dido63 a écrit:new_balou a écrit:laetilodie a écrit:bonjour, existe t'il une traduction francaise de la doc de DVE qui est disponible sur le site de DVE
http://www.videoessentials.com/Manuals.php
Bonsoir,
J'en connais un qui va peut-être s'y coller !!!
Bonsoir a tous
Toujours rien?![]()
Au hasard !!! Sylex???
J'avais trouvé un résumé il y a qlq années, c'est en anglais mais assez compréhensible
Title 15 Video Test Material
Menu Item Title Chapter Description
15-1 15 1 Basic Setup Test Patterns
15 2 PLUGE w/ Log Gray Scale (Low APL PLUGE)
15 3 PLUGE w/ White bar (High APL PLUGE)
15 4 Needle Pulse
15 5 Color bar-patch combination w/ labels
15 6 SMPTE color bars
This set of test patterns is fully described in Titles 9 through 14 of Video Essentials.
15 7 Overscan test pattern
15 8 Overscan w/ safe action/ title labels
15 9 Overscan w/ safe action/ title markers
The description of the Overscan test pattern found in Title 14 uses it to determine the proper setting of the Sharpness control. Its other uses include helping the viewer to determine how much of the active picture area is missing on the display device. If you can see out to the 5% markers but no further then 5% of you picture at that point is missing. It is anticipated that most viewers will not be able to see the entire picture being presented. If there is action that a producer wants to make sure you see it will happen within the safe action area of the picture. Titles are even more important so they get placed even closer to the center of the picture, within the safe title area.
15 10 Reference for ambient light
The use of this pattern is briefly shown in Title 1, Chapter 5 during the “Ideal Viewing Environment” description. Once Brightness and Contrast have been properly set the light output of this pattern will serve as a reference for the maximum amount of light that should be behind a direct view set in an ideal viewing environment.
15-2 15 11 Congratulations (Running SMPTE Color Bars)
There are any number of video testing circumstances where it is necessary to have test signals running in real time, rather than having a single frame repeated over and over. Noise and jitter measurements are two examples. Much of Title 15 accommodates that requirement.
15-3 15 12 Snell & Wilcox Zone Plate
2:3 pulldown rate for 10 seconds
Field rate for 10 seconds
Frame rate for remain time
The Snell & Wilcox web site provides a basic description of the many items being tested by this pattern. http://www.snellwilcox.com Once at their web site click on “The Snell & Wilcox Test Chart” in the Reference Library. “Imaging Science Theater 2000” from Widescreen Review details many examples of how we’ve been using the pattern in both tests and demonstrations. This pattern clearly shows the shortcomings of composite video as well as the problems with interlaced video. It makes a strong case for doing away with both.
The three different rates of motion of the concentric circles is particularly important in showing interlace artifacts as well as the ability of an interlaced to progressive converters to handle such movement. The movement has been set up to be difficult for converters to follow. Each time the concentric circles hit an edge they stop for 10 frames then move on to the next edge. The diagonal motion is difficult for most decoders as the composite video system is set up for best performance with images moving in the horizontal or vertical direction.
15-5 15 14 Black Stretch Test
As much as a TV set needs good DC restoration in order to hold blacks at black independent of picture content, there are times where set manufacturers will play with the reproduction of dark gray areas of the picture, depending on the average content of the picture. This test provides the dynamic picture changing characteristics needed to check to see if they are playing with how dark areas of the picture are being reproduced. Interpreting what this pattern is demonstrating isn’t easy. As shown elsewhere in the disc, our perception of light is somewhat dependent on the environment of the light. Some observers will have to completely block out everything going on around the PLUGE to determine if it is shifting or remaining the same.
15-6 15 15 Color of Gray
Get ready to hit the pause button just as soon as this chapter starts running. The reversed gray ramp with gray step is far more important than I originally anticipated. Otherwise it would have been included in Title 17 or 18. It was originally put here to make a point about the color of gray. Once the disc was finished we started working with a number of solid state displays and a lot of digital signal processing. This pattern quickly pointed out dynamic range problems with displays and a lack of resolution in processors. It will be included as a regular test pattern in the revised version of Video Essentials.
Title 17 Monitor Evaluation Test Patterns
Menu Item Title Chapter Description
15-9 17 1 Monitor Evaluation Test Patterns
17 2 PLUGE w/ Log Gray Scale
17 3 PLUGE w/ White bar
17 4 Needle pulse
Nothing new here, just a repeat of the pattern found at the beginning of Title 15. They are repeated here so that the user doesn’t have to search many parts of the disc to find them.
17 5 PLUGE w/ Log Gray Scale, and color patches
With both color and black and white information this single pattern can be used for setting Brightness, Contrast, Color and Tint. If you watch the leading edge of the gray steps you can even use this pattern to set the Sharpness control. It is also useful in that the color transitions are at the top and bottom of the picture. It serves the purpose of placing the color transitions in different parts of the picture. This may be the best option for setting color and tint controls on sets where the on-screen menu covers up the majority of picture area. It is also designed to make decoder quality evaluation, as described in Titles 12 and 13, much easier. The gray reference that runs under the color patches has equal amounts of red green and blue. It provides a reference for all three colors.
17 6 75% Color bar-patch combination w/ labels
In addition to the patch and bar combinations being labeled so that you’ll know where to look when adjusting the color and tint controls, the position of the transition of the colors in the picture might provide another option of seeing beyond on-screen displays that cover up the transitions.
17 7 SMPTE color bars
17 8 Overscan w/ safe action/ title labels
While the described use of this pattern in Title 14 is for properly setting the sharpness control it also serves the function of helping to determine how much of the active picture are is scanned out beyond the edge of the screen. In producing programs it is assumed that the area inside the safe action area will show up on most TV sets. The safe title area should show up on all TV sets.
17 9 20 IRE window
17 10 100 IRE window
17 11 40 IRE window
17 12 80 IRE window
These sets of Window patterns are used for calibrating the gray scales of electronic display devices. Chapters 9 and 10 are used when the set is capable of tracking a gray scale for the majority of its range from black to white. Chapters 11 and 12 are used when the display device is not as good at tracking a gray scale or when instrumentation is not capable of reading the lower light level of Chapter 9. We’ve encountered a number of sets that jus won’t track in the dark end of the picture. In that case Chapters 10 and 11 are used to set the gray scale.
17 13 SMPTE resolution chart
This is a film based test chart that has been transferred to video. It is normally used when checking the resolution of the film transfer device. There are many articles on its use.
17 14 Dots, fine
17 15 Dots, course
17 16 1.33:1 geometry, half amplitude
17 17 1.33:1 geometry, convergence w/ circles
17 18 1.66:1 position grid
17 19 1.78:1 position grid
17 20 1.85:1 position grid
This group of patterns was included primarily to assist in the setup of video projectors. The dots can be used for focus while the cross hatch or grid patterns are good for geometry and convergence. The half amplitude 1.33 pattern is provided to reduce the light output of the projector. This can be important if the setup person needs to look back into the lenses or if the projector puts contrast up full when entering the convergence mode. The 1.66, 1.78, and 1.85 patterns define the vertical limits of each aspect ratio in a letterboxed picture. Anamorphic test patterns can be fond in Title 20.
17 21 Video wall convergence & geometry
In video walls it is important to line up multiple sets on the diagonal. This pattern in conjunction with the others will help in determining the correct positioning of the individual sets within the entire video wall.
17 22 Multiburst, .5, 1, 2, 3, 4, & 5 MHz
17 23 H Frequency Sweep to 5.5 MHz w/1 MHz markers
Both of these patterns check frequency response of a video channel, including the display itself. The frequency sweep can also be useful in spotting phase errors.
17 24 Composite chroma-luminance delay
There are many places in the video path where color information can get out of step with the black and white portion of the signal. If correctly displayed the color should be contained within the luminance boarders.
17 25 PLUGE w/ Log Gray Scale
The PLUGE has been placed at several points in this sequence so that it is never far away.
17 26 ANSI version of PLUGE for projectors
17 27 ANSI contrast checkerboard for projectors
17 28 ANSI contrast checkerboard w/ circles
An ANSI group was evaluating test patterns for measuring light output of projectors when Video Essentials was being produced. These were included as a service to that evaluation.
17 29 Black
17 30 11 IRE Window w/ PLUGE on both sides
17 31 20 IRE Window pattern
17 32 100 IRE Window pattern
17 33 20 IRE Window pattern
17 34 30 IRE Window pattern
17 35 35 IRE Window pattern
17 36 40 IRE Window pattern
17 37 45 IRE Window pattern
17 38 50 IRE Window pattern
17 39 55 IRE Window pattern
17 40 60 IRE Window pattern
17 41 65 IRE Window pattern
17 42 70 IRE Window pattern
17 43 75 IRE Window pattern
17 44 80 IRE Window pattern
17 45 85 IRE Window pattern
17 46 90 IRE Window pattern
17 47 95 IRE Window pattern
17 48 100 IRE Window pattern
17 49 20 IRE Window pattern
17 50 11 IRE Window w/ PLUGE
17 51 Black
17 52 black
This is the basic set of patterns needed to evaluate gray scale tracking in a display device. They are used in a group.
Title 18 Monitor Evaluation Test Patterns continued
In assembling the DVD of Video Essentials we discovered that the large number of test patterns would not be accessible on all players if they were in a single title. As a result we split them up into three Titles, 17, 18 and 20.
Menu Item Title Chapter Description
18 1 10 Step gray scale, frame rate (horizontal)
18 2 10 Step gray scale, line rate (vertical)
Do not use this 10 step gay scale for evaluating the color of gray. The gray ramp with steps found in Title 15, Chapter 15 is a better choice. Somehow in the transfer from mater program tape to sub-masters for the LD and DVD a small amount of color got into two of the bars in this sequence.
18 3 Color bars w/75% gray
18 4 Composite chroma to luminance delay
18 5 100 x 100 Grid
The 100 by 100 grid provides a fixed amount of detail over the entire screen area.
18 6 Gray ramp
18 7 Modulated ramp
18 8 Modulated 10 step
18 9 PLUGE w/ Log Gray Scale
This combination of patterns is useful in determining the resolution of a video processing path. Ramps are often reproduced as steps in systems without enough resolution.
18 10 75% Color bar-patch combination w/ labels
18 11 Flat field, 20 IRE
18 12 Flat field, 40 IRE
18 13 Flat field, 75 IRE
18 14 Flat field, 100 IRE
Flat fields are needed to evaluate white field uniformity and signal to noise ratio. The higher level flat fields can also be used to accelerate the warm up process of a CRT display device. It is important to make sure that brightness and contrast are properly set before using these patterns.
18 15 Bow-tie, component video timing, still
The Bow-tie test pattern is used for evaluating timing in among the three channels of the component domain.
18 16 Full field, Red
18 17 Full field, Green
18 18 Full field, Blue
18 19 Full field, Cyan
18 20 Full field, Magenta
18 21 Full field, Yellow
The flat fields of color are 75% saturated.
18 22 Jennifer
18 23 Jennifer w/ Chip chart
We picked Jennifer for her complexion. The chip chart is in the picture as a reference for the film transfer as well as for the viewer.
18 24 Bow-tie, running real time for 5 seconds
18 25 black
Title 20 Anamorphic Test Patterns
Menu Item Title Chapter Description
20 1 Snell & Wilcox Anamorphic geometry
10 seconds
20 2 Snell & Wilcox Anamorphic Zone plate
2:3 pulldown rate, 15 seconds
20 3 Snell & Wilcox Anamorphic Zone plate
Field rate, 15 seconds
20 4 Snell & Wilcox Anamorphic Zone plate
Frame rate, 10 seconds
20 5 Anamorphic convergence w/ circles
1 second to a still frame
20 6 “Nerd w/ still forward”, (1.33:1 graphic)
20 7 black
The Anamorphic Zone Plate test patterns have been useful in evaluation a DVD player’s capability of transforming an anamorphic image into a letterboxed image in addition to its normal uses.
Title 19 Montage of Images
Menu Item Title Chapter Description
15-7 19 1 Montage of Images
19 2 Nerd w/ play symbol of TV set
15-8 19 3 Image Perception
Luminance changes
Color changes
Color wedge, centered on green
Color wedge, centered on red
A lot has been written about the Montage of Images. It was specifically designed to test the capability of the video system. It is a mix of film and video original material. Motion in this material is designed to be challenging for video processing. The luminance and color changes that follow it are there for purposes of illustration and are described in the Ideal Viewing Environment of Title 1.
Alain