. Most computer monitors use progressive scanning because it significantly reduces flicker.
Because the electron beam is painting all 525 lines 30 times per second, it paints a total of 15,750 lines per second. (Some people can actually hear this frequency as a very high-pitched sound emitted when the television is on.)
When a television station wants to broadcast a signal to your TV, or when your VCR wants to display the movie on a video tape on your TV, the signal needs to mesh with the electronics controlling the beam so that the TV can accurately paint the picture that the TV station or VCR sends. The TV station or VCR therefore sends a well-known signal to the TV that contains three different parts:
Intensity information for the beam as it paints each line
Horizontal-retrace signals to tell the TV when to move the beam back at the end of each line
Vertical-retrace signals 60 times per second to move the beam from bottom-right to top-left
Composite Video Signal
A typical composite video signal
A signal that contains all three of these components -- intensity information, horizontal-retrace signals, and vertical-retrace signals -- is called a composite video signal. A composite-video input on a VCR is normally a yellow RCA jack. One line of a typical composite video signal looks something like the image on this page.
The horizontal-retrace signals are 5-microsecond (abbreviated as "us" in the figure) pulses at zero volts. Electronics inside the TV can detect these pulses and use them to trigger the beam's horizontal retrace. The actual signal for the line is a varying wave between 0.5 volts and 2.0 volts, with 0.5 volts representing black and 2 volts representing white. This signal drives the intensity circuit for the electron beam. In a black-and-white TV, this signal can consume about 3.5 megahertz (MHz) of bandwidth, while in a color set the limit is about 3.0 MHz.
A vertical-retrace pulse is similar to a horizontal-retrace pulse but is 400 to 500 microseconds long. The vertical-retrace pulse is serrated with horizontal-retrace pulses in order to keep the horizontal-retrace circuit in the TV synchronized.
Color TV Screen
A color TV screen differs from a black-and-white screen in three ways:
There are three electron beams that move simultaneously across the screen. They are named the red, green and blue beams.
The screen is not coated with a single sheet of phosphor as in a black-and-white TV. Instead, the screen is coated with red, green and blue phosphors arranged in dots or stripes. If you turn on your TV or computer monitor and look closely at the screen with a magnifying glass, you will be able to see the dots or stripes.
On the inside of the tube, very close to the phosphor coating, there is a thin metal screen called a shadow mask. This mask is perforated with very small holes that are aligned with the phosphor dots (or stripes) on the screen.
When a color TV needs to create a red dot, it fires the red beam at the red phosphor. Similarly for green and blue dots. To create a white dot, red, green and blue beams are fired simultaneously -- the three colors mix together to create white. To create a black dot, all three beams are turned off as they scan past the dot. All other colors on a TV screen are combinations of red, green and blue.
Color TV Signal
A color TV signal starts off looking just like a black-and-white signal. An extra chrominance signal is added by superimposing a 3.579545 MHz sine wave onto the standard black-and-white signal. Right after the horizontal sync pulse, eight cycles of a 3.579545 MHz sine wave are added as a color burst.
Following these eight cycles, a phase shift in the chrominance signal indicates the color to display. The amplitude of the signal determines the saturation. Here is the relationship between color and phase:
Burst = 0 degrees
Yellow = 15 degrees
Red = 75 degrees
Magenta = 135 degrees
Blue = 195 degrees
Cyan = 255 degrees
Green = 315 degrees
A black-and-white TV filters out and ignores the chrominance signal. A color TV picks it out of the signal and decodes it, along with the normal intensity signal, to determine how to modulate the three color beams.
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The composite video signal is amplitude-modulated into the appropriate frequency, and then the sound is frequency-modulated (+/- 25 KHz) as a separate signal.
Now you are familiar with a standard composite video signal. Note that we have not mentioned sound. If your VCR has a yellow composite-video jack, you've probably noticed that there are separate sound jacks right next to it. Sound and video are completely separate in an analog TV.
You are probably familiar with five different ways to get a signal into your TV set:
Broadcast programming received through an antenna
VCR or DVD player that connects to the antenna terminals
Cable TV arriving in a set-top box that connects to the antenna terminals
Large (6 to 12 feet) satellite-dish antenna arriving in a set-top box that connects to the antenna terminals
Small (1 to 2 feet) satellite-dish antenna arriving in a set-top box that connects to the antenna terminals
The first four signals use standard NTSC analog waveforms as described in the previous sections. As a starting point, let's look at how normal broadcast signals arrive at your house.
A typical TV signal as described above requires 4 MHz of bandwidth. By the time you add in sound, something called a vestigial sideband and a little buffer space, a TV signal requires 6 MHz of bandwidth. Therefore, the FCC allocated three bands of frequencies in the radio spectrum, chopped into 6-MHz slices, to accommodate TV channels:
54 to 88 MHz for channels 2 to 6
174 to 216 MHz for channels 7 through 13
470 to 890 MHz for UHF channels 14 through 83
The composite TV signal described in the previous sections can be broadcast to your house on any available channel. The composite video signal is amplitude-modulated into the appropriate frequency, and then the sound is frequency-modulated (+/- 25 KHz) as a separate signal.
To the left of the video carrier is the vestigial lower sideband (0.75 MHz), and to the right is the full upper sideband (4 MHz). The sound signal is centered on 5.75 MHz. As an example, a program transmitted on channel 2 has its video carrier at 55.25 MHz and its sound carrier at 59.75 MHz. The tuner in your TV, when tuned to channel 2, extracts the composite video signal and the sound signal from the radio waves that transmitted them to the antenna.
VCR and Cable Signals
VCRs are essentially their own little TV stations. Almost all VCRs have a switch on the back that allows you to select channel 3 or 4. The video tape contains a composite video signal and a separate sound signal. The VCR has a circuit inside that takes the video and sound signals off the tape and turns them into a signal that, to the TV, looks just like the broadcast signal for channel 3 or 4.
The cable in cable TV contains a large number of channels that are transmitted on the cable. Your cable provider could simply modulate the different cable-TV programs onto all of the normal frequencies and transmit that to your house via the cable; then, the tuner in your TV would accept the signal and you would not need a cable box. Unfortunately, that approach would make theft of cable services very easy, so the signals are encoded in funny ways. The set-top box is a decoder. You select the channel on it, it decodes the right signal and then does the same thing a VCR does to transmit the signal to the TV on channel 3 or 4.
Satellite TV Signals
Small-dish satellite system
PHOTO COURTESY DIRECTV
Large-dish satellite antennas pick off unencoded or encoded signals being beamed to Earth by satellites. First, you point the dish to a particular satellite, and then you select a particular channel it is transmitting. The set-top box receives the signal, decodes it if necessary and then sends it to channel 3 or 4.
Small-dish satellite systems are digital. The TV programs are encoded in MPEG-2format and transmitted to Earth. The set-top box does a lot of work to decode MPEG-2, then converts it to a standard analog TV signal and sends it to your TV on channel 3 or 4.
In a black-and-white TV, the screen is coated with white phosphor and the electron beam "paints" an image onto the screen by moving the electron beam across the phosphor a line at a time. To "paint" the entire screen, electronic circuits inside the TV use the magnetic coils to move the electron beam in a "raster scan" pattern across and down the screen. The beam paints one line across the screen from left to right. It then quickly flies back to the left side, moves down slightly and paints another horizontal line, and so on down the screen.
In this figure, the blue lines represent lines that the electron beam is "painting" on the screen from left to right, while the red dashed lines represent the beam flying back to the left. When the beam reaches the right side of the bottom line, it has to move back to the upper left corner of the screen, as represented by the green line in the figure. When the beam is "painting," it is on, and when it is flying back, it is off so that it does not leave a trail on the screen. The term horizontal retrace is used to refer to the beam moving back to the left at the end of each line, while the term vertical retrace refers to its movement from bottom to top.
As the beam paints each line from left to right, the intensity of the beam is changed to create different shades of black, gray and white across the screen. Because the lines are spaced very closely together, your brain integrates them into a single image. A TV screen normally has about 480 lines visible from top to bottom. In the next section, you'll find out how the TV "paints" these lines on the screen.
Painting the TV Screen
Standard TVs use an interlacing technique when painting the screen. In this technique, the screen is painted 60 times per second but only half of the lines are painted per frame. The beam paints every other line as it moves down the screen -- for example, every odd-numbered line. Then, the next time it moves down the screen it paints the even-numbered lines, alternating back and forth between even-numbered and odd-numbered lines on each pass. The entire screen, in two passes, is painted 30 times every second. The alternative to interlacing is called progressive scanning, which paints every line on the screen 60 times per second. Most computer monitors use progressive scanning because it significantly reduces flicker.
Because the electron beam is painting all 525 lines 30 times per second, it paints a total of 15,750 lines per second. (Some people can actually hear this frequency as a very high-pitched sound emitted when the television is on.)
When a television station wants to broadcast a signal to your TV, or when your VCR wants to display the movie on a video tape on your TV, the signal needs to mesh with the electronics controlling the beam so that the TV can accurately paint the picture that the TV station or VCR sends. The TV station or VCR therefore sends a well-known signal to the TV that contains three different parts:
Intensity information for the beam as it paints each line
Horizontal-retrace signals to tell the TV when to move the beam back at the end of each line
Vertical-retrace signals 60 times per second to move the beam from bottom-right to top-left
Composite Video Signal
A typical composite video signal
A signal that contains all three of these components -- intensity information, horizontal-retrace signals, and vertical-retrace signals -- is called a composite video signal. A composite-video input on a VCR is normally a yellow RCA jack. One line of a typical composite video signal looks something like the image on this page.
The horizontal-retrace signals are 5-microsecond (abbreviated as "us" in the figure) pulses at zero volts. Electronics inside the TV can detect these pulses and use them to trigger the beam's horizontal retrace. The actual signal for the line is a varying wave between 0.5 volts and 2.0 volts, with 0.5 volts representing black and 2 volts representing white. This signal drives the intensity circuit for the electron beam. In a black-and-white TV, this signal can consume about 3.5 megahertz (MHz) of bandwidth, while in a color set the limit is about 3.0 MHz.
A vertical-retrace pulse is similar to a horizontal-retrace pulse but is 400 to 500 microseconds long. The vertical-retrace pulse is serrated with horizontal-retrace pulses in order to keep the horizontal-retrace circuit in the TV synchronized.
Color TV Screen
A color TV screen differs from a black-and-white screen in three ways:
There are three electron beams that move simultaneously across the screen. They are named the red, green and blue beams.
The screen is not coated with a single sheet of phosphor as in a black-and-white TV. Instead, the screen is coated with red, green and blue phosphors arranged in dots or stripes. If you turn on your TV or computer monitor and look closely at the screen with a magnifying glass, you will be able to see the dots or stripes.
On the inside of the tube, very close to the phosphor coating, there is a thin metal screen called a shadow mask. This mask is perforated with very small holes that are aligned with the phosphor dots (or stripes) on the screen.
When a color TV needs to create a red dot, it fires the red beam at the red phosphor. Similarly for green and blue dots. To create a white dot, red, green and blue beams are fired simultaneously -- the three colors mix together to create white. To create a black dot, all three beams are turned off as they scan past the dot. All other colors on a TV screen are combinations of red, green and blue.
Color TV Signal
A color TV signal starts off looking just like a black-and-white signal. An extra chrominance signal is added by superimposing a 3.579545 MHz sine wave onto the standard black-and-white signal. Right after the horizontal sync pulse, eight cycles of a 3.579545 MHz sine wave are added as a color burst.
Following these eight cycles, a phase shift in the chrominance signal indicates the color to display. The amplitude of the signal determines the saturation. Here is the relationship between color and phase:
Burst = 0 degrees
Yellow = 15 degrees
Red = 75 degrees
Magenta = 135 degrees
Blue = 195 degrees
Cyan = 255 degrees
Green = 315 degrees
A black-and-white TV filters out and ignores the chrominance signal. A color TV picks it out of the signal and decodes it, along with the normal intensity signal, to determine how to modulate the three color beams.
TV Broadcasts
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The composite video signal is amplitude-modulated into the appropriate frequency, and then the sound is frequency-modulated (+/- 25 KHz) as a separate signal.
Now you are familiar with a standard composite video signal. Note that we have not mentioned sound. If your VCR has a yellow composite-video jack, you've probably noticed that there are separate sound jacks right next to it. Sound and video are completely separate in an analog TV.
You are probably familiar with five different ways to get a signal into your TV set:
Broadcast programming received through an antenna
VCR or DVD player that connects to the antenna terminals
Cable TV arriving in a set-top box that connects to the antenna terminals
Large (6 to 12 feet) satellite-dish antenna arriving in a set-top box that connects to the antenna terminals
Small (1 to 2 feet) satellite-dish antenna arriving in a set-top box that connects to the antenna terminals
The first four signals use standard NTSC analog waveforms as described in the previous sections. As a starting point, let's look at how normal broadcast signals arrive at your house.
A typical TV signal as described above requires 4 MHz of bandwidth. By the time you add in sound, something called a vestigial sideband and a little buffer space, a TV signal requires 6 MHz of bandwidth. Therefore, the FCC allocated three bands of frequencies in the radio spectrum, chopped into 6-MHz slices, to accommodate TV channels:
54 to 88 MHz for channels 2 to 6
174 to 216 MHz for channels 7 through 13
470 to 890 MHz for UHF channels 14 through 83
The composite TV signal described in the previous sections can be broadcast to your house on any available channel. The composite video signal is amplitude-modulated into the appropriate frequency, and then the sound is frequency-modulated (+/- 25 KHz) as a separate signal.
To the left of the video carrier is the vestigial lower sideband (0.75 MHz), and to the right is the full upper sideband (4 MHz). The sound signal is centered on 5.75 MHz. As an example, a program transmitted on channel 2 has its video carrier at 55.25 MHz and its sound carrier at 59.75 MHz. The tuner in your TV, when tuned to channel 2, extracts the composite video signal and the sound signal from the radio waves that transmitted them to the antenna.
VCR and Cable Signals
VCRs are essentially their own little TV stations. Almost all VCRs have a switch on the back that allows you to select channel 3 or 4. The video tape contains a composite video signal and a separate sound signal. The VCR has a circuit inside that takes the video and sound signals off the tape and turns them into a signal that, to the TV, looks just like the broadcast signal for channel 3 or 4.
The cable in cable TV contains a large number of channels that are transmitted on the cable. Your cable provider could simply modulate the different cable-TV programs onto all of the normal frequencies and transmit that to your house via the cable; then, the tuner in your TV would accept the signal and you would not need a cable box. Unfortunately, that approach would make theft of cable services very easy, so the signals are encoded in funny ways. The set-top box is a decoder. You select the channel on it, it decodes the right signal and then does the same thing a VCR does to transmit the signal to the TV on channel 3 or 4.
Satellite TV Signals
Small-dish satellite system
PHOTO COURTESY DIRECTV
Large-dish satellite antennas pick off unencoded or encoded signals being beamed to Earth by satellites. First, you point the dish to a particular satellite, and then you select a particular channel it is transmitting. The set-top box receives the signal, decodes it if necessary and then sends it to channel 3 or 4.
Small-dish satellite systems are digital. The TV programs are encoded in MPEG-2format and transmitted to Earth. The set-top box does a lot of work to decode MPEG-2, then converts it to a standard analog TV signal and sends it to your TV on channel 3 or 4.
Digital TV
Sony Wega 42" XBR Plasma TV with built-in HDTV tuner
PHOTO COURTESY SONY ELECTRONICS
The latest buzz is digital TV, also known as DTV or HDTV (high-definition TV). DTV uses MPEG-2 encoding just like the satellite systems do, but digital TV allows a variety of new, larger screen formats.
The formats include:
Sony Wega 42" XBR Plasma TV with built-in HDTV tuner
PHOTO COURTESY SONY ELECTRONICS
The latest buzz is digital TV, also known as DTV or HDTV (high-definition TV). DTV uses MPEG-2 encoding just like the satellite systems do, but digital TV allows a variety of new, larger screen formats.
The formats include:
480p - 640x480 pixels progressive
720p - 1280x720 pixels progressive
1080i - 1920x1080 pixels interlaced
1080p - 1920x1080 pixels progressive
A digital TV decodes the MPEG-2 signal and displays it just like a computer monitor does, giving it incredible resolution and stability. There is also a wide range of set-top boxes that can decode the digital signal and convert it to analog to display it on a normal TV.
720p - 1280x720 pixels progressive
1080i - 1920x1080 pixels interlaced
1080p - 1920x1080 pixels progressive
A digital TV decodes the MPEG-2 signal and displays it just like a computer monitor does, giving it incredible resolution and stability. There is also a wide range of set-top boxes that can decode the digital signal and convert it to analog to display it on a normal TV.
TV Goes Digital
The term "digital TV" is used in many different ways right now, depending on whom you're talking to. There's also the term "HDTV," which is the most advanced form of digital TV in use in the United States. The reason it gets confusing is because digital TV in the United States combines three different ideas.
The first idea that is new to digital TV is the digital signal.
Analog TV started as a broadcast medium. TV stations set up antennas and broadcast radio signals to individual communities. You can attach an antenna to your TV and pick up channels 2 through 83 for free. What you receive, as described earlier, is a single, analog composite video signal and a separate sound signal.
Digital TV started as a free broadcast medium as well. For example, in San Jose, Calif., you can tune in to about a dozen different commercial digital TV stations if you have a digital TV receiver and an antenna. The FCC gave television broadcasters a new frequency to use for their digital broadcasts, so until the digital transition is complete, each broadcaster has an analog TV channel and a digital TV channel. The digital channel carries a 19.39-megabit-per-second stream of digital data that your digital TV receives and decodes.
Each broadcaster has one digital TV channel, but one channel can carry multiple sub-channels if the broadcaster chooses that option. Here's how it works:
On its digital channel, each broadcaster sends a 19.39-megabit-per-second (Mbps) stream of digital data. Broadcasters have the ability to use this stream in several different ways. For example:
A broadcaster can send a single program at 19.39 Mbps.
A broadcaster can divide the channel into several different streams (perhaps four streams of 4.85 Mbps each). These streams are called sub-channels, and this type of broadcasting is called multicasting. For example, if the digital TV channel is channel 53, then 53.1, 53.2 and 53.3 could be three sub-channels on that channel. Each sub-channel can carry a different program.
The reason that broadcasters can create sub-channels is because digital TV standards allow several different formats. Broadcasters can choose between three formats:
480i - The picture is 704x480 pixels, sent at 60 interlaced frames per second (30 complete frames per second).
480p - The picture is 704x480 pixels, sent at 60 complete frames per second.
720p - The picture is 1280x720 pixels, sent at 60 complete frames per second.
1080i - The picture is 1920x1080 pixels, sent at 60 interlaced frames per second (30 complete frames per second).
1080p - The picture is 1920x1080 pixels, sent at 60 complete frames per second.
(The "p" and "i" designations stand for "progressive" and "interlaced." In a progressive format, the full picture updates every 60th of a second. In an interlaced format, half of the picture updates every 60th of a second.)
The 480p and 480i formats are called the SD (standard definition) formats, and 480i is roughly equivalent to a normal analog TV picture. When analog TV shows are upconverted and broadcast on digital TV stations, they're broadcast in 480p or 480i.
The 720p, 1080i and 1080p formats are HD (high definition) formats. When you hear about "HDTV," this is what is being discussed -- a digital signal in the 720p, 1080i or 1080p format.
Finally, the HD formats of digital TV have a different aspect ratio than analog TVs. An analog TV has a 4:3 aspect ratio, meaning that the screen is 4 units wide and 3 units high. For example, a "25-inch diagonal" analog TV is 15 inches high and 20 inches wide. The HD format for digital TV has a 16:9 aspect ratio, as shown below:
The type of signal, format and aspect ratio have all changed in the process of converting from analog TV to digital TV in the United States.
The term "digital TV" is used in many different ways right now, depending on whom you're talking to. There's also the term "HDTV," which is the most advanced form of digital TV in use in the United States. The reason it gets confusing is because digital TV in the United States combines three different ideas.
The first idea that is new to digital TV is the digital signal.
Analog TV started as a broadcast medium. TV stations set up antennas and broadcast radio signals to individual communities. You can attach an antenna to your TV and pick up channels 2 through 83 for free. What you receive, as described earlier, is a single, analog composite video signal and a separate sound signal.
Digital TV started as a free broadcast medium as well. For example, in San Jose, Calif., you can tune in to about a dozen different commercial digital TV stations if you have a digital TV receiver and an antenna. The FCC gave television broadcasters a new frequency to use for their digital broadcasts, so until the digital transition is complete, each broadcaster has an analog TV channel and a digital TV channel. The digital channel carries a 19.39-megabit-per-second stream of digital data that your digital TV receives and decodes.
Each broadcaster has one digital TV channel, but one channel can carry multiple sub-channels if the broadcaster chooses that option. Here's how it works:
On its digital channel, each broadcaster sends a 19.39-megabit-per-second (Mbps) stream of digital data. Broadcasters have the ability to use this stream in several different ways. For example:
A broadcaster can send a single program at 19.39 Mbps.
A broadcaster can divide the channel into several different streams (perhaps four streams of 4.85 Mbps each). These streams are called sub-channels, and this type of broadcasting is called multicasting. For example, if the digital TV channel is channel 53, then 53.1, 53.2 and 53.3 could be three sub-channels on that channel. Each sub-channel can carry a different program.
The reason that broadcasters can create sub-channels is because digital TV standards allow several different formats. Broadcasters can choose between three formats:
480i - The picture is 704x480 pixels, sent at 60 interlaced frames per second (30 complete frames per second).
480p - The picture is 704x480 pixels, sent at 60 complete frames per second.
720p - The picture is 1280x720 pixels, sent at 60 complete frames per second.
1080i - The picture is 1920x1080 pixels, sent at 60 interlaced frames per second (30 complete frames per second).
1080p - The picture is 1920x1080 pixels, sent at 60 complete frames per second.
(The "p" and "i" designations stand for "progressive" and "interlaced." In a progressive format, the full picture updates every 60th of a second. In an interlaced format, half of the picture updates every 60th of a second.)
The 480p and 480i formats are called the SD (standard definition) formats, and 480i is roughly equivalent to a normal analog TV picture. When analog TV shows are upconverted and broadcast on digital TV stations, they're broadcast in 480p or 480i.
The 720p, 1080i and 1080p formats are HD (high definition) formats. When you hear about "HDTV," this is what is being discussed -- a digital signal in the 720p, 1080i or 1080p format.
Finally, the HD formats of digital TV have a different aspect ratio than analog TVs. An analog TV has a 4:3 aspect ratio, meaning that the screen is 4 units wide and 3 units high. For example, a "25-inch diagonal" analog TV is 15 inches high and 20 inches wide. The HD format for digital TV has a 16:9 aspect ratio, as shown below:
The type of signal, format and aspect ratio have all changed in the process of converting from analog TV to digital TV in the United States.
Digital Compression
The idea of sending multiple programs within the 19.39-Mbps stream is unique to digital TV and is made possible by the digital compression system being used. To compress the image for transmission, broadcasters use MPEG-2 compression, and MPEG-2 allows you to pick both the screen size and bit rate when encoding the show. A broadcaster can choose a variety of bit rates within any of the three resolutions.
You see MPEG-2 all the time on the Web on Web sites that offer streaming video. For example, if you go to iFilm.com, you will find that you can view streaming video at 56 kilobits per second (Kbps), 200 Kbps or 500 Kbps. MPEG-2 allows a technician to pick any bit rate and resolution when encoding a file.
There are many variables that determine how the picture will look at a given bit rate. For example:
If a station wants to broadcast a sporting event (where there is lots of movement in the scene) at 1080i, the entire 19.39 megabits per second is needed to get a high-quality image.
On the other hand, a newscast showing a newscaster's head can use a much lower bit rate. A broadcaster might transmit the newscast at 480p resolution and a 3-Mbps bit rate, leaving 16.39 Mbps of space for other sub-channels.
It's very likely that broadcasters will send three or four sub-channels during the day and then switch to a single high-quality show that consumes the entire 19.39 Mbps at night. Some broadcasters are also experimenting with 1- or 2-Mbps data channels that send information and Web pages along with a show to provide additional information.
The idea of sending multiple programs within the 19.39-Mbps stream is unique to digital TV and is made possible by the digital compression system being used. To compress the image for transmission, broadcasters use MPEG-2 compression, and MPEG-2 allows you to pick both the screen size and bit rate when encoding the show. A broadcaster can choose a variety of bit rates within any of the three resolutions.
You see MPEG-2 all the time on the Web on Web sites that offer streaming video. For example, if you go to iFilm.com, you will find that you can view streaming video at 56 kilobits per second (Kbps), 200 Kbps or 500 Kbps. MPEG-2 allows a technician to pick any bit rate and resolution when encoding a file.
There are many variables that determine how the picture will look at a given bit rate. For example:
If a station wants to broadcast a sporting event (where there is lots of movement in the scene) at 1080i, the entire 19.39 megabits per second is needed to get a high-quality image.
On the other hand, a newscast showing a newscaster's head can use a much lower bit rate. A broadcaster might transmit the newscast at 480p resolution and a 3-Mbps bit rate, leaving 16.39 Mbps of space for other sub-channels.
It's very likely that broadcasters will send three or four sub-channels during the day and then switch to a single high-quality show that consumes the entire 19.39 Mbps at night. Some broadcasters are also experimenting with 1- or 2-Mbps data channels that send information and Web pages along with a show to provide additional information.
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