CERTIFICATE

This is to certify that Mr.____________________________

Who

is a student of ___________________
in___________________

underwent practical Training in our organization from
__________

to __________ during this period.



Full Name of the organization
____________________________

Full Postal Address
____________________________________

****************************************************



Name:_________________

Authorized signatory:

OfficiaI seaI:








DECLARATIUN BY THE CANDIDATE


NISHANT hereby declare that the project work entitled
"TRACKING & PARABOLIC DISH ANTENNA TO DIFFERENT
SATELLITE" under the partial fulfillment and award of the degree and
this has been submitted anywhere else for the award of any other
degree.

have not submitted the matter embodied in this project for the
award of any other degree and all the content given in this project and
can be believed.


Signature of the student

NISHANT











INTRODUCTION TO DOORDARSHAN


Doordarshan (Hindi: literally Far Vision is the public television
broadcaster of ndia and a division of Prasar Bharati a public service broadcaster
nominated by the Government of ndia. t is one of the largest broadcasting
organizations in the world in terms of the infrastructure of Studios and transmitters.
Recently it has also started Digital Terrestrial Transmitters. On September 15
Type Broadcast television network
Country ndia
AvaiIabiIity National
Founded By Government of ndia
Owner Prasar Bharti
Key peopIe Ministry of nformation and
Broadcasting
Former names All ndia Radio
OfficiaI
Website
www.ddindia.gov.in




BEGINNING
Doordarshan had a modest beginning with the experimental telecast starting in
Delhi on 15 September 1959 with a small transmitter and a makeshift studio. The
regular daily transmission started in 1965 as a part of All ndia Radio. The
television service was extended to Mumbai and Amritsar in 1972. Up until 1975 only
seven ndian cities had a television service and Doordarshan remained the sole
provider of television in ndia. Television services were separated from radio in 1976.
Each office of All ndia Radio and Doordarshan were placed under the management
of two separate Director Generals in New Delhi. Finally in 1982 Doordarshan as a
National Broadcaster came into existence.

NATIONWIDE TRANSMISSION
National telecasts were introduced in 1982. n the same year colour TV was
introduced in the ndian market with the live telecast of the ndependence Day
speech by then Prime Minister ndira Gandhi on 15 August 1982 followed by the
1982 Asian Games which were held in Delhi. Now more than 90 percent of the
ndian population can receive Doordarshan (DD National programmers through a
network of nearly 100 terrestrial transmitters. There are about 6 Doordarshan
studios producing TV programs today.

CHANNELS
Presently Doordarshan operates 21 channels two All ndia channels- DD
National and DD News 11 Regional languages Satellite Channels (RLSC four
State Networks (SN an nternational channel a Sports Channel DD Sports and two
channels Rajya Sabha TV & DD-Lok Sabha for live broadcast of parliamentary
proceedings.
On DD National (DD-1) Regional programmes and Local Programmes are carried
on time-sharing basis.DD News channel launched on 3 November 2003 which
replaced the DD Metro (DD-2), Entertainment channel provides 2-Hour news
service. The Regional Languages Satellite channels have two components The
Regional service for the particular state relayed by all terrestrial transmitters in the
state and additional programmes in the Regional Language in prime time and non-
prime time available only through cable operators. DD-Sports Channel is exclusively
devoted to the broadcasting of sporting events of national and international
importance. This is the only Sports Channels which telecasts rural sports like Kho-
Kho Kabbadi etc. something which private broadcasters will not attempt to telecast
as it will not attract any revenues.
List of ChanneIs
NationaI
DD National
DD News
DD-Rajya Sabha
DD-Lok Sabha
DD Sports
DD Bharti
RegionaI
DD Gujarati
DD Malayalam
DD Podhigai
DD Saptagiri
DD Odia
DD Bangla
DD Kashmir
DD Urdu
DD Punjabi
DD North East
DD Sahyadri


Services SateIIite Transponder D/L Freq D/L
PoI
FEC Sym.
Rate
B/W
DD-NE NSAT-B C-0 380.5 H 6.25 9.0
DD-Bangla NSAT-3A C-01 3731.5 V 6.25 9.0
DD-Oriya NSAT-3A C-02 3771.5 V 6.25 9.0
DD-Sapthagiri NSAT-3A C-03 3820.5 V 6.25 9.0
DD-Podhigai NSAT-3A C-03 3831.0 V 8.60 12
DD-Malyalam NSAT-3A C-03 3811.5 V 6.25 9.0
DD-Chandana NSAT-3A C-01 3758.5 V 6.25 9.0
DD-Sahayadri NSAT-3A C-02 3791.0 V 8.60 12
DD-Girnar NSAT-3A C-01 379.5 V 6.25 9.0
DD-Panjabi NSAT-3A C-01 370.5 V 6.25 9.0
DD-Kashir NSAT-3A C-02 3780.5 V 6.25 9.0

OUTSIDE BROADCASTING &OB VAN
Outside broadcasting (OB) is the electronic field production (EFP of television or
radio programmers (typically to cover television news and sports television events
from a mobile remote broadcast television studio.
Professional video camera and microphone signals come into the production truck
for processing recording and possibly transmission. The mobile production control
room (PCR is known as a "production truck "Scanner" (a BBC term "mobile unit"
"remote truck" "live truck" "OB Van" or "live eye".
AR has acquired a few OB Vans recently. The vans are of the size of a matador
vehicle and incorporate equipment of latest technology. Each van has been
provided with a 6 channel audio mixer 3 UPTRs and a Public Address Amplifier. The
interior is acoustically treated and air-conditioned. A portable diesel generator can
be housed in the body. t is possible to record talks and interview inside the van. All
microphones inputs are terminated on a panel and cable drums provided for laying of
the cables for recording the outside programmes and placement of effects mikes in
the field. Provision is available to meet most of the requirements of production
recording editing and dubbing etc. The van can also meet the requirements of a live
coverage. Provision will be kept for installing a VHF/FM transmitter and a video
camera along with a monitor inside the van in case these are required for certain
types of coverage.
Different Types of OBs
OBs can be classified into two types :
i) Live Broadcast

Events of national importance such as ndependence Day Celebrations sports
events etc. are generally radiated as Live programme.
ii) Spot Recordings

Most of the OB programmes are recorded at the OB spot with the help of a portable
battery operated OB amplifier and or an Ultra Portable Tape Recorder (UPTR or a
cassette tape recorder. Some programmes depending on their importance are
recorded at the studio end. n this case it is necessary to book telephone lines from
the OB spot to CR. Normally three such lines are booked. One for feeding the
programme to CR one for inter communication between the OB spot and CR using
a magneto telephone and one as a standby programme line.


Interior
A typical OB Van is usually divided into 5 parts.
Parts of the television crew are located in the first and largest part is the video
production area. The Television director Technical director assistant director
character generator (CG operator and television producers usually sit in front of
a wall of video monitors. The Technical director sits in front of the video switcher.
The video monitors show all the video feeds from various sources including
computer graphics professional video cameras video tape recorder (VTR
video servers and slow-motion replay machines.
The second part of a van is where the audio engineer has an audio mixer (being
fed with all the various audio feeds: reporters. commentary on-field
microphones etc. The audio engineer can control which channels are added to
the output and follows instructions from the director.
The 3rd part of the truck is the VTR area. The tape area has a collection of
machines including video servers and may also house additional power supplies
or computer equipment.
The th part is the video control area where the professional video cameras are
controlled using camera control units (CCU by one or two operators to make
sure that the iris is at the correct exposure and that all the cameras look the
same.
The 5th part is transmission where the signal is monitored by and engineered for
quality control purposes and is transmitted or sent to other trucks.




DSNG

ENG became a catch-all term for various elements of the electronic news gathering
process including the use of point-to-point terrestrial microwave signals to backhaul
the remote signal to the studio. n modern news operations however it also includes
SNG (satellite news gathering and DSNG (digital satellite news gathering. ENG
field operations are usually done with a specially modified truck or van. Terrestrial
microwave vehicles can usually be identified by their masts which can be extended
up to 50 feet (15 m in the air (to allow line-of-sight with the station's receiver
antennas while satellite trucks normally use a dish that points skywards towards
one of the geostationary communications satellites. New phased array satellite
antennas are as of 2010 being adapted from military and aircraft applications for
news gathering by networks and local stations. These systems will allow broadcast
live from moving vehicles


TRANSMISSION & RECEPTION OF SIGNALS
Presently Doordarshan is up linking its national metro and regional services to
NSAT-2A (7
o
C and NSAT-2B (93.5
o
E and NSAT 2E (83
o
C. Down link
frequency bands being used are C-Band (3.7-.2 GHz and Ex-C Band (.5-.8
GHz. A simple block diagram of a satellite earth station uplink/down link chain is
shown in fig.



Satellite Earth Station Uplink / Downlink Chain
Transmission of base band to SateIIite

The base band signal consists of video (5 MHz two audio subcarriers (5.5 MHz &
5.75 MHz and energy dispersal signal (25 Hz. After modulation (70 MHz and
upconversion (6 GHz the carrier is amplified and uplinked through Solid Parabolic
Dish Antenna (PDA. Down link signal can be received through same PDA using
Trans-Receive Filter (TRF and Low Noise Amplifier (LNA. After down conversion
to 70 MHz it is demodulated to get audio and video.
SateIIite Transponder

As shown in fig. the uplinked signal (6 GHz at satellite is received amplified and
down converted to GHz band and sent back through filter and power amplifier
(TWT. The local oscillator frequency of down converter is 2225 MHz for C band and
Ex-C band transponders.


Block diagram of Satellite Transponder
Receiving SateIIite SignaI
For receiving a satellite signal we need following equipment :
1. Satellite receiving antenna (PDA.
2. Feed with low noise block converter (LNBC.
3. ndoor unit consisting of satellite system unit and a Synthesised satellite
receiver.



STUDIO
STUDIO CHAIN OF DOORDARSHAN


SYNC PuIse Generator

Television signals for broadcasting are originated by cameras and telecines
recorded and replayed by video tape recorders mixed in studio vision mixers and
finally distributed for transmission. Fig. 1 shows the use of sync pulse generator for
generating colour composite video signal (CCVS.

CoIour Composite Video SignaI

CCVS or Colour Composite Video Signal consists of

1. Video signal along with synchronizing signal composed of line and field
synchronising pulses to ensures the locking of scanning systems of a source
and destination.
2. Blanking pulses to blank retrace period around the horizontal and vertical
synchronising periods.
3. Sub carrier and its modulated components to carry the colour information.
. Burst gate signal (responsible for the correct positioning of the colour burst
within the blanking interval and swinging burst.

The generation of synchronising pulses has been shown in figure 2.

All the pulses required for the generation of CCVS signal are produced by sync pulse
generator (SPG. These pulses are produced from a common reference of .3
MHz and then by dividing it digitally. These pulses are :







S.No. Waveform Nature Use
1.


2.

3.


.


5.
Mixed Syncs
(S


Mixed Blanking
(A

Burst Gate (K


PAL-D (P


Subcarrier (SC
Combined Line &
Field Synchronising
Signals

Combined Line &
Field

Line Rate Pulse


Half Line-rate


.3 MHz Sinewave
Synchronising Picture Displays

Blanking retrace period

to define parking slot for burst.

Govern Polarity of tansmitted V
component

SC Sample


Vision Mixer (or Video Switcher)

Though the video switching is done by the VM at the remote panel the electronics is
located in CAR. The vision mixer is typically a 10 x 6 or 20 x 10 cross bar switcher
selecting anyone of the 10 or 20 input sources to 6 or 10 different output lines. The
input sources include: Camera 1 camera 2 camera 3 VTR1 VTR2 Telecine 1
Telecine 2 Test signal etc. Some of the sources that have their sync coincident with
the station sync are called synchronous while others having their own independent
sync are called non-synchronous.

The vision mixer provides for the following operational facilities for editing of TV
programs:-
(i Take: Selection of any input source
or
Cut: switching clearly from one source to another.
i. DISSOLVE: Fading out of one source of video and fading in another source
of video.
ii. SUPERPOSITION OF TWO SOURCES: Keyed caption when selected inlay
is superimposed on the background picture.
iii. SPECIAL EFFECTS: A choice of a number of wipe patterns for split screen
or wipe effects.

The selected output can be monitored in the corresponding pre-view monitor. All the
picture sources are available on the monitors. The preview monitors can be used for
previewing the telecine VTR test signals etc. with any desired special effect prior to
its actual switching.

The switcher also provides cue facilities to switch camera tally lights as an indication
to the cameraman whether his camera is on output of the switcher.


BIack Burst (BB)
This pulse contains all the pulses except active video information. t contains pulses
H V A S K P & SC. This pulse can be decoded back to regenerate these pulses
back. Most of the equipment now a days are using this single pulse from SPG
instead of several pulses. This allows us to have single distribution network for
synchronising pulses.



Each source needs its own SPG. This is true if it has to work in a stand alone
environment. Where several cameras work together as in a studio it is better to use
a common SPG. Characteristics of these waveform has specified durations levels
and rise-times etc. The more stringent specifications cause complex and costly
generator. One generator serving a number of sources is a better option than many
separate generators. t is also important that the signals from the various camera
match time-wise. This is easier to achieve if they all had same generators.

All television studio therefore have one centrally located sync. generator supplying
reference signals to all the video sources.

All timings are referred to a reference point which is the leading (negative-going
edge of the line sync pulse at half amplitude also called as HAD (Half amplitude
duration



The most significant feature is that the pulse amplitude is 2V terminated at 75 ohms.
This is true of all the signals except video signal (CCVS which for historical
reasons is only 1V PP at 75 ohms.

Camera ControI Unit (CCU)

The television cameras which include camera head with its optical focusing lens pan
and tilt head video signal pre-amplifier view finder and other associated electronic
circuitry are mounted on cameras trolleys and operate inside the studios. The output
of cameras is pre-amplified in the head and then connected to the camera control
unit (CCU through long multi-core cable (35 to 0 cores or triax cable.

All the camera control voltages are fed from the CCU to the camera head over the
multi-core camera cable. The view-finder signal is also sent over the camera cable
to the camera head view-finder for helping the cameraman in proper focusing
adjusting and composing the shots.

The video signal so obtained is amplified H.F. corrected equalized for cable delays
D.C. clamped horizontal and vertical blanking pulses are added to it. The peak
white level is also clipped to avoid overloading of the following stages and avoiding
over modulation in the transmitter. The composite sync signals are then added and
these video signals are fed to a distribution amplifier which normally gives multiple
outputs for monitoring etc.


Frame Synchroniser
The synchronizer is one of the many television units to use digital storage
techniques. The signal to be synchronized is written into the store at its own rate
and timings. t is read from the store with respect to station sync. at the timing and
rate of the Studio Center. thus making it synchronous. f there are too many
outstation feeds a synchroniser with each will allow mixing them with the other studio
sources.





Gen-Lock SPG

Sync Pulse Generator can be synchronized to an external video signal by
referencing the sync pulse generator supplying the studio to the external signal.
Similar arrangements apply in respect of Black Burst installations. Where each area
in a studio complex has its own sync generator. A reference signal (usually black
and burst is distributed to all the generators to maintain synchronism between them.





CAMERA BLOCK DIAGRAM



Introduction
A typical video camera consists of the following sections :
1. Lens
2. Optical Block
3. Transducer or pick up device
. Electronics



Camera Lens
The purpose of the camera lens is to focus the optical energy at the face plate of a
pickup device i.e. to form an optical image. The lens for a video camera has the
following sections:



1. Main focus section
2. Zoom section with manual or servo mode operation
3. Servo drive assembly for Zoom and iris control
. Aperture section with manual or auto mode
5. Back focus section with adjustment facilities for back focus and micro focus.

FocaI Iength :

Different focal length on camera lenses are required to get different composition of
pictures from a fixed location. A lens with a variable focal length is called as ZOOM
LENS. A typical ENG/EFP camera has a variable focal length lens with focal length
varying between 9 mm & 108 mm. The zoom ratio then becomes 108/9 = 12:1. ts
objectives is to focus the image on the face plates of the camera tubes. This focal
length can be varied either manually or by a servo motor to get different composition
of picture focussed on the camera tubes. Wide angle or long shorts can be
composed by using shorter focal length & vice versa. Different compositions from
camera are possible by changing the focal length even though the camera is
stationary.

Horizontal Viewing angle of the lens is determined by the focal length & size of the
pick up device. t can be represented by :-



Q = Angle of view


where T = Target Size
f = focal length

Q (in degree = Q rad x 58

We have different lenses for different size of pick up devices for a particular angle of
coverage. The table below can give you an idea why smaller studio should prefer
smaller pick up device for wider angles/close ups as compared to larger size of pick
up.
H - Angle degree Distance in feet
1/2 inch camera
Distance in feet
2/3 inch camera
Distance in feet
1 inch camera
50 7.5 10 15
25 15 20 30
10 37 50 75
LIGHTNING
The incident light level used in any television studio depends on the light required b y
the cameras in that studio to give depth of field consistent with types of programmes.
A dance sequence for example will need higher f - stop no. for more depth of field
hence requiring more light level in the studios.
CompatibiIity

Lighting should be compatible with B/W sets.

Types of Luminaries

There are 3 basic types of luminaries :

i. A soft-edged spotIight - Hard Source (FresneI spotIight)

This is a focussed light source in which the position of the light source relative
to the lens can be increased or decreased to 'SPOT' or 'FLOOD's. Normally it
is used in the fully FLOODED condition to give the widest and most uniform
illumination. The beam has a soft edge which gives the name to the luminaries
as soft edge spot light and the lens used is a Fresnel lens.

Barn doors are fitted to these light to restrict illumination to specific areas.
Usually the luminaries are used in the fully flooded condition because this gives
more uniform illumination and makes the barn doors most effective.

i. A hard-edged spotIight - Hard Source (Effects spotIight)

This is a focussed light source in which the exist circular aperture of the light
housing is projected by a lens system to give a disc of light with a hard edge to it.
Alternatively patterns cut from metal can be projected by inserting them near the
circular aperture.

i. Soft Source

Usually a large area diffused source of light producing as few shadows as
possible. These light sources are not usually focussed so often they are fitted
with louvers to reduce the sideways spill of light.


Basic Three Point Lighting

Key Iight : This is the principle of key light source of illumination. t gives shape
and modeling by casting shadows. t is treated like "sun" in the sky and it should
cast only one shadow. Normally it is a hard source.

FiII Light : Controls the lighting contrast by filling in shadows. t can also provide
catch lights in the eyes. Normally it is a soft source.

Back Iight : Separates the body from the background gives roundness to the
subject and reveals texture. Normally it is hard source.

Background Light : Separates the person from the background reveals
background interest and shape. Normally it is a hard source.

n three point lighting the ratio of 3/2/1 (Back/Key/Fill for mono and 3/2/2 for colour
provides good portrait lighting.


VIDEO TAPE RECORDER(VTR)
Introduction

Format of Video tape recorder defines the arrangement of magnetic information of
the tape. t specifies :

The width of tape
Number of tracks for Video Audio Control Time Code and Cue
Width of tracks
Their electrical characteristics and orientation

All machines conforming to one format have similar parameters to enable
compatibility or interchange i.e. the tape recorded on one machine is faithfully
reproduced on the other. There are a number of formats in video tape recording and
the number further gets multiplied due to different TV standards prevailing in various
countries e.g. PAL SECAM NTSC and PAL-M.

CIassification

Composite Analog Formats (All reel/Spool type
Quadruplex 1 B format and 1 C format for professional Broadcast use.
Heterodyne formats (Cassette
U-matic LB HB SP for semi-professional work.
Component analog formats (Cassette
Betacam Betacam SP M- for professional Broadcast use.
Digital Composite/Component formats (Cassette



BETACAM
Betacam series of VCRs are becoming very popular because of their low initial and
running costs in comparison to B and C Format machines. The quality of
reproduction of Betacam is near to these formats. Till March 1992 about 1.5 lakh
such machines were being used by different Broadcasters all over the world.
Betacam format was introduced in 1982 followed by Betacam SP in 1987.

System : Analog Component

Type of Betacam tapes

Oxide tapes Small size
Oxide tapes large size
Metal tapes small size
Metal tapes large size

Important

Micro switch will sense automatically whether a small or large cassette has
been inserted in the machine.
Oxide tape has 19 m thickness and metal particle 1 m.



Betacam Track Layout


EDITING
There are two types of editing-
1.Linear Editing.
2.Non Linear Editing.
1.Linear editing-: This is also of two types-
i. Cut to cut.
ii. AB Roll.
The main difference between cut to cut and AB roll is this that AB roll system
have additional vision mixer where as cut to cut system has no vision mixer. We can
insert effects in AB roll system where as in cut to cut system it is not possible.

2.Non Linear Editing-:
Non Linear Editing consists of four steps:
1. Digitize the source material
2. Collect and organize the multimedia clips
3. Arrange the clips to play back in the correct order adding effects titlesetc.
. Output the final result to a monitor file or tape Your NLE system consists of
your computer the DPS hardware installed in your computer the breakout
cable or the breakout box that connects with 1or 2 cables to the DPS
hardware your video equipment which connects to your breakout cable or
breakout box and the dpsVelocity software






MASTER SWITCHING ROOM (MSR)
Master controI is the technical hub of a broadcast operation common among most
over-the-air television stations and television networks. t is distinct from a production
control room (PCR in television studios where the activities such as switching from
camera to camera are coordinated. A transmission control room (TCR is usually
smaller in size and is a scaled down version of central casting.
Master control is the final point before a signal is transmitted over-the-air for
terrestrial television or cablecast satellite provider for broadcast of sent on to a
cable television operator. Television master control rooms include banks of video
monitors satellite receivers videotape machines video servers transmission
equipment and more recently computer broadcast automation equipment for
recording and playback of television programming.


PRODUCTION-CONTROL ROOM (PCR)
The production control room (PCR also known as the "gallery" or Studio Control
Room (SCR is the place in a television studio in which the composition of the
outgoing program takes place. Master control is the technical hub of a broadcast
operation common among most over-the-air television stations and television
networks. t is distinct from a PCR in television studios where the activities such as
switching from camera to camera are coordinated. A transmission control room
(TCR is usually smaller in size and is a scaled down version of centralcasting.
Facilities in a PCR include:
A video monitor wall with monitors for program previewVTRs cameras
graphics and other video sources. n some facilities the monitor wall is a
series of racks containing physical television and computer monitors in
others the monitor wall has been replaced with a virtual monitor wall
(sometimes called a "glass cockpit" one or more large video screens each
capable of displaying multiple sources in a simulation of a monitor wall.
A vision mixer a large control panel used to select the multiple camera setup
and other various sources to be recorded or seen on air and in many cases
in any video monitors on the set.
An audio mixing console and other audio equipment such as effects devices.
A character generator (CG which creates the majority of the names and full
digital on-screen graphics that are inserted into the program lower third
portion of the television screen.
Digital video effects or DVE for manipulation of video sources. n newer
vision mixers the DVE is integrated into the vision mixer older models
without built-in DVE's can often control external DVE devices or an external
DVE can be manually run by an operator.
A still store or still frame device for storage of graphics or other images.
While the name suggests that the device is only capable of storing still
images newer still stores can store moving video clips and motion graphics.
The technical director's station with waveform monitors vector scopes and
the camera control units (CCU or remote control panels for the CCUs.
n some facilities VTRs may also be located in the PCR but are also often
found in the central apparatus room.
ntercom and FB equipment for communication with talent and television
crew


TRANSMISSION CONTROL ROOM (TCR)

Transmission ControI Room (TCR) or 'Transmission Suite' or 'Tx Room' or
"Presentation" is a room at broadcast facilities and television stations around the
world. compared to a Master Control Room it's usually smaller in size and is a
scaled down version of centralcasting. The TX Room or Presentation suite are
staffed 2x7 by Presentation Coordinators and Tape Operators and is fitted out with
video play out systems often using server based broadcast automation.
For operational and content qualitative reasons not more than two television
channels are managed from one TCR. Channels with live content and production
switching requirements like sports channels have their own dedicated TCRs. A
television station may have several TCRs depending on the number of channels they
broadcast.





EARTH STATION
The earth-based communications station providing the communication link to a
communications satellite. The earth station itself is usually an antenna that includes
a low-noise amplifier a down-converter as well as an electronics receiver. The
antenna itself can vary in size from at little at 3 to 30 meters depending on its usage.
May also be called a satellite earth station.
Earth station communicates to the sateIIite. Any system (combination of
satellite antenna amplification conversion and reception electronics that can either
transmit to or receive signals from orbiting satellites.
The ground station that receives (downIink) and sends (upIink) signaIs to
and from communication sateIIites
UNITS OF EARTH STATION
TRANSMISSION( UpIink) An upIink is the Iink from a ground station up
to a sateIIite.
RECEPTION(DownIink) A downIink is the Iink from a sateIIite down to
one or more ground stations or receivers
UPLINK
An uplink is a satellite antenna and transmitting system which can be used to send
signals up to orbiting communications satellites. Uplink refers to the function of a
transmission signal being sent from a ground station to a satellite. The signal path
from an earth station to a satellite.
BLOCK DIAGRAM
The functional elements of a basic digital earth station are shown in the be

UPLINK CHAIN
It comprises of Information Encoder ModuIator Up converter HPA(high power
ampIifier) Antenna
HOW IT WORKS
1. Digital data is sent to the modulator which takes the data and converts it into a
modulated signal in the F range (70-10 MHz.
2. The F is piped to an "up converter" which mixes the F with a higher frequency to
produce a final frequency which carries the modulated data.
3. Noise is removed from the signal via band pass filter and then amplified.
.The final cleaned signal is transmitted down the wave guide to the dish.
5. The feed horn at the focal point of the dish emits the high frequency radio
transmission which the dish focuses into a directional transmission at the satellite.
THE DISH
A satellite dish is just a special kind of antenna designed to focus on a specific
broadcast source. The standard dish consists of a parabolic (bowl-shaped surface
and a central feed horn.
Types of dish
There are two types of dish:-
Transmitting dish Receiving dish
Transmitting dish
Receiving dish
Earth Station Equipment
Transmission Receiver
Modulator Demodulator
F Combiner F Divider
Up Converter Down converter
RF combiner RF Divider
High power Amplifiers Low Noise Amplifier
Antenna Antenna