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sharper-image-digital-tape-measure-4d A tape measure or measuring tape is a flexible ruler used to measure size or distance. It consists of a ribbon of cloth, plastic, fibre glass, or metal strip with linear-measurement markings. It is a common measuring tool. Its design allows for a measure of great length to be easily carried in pocket or toolkit and permits one to measure around curves or corners. Today it is ubiquitous, even appearing in miniature form as a keychain fob, or novelty item. Surveyors use tape measures in lengths of over. details. close. Digital Tape Measure White 3D Model. 3ds Max + c4d ma 3ds fbx obj. $ Просто просмотрите большой ассортимент digital tape measure distance measuring и отфильтруйте по критерию «наиболее подходящие» или по цене, чтобы найти товар, который вы хотите. Вы также можете отфильтровать товары по таким критериям, как бесплатная доставка, быстрая доставка или бесплатный возврат. Это поможет сузить результаты поиска по digital tape measure distance measuring. Вам нужна помощь в поиске digital tape measure distance measuring? Нужно просто отсортировать результаты по критерию «заказ», и вы найдете digital tape measure distance measuring на AliExpress. Найти то, что вы ищете. Sharper Image Headphone Owner's manual 8 pages. Sharper Image OC Manuals. Sharper Image SR Manuals. CRC Press. Compact 21 Items

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This made it easier to either correct or enhance the video signal, as in the case of a TBC, or to manipulate and add effects to the video, in the case of a DVE unit.

The digitized and processed video information was then converted back to standard analog video for output. Later on in the s, manufacturers of professional video broadcast equipment, such as Bosch through their Fernseh division and Ampex developed prototype digital videotape recorders VTR in their research and development labs.

Bosch's machine used a modified 1 inch type B videotape transport and recorded an early form of CCIR digital video. Ampex's prototype digital video recorder used a modified 2-inch quadruplex videotape VTR an Ampex AVR-3 , but fitted with custom digital video electronics, and a special "octaplex" 8-head headwheel regular analog 2" quad machines only used 4 heads. Like standard 2" quad, the audio on the Ampex prototype digital machine, nicknamed by its developers as "Annie", still recorded the audio in analog as linear tracks on the tape.

None of these machines from these manufacturers were ever marketed commercially. Digital video was first introduced commercially in with the Sony D1 format, which recorded an uncompressed standard definition component video signal in digital form. Component video connections required 3 cables and most television facilities were wired for composite NTSC or PAL video using one cable. Due this incompatibility and also due to the cost of the recorder, D1 was used primarily by large television networks and other component-video capable video studios.

In , Sony and Ampex co-developed and released the D2 digital videocassette format, which recorded video digitally without compression in ITU format, much like D1.

But D2 had the major difference of encoding the video in composite form to the NTSC standard, thereby only requiring single-cable composite video connections to and from a D2 VCR, making it a perfect fit for the majority of television facilities at the time.

D2 was a successful format in the television broadcast industry throughout the late '80s and the '90s. D2 was also widely used in that era as the master tape format for mastering laserdiscs.

PACo could stream unlimited-length video with synchronized sound from a single file with the ". QuickTime , Apple Computer 's multimedia framework appeared in June Audio Video Interleave from Microsoft followed in Initial consumer-level content creation tools were crude, requiring an analog video source to be digitized to a computer-readable format.

While low-quality at first, consumer digital video increased rapidly in quality, first with the introduction of playback standards such as MPEG-1 and MPEG-2 adopted for use in television transmission and DVD media , and then the introduction of the DV tape format allowing recordings in the format to be transferred direct to digital video files using a FireWire port on an editing computer.

This simplified the process, allowing non-linear editing systems NLE to be deployed cheaply and widely on desktop computers with no external playback or recording equipment needed. The widespread adoption of digital video and accompanying compression formats has reduced the bandwidth needed for a high-definition video signal with HDV and AVCHD , as well as several commercial variants such as DVCPRO -HD, all using less bandwidth than a standard definition analog signal.

These savings have increased the number of channels available on cable television and direct broadcast satellite systems, created opportunities for spectrum reallocation of terrestrial television broadcast frequencies, made tapeless camcorders based on flash memory possible among other innovations and efficiencies.

In the context of video these images are called frames. Every frame is an orthogonal bitmap digital image and so comprises a raster of pixels. Pixels have only one property, their color. The color of a pixel is represented by a fixed number of bits. The more bits the more subtle variations of colors can be reproduced. This is called the color depth of the video. In interlaced video each frame is composed of two halves of an image.

The first half contains only the odd-numbered lines of a full frame. The second half contains only the even-numbered lines. Those halves are referred to individually as fields. Two consecutive fields compose a full frame.

If an interlaced video has a frame rate of 30 frames per second the field rate is 60 fields per second. All the properties discussed here apply equally to interlaced video but one should be careful not to confuse the fields-per-second rate with the frames-per-second rate. By its definition, bit rate is a measure of the rate of information content of the digital video stream.

In the case of uncompressed video, bit rate corresponds directly to the quality of the video as bit rate is proportional to every property that affects the video quality. Bit rate is an important property when transmitting video because the transmission link must be capable of supporting that bit rate. Bit rate is also important when dealing with the storage of video because, as shown above, the video size is proportional to the bit rate and the duration.

Video compression is used to greatly reduce the bit rate while having a lesser effect on quality. Bits per pixel BPP is a measure of the efficiency of compression. BPP represents the average bits per pixel. There are compression algorithms that keep the BPP almost constant throughout the entire duration of the video. In this case, we also get video output with a constant bitrate CBR.

This CBR video is suitable for real-time, non-buffered, fixed bandwidth video streaming e. As not all frames can be compressed at the same level, because quality is more severely impacted for scenes of high complexity, some algorithms try to constantly adjust the BPP.

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