A

PRACTICAL TRAINING REPORT ON

PRESENTED BY:
YOGESH KUMAR www.powerpointpresentationon.blogspot.com

 Doordarshan Kendra is a part of

Department of Information and Broadcasting (Govt. of India) . Doordarshan Setup in Rajasthan

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It Consists Of Following Setup Studio Centre : 1

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TELIVISON STUDIO

Studio floor
The studio floor is where production actually occurs. The studio floor is an open area, which contains the television cameras,' microphones, lighting equipments sets and crew.

Control room
The control room there is the programmer's director, assistant director, technical director, audio engineer and video engineer works

T.V. PICTURE
of light or shade which are called picture element.

A picture can be considered to contain a number of small elementary areas

The scene is focused on the photo-sensitive surface of pickup device and a
optical image is formed.

The photo electric properties of the pickup device convert the optical image
to a electric image charge depending on the light & shade of the scene. To transmit beam scans the image is employed. The electronthis information scanning from left to right (line by line) and from top to bottom (frame by frame) or field by field. The scanning is done both in horizontal direction and vertical direction simultaneously.

 The horizontal scanning frequency is

The frame is divided into two fields, The frame is divided into 2 fields. The field rate is 50 Hz. The frame rate is
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15625 Hz. The vertical scanning frequency is 50 Hz.

odd lines are scanned first and then the even lines are interlaced.

25 Hz (field rate is same as the power

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A TV camera consist of the following sections:

Camera

A Camera lens and optics :To form optical image on the

face Plate of a pick up device. an Electrical signal. transducer

A transducer or pick up device :To convert optical image into

Electronics :To process output of a

 In a television studio it is necessary to illuminate each

area of action separately besides providing an average level of brightness over the entire scene.
Different types of light..

LIGHTING

Eye light Rim light Kickkar light Limbo light

Material Used for recording

. FERRO MAGNETIC MATERIALS . THESE MATERIALS HAS SPECIAL

CHARACTERISTIC OF MAGNETIC RETAINTIVITY.
Frequencies 20 Hz to 20 KHz 10 20Hz to 5 MHz 18 No. of octaves Timing Accuracy Rec. Medium Limitations Not so important No Very Important Yes Characteristic Audio Rec. Video Rec.

(Fe2O3/Fe2O4) ARE USED

DIFFERENCE BETWEEN AUDIO/VIDEO RECORDERS

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 A VCR HAS TWO SPEEDS

1. Linear speed: It is the speed at which tape runs. It decides the tape length required/consumed for a particular duration. For Beta cam edit VCR it is 10.15 Cm/Sec. Tape length for 30 Min. Cassette= 10.15x30x60 Cm 2. Writing Speed: It is the speed at which signal information is written on the tape by the Head. W. Speed =3.14xDrum Diameter in m x Drum Speed in rps For Beta cam edit VCR, Drum Diameter = 74.4mm Drum speed =25 rps W. Speed =3.14x (74.4/1000) x25 =5.75 m/ Sec. Video tape Formats It defines the arrangement of magnetic information on the tape. It specifies: 1. Tape width 2. No. of tracks for Video, Audio, CTL, TC & Cue 3. Their electrical characteristic and orientation. GLOBAL INSTITUTE OF Sunday, Track 2010 4. July, 18, width.

TECHNOLOGY

 A vision mixer or production switcher is one of the primary

devices used to produce a television program. Production switchers are essential to all live operations. Production switcher is used to either switch or cut between two video sources, or to combine them in a variety of ways. The principal methods used to combine video are- Mixing, Wiping, & Keying.

BASIC FUNCTIONS OF A SWITCHER Cut operation or switching between two sources. Mixing or dissolve. Wiping. Keying.
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It allows having changeover from one

video source to another source instantaneously. Switching between one source to another is done during vertical interval period to make the changeover invisible on the screen.

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MIXING

Mixing is an additive combination of two video sources.

Two input sources are mixed in proportion in a summing

amplifier as decided by the position of the control fader.

Two extreme positions give either of the source at output.

Middle of the two fader gives mixed output of the two sources.

The sum of two video sources is always 1 volt p-p.

A VIDEO

B VIDEO

 WIPING
This is a non additive combination of two sources. A switching occurs during the active video at specific points on the raster to produces a pattern, between two video sources. Switching is controlled by an internal wipe pattern generator which can provide the waveform either saw tooth or parabola at H,V or both H and V rates. The very simple to very complex waveform can be generated by the wipe pattern generator.Simple patterns can be generated by logical combination of different waveforms However the production of more complex patterns is better handled by a microprocessor.

 WIPING
This is a non additive combination of two sources. A switching occurs during the active video at specific points on the raster to produces a pattern, between two video sources. Switching is controlled by an internal wipe pattern generator which can provide the waveform either saw tooth or parabola at H,V or both H and V rates. The very simple to very complex waveform can be generated by the wipe pattern generator.Simple patterns can be generated by logical combination of different waveforms However the production of more complex patterns is better handled by a microprocessor.

WIPING
This is a non additive combination of two sources. A switching occurs during the active video at specific points on the raster to produces a pattern, between two video sources. Switching is controlled by an internal wipe pattern generator which can provide the waveform either saw tooth or parabola at H,V or both H and V rates. The very simple to very complex waveform can be generated by the wipe pattern generator.Simple patterns can be generated by logical combination of different waveforms However the production of more complex patterns is better handled by a microprocessor.

 WIPING
This is a non additive combination of two sources. A switching occurs during the active video at specific points on the raster to produces a pattern, between two video sources. Switching is controlled by an internal wipe pattern generator which can provide the waveform either saw tooth or parabola at H,V or both H and V rates. The very simple to very complex waveform can be generated by the wipe pattern generator.Simple patterns can be generated by logical combination of different waveforms However the production of more complex patterns is better handled by a microprocessor.

 WIPING
This is a non additive combination of two sources. A switching occurs during the active video at specific points on the raster to produces a pattern, between two video sources. Switching is controlled by an internal wipe pattern generator which can provide the waveform either saw tooth or parabola at H,V or both H and V rates. The very simple to very complex waveform can be generated by the wipe pattern generator.Simple patterns can be generated by logical combination of different waveforms However the production of more complex patterns is better handled by a microprocessor.

 WIPING
This is a non additive combination of two sources. A switching occurs during the active video at specific points on the raster to produces a pattern, between two video sources. Switching is controlled by an internal wipe pattern generator which can provide the waveform either saw tooth or parabola at H,V or both H and V rates. The very simple to very complex waveform can be generated by the wipe pattern generator.Simple patterns can be generated by logical combination of different waveforms However the production of more complex patterns is better handled by a microprocessor.

 WIPING
This is a non additive combination of two sources. A switching occurs during the active video at specific points on the raster to produces a pattern, between two video sources. Switching is controlled by an internal wipe pattern generator which can provide the waveform either saw tooth or parabola at H,V or both H and V rates. The very simple to very complex waveform can be generated by the wipe pattern generator.Simple patterns can be generated by logical combination of different waveforms However the production of more complex patterns is better handled by a microprocessor.

 WIPING
This is a non additive combination of two sources. A switching occurs during the active video at specific points on the raster to produces a pattern, between two video sources. Switching is controlled by an internal wipe pattern generator which can provide the waveform either saw tooth or parabola at H,V or both H and V rates. The very simple to very complex waveform can be generated by the wipe pattern generator.Simple patterns can be generated by logical combination of different waveforms However the production of more complex patterns is better handled by a microprocessor.

 This is also a non additive combination of two video

sources. In keying operation, part of the picture (Background) is replaced by another picture (foreground) according to the limits set by a third signal called key or alpha signal which can be derived either from the picture itself being keyed (self key or internal key), or from a third video signal from camera or CG or DVE etc.(Auto select or external key) .
HARRY POTTER
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Digital video effects are created by digitizing the

video effects signal so that it can be stored, retrieved, and manipulated in digital format. These effects are generated by digital video effects device which can be a separate standalone unit or can be an integral part of production switcher. A typical digital video effects system consists of the control panel, controller electronics to generate the required control signals to define the effect, and the digital video processor which uses the GLOBAL INSTITUTE video signal in the Sunday, July, 18, 2010 control signals to control the OF TECHNOLOGY

Types Of DIGITAL VIDEO EFFECTS 3D CREATIVITY IMAGING EFFECTS CURVILINEAR EFFECTS PAINTERLY AND PARTICLE EFFECTS SLABS BORDER EFFECTS LIGHTING EFFECTS SHADOWS DYNAMIC RECURSIVE EFFECTS
Sunday, July, 18, 2010

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Digital Earth Station

.

Terrestrial Satellite Cable

Modes of Distribution of TV Programmes

All the above three modes can be either in Analog or in digital domain.

Satellite Transmission

Uplink

Downlink

Earth station

 Earth Station is a uplink center from which the signals are fed

to Satellite for distribution in a specified area covered by the Satellite. The signal is up-linked from the earth station and received by many down link centers in TV broad casting. It is a very important part of satellite communication system for broadcasting of signals.

Earth Station classification

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Analog Earth Station Analog / Digital Simulcast Digital Earth Station ASNG DSNG

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 More programs per channel / Transponder i.e. spectrum efficient Noise-Free Reception Ghost elimination CD quality sound & better than DVD quality picture Reduced transmission power Flexibility in service planning New services like Pay TV, VOD, Interactive services like e-commerce, e-banking, tele-quiz, teleSunday, July, 18, 2010

Why Digital ?

Teletext, Data, Surround sound, Multimedia etc.

games etc.

Automated operation in broadcast plan Non availability of analog systems in near future
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REQUIREMENTS
Up-converters The up-conversion is required to raise the frequency of the signal in desired band: C-band, Extended C-band or Ku-band before transmission. The input to up converter is 70 MHz (output of modulator) and output of Up-converter is fed to HPA. The up-conversion may done in stages or in one stage directly. For example the 70 MHz signal is first converted into L band and then L band signal raised to desired frequency band.

Sunday, July, 18, 2010

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Antenna system

REQUIREMENTS

PDAs The most widely used narrow beam antennas are reflector antennas. The shape is generally a paraboloid of revolution. For full earth coverage from a geostationary satellite, a horn antenna is used. Horns are also used as feeds for reflector antennas. A small earth terminal, the feed horn is located at the focus or may be offset to one side of the focus. GLOBAL INSTITUTE OF
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Antenna system(PDA)

REQUIREMENTS

Sunday, July, 18, 2010

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REQUIREMENTS Antenna system

DSNG Antenna case: Antenna segment case, Antenna mount case, Antenna hub case, Antenna feed horn case;1.9 meter antenna (C band) & 1.2 meter antenna ( Kuband) HPA case: 400 W TWTA ( C band) & 125 W TWTA ( Ku-band) Base band unit : Test and monitoring case GLOBAL INSTITUTE OF Sunday, July, 18, 2010 Digital case : Encoder,TECHNOLOGY Modulator, Up convertor(L

 Antenna system
DSNG

REQUIREMENTS

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REQUIREMENTS

High Power Amplifier

The high power amplifier is used for the final power amplification of
the digital RF signal in C-band/ Ku band that is fed to the antenna. The important parameters of HPAs are: Frequency range Output power at flange Bandwidth Gain variation (1.0 db (max.) for 40 MHz (narrow band) 2.50 db for full bandwidth)

The different types of HPAs are:

KHPA - Klystron High Power Amplifier TWTA -Traveling Wave Tube Amplifier
Sunday, July, 18, 2010 GLOBAL INSTITUTE OF TECHNOLOGY

Microphone
In all microphones, sound waves (sound pressure) are translated into mechanical vibrations in a thin, flexible diaphragm. These sound vibrations are then converted by various methods into an electrical signal which varies in voltage amplitude and frequency in an analog of the original sound. For this reason, a microphone is an acoustic wave to voltage modulation transducer.

Microphone varieties

1 Capacitor or Condenser microphones 2 Electret condenser microphones 3 Dynamic microphones 4 Ribbon microphones 5 Carbon microphones 6 Piezo microphones 7 Laser microphones
Sunday, July, 18, 2010

Capacitor or Condenser In a capacitor microphone, also known as a condenser microphones

microphone, the diaphragm acts as one plate of a capacitor, and the vibrations produce changes in the distance between the plates. Since the plates are biased with a fixed charge (Q), the voltage maintained across the capacitor plates changes with the vibrations in the air., according to the capacitance equation: Q=C.V where Q = charge in coulombs, C = capacitance in farads and V = potential difference in volts. The capacitance of the plates is inversely proportional to the distance between them for a parallel-plate capacitor.

Electret condenser microphones

applicatioA foil electret microphone is a relatively new type of condenser microphone invented at Bell laboratories in 1962 by Gerhard Sessler and Jim West [1], and often simply called an electret microphone. An electret is a dielectric material that has been permanently electrically charged or polarised. Electret microphones have existed since the 1920s but were considered impractical, but they have now become the most common type of all, used in many applications from high-quality recording and lavalier use to built-in microphones in small sound recording devices. Though electret mics were once considered low-cost and low quality, the best ones can now rival capacitor mics in every respect apart from low noise and even have the long-term stability and ultra-flat response needed for a measuring microphone. Unlike other condenser microphones they require no polarising voltage, but normally contain an integrated preamplifier which does require power (often incorrectly called

In a dynamic microphone a small movable induction

coil, positioned in the magnetic field of a permanent magnet, is attached to the diaphragm. When the diaphragm vibrates, the coil moves in the magnetic field, producing a varying current in the coil (See electromagnetic induction). The principle is exactly the same as in a loudspeaker, only reversed. Dynamic microphones are robust, relatively inexpensive, and resistant to moisture, and for this reason they are widely used on-stage by singers. They tend to have a poor low-frequency response, which is advantageous for reducing handling noise as a vocal

Dynamic microphones

 In ribbon microphones a thin, usually corrugated metal ribbon is

suspended in a magnetic field: vibration of the ribbon in the magnetic field generates a changing current. Basic ribbon microphones detect sound in a bidirectional (also called a figure-of-eight) pattern because the ribbon, which is open to sound both front and back, responds to the pressure gradient rather than the sound pressure. Though the symmetrical front and rear pickup can be a nuisance in normal stereo recording, the high side rejection can be used to advantage by positioning a ribbon mic horizontally, for example above cymbals, so that the rear lobe picks up only sound from the ceiling. Other directional patterns are produced by enclosing one side of the ribbon in an acoustic trap or baffle, allowing sound to reach only one side. Ribbon mics can give very high quality, and were once valued for this reason, but a good low-frequency response

Ribbon microphones

Ribbon microphones

Audio Basics By R.K.Jain

Carbon microphones

A carbon microphone, formerly used in telephone

handsets, is a capsule containing carbon granules pressed between two metal plates. A voltage is applied across the metal plates, causing a current to flow through the carbon. One of the plates, the diaphragm, vibrates in sympathy with incident sound waves, applying a varying pressure to the carbon. The changing pressure deforms the granules, causing the contact area between each pair of adjacent granules to change, and this causes the electrical resistance of the mass of granules to change (lose contact). Since the voltage across a conductor is proportional to its

Piezo microphones

A piezo microphone uses the phenomenon of

piezoelectricity the tendency of some materials to produce a voltage when subjected to pressure to convert vibrations into an electrical signal. This type of microphone is often used to mic acoustic instruments for live performance, or to record sounds in unusual environments (underwater, for instance.)

An example of this is Rochelle Salt, Potassium Sodium

Tartrate, which is a piezo crystal and works both ways and is in common use as a slimline loudspeaker component.

Laser microphones

A laser microphone is an exotic application of

laser technology. It consists of a laser beam that must be reflected off a glass window or any rigid surface that vibrates in sympathy with nearby sounds. The mic essentially measures the distance between itself and the surface very accurately in order to turn any resonant surface into a microphone. Laser microphones are new, very rare and expensive, and are most commonly portrayed in the movies as spying

THANK YOU

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