RENI VIONITA PERDANA - 0931130051 - TT 3B TITLE : Composite Video OBJECTIVE: 1.1 Getting to know the basic composite video.

1.2 Measuringstandard composite video and voltage. 1.3 Determining the parameters of composite video. Diagram : Equipment used: <a href="http://videolab.polinema.org/wp-content/uploads/2012/01/14.jpg"><img sr c="http://videolab.polinema.org/wp-content/uploads/2012/01/14.jpg" alt="" title= "1" width="348" height="143" class="aligncenter size-full wp-image-2109" /></a> Equipment used: 1 VCD/VTR 1 Oscilloscope 40 MHz dan passive probe An RCA cable connector BNC (75 W)

THEORY Oscilloscope The synchronization information is also imbedded in the composite video signal a nd occupies precious amplitude range of the video signal. Horizontal Sync, Verti cal Sync (also know as Vertical retrace) and the Color Reference Bursts are embe dded in the composite waveform. Figure 1 shows a typical composite signal. Compo site video is a yellow, female RCA jack, normally found next to two audio jacks, one red, the other white. The three jacks together provide an interface for aud iovisual connections. The red RCA jack connects the right channel of a stereo sy stem, while the white RCA jack connects the left. The yellow composite video jac k rounds out the set. A video stream is composed of a Y signal for luminescence or black and white values and a C signal forchrominance or color. The Y signal p rovides brightness and contrast, allowing for deep rich blacks and startling bri ght whites. The quality of this signal is especially evident in low-lit scenes w here a degraded signal will translate to faded blacks and muted whites, making it difficult to differentiate scenery or action. The color signal or RGB for red, g reen and blue carries the information needed to create changing hues. A degraded C signal can result in coloration that is not true to its source. Composite vid eo is so named because the Y/C signals are compressed and channeled through a si ngle wire to be separated by a comb filter inside the television set. Though compo site video was the standard for many years, the very process causes some degrada tion of signal integrity. This wasn t a problem in the past as television resoluti on and audiovisual equipment in general was inferior to today s standards. However , with the advent of high-definition television and DVD, the drawbacks of compos ite video have become evident on screen. Limitations of composite video led to S -Video, a mini-DIN interface that carries the Y/C signals separately, each getti ng their own wire wrapped inside a single sheath to appear as a single cable. SVideo is also analog and still requires audio cables. More recently, S-Video has been superseded by component video, which isolates not only the Y signal on its own cable, but the red and blue signals as well, while green values are inferre d from reading the other data streams. Component video requires three cables plu s audio cables, for a total of five cables. The latest enhancement in audiovisua l interfaces is High-Definition Multimedia Interface (HDMI), a true digital inte rface that combines video and audio into a single cable while preserving perfect integrity. This all-digital standard is the most desirable interface currently

available. Composite Video Signal Construction Composite video signal containing variations of the camera signal (image inform ation), blanking pulses (blanking), <a href="http://videolab.polinema.org/wp-content/uploads/2012/01/21.jpg"><img sr c="http://videolab.polinema.org/wp-content/uploads/2012/01/21.jpg" alt="" title= "2" width="304" height="194" class="aligncenter size-full wp-image-2110" /></a> and synchronization pulses (sync). Figure 3.2 In figure 3.2, the amplitude of vo ltage and current are shown sequentially for MRV two horizontal lines in the sha dows, as time increases in horizontal direction, the amplitude is changed to whi te shade, gray, or black in the picture. Starting from the far left at time zero , the signal at the level of white and MRV file located on the left image (the i mage). Once the first line scaned from left to right, found different cameras wi th different amplitude signal corresponding to image information is required. Af ter tracking (trace) horizontal camera produces the desired signal for one line, MRV file located on the right image (image or image). Then the discharge pulse is inserted in order to restore the video signal amplitude to the top to the bla ck level, so that repetition of traces can be left empty. After emptying time lo ng enough to cover the trail repetition, emptying the voltage is removed. Then & MRV file located on the left, ready to scaned next line. In this way each horiz ontal line scaned respectively. Note that the second line shows the dark image i nformation near the black level. With regard to time, the amplitude of the signa l-amplitude right after emptying in Figure 3 shows the information in accordance with the left side at the start line of MRV. Just before discharge, the signal variation corresponds to the right side.Appropriate information in the middle li ne of MRV is half the time between discharge pulses. Pulse-Pulse Alignment in Time Decommissioning <a href="http://videolab.polinema.org/wp-content/uploads/2012/01/31.jpg"><img sr c="http://videolab.polinema.org/wp-content/uploads/2012/01/31.jpg" alt="" title= "3" width="304" height="183" class="aligncenter size-full wp-image-2111" /></a> Sync pulses are inserted in the composite video signal during vertical blanking pulse width shown in Figure 5. This includes pulses to equalize, pulses vertical alignment and horizontal alignment of multiple pulses. Signal-signal is shown a t intervals of time at the end of the field and the next one, to describe what h appens during the vertical blanking time. Both signals are shown one above the o ther are the same, except for half-line shift between successive fields are requ ired for MRV intertwined odd lines. Starting from the left in Figure 5, the four th-last line of MRV horizontal raster shown on the basis of joint discharge puls es and horizontal alignment is needed. Immediately after following the last visi ble line, the video signal is made into the black by the vertical blanking pulse in preparation for the repetition of vertical trace. Vertical blanking period b egins with a group of six pulses MRV, which separate the half-line intervals. Ne xt is the vertical alignment pulse produces real jagged vertical flyback in a se ries of MRV.Serration also occur at intervals of half a line. Thus, a complete v ertical alignment pulse width is three lines. Following the vertical alignment i s a another group of six pulse equation and a series of horizontal pulses. Durin g the vertical blanking period as a whole, there is no information on the result ing image, because the signal level is black or blacker than black so that the r epetition of vertical traces can be left empty. In a signal at the summit, the f irst pulse is a full line of credit beyond the previous horizontal alignment; in signals below for the next field, the first pulse is as far as half a line. The difference this time and a half lines between the even fields and odd continues through all subsequent pulses, so that the pulses of the vertical alignment for successive fields MRV interwoven set time for the odd lines. Composite video is

a yellow, female RCA jack, normally found next to two audio jacks, one red, the other white. The three jacks together provide an interface for audiovisual conn ections. The red RCA jack connects the right channel of a stereo system, while t he white RCA jack connects the left. The yellow composite video jack rounds out the set. A video stream is composed of a Y signal for luminescence or black and white values and a C signal forchrominance or color. The Y signal provides brigh tness and contrast, allowing for deep rich blacks and startling bright whites. T he quality of this signal is especially evident in low-lit scenes where a degrad ed signal will translate to faded blacks and muted whites, making it difficult to differentiate scenery or action. The color signal - or RGB for red, green and blu e carries the information needed to create changing hues. A degraded C signal ca n result in coloration that is not true to its source. Composite video is so nam ed because the Y/C signals are compressed and channeled through a single wire to be separated by a comb filter inside the television set. Though composite video w as the standard for many years, the very process causes some degradation of sign al integrity. This wasn t a problem in the past as television resolution and audio visual equipment in general was inferior to today s standards. However, with the a dvent of high-definition television and DVD, the drawbacks of composite video ha ve become evident on screen. Limitations of composite video led to S-Video, a mi ni-DIN interface that carries the Y/C signals separately, each getting their own wire wrapped inside a single sheath to appear as a single cable. S-Video is als o analog and still requires audio cables. More recently, S-Video has been supers eded by component video, which isolates not only the Y signal on its own cable, but the red and blue signals as well, while green values are inferred from readi ng the other data streams. Component video requires three cables plus audio cabl es, for a total of five cables. The latest enhancement in audiovisual interfaces is High-Definition Multimedia Interface (HDMI), a true digital interface that c ombines video and audio into a single cable while preserving perfect integrity. This all-digital standard is the most desirable interface currently available. D ecommissioning & MRV V and V (V Blanking and V Scanning) Serrated vertical sync pulses that force the vertical deflection circuit to start the flyback. However , the flyback generally will not begin with the start of vertical alignment beca use the alignment must build a toll-charge in a capacitor in order to trigger ci rcuits & MRV. If we assume that the vertical flyback starts with the leading edg e of the third serration, the elapsed time from one line for vertical alignment before the flyback starts. Also six pulses to equalize the same with the three l ines before the vertical alignment. So 3 + 1 = 4 lines left blank at the bottom of the image, right before the vertical loop trail begins. How much time is requ ired for the flyback circuit depends on MRV, but the repetition time of a typica l vertical traces are 5 lines. Once the loop trail MRV file from the bottom to t he top of raster, produced five complete horizontal lines. Repetition vertical t rail can be completed with ease during vertical blanking time. With 4 lines left blank at the base before the flyback and 5 lines emptied during flyback, 12 lin es remaining from a total of 21 during during vertical blanking. The 12 blank li nes at the top raster in the vertical direction of the surface tracking down. In summary, 4 lines left blank at the bottom and 12 on the top line in each field. In the framework of a total of two fields, 8 lines emptied at the base and 24 l ines at the top.MRV lines generated during vertical tracking, but that made blac k by the vertical blanking, forming black rods at the top and the bottom of the image. High image is slightly reduced by the discharge, compared with a raster t hat is not emptied. However, height can be fixed easily by enlarging the amplitu de of the sawtooth waveform for vertical & MRV. Experiment Procedure Set-up equipment as shown above, connect the video out VCR / VCD with CRO input. ON the instrument. Set the appropriate CRO to be easily observed (use MODE switch on the TV-H posit ion and / or TV-V, in accordance with the observed images). When seeing a wave of horyzontal synchronization MODE switch on the TV-H positio n. When seeing a wave of vertical synchronization MODE switch on the TV-V position.

Observe and picture synchronization pulses and horizontal blanking, vertical bla nking pulse, the front porch and rear, and image information. Image of the wave forms and determine the voltage. QUESTION What is the frequency of horizontal sync and vertical sync? What system is used in the video? EXPERIMENT RESULT <a href="http://videolab.polinema.org/wp-content/uploads/2012/01/5.jpg"><img src ="http://videolab.polinema.org/wp-content/uploads/2012/01/5.jpg" alt="" title="5 " width="525" height="527" class="aligncenter size-full wp-image-2112" /></a>

<a href="http://videolab.polinema.org/wp-content/uploads/2012/01/6.jpg"><img src ="http://videolab.polinema.org/wp-content/uploads/2012/01/6.jpg" alt="" title="6 " width="386" height="211" class="aligncenter size-full wp-image-2113" /></a> ANSWER 1. What is the frequency of horizontal synchronization and vertical synch ronization? Horizontal sync frequency = 31.68 kHz Vertical sync frequency = 70.71 Hz 2. What systems are used in the video?

The system used is using AM modulation system because it can be seen from the ch anges in amplitude and has a spectrum of AM. CONCLUSION Composite video there are blanking pulse ,Synchronization vertical pulse in scan ning vertical , and Synchronization horizontal pulse in scanning hororizontal. Composite video have some parameter, there are synchronization vertical , synchr onization horizontal, amplitude level of signal information, blanking level. From the above experiment acquired voltages are: For the alignment of the TV-V - The frequency of 5 Hz horizontal synchronization - Frequency by 4 Hz vertical synchronization For the value TV-H Alignment - The frequency of 10 Hz horizontal synchronization - The frequency of 8 Hz vertical synchronization