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Today s palm-size videotape recorders are a far cry from the washerdryer-size Mark IV of 1956. But physical dimensions are only a piece of the video story. The first video systems were analog and relied on a technique called composite video. In composite video, all of the signal components such as color, brightness, audio, and so on are combined into a single multiplexed signal. Because of the interleaved nature of this technique, a composite signal is not particularly good and suffers from such impairments as clarity loss between generations (in much the same way an analog audio signal suffers over distance) and color bleeding. Unfortunately, bandwidth at the time was extremely expensive and the cost to transport five distinct high-bandwidth channels was inordinately high. Composite video, therefore, was a reasonable alternative. As the cost of bandwidth dropped in concert with advances in transmission technology, component video emerged, in which the signal components are transported separately, each in its own channel. This eliminated many of the impairments that plagued composite systems. Several distinct component formats have emerged including RGB, YUV (for luminance [Y], hue [U], and saturation [V]), YIQ, and a number of others. An interesting aside: Luminance is analogous to the brightness of the video signal, whereas hue and saturation make up the chrominance (color) component.
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Downloaded from Digital Engineering Library @ McGraw-Hill (www.digitalengineeringlibrary.com) Copyright 2004 The McGraw-Hill Companies. All rights reserved. Any use is subject to the Terms of Use as given at the website.
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All of these techniques accomplish the task of representing the red, green, and blue components needed to create a color video signal. In fact, they are mathematical permutations of one another. One final observation is that RGB, YUV, and the others previously mentioned are signal formats a very different beast from tape formats such as D1, D2, Betacam, VHS, and S-VHS. Signal formats describe the manner in which the information that represents the captured image is created and transported; tape formats define how the information is encoded on the storage medium. Of course, these signal formats are analog and, therefore, still suffer from analog impairments such as quality loss, as downstream generations are created. Something better is needed.
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In the same way that digital data transmission was viewed as a way to eliminate analog signal impairments, digital video formats were created to do the same for video. Professional formats such as D1, D2, and Digital Betacam (the latter often discounted because it incorporates a form of compression), and even High-8 and MiniDV, virtually eliminate the problem of generational loss. One downside is that even though these formats are digital, they still record their images sequentially on videotape. Today, video and computer technologies are being married as nonlinear video systems for editing and management ease. Because the video signal can be digitized ( bits is bits ), it can be stored on a large hard drive just as easily as a text or image file can be stored. Of course, these files tend to be large, and therefore require significant amounts of hard drive space. For example, a fullmotion, full-color, TV-screen-size, two-hour movie requires 26 MB per second of storage capacity a total of nearly 24 Gigabytes of storage. Today, the market demands an inexpensive, high-quality solution to the storage of video CD-ROM is a popular target for such files. While this is an appealing concept, let s explore what it takes to put video on a CD-ROM.
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The signal that emerges from a video camera, while it can be either analog or digital, is typically analog. The signal is laid down on either
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Downloaded from Digital Engineering Library @ McGraw-Hill (www.digitalengineeringlibrary.com) Copyright 2004 The McGraw-Hill Companies. All rights reserved. Any use is subject to the Terms of Use as given at the website.
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