Here are some audio and video trends for 2019:
The global Hi-Fi Systems market was valued at million US$ in 2018 and is expected to grow. EISA Awards has selected Hi-Fi product category winners, but I did not see anything really fancy new innovations that would excite me there. The Hi-Fi speaker market has seen considerable consolidation over the years but is expected to grow. The global Hi-Fi speaker system market is highly competitive. Various established international brands, domestic brands and as well as new entrants form a competitive landscape. The market is expected to have higher growth rate as compared to the previous years due to the booming electronic industry globally. It is due to the rising income of individuals globally and increasing affordability of technology products globally. Due to technological adoption and smart gadgets, North America region is showing steady growth in the Hi-Fi speaker system market. On technology standpoint the Hi-Fi market is mainly based on pretty much stabilized technology as class D amplifiers have been on mainstream for many years.
Smart TVs are everywhere. The vast majority of televisions available today are “smart” TVs, with internet connections, ad placement, and streaming services built in. Despite the added functionality, TV prices are lower than ever. Your new smart TV was so affordable because it is collecting and selling your data. It is clear that TV companies are in a cutthroat business, and that companies like Vizio would have to charge higher prices for hardware if they didn’t run content, advertising, and data businesses. Google wants sensors and cameras in every room of your home to watch, analyze, you, patents show.
Streaming services competition stays high. Apple’s embracing the TV industry for the first time: Vizio and LG TVs will support AirPlay 2 and HomeKit, while Samsung TVs will get an iTunes Movies & TV app, as well as AirPlay 2 support. Google and Amazon are playing are important players on smart speaker markets.
4K video resolution is still as hot as in 2019 – it us becoming mainstream and getting cheaper. Peraso showcases 4K wireless video at CES 2019. LG has produced a market-ready rollable OLED TV. The new 75-inch 4K Micro LED TV announced at CES 2019 proves Samsung is serious about scaling the technology to do battle with OLED. But it seems that even in 1029 “4K” trend remains woefully deficient from a compelling-content-availability standpoint. CES 2019 is already full of weird and wonderful monitors.
But new higher 8K resolution is being pushed to market. The “8K” (resolution) tagline was apparently everywhere at CES this year. Samsung announced a 98-inch 8K TV because why not. LG has come strong to CES 2019 with an 88-inch 8K OLED TV, a 75-inch 8K LED/LCD TV, HDMI 2.1, new auto calibration features, Alexa built in, and many more features. It seems that this ongoing evolution is occurring out of necessity: as a given-size (and -pixel-dense) display becomes a low profit margin commodity, manufacturers need to continually “up-rev” one or both key consumer-attention-grabbing parameters (along with less quantifiable attributes like image quality) in order to remain profitable … assuming they can continue to stimulate sufficient-sized consumer demand in the process. I am not sure if they can stimulate 8K to mass market in next few years.
Wall size TVs are coming. Samsung announced a modular TV at CES. Samsung first showcased this MicroLED TV technology at CES 2018, showcasing how the screens were composed of millions of individual LEDs. Individuals screens could be combined to create massive displays, which the company calls The Wall TV. The wall-sized displays shown in recent years at CES are, in my opinion, quite ridiculous, at least for the masses.
HDMI updates are coming. At present, the HDMI equipment uses the 2.0 standard (adopted in 2013) tht provides support for example for 4K video. HDMI Forum announced a new 2.1 standard already in November 2017, but it just starter showing in CES in January 2019. 8K fiber-optic HDMI cables seen at CES 2019. The 2.1 standard is a big change in technology at the bus bandwidth increases from 18 gigabit to 48 gigabits per second. This enables up to 10K video transmission and up to 120 frames per second.
Bendable displays are really coming to PCs and smart phones. LG’s “rollable” display shown this year neatly showcased the technology’s inherent flexibility while also addressing the question of how to hide a gargantuan display when it’s not in use. Several foldable smart phones have been shown. Chinese company Royole was showing off the FlexPai at CES in Las Vegas.
Micro displays for VR and AR glasses have developed. MicroLED is better looking, more efficient and more versatile than any previous display tech. Now all Samsung, Sony, LG and others have to do is figure out how to manufacture it affordably.Nanoco Technologies and Plessey Semiconductors have partnered to shrink the pixel size of monolithic microLED displays using Nanoco’s cadmium-free quantum-dot (CFQD quantum dots) semiconductor nanoparticle technology. Microchips and organic LEDs that deliver 4K-like high resolution displays a quarter of the size and half the weight of existing virtual reality (VR) headsets have been developed under a European Union project. Marc Andreessen says VR will be “1,000” times bigger than AR even though VR seems to be the popular whipping boy amongst the tech community.
There seems to be no shortage of angst with the current (and unfortunately burgeoning) popularity of usage of the term artificial intelligence (AI). Intelligence has been defined in many ways which makes it hard to get good picture on what is going on. I am still waiting for sensible intelligent AI to do something useful. But the ability for a sufficiently trained deep learning system to pattern-match images, sound samples, computer viruses, network hacking attempts, and the like is both impressive and effective.
Potential problems related to the coming of self-driving car technologies and cameras are expected. A man at CES in Las Vegas says that a car-mounted lidar permanently damaged the sensor in his new $1,998 Sony a7R II mirrorless camera. Man says CES lidar’s laser was so powerful it wrecked his $1,998 camera because the LIDAR laser power rules ensure lasers are safe for human eyes—but not necessarily for cameras. Is this something that camera and car manufacturers need to figure out together?
2019 Will Be the Year of Open Source from software and even hardware. Open source video player app VLC has now reached 3 billions downloads.
When almost all AV products are pushing more and more features, it seems that almost Everything is too complicated for an average Joe.
1,491 Comments
Tomi Engdahl says:
How to Pose a Couple
https://www.youtube.com/watch?v=kx712YLTn6Y
Posing is something that can not only make a couple look amazing, help you tell a better story with your camera, but it also saves time.
Being able to look at a couple, know how to pose them, get them in position in seconds, and then show them a shot is certainly satisfying, plus, it brings instant trust between you and your subjects.
I hope this video gives you some of the tools you need to do just that! Enjoy!
Tomi Engdahl says:
What Happened to America’s Electronics Stores?
https://www.youtube.com/watch?v=dyuk2cbEZfs
Tomi Engdahl says:
IM-SG Video 4 – Testing RCA Cables
https://www.youtube.com/watch?v=Skep2DmjB3c
Quick video showing another use for the IM-SG, RCA Testing!
Tomi Engdahl says:
The Making of a loudspeaker voice coil
https://www.youtube.com/watch?v=6qjcIXaE7gc
We show you step by step, a simple way to copy and build a voice coil, that has been Impossible to find in the market.
Tomi Engdahl says:
Create a 3D Scene from a Single Photo in After Effects | In-Depth PARALLAX Tutorial
https://www.youtube.com/watch?v=7tVyu-rjHbg
Hi guys, In this video, I will be showing you the steps you can follow to bring a still photograph to life and turn it from a 2D flat image into a cool 3D scene by creating a parallax effect.
Tomi Engdahl says:
https://en.wikipedia.org/wiki/Network_Device_Interface
Network Device Interface (NDI) is a royalty-free software standard developed by NewTek to enable video-compatible products to communicate, deliver, and receive high-definition video over a computer network in a high-quality, low-latency manner that is frame accurate and suitable for switching in a live production environment.
NDI is designed to run over gigabit Ethernet,[1] with the NDI codec[2] expected to deliver 1080i HD video at VBR data rates typically around 100 Mbit/s.[3]
By Default, NDI uses the mDNS (Bonjour / Zeroconf) discovery mechanism to advertise sources on a local area network, such that NDI receiving devices can automatically discover and offer those sources, although 2 other discovery modes (NDI Access, NDI Discovery Server) allow for operations across subnets, and without mDNS.
Tomi Engdahl says:
20,000 watt Amp Banned from Competitions? 2000 Harrison Labs Drag Queen [4K]
https://www.youtube.com/watch?v=AeXc7-wOKBg
Harrison Labs has been around since 1979 and even touts creating the first automotive power amplifier back in 1974 under their previous name Audiokintecs Corp. Who knew they made an amplifier rated to deliver 20,000 watts back in 2000? I had never heard of this unicorn amp, but my friend Jason had one to show off during my recent visit to Texas. I posted a photo on Instagram and Facebook and got a ton of feedback from my audience saying they wanted to see more. Well, check out this amazingly rare, one of 5 amplifier, in this video. Can’t wait until you see what’s inside…
Tomi Engdahl says:
https://hackaday.com/2021/08/24/know-audio-amplifier-nuts-and-bolts/
Tomi Engdahl says:
How to stack loudspeakers
https://www.youtube.com/watch?v=w8tB-5UMpmU
Stacking speakers is a way to enhance your listening experience, but what’s the best way to do it?
Tomi Engdahl says:
4000 Watts for $119? Quantum Audio QAZ4000D Amp Dyno Test [4K]
https://www.youtube.com/watch?v=Kr2ShM8QEKo
Today we’ll test out the Quantum Audio QAZ4000D. I recently came across this amp selling for $119 on eBay as a refurbished amp. Ratings suggested 4000 watts at 1 ohm, however with 120A of fusing, it is easy to expect these ratings are inflated. I decided to pick it up anyway so we all can see how the amp performs. Are you ready?
Tomi Engdahl says:
What is the best Port size?
https://www.youtube.com/watch?v=nxKkM4bXPFI
In this video I go through what port size is best and why, and how to design a box around it.
TIMESTAMPS:
0:00 Introduction
1:00 – Problems with small ports
3:35 – Problems with big ports
4:46 – Conclusion
6:30 – Sources
7:21 – Discussion
If you wanna know what LENGTH your port should have, check out:
“What is the best Port length?”
https://www.youtube.com/watch?v=RDEEm-JW7ic
Tomi Engdahl says:
https://audiovideo.fi/testi/testissa-flexound-pulse-elokuvatuoli-aanentoistolla/
Mielesi tekisi kunnollista kotiteatteria peleille, TV-sarjoille ja leffoille, mutta tila on kortilla ja äänieristys sekä työlästä että kallista toteuttaa muista vaatimuksista puhumattakaan? Suomalainen Pulse-leffatuoli on juuri sitä, mitä lääkäri määrää.
Flexound Pulse -elokuvatuolin idea on tarjota aito monikanavaääni ja selkäytimessä tuntuva bassotoisto niin, että ympärillä kukaan ei häiriinny. Kerrassaan häiriintynyt idea!
Flexoundin Tuukka Kingelin kutsui minut ottamaan tyypit ”elokuvateatterista sinne, minne elokuvateatteria ei voi rakentaa”. Tuukka on teollinen muotoilija ja vastuussa sekä tekniikan suunnittelusta että yhdessä Jaakko Tuomivaaran kanssa tuolin muotoilusta. Flexoundin tuotteet tuottavat siis ääntä, mutta niissä ei ole perinteisiä kaiuttimia ollenkaan.
Akustiikan tohtori Jukka Linjama on vibroakustisen rakenteen alkuperäinen suunnittelija. Muistatko männävuosina hehkutetut sohvan runkoon kiinnitettävät bass shakerit? Flexoundin tuotteissa on sama perusidea, mutta ainakin sata askelta pidemmälle kehitettynä. Flexound Pulse -tuolissa tuolin rakenne, puristettu huopalevy ainakin minun kuuntelemassani versiossa, on se ääntä säteilevä pinta.
Pulse-tuoli sisältää nelikanavaisen äänentoiston. Tuolissa ei siis ole erillistä subwooferia vaan ainoastaan nuo neljä täyden taajuuskaistan vibroakustista kaiutinta. Ohjauselektroniikkana toimii ihan normaali kotiteatterivahvistin. Koska tuolin tehontarve on lähikenttäkuuntelun takia ihan minimaalinen, maksimissaan joitain watteja, yksi vahvistin voi hyvin ohjata useampaakin tuolia
Keskialue ja diskantti toistuvat ilmaäänenä kuten tavallisistakin kaiuttimista. Oleellinen ero on siinä, että kuuntelija istuu aivan lähikentässä. Niskatyynyyn asennetut surroundkaiuttimet ovat lähes kuuloke-etäisyydellä korvista ja tuolin etunurkissa olevat vasen ja oikea kanava nekin vain käsivarrenmitan päässä.
Tomi Engdahl says:
Pedal Operated Cable Cam For Hands Free Video
https://hackaday.com/2021/08/25/pedal-operated-cable-cam-for-hands-free-video/
GoPro radio controlled cable camera!
https://www.youtube.com/watch?v=lHZS-Cxf-VE
Tomi Engdahl says:
How Car Chase Scenes Have Evolved Over 100 Years | Movies Insider
https://www.youtube.com/watch?v=YSRjoUtAVik
“Fast & Furious 9,” set for a 2021 release, is the 10th installment in a franchise known for pushing the boundaries of car chases. But there has been a lot of technological innovation leading up to this point that originated in classic films like “The French Connection” and allowed for even more realistic and dynamic chases in newer films like “Baby Driver” and “Extraction.” In this episode of “Movies Insider,” we take a look at how the art of the car chase has evolved over eight decades in Hollywood, from the influential chase in “Bullitt” to the wild spectacles of the “Fast & Furious” franchise.
Tomi Engdahl says:
Two 33″ Subwoofers for ALL the BASS! B2 Audio X26 Ferrite Unboxed & Flexed 10Hz
https://www.youtube.com/watch?v=ObgtjWeajsE
Tomi Engdahl says:
WORLD’s MOST EXPENSIVE HEADPHONES | SENNHEISER HE-1 Review
https://www.youtube.com/watch?v=4y4GShAbEb4
This is it. No higher mountain to climb. An in depth review into the HE-1.
https://en-us.sennheiser.com/sennheiser-he-1
Tomi Engdahl says:
https://www.valco.fi/products/vmk20-vastamelukuulokkeet
Tomi Engdahl says:
High resolution audio speaker damage
https://www.youtube.com/watch?v=aetknIryE5o
Can the high frequencies from high resolution audio damage equipment?
Comments:
I remember in the 80′s speaker and headphones being plastered with “DIGITAL READY” because apparently these new CD’s were blowing up non “digital ready” cones. It was a nice marketing job to make people repurchase speakers and headphones.
The real problem with some of these formats was demonstrated by Amir on his channels. It’s true you can’t hear above 20 kHz no matter what. However having spectral content BEYOND there can cause serious issues for your tweeter if the amplitudes are high enough due to intermodulation distortion, which will be quite audible if the products fall into the audio band. This is due to the tweeter being driven into its nonlinear region. I experienced this when I was doing something stupid such as using my amplifier with my function generator and forgot about it still being hooked up. Since the frequency was ultrasonic I could not hear it when I went to play music. I was promptly greeted with alien sounds coming out of my speakers since they were being blasted with tons of ultrasonics.
Tomi Engdahl says:
Bandpass Subwoofer: You Are Doing it Wrong. Bandpass MYTHS BUSTED!
https://www.youtube.com/watch?v=n2mlv8vDVc0
In this video I bust three myths about bandpass enclosures, including the popular myth that the best bandpass subwoofer is a three to one (3:1), and explain why this is wrong. I also explain how the size of the sealed and ported chambers, plus the port tuning, impact the frequency response of a bandpass subwoofer enclosure.
Tomi Engdahl says:
FM Radio, The Choice Of An Old Generation
https://hackaday.com/2021/08/26/fm-radio-the-choice-of-an-old-generation/
Shifting To Digital For A Disappearing Audience
In July we marked the passing of the last few analog NTSC television stations on the North American continent. These holdouts were the so-called “FrankenFM” stations whose sound subcarrier lay just below the FM broadcast band and could thus be picked up with a receiver at the very bottom of the FM dial serving niche audiences. Oddly if you live close to one you’ll notice that it hasn’t gone away, because despite the cessation of analog TV, the FM carriers remain due to a special quirk in the ATSC 3.0 digital broadcasting standard that allows a broadcaster on that channel to emit a narrower digital multiplex alongside the analog audio. But given the demographic shift away from FM among younger listeners mentioned in the last paragraph, have they won the right to remain in a broadcast band whose days are just as numbered as the NTSC TV channels that have just been shuttered?
In the USA there has been a small move towards HD Radio as an eventual digital replacement for FM either as simulcast with analog stations or as digital-only, while in Europe and elsewhere the DAB standard has had mixed impact. The Republic of Ireland has abandoned DAB entirely, and Norway has completely dropped FM for the new system, while in the UK the Government’s ambitious plans for a switchover have met with indifference from the public mostly because as the first adopter of DAB the country is largely stuck with its inferior first version. So with younger listeners growing into adulthood not using their radios and with many governments around the world still pressing for a move to digital, the sense of FM’s days being numbered can only deepen.
The Last Analogue First Project
So if FM is slowly shuffling off this mortal coil, what does it mean for our community? Do many of us listen to FM radio? Perhaps one or two of us do, but the impact I’m thinking of isn’t with the older hackers. Analogue radio has a useful property of being accessible with simple and easy to understand components, so it remains one of those gateway drugs that introduces a youngster to electronics.
Tomi Engdahl says:
HDMI ARC and HDMI eARC: everything you need to know
By Andy Madden June 04, 2021
What exactly does HDMI ARC do? Is it actually worth using?
https://www.whathifi.com/advice/hdmi-arc-and-hdmi-earc-everything-you-need-to-know
The trusty High-Definition Multimedia Interface (HDMI) has been the go-to digital connector for flatscreen TVs, projectors and other AV equipment for over 15 years now. Over that time it’s evolved into a do-it-all connection, acting as a medium for various video and audio formats.
HDMI ARC (Audio Return Channel) is a clever protocol that sits within the HDMI standard and, in theory, it can help simplify a complicated AV set-up and reduce the number of cables you need.
But what’s the point of it? And where does the new eARC protocol fit in this picture? Read on for all the info you need (and more)…
The HDMI interface has evolved over the years, with new versions (HDMI 2.1 is the latest) bringing support for new audio and video technologies such as 3D, 4K, 8K, HDR and high frame rates, to name but a few.
It wasn’t until 2009 that the HDMI ARC protocol was added to the spec-sheet. It was introduced as part of HDMI version 1.4 and has been part of the specification ever since.
HDMI ARC removes the need for an optical cable and allows you to send audio ‘downstream’ from a compatible HDMI socket on your TV to a compatible HDMI ARC socket on a soundbar or AV receiver.
To take advantage of HDMI ARC, you’ll need a television and audio processor (AV receiver or soundbar) with matching ARC-enabled HDMI sockets.
Using HDMI ARC does not require a new HDMI cable. Any HDMI cable should be able to cope with the requirements – it’s only when we move on to eARC this could (potentially) become an issue. But more on that later.
As part of the process, you should consider enabling HDMI CEC (Consumer Electronics Control), so you can turn your TV on and control the volume on your soundbar or amp without the need for multiple remotes. A word of warning, though: turning HDMI CEC on can have some unwanted AV side-effects – so you might want to experiment first.
Worried about potential lip-sync problems? HDMI v1.3, launched in 2006, added automatic audio syncing, although it was only optional. This means some ARC-enabled products will play together nicely, others might not.
What is HDMI eARC? What are the benefits?
Enhanced Audio Return Channel (also known as eARC) is the next generation of ARC. It’s a feature implemented in the most recent HDMI 2.1 specification.
The main benefit of eARC is a big boost in bandwidth and speed. This allows you to send higher-quality audio from your TV to a soundbar or AV receiver.
There’s scope for eARC to deliver up to 32 channels of audio, including eight-channel, 24bit/192kHz uncompressed data streams at speeds of up to 38Mbps.
This means all those high bitrate formats currently available on Blu-ray discs, 4K Blu-rays and some streaming services – Dolby TrueHD, DTS-HD Master Audio and object-based formats such as Dolby Atmos and DTS:X – will all be compatible.
But whether manufacturers choose to support them all remains to be seen.
On paper, HDMI eARC should also make the handshake between compatible devices much smoother and negate the need to activate HDMI CEC (which doesn’t always work properly) – so operating multiple products shouldn’t require any extra steps to get things up and running.
As is the case with ARC, you’ll need two devices with compatible HDMI eARC sockets for the protocol to work. While a device doesn’t specifically have to be HDMI 2.1-certified, HDMI 2.1 certification does just about guarantee eARC support.
Is eARC backwards compatible with ARC?
If your TV is HDMI eARC enabled, but your AV amp or soundbar is only compatible with HDMI ARC, you’ll likely get a sound – but the bandwidth restrictions of ARC will mean you won’t be able to experience the high bitrate audio that eARC can provide. So no, it’s not backwards-compatible.
Tomi Engdahl says:
https://brightlinkav.com/blog/post/top-thing-to-know-about-fiber-optic-hdmi-cable.html
Tomi Engdahl says:
Fibre Optic HDMI Cable | Waste of money? | TechManPat
https://www.youtube.com/watch?v=h7APViUQwXs
True, baluns/extenders get around the issue but they do add multiple points of failure, usually power packs. This should provide a much neater solution.
I’ve always had problems with my 15m hdmi cable, connecting pc to a tv in 4k 60hz hdr mode, now i’ve bougt a fiber optic 15m cable and it works great. Was curious, how it works and if its really optical – thank you for an explanation )
One thing to note; being fiber optic cable you need to watch the bending of the cable or you will have light loss. Also the the Fiber HDMI cable requires 5v, that is available from the HDMI port. There are some instances as the length increases that you may need to use a voltage inserter, which supplies a constant 5v to the cable, and is inserted between the cable and the HDMI input. Also note you pay for what you get! Don’t cheap on on your cables.
I have been through two fiber optic cables so far because I start to get black screen while gaming. I bought a regular hdmi for 4k and the problem is gone. The ones dropping out are monster uhd platinum fiber optic cables. They work for a few months then give trouble.
Tomi Engdahl says:
98 Foot / 30m HDMI Cable with Integrated Fiber Optics ! ATZEBE HDMI Active Optical Cable Review
https://www.youtube.com/watch?v=1LdjPvP801U
The ATZEBE HDMI cable integrates a fiber optic transmitter and receiver into the connectors allowing for a much longer range vs. traditional cables.
Tomi Engdahl says:
Interface Protection for HDMI
https://www.onsemi.com/pub/Collateral/TND411-D.PDF
Tomi Engdahl says:
How to extend HDMI signal over WATER! – HL24 – HDMI over any 2 conductors
https://m.youtube.com/watch?v=9ERxnCZk-TQ&feature=youtu.be
This video shows how to extend an HDMI video signal over water using the HL24 extender. Ok, the water thing is more of a “gimmick” as Derek says (Derek is the guy on the video) But basically any 2 wires can be used with the HL24 to extend the HDMI signal up to about 2 miles!!! We had a hard time believing those specs so we tested it on our own warehouse (video coming soon? maybe?)
Tomi Engdahl says:
By using four separate microphones in a single housing, audio can be encoded spatially and selectively played back.
The Ambi-Alice Is an Ambisonic Microphone for Directional Recording and Listening
https://www.hackster.io/news/the-ambi-alice-is-an-ambisonic-microphone-for-directional-recording-and-listening-0ecbba530a2e
By using four separate microphones in a single housing, audio can be encoded spatially and selectively played back.
Tomi Engdahl says:
SDI or HDMI? Yes!
https://www.thebroadcastbridge.com/content/entry/4238/sdi-or-hdmi-yes
When comparing SDI to HDMI specs, HDMI 2.0 is the clear theoretical winner of image quality because it surpasses the bandwidth of three SDI cables. … SDI is a one-way, multiplexed protocol designed to carry the highest quality video, audio and metadata over a coaxial cable or fiber.
https://en.wikipedia.org/wiki/Serial_digital_interface
HDMI vs. SDI Video Connections: What’s the Difference?
https://www.boxcast.com/blog/hdmi-vs-sdi-video-connections-whats-the-difference
SDI is a professional video signal that is preferred in production environments because of its longer range (up to 300 feet) and reliability. … If you’re in an environment in which your cable could be unplugged or tripped over (which should also be taped down anyway), SDI connections are ideal.
Tomi Engdahl says:
https://forum.blackmagicdesign.com/viewtopic.php?f=4&t=22736
Actually we use a lot of HDBASE-T (http://en.wikipedia.org/wiki/HDBaseT) to distribute HDMI and it works really well with CAT6 up to like 100 meters. Uncompressed HDMI over 100 meter CAT6 cable.
For some runs we use SDI->HDMI HDMI->HDBASE-T 100 meter CAT6 HDBASE-T -> HDMI HDMI-> SDI when we end up using the internal infrastructure of some venues.
It’s just a matter of someone building a HDBASE-T sender with a SDI converter and vice versa.
http://www.deltaco.se/?itemid=(HDMI-210D)
This is how they look like, this version has the one side injecting PoE so the reciever doesn’t need any power. Super slick.
Tomi Engdahl says:
https://www.cctvcore.com/p/272-SDI-video-to-twisted-pair-with-surge-protection.aspx
https://www.clintonelectronics.com/hd-sdi-over-cat5-cable/
Tomi Engdahl says:
HDMI over twisted pair vs. convert to HD-SDI
https://www.reddit.com/r/CommercialAV/comments/29g6dv/hdmi_over_twisted_pair_vs_convert_to_hdsdi/
I’m debating a plan for a new venue for distributing computer video (DVI/HDMI) to TV monitors around the space. The two options seem to be:
HDMI over twisted pair (CAT6 STP). Pros: cheaper cable?, can also send IR (would be nice) and RS-232 (don’t care) over the same cable. Cons: not very pro? fragile?
HDMI to SDI, SDI DA, SDI to HDMI. Pros: professional grade? Cons: potential color space (RGB vs YUV) or resolution mismatches (AJA converters don’t seem to do 1080p60).
There’s always HDBase-T. Start telling Crestron and AMX that DM and Enova aren’t professional grade and their sales reps will take a box cutter to your face.
I’m surprised to hear that you think Cat6 is not professional grade. That sort of distribution is done all the time at some of the biggest venues in the country.
To clarify – once the cable is connected do people need to work with it (re-connect it regularly)? Or is it a connect and forget type situation?
Obviously BNC is more durable than a rj45 connector – but if you are just plugging it in once it doesn’t matter.
I would also go with Cat6 based HDMI distribution, if you ever need HDCP support. Crestron DM is a great system (I program them every day), but you would have to go through a dealer for install, which it doesn’t sound like you want to do.
It sounds like you’re trying to distribute the signal over several different TVs. If so, I’d look into two things:
Just Add Power’s HDMI over IP products. You can then have one transmitter driving a ridiculous number of displays through a network switch (requires a good, managed switch). You can also add multiple transmitters to get a matrix switch functionality (multiple sources you can send to any display, at the same time). I’m not sure this would qualify as “professional” (certainly not broadcast grade, but that shouldn’t matter to you), but it does handle HDCP. It does compress the video signal to get it over IP, but that may not be detectable, depending on your content. Their v2 products are supposed to be good, but I have very little experience with them.
A HD ATSC encoder. This will allow you to distribute over coax, and use a digital tv tuner (usually built into consumer sets) to decode the signal. Does not support HDCP, can’t do 1080p, but if you’re trying to send HD video to tons of TVs, it can be economical.
The other thing I would consider, if not these two, is to just get HDBaseT extenders. They generally work really well, and you should have good interoperability between brands. And you can add a HDBaseT matrix switch later, if you need to. HDBaseT is really the current “best” and most supported method for distributing HDMI over Cat5e+.
Why not go with fiber?
If you are deploying a permanent solution, I would go with Blackmagics HDLink Optical Fiber http://www.omegabroadcast.com/product-p/bmd-hdlprooptdvi-90-2275.htm or the ATEM Camera Converter http://www.omegabroadcast.com/product-p/bmd-swrconv-90-2283.htm
3
We use both solutions pretty regularly. The main reason we would use Cat6 instead of HD-SDI is that our SDI cable does not pass HDCP. So if we are trying to stay compliant we use Cat6.
I heard that you can get HD-SDI cable that will pass HDCP so that’s a possible solution as well.
No HDCP with HD/SDI. We’re a Crestron house so I always vote for the Crestron Digital Media systems. Solid performance for installed systems.
Crestron gives you the legal means to distribute HDCP-encumbered HDMI to multiple locations? Interesting.
OP, this is a very important thing to consider. I was halfway through writing this when I decided to search through the comments. If there’s a chance of EVER using a bluray player, or any consumer device (including some laptops, depending on the application) you will NOT be able to go HDMI to SDI. Crestron DM stuff works well enough, so long as the receiving unit (television, projector) is HDCP compliant as well.
Tomi Engdahl says:
https://www.reddit.com/r/CommercialAV/comments/pdskfd/i_created_an_online_audio_visual_test_aimed_to/
I created an online audio visual test aimed to help us intergrators tune and test AV equipment. Created with React Js. Hope you find it helpful!
Check it out here https://koalacode.com.au/audio-monitor-test/
Tomi Engdahl says:
Is Blender Hard to Learn?
https://www.youtube.com/watch?v=jA0IDJy5AcU
Tomi Engdahl says:
Blender Beginner Tutorial – Part 1
https://www.youtube.com/watch?v=TPrnSACiTJ4
Part 2, Level 1: Modelling – Beginner Blender Tutorial Series
https://www.youtube.com/watch?v=RaT-uG5wgUw
Tomi Engdahl says:
Mixing Dua Lipa’s vocals with Josh Gudwin
https://www.youtube.com/watch?v=OW3FKauvUZo
A sneak peek of Josh Gudwin’s ‘Inside The Track’ series in which he reveals the lead vocal chain used on Dua Lipa’s Grammy-winning single, ‘Electricity’.
Tomi Engdahl says:
The range of operation for an HD-SDI receiver is specified in SMPTE 292M to at least -20 dB at one-half the data clock rate, or about 743 MHz. Therefore, a standard level 0.800 volt peak-to-peak digital transmission may be attenuated to as low as 0.080 volt, or 80 millivolts, while performing reliably.
HD-SDI: More Possibilities than Just Television
https://www.extron.com/article/hdsdi_ts
Establishing a Reference Point
Figure 1: Electrical presentation of an HD-SDI signal source.
Figure 1: Electrical presentation of an HD-SDI signal source.
Why compare HD-SDI to DVI? With the DVI having more press and wide use, it’s important to establish a point of reference right here before moving on. RGB 8-bit image data (via 10-bit symbols) is transferred over the DVI using three digital data lines and one clock line. That’s four parallel differential line pairs not including display communications and control. Each of the three video data pairs operates at a rate of 1.65 Gbps when used at maximum resolution. Multiply by three and the DVI bit rate for RGB support is 4.95 Gbps. The clock rate is variable from 25 to 165 MHz depending on the resolution desired. So, DVI has quite a lot of rate flexibility, but is challenging to distribute with its multiple data line pairs and interface control requirements.
One HD-SDI feed operates at 1.485 Gbps over low-loss RG6-style video grade coaxial cable. High definition video is transferred at 10 bits per symbol in the Y, U, V domain. That’s another designation for component video, which provides a quality level of lossless compression. All digital television signals, including high definition rates up to 1920 x 1080 at 30 frames interlaced, are managed successfully over the HD-SDI. The component format allows transmission of HD because the luminance (Y channel) is the only full bandwidth channel. The U and V channels representing chroma are transmitted at one-half bandwidth; an acceptable tradeoff based on our understanding of the human visual system. A variety of data may be accommodated on the HD-SDI as long as it is packetized to operate within the HD-SDI’s fixed clocking rate. But, as you will see, HD-SDI has its variants which can transmit full-bandwidth, 10-bit RGB and an alpha channel to boot. What’s an alpha channel? Read on.
HD-SDI Inside
Figure 2: Electrical presentation of HD-SDI signal attenuation at the destination.
Figure 2: Electrical presentation of HD-SDI signal attenuation at the destination.
ATSC standard definition and high definition rates are ultimately compressed using MPEG-2 in order to fit them within the bandwidth limits of one television channel. At the point of creation, HD video is routed within the production environment uncompressed via HD-SDI at the 1.485 Gbps rate. After compression, the high definition video rate plummets to 19.4 Mbps (about 77:1). As a compressed video transport means, HD-SDI can deliver a data payload of three standard definition SDI signals, or about 50 MPEG-2 compressed HD feeds, or as many as 250 compressed standard definition signal feeds.
HD-SDI employs a signal coding method called NRZI, Non-Return to Zero Inverted. NRZI is a coding method that facilitates recovery of the clock from the actual data transmission. NRZI coding minimizes residual DC component on the signal as well. Due to the construction of this coding scheme, the bit rate is equivalent to the frequency component in MHz. In other words, 1.485 Gbps is equal to 1.485 Gigahertz.
Both the SDI and HD-SDI physical topologies are essentially identical except for operating rate.
The serial digital signal travels over low-loss coaxial cable to the receiver, which performs the reverse operations of the transmission scheme. The NRZI data coding facilitates recovery of the clock signal directly from within the data stream.
Cabling and Loss
HD-SDI is regularly transmitted over low-loss digital video grade RG6-style coaxial cable up to a nominal maximum distance of about 100 meters. However, coax is not the only medium available. Serial digital video may be routed through fiber optic cable for essentially unlimited distances depending on the system configuration. The ultimate distance limitation occurs for any digital signal when the perceived signal jitter component seen by the receiver impairs its ability to recognize and reconstruct bit transitions.
The range of operation for an HD-SDI receiver is specified in SMPTE 292M to at least -20 dB at one-half the data clock rate, or about 743 MHz. Therefore, a standard level 0.800 volt peak-to-peak digital transmission may be attenuated to as low as 0.080 volt, or 80 millivolts, while performing reliably. A very high-grade receiver may recover the HD-SDI signal at a level as low as -30 dB, or 70 mV.
To perform a cable loss calculation, the designer should look for the attenuation in dB at 743 MHz, or a frequency very close to that value, on the cable specification loss chart. Cable loss is based on a 100 foot length or a 100 meter length depending on the chart column used. Divide the cable run distance by 100 and then multiply by the dB value to attain the total attenuation in dB for that run. Refer to Table 1 containing pre-calculated run lengths for Extron’s coaxial cable products. The SMPTE recommends the designer factor in about 10% less cable than the calculated run length so as to build in a safety margin for reliable operation.
HD-SDI & Associates
SMPTE 292M defines HD-SDI and is based on the constructs of SMPTE 259M, which defines standard definition serial digital. SMPTE 274M defines dimensions for all timing and digital video data description for the HD video formats. Moreover, it addresses image structure, colorimetry, raster structure, digital presentation, timing references, analog sync, and an analog interface.
SMPTE 348M describes a variation of HD-SDI called the high definition serial transport interface. HD-SDTI is a protocol whereby data other than video/audio may be transported using the HD-SDI constructs and a portion of the hardware utilized by HD-SDI. This transport interface is analogous to a freight train pulling a group of rail cars suitable for handling a wide range of goods, not just specific items. The original box car fulfilled this need and, with HDSDTI, a similar methodology allows a designer to load any type of data onto the protocol; providing it can fit within the protocol’s basic confines. Utilization of HD-SDTI for data other than high definition video requires the proper custom formatting and de-formatting hardware for data loading and recovery.
SMPTE 372M standardizes high definition serial digital for full bandwidth transmission; i.e. 4:4:4:4 sampling. Operating at dual-rate (two times the 1.485 Gbps rate) means that twice the information may be transmitted. At nearly 3 Gbps, component video can be accommodated without band-limiting the sample rate for chroma information. The fourth ’4′ in the sampling structure represents the ability to include an ‘alpha’ channel along with video data.
Alpha channel describes a data set that can provide special control over image data, such as image masking. For example, an image background may be removed or replaced at the destination utilizing an alpha channel mask originated at the video source. The alpha channel provides detailed information that determines boundaries for information to be maintained or discarded from view.
Figure 5
Figure 5
Another feature of dual rate HD-SDI is the ability to support full RGB formats in the television domain. SMPTE 372M supports a wide variety of component formats and is but one of the stepping stones toward wideband digital cinema recording and support. Multiple feeds of dual-rate HD-SDI may be combined to escalate image resolution accordingly. Management of cable lengths and data skew then becomes an important issue.
Got Audio?
No discussion would be complete without addressing audio. While video represents the lion’s share of required bandwidth, audio is an important part of the package. Several audio formats may be embedded within the HD-SDI. SMPTE 292M provides mapping for 24-bit AES digital audio as well as AES3 digital audio in the 32 to 48 KHz range. The preferred audio data rate is 48 KHz since it is easier to synchronize with the video rate. HD-SDI supports from two to 16 audio channels. Normally, audio data packets are multiplexed into the chroma signal’s auxiliary data space during the blanking interval. However, it may also be multiplexed into the video ANC (ancillary) space as well.
HD-SDI compares favorably to other digital transports when considering its robustness for high data rate handling capability over hundreds of feet of coaxial cable. With fiber optic transmission technology, run distance is virtually limitless, depending more on cost than technical issues.
Tomi Engdahl says:
https://www.westpennwire.com/pdf/18153-WPW_HD-SDI_Transmission_Distances.pdf
Tomi Engdahl says:
Passive 3G-SDI Splitters are a convenient method of splitting a single HD digital video source into two signals for distribution with minimal loss. The no-power requirement of passive splitters facilitates easy and convenient deployment.
https://www.dsmbtech.com/product-category/passive-splitters/3g-sdi-splitters/
https://www.canford.co.uk/Products/90-6162_LEN-LHDS01-VIDEO-SPLITTER-Passive-1×2-3x-BNC-HD-SDI
Tomi Engdahl says:
https://www.skyworksinc.com/-/media/SkyWorks/SL/documents/public/white-papers/Addressing-Timing-Challenges-in-6G-SDI-Applications.pdf
Tomi Engdahl says:
FREQUENCY CONTENT OF HD SDI CAMERA SIGNALS
https://www.fmsystems-inc.com/frequency-content-hd-sdi-camera-signals/
The problem with transmitting square waves is that they occupy gigantic bandwidths, up to ten times wider than the bandwidth required for transmission of the actual information. The highest frequency required to send a series of one’s and zero’s for an HD SDI bit rate of 1.485 Giga-Bits, is 742.5MHz. However wider bandwidths must be used in a transmission system so that the phase shift at 743 MHz is held to a low level to reduce data bit errors. To transmit square waves practically the waveform must be modified to reduce the bandwidth so that unnecessarily high frequencies “harmonics” of lower frequencies do not occur. These harmonics will be phase shifted by the transmission medium and result in a higher bit-error rate that would contribute to system failure.
The output signal from an SDI digital camera is composed of a series of simi-square waves, the actual “Data Transitions” are sinusoidal in the shape of their waveform to reduce the bandwidth. This creates a kind of rounded off square wave that is easily recognizable on an oscilloscope or other data waveform monitor. The SDI signal standard indicates that this transition should occur in no less than 270ps, that’s (270 pico seconds) and no faster. That equals a maximum frequency of 1.852GHz (Gigi-Hertz). This is the highest frequency that must pass through the transmission medium to deliver an SDI camera signal in an unchanged condition, without distortion.
In short, any frequencies above 742.5 MHz are caused by the transitions at the Unit Interval, and any frequency below 742.5 MHz contains the actual picture information you wish to deliver.
The output impedance of an HD CCTV camera is 75 Ohms and it is designed to drive a 75 Ohm cable. Care should be taken to guarantee that only 75 Ohm cable and connectors are used when installing any HD CCTV camera. Beware of exceedingly small diameter cables of unknown origin, it has been my experience that these small diameter cables often do not conform to the 75 Ohm standard.
The use of video “TEEs” or splitters must be avoided at all cost. Any mis-termination of the cable or connectors can cause “Return Loss” that will degrade the camera signal at the receiver.
When a technician wants to use the existing coaxial cable to install an SDI camera, they should verify that the existing cable will handle the higher bandwidth required for the HD CCTV signal.
Until recently the main drawback with using an SDI camera was the lack of up-the-coax PTZ camera control. This has recently been solved by using an SDI-D system manufactured by FM SYSTEMS, INC. to add any RS422 PTZ data to the SDI signal carried on the same coaxial cable.
In some installations you might want to send contact alarm closures along with the SDI signal up the coax cable or down the coax cable in the opposite direction. This can be accomplished by using the SDI-C system manufactured by FM SYSTEMS, INC. that inserts up to 8 alarm contact closures onto the SDI signal and recovers them at the other end to operate 8 relays. It can be used for gate control, alarm telemetry, or any other contact/relay remote control functions.
Tomi Engdahl says:
Understanding blocking capacitor effects
https://www.tvtechnology.com/opinions/understanding-blocking-capacitor-effects
Why should we do AC-coupling on SDI and, how does AC-coupling degrade our SDI signal? I
Like me, you maybe discovered this signal degradation in the lab. I had worked for many years in a telecommunications business, and when I joined a well-known broadcast business in Montreal, one of my first assignments was to work on an optical-to-electrical converter. At that time, small form-factor pluggable (SFP) was a new concept in telecommunications. So why don’t we use it for broadcast? I ordered a few parts to play with.
My first conclusion was that everything worked perfectly except with the pathological signal. (The AC-coupling wasn’t the only problem; laser control loop and other problem were present in the SFP.) Then, I contacted the SFP manufacturer to correct the automatic power control loop; it sent me a new SFP with a slow control loop. I investigated the circuit in detail since the behaviour of the SFP was not improving. The AC-coupling capacitor value was 0.1µF because the module was used for 8b/10b encoding a well-balanced signal. I did find the remaining problems of the pathological signals in my SFP, but I faced a bigger problem: The manufacturer didn’t want to change the layout with bigger capacitors.
I hope you will enjoy this quick explanation of the AC-coupling capacitors versus the beautiful pathological signal.
Pathological signal generation
The pathological signal is a result of the coding scheme of the SMPTE standards. Two functions are used in SDI to encode the signal. The reason for these two polynomials is simple: to encode the signal without significantly increasing the bandwidth. In many cases, the 8b/10b is used to encode the signal and to balance the number of 1′s and 0′s (called DC-balance or zero DC-component). Those encoding schemes increase drastically the bandwidth, 25 percent for the 8b/10b. Today, the data communications and telecommunications companies are looking to 64b/66b to reduce this increase to a reasonable 3.125 percent.
The scrambling and non-return-to-zero-inverted (NRZI) are used to increase the transition density in the serial data stream, but some sequences create the undesired pathological signals. The NRZI also allows the receiver to decode an inverted stream; remember that the goal of the scrambler and the NRZI was the minimization of the overhead created by the encoding.
However, the 8b/10b encoding creates a DC-balance data stream. The SDI encoding is accomplished after the concatenation of two functions:
As a consequence of this encoding scheme, runs of 0′s and 1′s can appear in the data stream. Applying 300hex followed by 198hex during the video active line produces 19 high (or low) data followed by a unique 1 low (or high) data. This run isn’t a problem if this occurs once, compared to 66b/64b that can produce 66 consecutive identical data (CID). The problem with the SDI encoding is the repetitive sequence of 300hex followed by 198hex; it produces the pathological signal, a specific shade of magenta, which occurs in the active portion of the line.
Blocking capacitor effect
A blocking capacitor with a termination resistor forms a high-pass filter. This filter should have a low cutoff frequency to minimize the distortion on the signal. (See Figure 2.)
When long runs of consecutive identical bits are presented to this high-pass filter, a voltage drop occurs, resulting in low-frequency jitter. This jitter is pattern-dependant. It is called pattern-dependant jitter (PDJ) or data-dependant jitter (DDJ). (See Figure 3.)
To minimize the PDJ, the 3dB cutoff frequency should be set correctly.
If the pattern was only limited to one occurence, the blocking capacitor for SDI encoding should be really small. In the SMPTE-259 (270Mb/s) and SMPTE-292 specifications, the pattern can be repetitive up to 720 or 1920 times respectively. The difference between the number of 0′s and 1′s over a long time can be called the cumulative bit difference (CBD); over a line the CBD is large.
Eye diagram after the blocking capacitor
With the previous explanation, we can clearly understand why the pathological problem is not the CID but the DC unbalance over the line period (CBD). In other words, the capacitor charge will not stay at the midpoint for the entire line. This effect moves the unique 1 or 0 over the time far from the decision point, creating errors.
Possible changes on Cb and Rt
The previous waveform demonstrates the pathological frequency spectrum versus a perfect random signal with 1 and 0 balance. To preserve the maximum SNR, the cutoff frequency of 338Hz appears to be a good choice. Changing the internal termination from 50Ω to 75Ω and keeping the same cutoff frequency, now the value of Cb is 3.3µF. (See Figure 7.) This 3.3µF capacitor can be smaller in size and can be more stable in temperature.
DC-coupled versus AC-coupled
So why don’t we do DC-coupled circuits instead of AC-coupled? The DC-coupled could be a great solution, but you should be aware of a few key characteristic of your drivers and receivers. First is the common mode voltage of your driver; every high-speed driver is swinging around a DC voltage on each wire. As example, the output of your equalizer could swing from 3.3V to 2.9V. (See the datasheet of the part you use for more precise information.) If you use a new FPGA to deserialize the signal, you might have a voltage common mode of 1.2V with an allowed swing of +/-400mV. You can clearly see that your equalizer outputs will not work with your FPGA inputs. In this specific case, AC-coupling is one of the easiest solutions.
Here are the key points to consider before deciding to go DC-coupled:
Known driver: no DC offset possible, ie on the same board or in the same system;
Common mode voltage (Vcm) of the driver is included in the receiver input common mode voltage;
All combinations of Vcm positive and negative swings of the signal are included in the receiver tolerance.
Tomi Engdahl says:
Should recordings be natural?
https://www.youtube.com/watch?v=ptNPr_YvOnY
Tomi Engdahl says:
Fiber vs. Copper; What do we really need?
https://www.youtube.com/watch?v=CwZdur1Pi3M
Fiber optics. A DeLIGHTful technology. Ooh that’s a groaner. Well, why don’t we see them around more often? Let’s find out!
Tomi Engdahl says:
TOSLINK: That one consumer fiber optic standard
https://www.youtube.com/watch?v=ICcEOXVZ3F0
Well. Isn’t that strange. Digital data through fiber optics, and in the home no less! Let’s explore this a little, shall we?
These may not be TOSLINKs but they sure are links!
Tomi Engdahl says:
Best improvement to your sound system will probably be a hearing aid.
https://www.researchgate.net/figure/Age-related-hearing-loss-according-to-the-International-Organization-for-Standardization_fig1_338597788
Tomi Engdahl says:
I Hacked A Vintage Telephone Exchange To Be Musical Like Drums
https://m.youtube.com/watch?v=s6DPU9UobPw
Tomi Engdahl says:
https://etn.fi/index.php/13-news/12507-cd-tasoista-aanta-vihdoin-langattomasti
Qualcomm on lanseerannut audiotuotteiden perheeseensä uuden koodekin. aptX LossLess on mobiililaitteiden kannalta merkittävä julkistus, sillä se mahdollistaa vihdoin CD-tasoisen äänen siirtämisen verkosta päätelaitteeseen ja aina nappikuulokkeisiin asti langattomasti, Bluetooth-linkin yli.
Uusi koodekki mahdollistaa 16-bittisen, 44,1 kilohertsin taajuudella näytteistetyn signaalin siirtämisen Bluetoothin yli. Qualcommilla audiotuotteista vastaavan James Chapmanin mukaan tähän tarvitaan noin megabitin verran kaistaa, mitä ei voida taata missään normaalissa Bluetooth-linkissä.
Tomi Engdahl says:
What Are Audio Transformers? Why Do They Sound So Good?
https://www.youtube.com/watch?v=1n-lXFTuMfI
Audio Transformer Impedance Matching
https://www.electronics-tutorials.ws/transformer/audio-transformer.html
One of the main applications for audio frequency transformers is in impedance matching. Audio transformers are ideal for balancing amplifiers and loads together that have different input/output impedances in order to achieve maximum power transfer.
Tomi Engdahl says:
https://service.shure.com/s/article/transformers-when-to-use-and-how-does-it-work?language=en_US#:~:text=By%20design%2C%20audio%20transformers%20only,range%20of%2020%20%2D%2020%2C000%20Hz.&text=A%20third%20limitation%20is%20that,used%20in%20typical%20audio%20circuits.
By design, audio transformers only pass audio signals. Therefore, an audio transformer will reduce or block signals that are below or above the audio range of 20 – 20,000 Hz. … A third limitation is that audio transformers cannot step up a signal by more than about 25 dB when used in typical audio circuits.
Tomi Engdahl says:
Audio Transformers
by
Bill Whitlock
https://www.jensen-transformers.com/wp-content/uploads/2014/08/Audio-Transformers-Chapter.pdf