banner



Home  ›  Which Of The Following Is Typically Used By Video And Digital Cameras?

Which Of The Following Is Typically Used By Video And Digital Cameras?

Written By Friday, April 29, 2022 Add Comment Edit

Digital electronic representation of moving visual images

This article is near digital techniques applied to video. For the standard format for storing digital video, see DV. For other uses, see Digital video (disambiguation).

Sony digital video camera used for recording content.

Digital video is an electronic representation of moving visual images (video) in the form of encoded digital data. This is in contrast to analog video, which represents moving visual images in the form of analog signals. Digital video comprises a series of digital images displayed in rapid succession.

Digital Video is audio and visual mixed together to make a production. the information gathered used to create a video, rather than a series of photos put together. Digital video have many advantages such as piece of cake copying, multicasting, easy sharing and storage. Video recorded on tape is used on a estimator on media histrion. Digital video is made of images displayed rapidly frequencies of xv, 24,thirty, and threescore frames per 2nd. There is a saying "A picture is worth a 1000 words." Pertaining to Digital Video the maxim is "a video represents a million of those words strung together"

Digital video was commencement introduced commercially in 1986 with the Sony D1 format,[one] which recorded an uncompressed standard-definition component video point in digital form. In addition to uncompressed formats, popular compressed digital video formats today include H.264 and MPEG-four. Modern interconnect standards used for playback of digital video include HDMI, DisplayPort, Digital Visual Interface (DVI) and serial digital interface (SDI).

Digital video can be copied and reproduced with no degradation in quality. In contrast, when analog sources are copied, they experience generation loss. Digital video can exist stored on digital media such equally Blu-ray Disc, on figurer data storage, or streamed over the Internet to cease users who watch content on a desktop computer screen or a digital smart Television receiver. Today, digital video content such every bit Tv shows and movies also include a digital audio soundtrack.

History [edit]

Digital video cameras [edit]

The basis for digital video cameras are metal-oxide-semiconductor (MOS) prototype sensors.[2] The first practical semiconductor image sensor was the accuse-coupled device (CCD), invented in 1969[3] past Willard South. Boyle, who won a Nobel Prize for his work in physics.[four] Based on MOS capacitor technology.[2] Following the commercialization of CCD sensors during the late 1970s to early 1980s, the entertainment industry slowly began transitioning to digital imaging and digital video over from analog video the next two decades.[five] The CCD was followed by the CMOS active-pixel sensor (CMOS sensor),[6] developed in the 1990s.[7] [8] CMOS are beneficial because of their small size, loftier speed, and low power usage. CMOS are almost commonly found today in the digital cameras in iPhones, used as the image censor for the device.[ix]

A Betacam SP camera, originally adult in 1986 by Sony.

Digital video coding [edit]

In the 1970s, pulse-code modulation (PCM) induced the birth of digital video coding, demanding loftier bitrates of 45-140 Mbps for standard-definition (SD) content.[1] By the 1980s, the discrete cosine transform (DCT) became the standard for digital video compression.[x]

The first digital video coding standard was H.120, created by the (International Telegraph and Telephone Consultative Committee) or CCITT (now ITU-T) in 1984. H.120 was non practical due to weak functioning.[11] H.120 was based on differential pulse-lawmaking modulation (DPCM), a compression algorithm that was inefficient for video coding. During the late 1980s, a number of companies began experimenting with DCT, a much more efficient form of pinch for video coding. The CCITT received 14 proposals for DCT-based video compression formats, in contrast to a unmarried proposal based on vector quantization (VQ) compression. The H.261 standard was adult based on DCT compression,[12] becoming first applied video coding standard.[11] Since H.261, DCT compression has been adopted past all the major video coding standards that followed.[12]

MPEG-ane, developed by the Motion Motion picture Experts Group (MPEG), followed in 1991, and it was designed to shrink VHS-quality video. It was succeeded in 1994 by MPEG-2/H.262,[11] which became the standard video format for DVD and SD digital television.[11] It was followed by MPEG-4/H.263 in 1999, and then in 2003 it was followed by H.264/MPEG-4 AVC, which has become the most widely used video coding standard.[13]

Digital video product [edit]

Starting in the tardily 1970s to the early 1980s, video production equipment that was digital in its internal workings was introduced. These included time base correctors (TBC)[a] and digital video effects (DVE) units.[b] They operated by taking a standard analog blended video input and digitizing it internally. This made information technology easier to either correct or enhance the video signal, equally in the case of a TBC, or to manipulate and add effects to the video, in the case of a DVE unit. The digitized and processed video data was so converted back to standard analog video for output.

Later on in the 1970s, manufacturers of professional video broadcast equipment, such as Bosch (through their Fernseh partition) and Ampex adult prototype digital videotape recorders (VTR) in their research and evolution labs. Bosch's machine used a modified 1 inch type B videotape transport and recorded an early form of CCIR 601 digital video. Ampex's prototype digital video recorder used a modified 2-inch quadruplex videotape VTR (an Ampex AVR-3) fitted with custom digital video electronics and a special "octaplex" eight-head headwheel (regular analog 2" quad machines simply used 4 heads). Like standard 2" quad, the sound on the Ampex prototype digital machine, nicknamed by its developers as "Annie," all the same recorded the audio in analog every bit linear tracks on the tape. None of these machines from these manufacturers were ever marketed commercially.

Digital video was first introduced commercially in 1986 with the Sony D1 format, which recorded an uncompressed standard definition component video signal in digital form. Component video connections required 3 cables, but well-nigh television facilities were wired for composite NTSC or PAL video using one cable. Due this incompatibility the toll of the recorder, D1 was used primarily by large television networks and other component-video capable video studios.

A professional boob tube studio gear up in Chile.

In 1988, Sony and Ampex co-developed and released the D2 digital videocassette format, which recorded video digitally without compression in ITU-601 format, much like D1. In comparison, D2 had the major difference of encoding the video in composite class to the NTSC standard, thereby only requiring single-cable composite video connections to and from a D2 VCR. This fabricated it a perfect fit for the majority of telly facilities at the time. D2 was a successful format in the television set broadcast industry throughout the belatedly '80s and the '90s. D2 was also widely used in that era every bit the principal record format for mastering laserdiscs.[c]

D1 & D2 would somewhen exist replaced by cheaper systems using video compression, nearly notably Sony's Digital Betacam,[d] that were introduced into the network's television studios. Other examples of digital video formats utilizing compression were Ampex'south DCT (the commencement to employ such when introduced in 1992), the industry-standard DV and MiniDV and its professional variations, Sony'south DVCAM and Panasonic'due south DVCPRO, and Betacam SX, a lower-price variant of Digital Betacam using MPEG-2 pinch.[14]

The Sony logo, creator of the Betacam.

One of the first digital video products to run on personal computers was PACo: The PICS Animation Compiler from The Visitor of Science & Art in Providence, RI. It was developed starting in 1990 and kickoff shipped in May 1991. PACo could stream unlimited-length video with synchronized sound from a unmarried file (with the ".CAV" file extension) on CD-ROM. Cosmos required a Mac, and playback was possible on Macs, PCs, and Sun SPARCstations.[15]

QuickTime, Apple tree Computer'due south multimedia framework, was released in June 1991. Audio Video Interleave from Microsoft followed in 1992. Initial consumer-level content cosmos tools were rough, requiring an analog video source to be digitized to a computer-readable format. While low-quality at beginning, consumer digital video increased chop-chop in quality, first with the introduction of playback standards such as MPEG-one and MPEG-2 (adopted for use in tv transmission and DVD media), and the introduction of the DV record format allowing recordings in the format to be transferred directly to digital video files using a FireWire port on an editing reckoner. This simplified the process, allowing non-linear editing systems (NLE) to be deployed cheaply and widely on desktop computers with no external playback or recording equipment needed.

The widespread adoption of digital video and accompanying compression formats has reduced the bandwidth needed for a loftier-definition video signal (with HDV and AVCHD, as well as several commercial variants such as DVCPRO-HD, all using less bandwidth than a standard definition analog signal). These savings have increased the number of channels bachelor on cable boob tube and direct circulate satellite systems, created opportunities for spectrum reallocation of terrestrial television broadcast frequencies, and made tapeless camcorders based on wink memory possible, among other innovations and efficiencies.

Digital video and culture [edit]

Digital video is always evolving. In that location was a time in the digital video evolution called DVD time and at point in time that was popular. According to DVD Time by Rob Cover [16] it talks about how DVD Video civilisation had been growing in the twelvemonth of 2002. This reading evidence the growing charge per unit in DVD. This shows that the importance of evolution of digital video. During that fourth dimension DVD was important role to the emerging of digital video and now it'southward evolving even more.

Culturally, digital video has allowed video and film to become widely available and popular, beneficial to entertainment, education, and research.[17] Digital video is increasingly mutual in schools, with students and teachers taking an involvement in learning how to employ it in relevant ways.[xviii] Digital video also has healthcare applications, allowing doctors to rails infant heart rates and oxygen levels.[19]

In addition, the switch from analog to digital video impacted media in diverse ways, such as in how concern utilize cameras for surveillance. Closed circuit tv (CCTV) switched to using digital video recorders (DVR), presenting the issue of how to store recordings for testify collection. Today, digital video is able to be compressed in lodge to save storage infinite.[20]

Digital television [edit]

Digital Television, as well known as DTV, is the production and transmission of digital video from networks to consumers. This technique uses digital encoding instead of analog signals used prior to the 1950s.[21] Every bit compared to analog methods, DTV is faster and provides more capabilities and options for information to be transmitted and shared.[22]

Overview [edit]

Digital video comprises a series of digital images displayed in rapid succession. In the context of video, these images are called frames.[due east] The rate at which frames are displayed is known as the frame rate and is measured in frames per 2nd (FPS). Every frame is an digital image and then comprises a formation of pixels. The colour of a pixel is represented by a fixed number of $.25 of that colour where the information of the color is stored within the image.[23] For case, 8-bit captures 256 levels per channel, and ten-bit captures i,024 levels per channel. [24] The more than bits, the more than subtle variations of colors can be reproduced. This is chosen the color depth, or scrap depth, of the video.

Interlacing [edit]

In interlaced video each frame is composed of two halves of an image. The outset one-half contains but the odd-numbered lines of a full frame. The second one-half contains only the even-numbered lines. These halves are referred to individually as fields. Ii sequent fields compose a full frame. If an interlaced video has a frame rate of thirty frames per second the field rate is sixty fields per second, though both part of interlaced video, frames per second and fields per second are divide numbers.

A circulate telly photographic camera at the Pavek Museum in Minnesota.

Bit rate and BPP [edit]

By definition, bit rate is a measurement of the charge per unit of information content from the digital video stream. In the case of uncompressed video, bit rate corresponds directly to the quality of the video because bit charge per unit is proportional to every property that affects the video quality. Bit rate is an important holding when transmitting video because the transmission link must be capable of supporting that bit rate. Flake rate is also important when dealing with the storage of video because, equally shown above, the video size is proportional to the bit rate and the duration. Video pinch is used to greatly reduce the bit rate while having niggling result on quality.[25]

Bits per pixel (BPP) is a mensurate of the efficiency of pinch. A true-color video with no pinch at all may have a BPP of 24 bits/pixel. Chroma subsampling can reduce the BPP to xvi or 12 $.25/pixel. Applying jpeg pinch on every frame can reduce the BPP to 8 or fifty-fifty 1 $.25/pixel. Applying video compression algorithms like MPEG1, MPEG2 or MPEG4 allows for fractional BPP values to exist.

Constant bit rate versus variable bit rate [edit]

BPP represents the average bits per pixel. At that place are compression algorithms that keep the BPP almost constant throughout the entire elapsing of the video. In this case, we likewise go video output with a constant bitrate (CBR). This CBR video is suitable for real-fourth dimension, non-buffered, stock-still bandwidth video streaming (e.1000. in videoconferencing). Since non all frames tin be compressed at the aforementioned level, because quality is more severely impacted for scenes of high complexity, some algorithms attempt to constantly adjust the BPP. They keep the BPP high while compressing circuitous scenes and low for less demanding scenes.[26] This way, it provides the best quality at the smallest average chip charge per unit (and the smallest file size, accordingly). This method produces a variable bitrate because information technology tracks the variations of the BPP.

Technical overview [edit]

Standard film stocks typically record at 24 frames per 2nd. For video, there are ii frame rate standards: NTSC, at 30/1.001 (about 29.97) frames per 2nd (most 59.94 fields per 2nd), and PAL, 25 frames per second (l fields per second). Digital video cameras come in 2 dissimilar image capture formats: interlaced and progressive scan. Interlaced cameras record the image in alternating sets of lines: the odd-numbered lines are scanned, and so the fifty-fifty-numbered lines are scanned, and so the odd-numbered lines are scanned again, so on.

One ready of odd or even lines is referred to as a field, and a consecutive pairing of 2 fields of opposite parity is called a frame. Progressive scan cameras tape all lines in each frame as a single unit of measurement. Thus, interlaced video captures the scene motion twice as frequently as progressive video does for the same frame rate. Progressive-browse generally produces a slightly sharper paradigm, however, motion may non be as smooth equally interlaced video.

Digital video can exist copied with no generation loss; which degrades quality in analog systems. However, a change in parameters like frame size, or a modify of the digital format tin decrease the quality of the video due to paradigm scaling and transcoding losses. Digital video can be manipulated and edited on not-linear editing systems.

Digital video has a significantly lower cost than 35 mm moving picture. In comparison to the high cost of motion picture stock, the digital media used for digital video recording, such as flash retentiveness or hard disk is very inexpensive. Digital video also allows footage to be viewed on location without the expensive and fourth dimension-consuming chemical processing required by picture. Network transfer of digital video makes physical deliveries of tapes and pic reels unnecessary.

A short video sequence in native 16K.

An diagram of 35 mm film as used in Cinemscope cameras.

Digital television (including higher quality HDTV) was introduced in most developed countries in early on 2000s. Today, digital video is used in modern mobile phones and video conferencing systems. Digital video is used for Cyberspace distribution of media, including streaming video and peer-to-peer picture show distribution.

Many types of video compression exist for serving digital video over the cyberspace and on optical disks. The file sizes of digital video used for professional editing are generally not practical for these purposes, and the video requires further compression with codecs to be used for recreational purposes.

As of 2017[update], the highest resolution demonstrated for digital video generation is 132.vii megapixels (15360 x 8640 pixels).[27] The highest speed is attained in industrial and scientific high speed cameras that are capable of filming 1024x1024 video at up to 1 million frames per second for brief periods of recording.

Technical Properties [edit]

Live digital video consumes bandwidth. Recorded digital video consumes data storage. The corporeality of bandwidth or storage required is determined by the frame size, color depth and frame charge per unit. Each pixel consumes a number of bits determined by the color depth. The data required to stand for a frame of information is determined past multiplying past the number of pixels in the image. The bandwidth is adamant past multiplying the storage requirement for a frame by the frame rate. The overall storage requirements for a program tin so exist determined by multiplying bandwidth by the duration of the program.

These calculations are accurate for uncompressed video, just due to the relatively loftier fleck rate of uncompressed video, video compression is extensively used. In the instance of compressed video, each frame requires only a pocket-sized percentage of the original bits. This reduces the data or bandwidth consumption by a factor of 5 to 12 times when using lossless compression, but more commonly, lossy compression is used due to its reduction of information consumption by factors of xx to 200.[28] Note that it is not necessary that all frames are equally compressed past the same percentage. Instead, consider the average factor of compression for all the frames taken together.

Interfaces and cables [edit]

Purpose-built digital video interfaces

  • Digital component video
  • Digital Visual Interface (DVI)
  • DisplayPort
  • HDBaseT
  • High-Definition Multimedia Interface (HDMI)
  • Unified Display Interface

Full general-purpose interfaces use to conduct digital video

  • FireWire (IEEE 1394)
  • Universal Serial Bus (USB)

The post-obit interface has been designed for carrying MPEG-Transport compressed video:

  • DVB-ASI

Compressed video is also carried using UDP-IP over Ethernet. Two approaches be for this:

  • Using RTP every bit a wrapper for video packets as with SMPTE 2022
  • 1–seven MPEG Transport Packets are placed direct in the UDP bundle

Other methods of carrying video over IP

  • Network Device Interface
  • SMPTE 2110

Storage formats [edit]

Encoding [edit]

  • CCIR 601 used for broadcast stations
  • VC-2 also known every bit Dirac Pro
  • MPEG-4 good for online distribution of large videos and video recorded to wink memory
  • MPEG-2 used for DVDs, Super-VCDs, and many broadcast tv set formats
  • MPEG-1 used for video CDs
  • H.261
  • H.263
  • H.264 also known every bit MPEG-4 Part 10, or as AVC, used for Blu-ray Discs and some broadcast tv set formats
  • H.265 also known as MPEG-H Function two, or as HEVC
  • MOV used for QuickTime framework
  • Theora used for video on Wikipedia

Tapes [edit]

  • Betacam SX, Betacam IMX, Digital Betacam, or DigiBeta — commercial video systems by Sony, based on original Betamax technology
  • D-VHS — MPEG-two format data recorded on a tape similar to S-VHS

    An archived B-format video tape used in Danish dissemination.

  • D1, D2, D3, D5, D9 (also known every bit Digital-S) — various SMPTE commercial digital video standards
  • Digital8 — DV-format data recorded on Hi8-uniform cassettes; largely a consumer format
  • DV, MiniDV — used in most of today'due south videotape-based consumer camcorders; designed for high quality and easy editing; can too record loftier-definition data (HDV) in MPEG-2 format
  • DVCAM, DVCPRO — used in professional broadcast operations; similar to DV only by and large considered more robust; though DV-uniform, these formats take meliorate sound treatment.
  • DVCPRO50, DVCPROHD support higher bandwidths as compared to Panasonic's DVCPRO.
  • HDCAM was introduced by Sony equally a loftier-definition alternative to DigiBeta.
  • MicroMV — MPEG-2-format information recorded on a very pocket-size, matchbook-sized cassette; obsolete
  • ProHD — name used by JVC for its MPEG-2-based professional camcorders

Discs [edit]

The Blu-ray disc, a type of optical disc used for media storage.

  • Blu-ray Disc
  • DVD
  • VCD

See likewise [edit]

  • Digital audio
  • Digital cinematography
  • Alphabetize of video-related articles
  • Internet video
  • Online video platform
  • Video coding format
  • Video editing software
  • Webcam

Notes [edit]

  1. ^ For example the Thomson-CSF 9100 Digital Video Processor, an internally all-digital full-frame TBC introduced in 1980.
  2. ^ For example the Ampex ADO, and the Nippon Electrical Corporation (NEC) DVE.
  3. ^ Prior to D2, most laserdiscs were mastered using analog 1" Type C videotape
  4. ^ Digital Betacam is however heavily used as an electronic field product (EFP) recording format by professional boob tube producers
  5. ^ In fact the all the same images correspond to frames only in the case of progressive scan video. In interlaced video they correspond to fields. Run into section about interlacing for clarification.

References [edit]

  1. ^ a b Hussain, Tariq (2020). Multimedia Computing. India: Booksclinic Publishing. ISBN9789390192984.
  2. ^ a b Williams, J. B. (2017). The Electronics Revolution: Inventing the Future. Springer. pp. 245–8. ISBN9783319490885.
  3. ^ James R. Janesick (2001). Scientific charge-coupled devices. SPIE Printing. pp. iii–4. ISBN978-0-8194-3698-6.
  4. ^ "2009 Nobel Prize in Physics awarded to Kao, Boyle, and Smith". Physics Today. 2009. doi:ten.1063/pt.v.023739. ISSN 1945-0699.
  5. ^ Stump, David (2014). Digital Cinematography: Fundamentals, Tools, Techniques, and Workflows. CRC Press. pp. 83–v. ISBN978-one-136-04042-ix.
  6. ^ Stump, David (2014). Digital Cinematography: Fundamentals, Tools, Techniques, and Workflows. CRC Press. pp. 19–22. ISBN978-1-136-04042-nine.
  7. ^ Fossum, Eric R.; Hondongwa, D. B. (2014). "A Review of the Pinned Photodiode for CCD and CMOS Image Sensors". IEEE Journal of the Electron Devices Club. 2 (three): 33–43. doi:10.1109/JEDS.2014.2306412.
  8. ^ Fossum, Eric R. (12 July 1993). Blouke, Morley M. (ed.). "Active pixel sensors: are CCDs dinosaurs?". SPIE Proceedings Vol. 1900: Charge-Coupled Devices and Solid State Optical Sensors Iii. International Society for Optics and Photonics. 1900: ii–xiv. Bibcode:1993SPIE.1900....2F. CiteSeerX10.ane.1.408.6558. doi:10.1117/12.148585. S2CID 10556755.
  9. ^ "The Eye of a Phone Photographic camera: The CMOS Active Pixel Image Sensor". large.stanford.edu . Retrieved 2021-03-26 .
  10. ^ Hanzo, Lajos (2007). Video compression and communications : from nuts to H.261, H.263, H.264, MPEG2, MPEG4 for DVB and HSDPA-way adaptive turbo-transceivers. Peter J. Cherriman, Jürgen Streit, Lajos Hanzo (2nd ed.). Hoboken, NJ: IEEE Press. ISBN978-0-470-51992-9. OCLC 181368622.
  11. ^ a b c d "The History of Video File Formats Infographic". RealNetworks. 22 April 2012. Retrieved 5 August 2019.
  12. ^ a b Ghanbari, Mohammed (2003). Standard Codecs: Image Compression to Advanced Video Coding. Establishment of Engineering and Applied science. pp. 1–two. ISBN9780852967102.
  13. ^ Christ, Robert D. (2013). The ROV manual : a user guide for remotely operated vehicles. Robert L. Wernli (2nd ed.). Oxford. ISBN978-0-08-098291-5. OCLC 861797595.
  14. ^ Roger, Jennings (1997). Special Edition Using Desktop Video. Que Books, Macmillan Computer Publishing. ISBN978-0789702654.
  15. ^ "CoSA Lives: The Story of the Company Behind Afterward Furnishings". Archived from the original on 2011-02-27. Retrieved 2009-xi-16 .
  16. ^ "Erratum". Media International Australia. 150 (1): 199–199. February 2014. doi:10.1177/1329878x1415000153. ISSN 1329-878X.
  17. ^ Garrett, Bradley L. (2018). "Videographic geographies: Using digital video for geographic research". Progress in Homo Geography. 35 (four): 521–541. doi:10.1177/0309132510388337. ISSN 0309-1325. S2CID 131426433.
  18. ^ Bruce, David L.; Chiu, Ming Ming (2015). "Composing With New Technology: Instructor Reflections on Learning Digital Video". Journal of Instructor Instruction. 66 (3): 272–287. doi:10.1177/0022487115574291. ISSN 0022-4871. S2CID 145361658.
  19. ^ Wieler, Matthew Eastward.; Murphy, Thomas Thousand.; Blecherman, Mira; Mehta, Hiral; Bough, Grand. Jesse (2021-03-01). "Infant eye-rate measurement and oxygen desaturation detection with a digital video photographic camera using imaging photoplethysmography". Periodical of Perinatology. 41 (seven): 1725–1731. doi:10.1038/s41372-021-00967-1. ISSN 0743-8346. PMID 33649437. S2CID 232070728.
  20. ^ Bruehs, Walter Eastward.; Stout, Dorothy (2020). "Quantifying and Ranking Quality for Acquired Recordings on Digital Video Recorders". Journal of Forensic Sciences. 65 (4): 1155–1168. doi:10.1111/1556-4029.14307. ISSN 0022-1198. PMID 32134510. S2CID 212417006.
  21. ^ Kruger, Lennard K. (2002). Digital television set : an overview. Peter F. Guerrero. New York: Novinka Books. ISBNane-59033-502-3. OCLC 50684535.
  22. ^ Reimers, U. (1998). "Digital video dissemination". IEEE Communications Magazine. 36 (6): 104–110. doi:10.1109/35.685371.
  23. ^ Winkelman, Roy (2018). "TechEase, What is bit depth?". Retrieved 2022-04-18 .
  24. ^ Steiner, Shawn (12 Dec 2018). "B&H, 8-Chip, 10-Flake, What Does Information technology All Mean for Your Videos?".
  25. ^ Acharya, Tinku (2005). JPEG2000 standard for prototype compression : concepts, algorithms and VLSI architectures. Ping-Sing Tsai. Hoboken, N.J.: Wiley-Interscience. ISBN0-471-65375-6. OCLC 57585202.
  26. ^ Weise, Marcus (2013). How video works. Diana Weynand (2nd ed.). New York. ISBN1-136-06982-eight. OCLC 1295602475.
  27. ^ "4K, 8K, 16K – Are You Set up for the Resolution Evolution?". CEPRO. 2017-04-19. Retrieved 2022-04-xviii .
  28. ^ Vatolin, Dmitriy. "Lossless Video Codecs Comparison 2007". world wide web.compression.ru . Retrieved 2022-03-29 .
  • Sadun, Erica (2006). Digital Video EssentialsTM : Shoot, Transfer, Edit, Share. Hoboken: John Wiley & Sons. ISBN978-0-470-11319-6. OCLC 630529114.
  • "Digital Video (DV)". Techopedia. Dec 16, 2016. Retrieved March 23, 2021.

External links [edit]

  • The DV, DVCAM, & DVCPRO Formats – tech details, FAQ, and links
  • Standard digital Television receiver and video formats.

Source: https://en.wikipedia.org/wiki/Digital_video

Posted by: etheridgethersen.blogspot.com

0 Response to "Which Of The Following Is Typically Used By Video And Digital Cameras?"

Post a Comment

Subscribe to: Post Comments (Atom)

Iklan Atas Artikel

Iklan Tengah Artikel 1

Iklan Tengah Artikel 2

Iklan Bawah Artikel