Interactive Television Systems – A Technology That Offers New Ways of
口译考试资料整理
A .English to Chinese1.随着我国加入WTO和对外经济交往迅速加深与扩大，英语广告已逐渐发展成为企业增进出口销售，开拓海外市场的一个主要手腕。
2.广告可以利用有争议的政治话题、社会话题作由头宣传自己，也可以赤裸裸吹自己的产品以抓住消费者的注意力，引导他们购买产品或服务。
3.这种牌子的吸尘器在国际市场上颇具竞争力，是同类产品中最畅销的。
4.咱们生产的电脑其特点是品质好，体积小，节能，而且易学好用。
5.随着世界经济的发展，报纸，杂志和电视愈来愈依赖广告，并使之成为公司收入的一大部份。
1. Along with China's entry into the WTO and more businesses going international, English advertisement has gradually become a major tool for enterprises to promote exportations and to develop foreign markets.2. Advertising can incorporate controversial political tones, social tones, partial nudity, etc. to capture the attention of consumers and entice them to make a purchase.3. Vacuum cleaner of this brand is competitive in the international market and it is the best- selling product of the same kind.4. The computer we produced is characterized by its high quality, compact size, energy saving qualities and is also easy to operate.5. With the rapid development of world economy, newspapers, magazines and television companies are dependent on advertising for a large part of their income.B. Chinese to English1.If the advertisers simply translate the successful ads at home into English, it is quite likely that they will not succeed.2.One of the most important automotive shows in China, Auto China 2021 will be held in June at the China International Exhibition Centre, Beijing.3.Interactive TV movies television into an entirely new medium combining entertainment, shopping, marketing and advertising.4.Advertising on British television is subject to strict regulations.5.As our product has all the features you need and is 20% cheaper compared with that of Japanese make,I strongly recommend it to you.1．若是广告的写作者只是简单地把国内成功的广告翻译成英文，往往不会成功。
介绍电视机的技巧英语作文
介绍电视机的技巧英语作文How to Introduce a Television Set。
Television sets are an essential part of our daily lives, allowing us to stay informed, entertained, and connected to the world around us. Whether you are purchasing a new television set or trying to explain its features to someone else, it is important to know how to introduce a television set effectively. In this article, we will discuss some tips and tricks for introducing a television set in English.Firstly, it is important to understand the basic components of a television set. A typical television set consists of a screen, a tuner, and an audio system. The screen displays the images and videos, while the tuner receives broadcast signals and converts them into audio and video signals. The audio system reproduces the sound.When introducing a television set, it is important tostart with the basics. Begin by describing the size and type of screen. For example, you might say, "This is a 55-inch LED television set." Next, explain the resolution of the screen, which refers to the number of pixels that make up the image. For example, you might say, "This television set has a 4K resolution, which means the image is four times sharper than a standard high-definition television set."Next, explain the audio system. For example, you might say, "This television set has a built-in soundbar, which provides high-quality audio without the need for external speakers." You can also describe any additional features, such as Bluetooth connectivity or surround sound.Finally, explain the tuner. For example, you might say, "This television set has a digital tuner, which allows you to receive high-definition channels without the need for a separate set-top box." You can also explain any additional features, such as the ability to record programs or pause live television.When introducing a television set, it is important to use clear and concise language. Avoid technical jargon and focus on the features that are most important to the user. Use visual aids, such as diagrams or videos, to help illustrate the features of the television set.In conclusion, introducing a television set requires a basic understanding of its components and features. By starting with the basics and using clear and concise language, you can effectively introduce a television set to others. With these tips and tricks, you can help others understand the features and benefits of this essential device.。
电影电视相关职务 英语 解释与翻译
Film & TV Production Roles and DepartmentsKEY CREATIVE TEAMProducerThe producer initiates, coordinates, supervises, and controls matters such as raising funding, hiring key personnel, contracting and arranging for distributors. The producer is involved throughout all phases of the process from development to completion of a project.DirectorThe director is responsible for overseeing the creative aspects of a film, including controlling the content and flow of the film's plot, directing the performances of actors, selecting the locations in which the film will be shot, and managing technical details such as the positioning of cameras, the use of lighting, and the timing and content of the film's soundtrack.ScreenwriterScreenwriters or scriptwriters are responsible for researching the story, developing the narrative, writing the screenplay, and delivering it, in the required format, to the Producers. They are almost always freelancers who either pitch original ideas to Producers in the hope that they will be optioned or sold, or who are commissioned by a Producer to create a screenplay from a concept, true story, existing screenwork or literary work, such as a novel or short story.PRODUCTION DEPARTMENTExecutive ProducerAn executive producer is usually an investor in the project or someone who has facilitated the funding of the project. There may be multiple executive producers on a project, depending on the financing arrangements.Line ProducerTypically, a line producer manages the budget of a film production. Alternatively, or in addition, they may manage the day to day physical aspects of the film production.Production ManagerThe production manager supervises the physical aspects of the production including personnel, technology, budget, and scheduling. It is the PM’s responsibility to make sure the filming stays on schedule and within its budget. The PM often works under the supervision of a line producer and directly supervises the Production Coordinator.Production CoordinatorThe production coordinator is the information nexus of the production, responsible for organising all the logistics from hiring crew, renting equipment, and booking talent. The PC is an integral part of film production.Production SecretaryThe Production Secretary provides administration assistance in the production office to the production co-ordinator and production manager.Production AccountantProduction accountants are responsible for managing finances and maintaining financial records during film production. They work closely with the Producer and the production office to manage the day-to-day accounting office functions, and report on the project’s financial progress against the budgets (cost reporting).Post-production SupervisorPost-production supervisors are responsible for the post production process, during which they maintain clarity of information and good channels of communication between the Producer, Editor, Supervising Sound Editor, the Facilities Companies (such as film labs, CGI studios and negative cutters) and the Production Accountant.First Assistant DirectorThe first assistant director (1st AD) assists the production manager and director. They oversee day-to-day management of the cast and crew scheduling, equipment, script, and the set. They ensure the filming comes in on schedule while maintaining a working environment in which the director, principal artists (actors) and crew can be focused on their work.Second Assistant DirectorThe second assistant director (2nd AD) is the chief assistant of the 1st AD and helps carry out those tasks delegated to the 1st AD. The 2nd AD works closely with the Production Coordinator to create the daily Call Sheets that let the crew know the schedule and important details about the shooting day.Third Assistant DirectorThe third assistant director (3rd AD) works on set with the "First" and may liaise with the "Second" to move actors from unit base, organise crowd scenes, and supervise one or more production assistants. Production Assistant/Production RunnerThe production assistant or runner assists the first assistant director with on-set operations. PAs also assist in the production office with general tasks.Script SupervisorAlso known as "continuity", keeps track of what parts of the script have been filmed and makes notes of any deviations between what was actually filmed and what appeared in the script. They make notes on every shot, and keep track of props, blocking, and other details to ensure continuity from shot to shot and scene to scene.Stunt CoordinatorWhere the film requires a stunt, and involves the use of stunt performers, the stunt coordinator will arrange the casting and performance of the stunt, working closely with the Director.SCRIPT DEPARTMENTStory ProducerThe story producer has overall responsibility for the story across episodes. In reality TV, the story producer is responsible for creating a story line via editing/producing the show's source footage. They may also be responsible for writing the host’s dialogue.Script EditorProvides a critical overview of the screenwriting process, using their analytical skills to help the screenwriter identify problems and thereby help to strengthen and develop the screenplay.Script Co-ordinatorThe script coordinator is responsible for producing each draft of the script and annotating it for ease of use for the production team.LOCATION DEPARTMENTLocation ManagerThe location manager is responsible for finding and securing locations to be used for the production and coordinating the logistics, permits and costs involved. They are also the face of the production to the community .Location AssistantAssists the location manager and is on-set before, during, and after the filming process. General responsibilities include arriving first at the location to allow the set dressers onto the set; maintaining the cleanliness of the location areas during filming and fielding complaints from neighbors.Location ScoutResponsible for the initial scouting of locations for the production, taking into account production logistics, eg location fees and budgetary restrictions, local permitting costs and regulations, camera and lighting requirements, convenience to other locations, production services, crew and unit parking. CAMERA DEPARTMENTDirector of Photography/CinematographerThe director of photography is the head of the camera and lighting department of the film. The DoP makes decisions on lighting and framing of scenes in conjunction with the film's director.Camera OperatorThe camera operator operates the camera under the direction of the director of photography, or the film director, to capture the scenes on film. Depending on the camera format being used for filming (eg film or digital), a director of photography may not operate the camera, but sometimes these two roles are combined.First Assistant Camera (Focus Puller)The first assistant camera (1st AC) is responsible for keeping the camera in focus while it is shooting.Second Assistant Camera (Clapper Loader)The second assistant camera (2nd AC) operates the clapperboard at the beginning of each take and loads the raw film stock into the camera magazines between takes. Also oversees the log books that record when the film stock is received, used, and sent to the lab for processing.LoaderThe loader transfers the film from the manufacturer's light-tight canisters to the camera magazines for attachment to the camera by the 2nd AC. After filming, the loader then removes the film from the magazines and places it back into the light-tight cans for transport to the lab.Camera Production AssistantUsually a trainee in the camera department, the camera PA assists the crew with menial details while learning the trade of the camera assistant, operator or cinematographer.Digital Imaging Technician (DIT)On digital productions the digital imaging technician is responsible for the coordination of the internal workings of the digital camera. Under the direction of the director of photography, the DIT will make adjustments to the multitude of variables available in most professional digital cameras to manipulate the resulting image.Data WranglerOn digital productions the data wrangler is responsible for managing the transfer of data from the camera to a computer and/or hard drive.Steadicam OperatorThe steadicam operator is someone who is skilled at operating a Steadicam (trademark for a camera stabilization rig).Motion Control Technician/OperatorThis technician operates a motion control rig, which essentially is a 'camera robot' able to consistently repeat camera moves for special effects use.Video Split/Assist OperatorA video split is used by directors to watch a monitor during each take. This is captured by special recorders fitted to film cameras next to the eye piece.SOUND DEPARTMENTProduction Sound Mixer (Sound Recordist)The production sound mixer is head of the sound department on set, responsible for recording all sound during filming. This involves the choice of microphones, operation of a sound recording device, and sometimes the mixing of audio signals in real time.Boom Operator(Boom Swinger)The boom operator is responsible for microphone placement and movement during filming. The boom operator uses a boom pole to position the microphone above or below the actors, just out of the camera's frame.GRIP DEPARTMENTGrips are trained lighting and rigging technicians. Their main responsibility is to work closely with the electrical department to put in lighting set-ups required for a shot.Key GripThe key grip is the chief grip on a set, and is the head of the set operations department. The key grip works with the director of photography to help set up the set and to achieve correct lighting and blocking.Best Boy (Grip)The best boy grip is chief assistant to the key grip. They are also responsible for organizing the grip truck throughout the day.Dolly GripThe grip in charge of operating the camera dolly is called the dolly grip. They place, level, and move the dolly track, then push and pull the dolly, and usually a camera operator and camera assistant as riders. ELECTRICAL DEPARTMENTGafferThe gaffer is the head of the electrical department, responsible for the design and execution of the lighting plan for a production. Sometimes the gaffer is credited as "Chief Lighting Technician".Best Boy (Electrical)The best boy electric is the chief assistant to the gaffer.Lighting TechnicianLighting technicians are involved with setting up and controlling lighting equipment.ART DEPARTMENTProduction DesignerResponsible for creating the physical, visual appearance of the film - settings, costumes, props, character makeup.Art DirectorOversees the artists and craftspeople who give form to the production design as it develops.Set DesignerThe set designer is the draftsman, often an architect, who realizes the structures or interior spaces called for by the production designer.IllustratorThe illustrator creates visual representations of the designs to communicate the ideas imagined by the production designer.Set DecoratorThe set decorator is in charge of decorating the set, including the furnishings and all the other objects that will be seen in the film.BuyerThe buyer locates, and then purchases or rents the set dressing.Set DresserThe set dressers apply and remove the "dressing", i.e., furniture, drapery, carpets—everything one would find in a location, even doorknobs and wall sockets.Props MasterIn charge of finding and managing all the props used in the film. Usually has several assistants. Standby PropsWork on set during the filming of a scene, overseeing the use of props, and monitoring their continuity. They are able to respond quickly to requests for moving props and fixtures and to help position actors, crew and equipment.Props BuilderProps builders are technicians skilled in construction, plastics casting, machining & electronics. ArmourerThe armourer is a specialized props technician who deals with firearms.Construction Coordinator/ Construction ManagerOrders materials, schedules the work, and supervises the construction crew of carpenters, painters and labourers.Key ScenicResponsible for the surface treatments of the sets, including special paint treatments such as aging and gilding, simulating the appearance of wood, stone, brick, metal, etc.GreensmanDeals with the artistic arrangement or landscape design of plant material.HAIR AND MAKE-UP DEPARTMENTMake-up ArtistMake-up artists work with makeup, hair, prosthetics and special effects to create the characters look for anyone appearing on screen. Their role is to manipulate an actors on screen appearance. HairdresserThe hair stylist is responsible for maintaining and styling the hair of anyone appearing on screen. They work in conjunction with the makeup artist.WARDROBE DEPARTMENTCostume DesignerThe costume designer is responsible for all the clothing and costumes worn by the cast. They design and plan construction of the garments down to the fabric, colours, and sizes.Costume SupervisorThe costume supervisor works closely with the designer to supervise the creation or sourcing of garments, hiring of support staff, budget, paperwork, and department logistics.Costume StandbyThe costume standby is present on set at all times to monitor the quality and continuity of the actors and actresses costumes before and during takes. They also assist the cast with dressing.Art FinisherAn art finisher may be employed during pre-production to "break down" garments. This specialised job includes making new clothing appear dirty, faded and worn.BuyerOn large productions a buyer may be employed to source and purchase fabrics and garments.Cutter/FitterA costume technician who fits or tailors costumes, usually on-set. They can also be called seamstresses or tailors.POST PRODUCTIONFilm Editor (Offline Editor for video productions)Assembles the various shots into a coherent film, working closely with the director.Assistant EditorAssists the editor by collecting and organising all the elements needed for the edit.Online Editor (for video productions)When the offline edit is complete, adds visual effects, titles, and applies color correction. Also ensures that the program meets the technical delivery specifications.ColouristAdjusts the colour of the film to achieve greater consistency.Negative CutterCuts and splices the film. Provides assembled negative reels to the lab for prints to be made.VISUAL EFFECTS (VFX)Visual Effects SupervisorThe visual effects supervisor is in charge of the visual effects department.CompositorA compositor is a visual effects artist responsible for compositing images from different sources such as video, film, computer generated 3-D imagery, 2-D animations, matte paintings and text.Roto/Paint ArtistManually creates mattes for use in compositing. May also paint visual information out of a scene, such removing wires and rigs, logos and scratches.Matte PainterThese artists draw/paint entire sets or extend portions of an existing set.POST PRODUCTION - SOUND/MUSICSound DesignerIn charge of the post-production sound of a movie.Dialogue EditorResponsible for assembling and editing all dialogue in the soundtrack.Sound EditorResponsible for assembling and editing all sound effects in the soundtrack.Re-recording MixerBalances the sounds prepared by the dialogue, music and effects editors.Music SupervisorWorks with the composer, mixers and editors to create and integrate the film's music. Negotiates licensing of the necessary rights for all source music used in a film.ComposerThe composer is responsible for writing the musical score for a film.Foley ArtistCreates and records many of the sound effects for a film.OTHER PRODUCTION CREWCasting DirectorWorks closely with the Director and Producer to understand requirements, suggests artists for each role, as well as arranging and conducting interviews and auditions.Storyboard ArtistVisualises stories using sketches on paper. Quick pencil drawings and marker renderings are two of the most common traditional techniques, although nowadays Flash, Photoshop and specialist storyboard software applications are being used more often.CaterersCatering is provided by specialist companies who drive catering trucks packed with food and a range of equipment including ovens, gas and water to each Unit Base for filming.Unit NurseProvides first aid cover and primary healthcare to the cast and crew on a film production. This includes ensuring that people are looking after their own health.Unit PublicistResponsible for Unit press and the publicity budget set by Producers. Work on a freelance basis, and are hired only for the duration of each shoot, although may also be employed to handle distribution publicity in the run-up to the film's release.Stills PhotographerStills Photographers usually work on set, recording scenes from the film, but they may also be required to set up photographs in the style of the film in a studio environment.INTERACTIVE MEDIAProducerIdentifies and specifies the product’s high-level requirements or purpose, ensuring that its business objectives and creative vision are understood and maintained by everyone involved in the project. This is a senior, client-facing role that requires expertise in business, management, content, design and technical disciplines.DesignerCreates the 'look and feel' of an interactive media product. Produces visuals of user interfaces, using software such as Adobe Photoshop or Illustrator. They usually follow a design brief that may be given as verbal instructions, a written specification or 'wire–frame' diagrams.DeveloperDevelopers use authoring tools, mark-up languages and scripting languages to create the product. Sometimes this will be according to designs created by someone else (such as a Designer); other times the Developer may design the product as well.Production AssistantContributes to the production of an interactive media product by helping other members of the team. Usually works with the Designer and Developer or with a Web Editor. Often taken on as interns. Studio ManagerEnsures the smooth running of an interactive media studio, managing the team, overseeing the work and liaising with other departments within the company. May also set up the studio and recruit staff.Project ManagerPlans, schedules and co-ordinates interactive media development projects, ensuring they run smoothly, on time and within budget. Focuses on the mechanics of running the project rather than creative requirements.Account ManagerDevelops, maintains and improves relationships with existing clients, ensuring their needs are met, and obtaining repeat business from them.New Business DeveloperGenerates business for the interactive organisation or agency.Content StrategistScopes and plans interactive media product’s content and determines its overall style - what to say, how to say it effectively, when and where to say it.Information ArchitectInterprets high-level requirements in order to design the overall user experience of an interactive media product.Web EditorPlans and oversees the on-going management of a web site and the publication of content to it. This may involve writing copy from scratch, or coordinating and editing contributions from others.SEO Specialist (Search Engine Optimisation)Optimises a web site or pages to make them as visible as possible to Internet search engines, in order to maximise traffic to them.ProgrammerProduces computer software in order to give a product its functionality. Similar to the Developer role but is usually more purely technical and focuses on high-level programming rather than scripting –although they often overlap. It does not usually involve visual or interface design, but may include technical design, such as devising systems or databases.Usability SpecialistEnsures an interactive media product meets the needs of its intended audiences through analysis, evaluation and testing of the user experience. This is very much a research-led role, but it may sometimes also require technical skills.。
英语作文-以色列广播电视接收设备制造业：创新科技与安全解决方案
英语作文-以色列广播电视接收设备制造业：创新科技与安全解决方案The Israeli broadcasting and television reception equipment manufacturing industry is at the forefront of innovation and security solutions. With a commitment to excellence and a focus on cutting-edge technology, Israeli companies in this sector have revolutionized the way people access and experience media.One of the key factors driving the success of Israel's broadcasting and television reception equipment manufacturing industry is its relentless pursuit of innovation. Israeli companies are known for their ability to develop groundbreaking technologies that enhance the quality and reliability of broadcast signals. Whether it's through the use of advanced antenna designs, signal processing algorithms, or network optimization techniques, Israeli manufacturers are constantly pushing the boundaries of what's possible in the field of broadcasting technology.In addition to their focus on innovation, Israeli companies in this industry also place a strong emphasis on security solutions. As the threat landscape continues to evolve, ensuring the integrity and confidentiality of broadcast signals has become paramount. Israeli manufacturers have responded to this challenge by developing a wide range of security solutions, including encryption algorithms, authentication protocols, and intrusion detection systems. These solutions help to safeguard against unauthorized access, signal interference, and other potential threats, ensuring that viewers can enjoy their favorite programs with peace of mind.Furthermore, Israeli companies in the broadcasting and television reception equipment manufacturing industry are known for their commitment to quality and reliability. From the design and manufacturing process to testing and deployment, Israeli manufacturers adhere to the highest standards of excellence. This dedication to quality ensures that their products perform flawlessly in even the most demanding environments,providing broadcasters and consumers alike with a reliable and consistent viewing experience.Moreover, Israeli manufacturers are also actively engaged in international collaborations and partnerships, further enhancing their competitiveness in the global market. By working with leading broadcasters, technology companies, and research institutions around the world, Israeli manufacturers are able to leverage their expertise and resources to develop innovative solutions that address the evolving needs of the industry. These collaborations not only drive technological advancement but also facilitate the exchange of ideas and best practices, helping to drive the industry forward as a whole.In conclusion, the Israeli broadcasting and television reception equipment manufacturing industry stands as a shining example of innovation, security, and excellence. Through their relentless pursuit of technological advancement, commitment to quality, and collaborative spirit, Israeli companies continue to push the boundaries of what's possible in the world of broadcasting technology. As the industry continues to evolve, Israeli manufacturers are poised to lead the way, delivering cutting-edge solutions that redefine the future of media consumption.。
介绍电视机器人英语作文
介绍电视机器人英语作文Introducing Television RobotsIn the age of rapid technological advancement, television robots have emerged as a fascinating innovation, revolutionizing the way we perceive entertainment and interact with media. These intelligent machines, equipped with artificial intelligence and advanced programming, have seamlessly integrated into our daily lives, offering a myriad of benefits and transforming the landscape of television consumption.Firstly, television robots redefine the viewing experience by providing personalized recommendations and content curation tailored to individual preferences. Through sophisticated algorithms and user profiling, these robots analyze viewing habits, genre preferences, and even mood indicators to deliver a customized selection of programs and channels. This level of personalization enhances user satisfaction and engagement, fostering a deeper connection between viewers and their chosen content.Moreover, television robots serve as interactive companions, engaging users in meaningful dialogue and enhancing social interaction. Equipped with natural language processing capabilities, these robots can hold conversations, answer queries, and even provide insightful commentary on the programs being watched. Whether discussing plot twists, analyzing character development, or debating thematic elements, these interactions enrich the viewing experience and create a sense of camaraderie between humans and machines.Furthermore, television robots play a pivotal role in accessibility and inclusivity, breaking down barriers for individuals with disabilities and special needs. By incorporating features such as audio descriptions, closed captions, and voice commands, these robots ensure that entertainment remains accessible to all, regardless of physical or cognitive limitations. This inclusivity fosters a more diverse and equitable media landscape, where everyone can participate and engage with content on an equal footing.In addition to their entertainment value, television robots also offer practical utility in household management and automation. With integrated smart home capabilities, these robots can control various devices, adjust environmental settings, and even perform tasks such as scheduling recordings, ordering groceries, or managing household finances. This seamless integration of entertainment and utility consolidates the role of television robots as indispensable companions in modern households.Despite their numerous benefits, the widespread adoption of television robots also raises important ethical and societal considerations. Concerns regarding privacy, data security, and the potential for algorithmic bias necessitate careful regulation and oversight to ensure responsible development and deployment. Additionally, questions surrounding the displacement of human workers in the entertainment industry and the erosion of traditionalviewing habits underscore the need for thoughtful reflection on the implications of this technological transformation.In conclusion, television robots represent a paradigm shift in the realm of entertainment, offering personalized experiences, interactive engagement, and inclusive accessibility. While they hold immense promise for enhancing our viewing pleasure and simplifying our daily lives, their integration into society requires careful consideration of ethical, regulatory, and social implications. As we navigate the everevolving landscape of technology and media, embracing innovation while safeguarding ethical principles remains paramount.。
监控专有名词
決定鏡頭品質因素
彩用鏡片數目
多類型鏡片組合可減少色偏改善焦距等問題， 但會減少透光率
鏡片透光率
好鏡片透光率佳價格貴， 差鏡片較會阻擋光線通過
鍍層與研磨
鏡片鍍層與研磨技術影響鏡片品質
機械裝置
鏡頭內部機械結構經密度 影響鏡片移動精確度及可靠度品質差 機械結構會產生調整誤差及不一致性
鏡頭工作原理簡介
鏡頭是由許多凹击鏡片組合而成﹒ 各種不同數量之鏡片經由有順序排列組合 形成各種不同焦距之鏡頭﹒ 鏡頭內部有部分鏡片為可移動式， 以利得到寬廣之使用範圍﹒ 外部影像經由鏡頭鏡片組聚焦後， 將清晰影像投射於攝影機CCD sens
鏡頭倍數： 6倍，8倍，10倍，12倍等﹒
鏡頭特有術語及其代表義
Lris（光圈） Focus（聚焦） Zoom（變焦） F-stop（光圈孔徑） Focus length（焦距） F.F & f 代表意義 F：代表光圈孔徑： F1.2，F1.4，F1.6，F1.8，F2.0， 數值越小代表光圈可開啟越大進光量越強； F.代表焦距範圍f：4mm；f：6mm；f：8mm等； zoom lens f：8-48；f：8-80；f：7.5-120等。
CAMERA（解析度）解析度？
水準（解析度）解析度： 水準解析度表示在監視器上可分辨的垂直方向的電視線的條數， 與CCD傳感器水準圖元數有關，解析度的經驗換算是 CCD傳感器水準圖元數乘上0.75， 如：MTV－1881EX B/W 1/2英吋CCD水準圖元數為795 則：795 ×0.75＝596.25＝600TVLines﹒ 原則上水準解析度可無限增加，但有兩個限制；技術可能尚未突破， 無法增加傳感器圖元數，若增加傳感器上圖元，晶片卻越設計越小， 雖增高解析度，但是降低了感光度； 垂直解析度受水準電視掃描線的影響一般不專門要求， 可有檢驗（解析）圖卡直接讀取 註：水準解析度測量方法： a﹒檢驗（解析）圖卡： 將攝影機直接拍攝檢驗圖於監視器上直接讀取垂直及水準解析度 b﹒頻寬測量： 使用示波器測量攝影機取像訊號頻寬，量測出頻寬再乘80 就是攝影機的解析度﹒ EX：量測出頻寬 5MHZ﹒5 × 80＝400條
【精选】各国数字TV标准
6．2数字电视数字电视有三种广播传播方式。
(1)地面数字电视广播地面数字电视广播是由电视台在地面VHF／UHF广播信道上开路传输数字电视节目的广播，是最普及的电视广播方式。
由于地面广播信道情况复杂、干扰严重，面临多径传播而带来的符号间干扰，因此技术上的要求比较高，是要重点介绍的无线通信内容。
(2)卫星数字电视广播卫星电视广播是利用卫星作为微波中继站的一种电视广播通信手段。
在第5章已详细介绍了卫星通信技术，本章第3节还将专门介绍卫星数字电视广播的内容。
．(3)有线数字电视广播有线数字电视广播是利用电缆或光纤作为传输信道的广播电视系统，由于信道条件好，因此质量高，节目频道多，便于开展按节目收费(PPV)、节目点播(VOD)及其他双向业务。
严格地讲，有线电视数字广播属于有线通信，已超出本书讨论的范围，所以不准备进一步展开。
6．2．1世界主要数字电视标准正如模拟电视有PAL、NTSC、SECAM等制式一样，数字电视也要制定本身的标准。
目前世界上最主要的数字电视标准有三种：美国的ATSC、欧洲的DVB和日本的ISDB。
其中前两种标准用得较为广泛，特别是DVB已逐渐成为世界数字电视的主流标准。
(1)ATSC标准ATSC(Advanced Television System Committee)是美国高级电视系统委员会的简称，于1995年经美国联邦通信委员会正式批准成为美国的高级电视(ATV)国家标准。
ATSC标准规定了一个在6 MHz带宽内传输高质量的视频、音频和辅助数据的系统，在地面广播信道中能可靠地传输约19 Mb／s的数字信息，在有线电视频道中能可靠传输38 Mb／s的数字信息，该系统能提供的分辨率达常规电视的5倍之多。
ATSC被加拿大、韩国、阿根廷、中国台湾地区以及墨西哥采用，亚洲及中北美洲的许多国家也正在考虑使用。
(2)DVB标准DVB(Digital Video Broadcast)数字视频广播是欧洲广播联盟组织的一个项目。
电视新概念及交互电视
... Upstream Compression
Information
Layer
Elementary Streams
Elementary Stream Interface
SL ...
Sync
SL
Layer
FlexMux
(PES) MPEG-2
TS
(RTP) UDP
IP
FlexMux
AAL2 ATM
SL-Packetized Streams
FlexMux
H223 PSTN
DAB Mux
...
DMIF Application Interface
Delivery Layer
Multiplexed Streams
Transmission/Storage Medium
DAI(DMIF Application Interface)
DMIF是集成了现有诸多相关发送协议的一个集成框架 ，目的是最大限度的利用这些协议标准，避免功能的 重复定义。 DMIF规范MPEG-4流与不同网络技术和协议 的接口，提供了MPEG-4流的全面的发送结构。单独作 为MPEG-4标准的一部分。
目前多媒体电视有两个概念。一是指又能收看 电视（DVD等），又能接计算机的电视机。
第二是指在闭路电视上加上电脑交互功能，所 以又叫交互式多媒体电视。特别用于电化教学。
传统的闭路系统只能被动地收看电视节目，交 互式多媒体教学系统却具有系统交互式功能。 中心控制室能控制教室内的节目播放，老师在 教室内也能够任意点播中心控制室的教学节目。 还可以快进、快退，反复播放，这样老师在教 学的时候就能够更加主动地组织自己的授课内 容，提高课堂教学效果。
Interactive TV 交互电视
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Teacher: Rebecca Hincks Name: Antonia LindmarkProgram: Media-02Mail: antonial@kth.se Interactive Television Systems –A Technology That Offers New Ways ofWatching TVAbstractInteractive television system, also called iTV, is a technique for delivering new services and functions for the television. Even though iTV can be defined in many different ways, the main thought is to create different kind of interaction. The purpose of this paper is to describe this technology. With iTV the user can for example stop a live broadcast and continue to watch later on, change camera angle, get more information about programs and advertisement, write e-mails, order products, vote and play games. These are only some of the possible field of applications.Today millions of household have access to iTV and it is likely that the number of users will continue to grow in the future. The technology is developing fast and for basic interaction the user will only need a telephone. For more advanced services the user needs to connect a set top box, which is a small computer, to the television.Enormous changes in the media industry have created new demands, which iTV can respond to.Table of contents:1 Introduction (1)2 Definition of interactive television systems (1)2.1 Field of applications (1)3 The technology behind interactive television systems (2)4 The future (4)4.1 Future employment (4)4.2 Problems (4)4.3 How the media industry will be effected (5)5 Conclusion (5)References (7)1 IntroductionThe interactive television, also called iTV, was introduced and tested during the 1990s. However, it did not become popular straight away, probably due to the fact that the technology had not yet been adjusted in accordance with consumers´ preferences. Although the interactivity was very advanced and offered a great width of services, an ordinary television could not handle all these services and expansive technology was necessary. Today millions of households have access to iTV (Loizides 2005) and the different services that can be delivered are developing.The purpose of this paper is to describe this new technology. First of all a definition of interactive television systems will be presented and the different fields of application will be discussed. It will be followed by a description of the technology that is necessary and how interactive television systems work. Finally there is a discussion about how these technologies can be used in the future and what obstacles have to be defeated.2 Definition of interactive television systemsAn interactive television system, which I will further refer to as iTV, is a term that is defined in many different ways. The most fundamental definition is that the system offers the user a two-way communication. The difference, compared to traditional TV, is that iTV technically offers a return channel from the user to the source of information. Today already, there are a lot of different ways to create this return channel, which will offer different degrees of interaction (Jensen 2005, p.90).2.1 Field of applicationsiTV will enable its viewers to use their televisions for many interesting fields of application, such as personalizing the content, internet browsing, games, shopping, banking and interactive advertisement. iTV is a way of enhancing the television experience, by adding extra information and letting the user decide how to watch the programs.The field of applications can be divided into two groups:•When the user interacts without returning any information.This is a basic form of iTV, which makes it possible to pause a live broadcastedprogram, record it and then continue to watch later on. The user can also, forexample, change camera angle. The offering of programs is the same, but the viewercan decide how to watch it. These functions are already well developed and in use.• A two-way communication.This permits the viewers to interact, for example, through voting by making phonecalls or sending in messengers with sms. We have seen that this is very popular inshows like “American Idol”, where millions of people vote to influence the result. Itwill also be possible to order products with the remote control. A more advancedform of iTV includes that the viewer can participate in creating the content, forexample choosing how a movie will end. This kind of interaction is difficult toproduce and is not yet so developed (Pagani 2003 p.112).It is not only the viewers who will profit from this newtechnology. This is a great opportunity for advertisers toshow interactive commercials. The most promising, and alsothe most revolutionary, field of application for them includesthe possibility for the viewer to get more information aboutthe products in the advertisement and even order it (seefigure 1). iTV will also enable the advertiser to adapt the Figure 1. Interactive TV : QVC (UK) advertisement after the customers. It will be possible to see 'Buy Now' Service exactly what each of every one of the viewers is watching. The choice of programs will be noted and analysed. In this way advertisers will be able to show advertisement to the right target audience.3 The technology behind interactive television systemsIt is possible to use iTV with analogue technologies but it is within the digital television systems that iTV is offered today. The reason for this is because digital systems, both with cable and satellite, can offer many more functions than the analogue systems. I will here present some basic knowledge about digital television and thereafter describe components that are necessary to enable interactive television.3.1 Digital televisionDigital television, DTV, refers to broadcasting of television where digital modulation and compression are used. A great advantage with digital signals is that they can be very compressed, which will make place for more channels.DTV can be distributed through terrestrial, cable, satellite and Internet channels. When the connection is bad, analogue systems will show a granular television picture, which will neverbe the case while using digital systems. If the connection is very bad, you might howeverprefer analogue systems, since both picture and sound can disappear in this situation with digital systems.3.2 ComponentsA return channel, also called upstream, is necessary to create a two-way communication (Pagani 2003). The simplest way of generating a return channel is to use the telephone to send sms or phone with. The user can in that way influence the contents of the program.To get more advanced iTV, a normal television is used together with a digital adapter, such asa set top box or a decoder, which is an advanced digital box(Pagani 2003). The set top box isa multimedia computer, which provides the user with many different sorts of interaction,while connected to the television. Like any computer, the set top box has all the standard computer components (Borko 1996). Some new television models have an integrated set top box (Pagani 2003).A special remote control can be used to interact and navigate between the different screens. With more interaction, the interface of the remote control has to develop. Now whentelevision is making such big changes, the remote control must change as well to satisfy thenew demands. A problem with the remote control is that a whole household shares one control. This has to change, since every viewer should be able to have their own settings.A keyboard can also be used if a lot of typing is requested (Anxo &Riccardo 2004), for example when writing e-mails, shopping or makingadjustments of different kinds (see figure 2). Figure 2. Set top box, remotecontrol and keyboard.4 The futureThe way in which we consume media is changing fast. It can be seen, not only in the television industry, but also in the music- and newspaper area. This paper has shown that iTV offers many new services, but the question is whether there is a need for them.4.1 Future employmentWith most new technologies, the success depends upon three factors: cost, content availability and functionality. The cost factor refers to the fact that new technology tends to be rather expensive and mostly technology interested persons will buy it. When it gets cheaper it is more likely that many people will consume it. In the 1990s, when the iTV was introduced, it was expensive since a special kind of television was needed. Today, this has changed and more low-cost technologies, or technology that the users already possess, are used instead. The content availability refers to how wide the content is. iTV has today a broad range of services to offer, but will most probably evolve in the future and be able to offer further services, which might entice more users. Finally the functionality aims at what functions the technology offers. With iTV, new experiences are created when the viewer can change camera angle, influence the content of a program or order products with only a click on the remote control (Loizides 2005). These factors show that the conditions for iTV in the future are pretty good.Many countries plan to shut down the analogue nets for broadcasting and only use digital signals instead. Digital signals make room for many more channels, which will create new needs. With a couple of hundred of channels it will be very hard for the viewer to create a general view of the offering of programs without using iTV.Most money is to be found in the field of application that concerns interactive advertisement and new ways for the advertiser to find appropriate target groups for their products. This is a big and influential group that will work hard for making iTV popular.4.2 ProblemsA sensitive issue related to this new technology is the question about privacy. Will people accept the fact that someone can see exactly what programs they are watching, and with thatinformation analyse what kind of products they might want to buy? There has been a similar discussion with the surfing on Internet. People have realized that they are always watched on the Internet and everything they do can be found out with the right technology. Most users have accepted this fact, but it does not mean that they are willing to let someone start controlling their television habits in the same way. The information that is stored can be very precise and show exactly what was happening in a program just before there was a switch to another channel for example. Even if you choose not to order products from your television or getting more info about advertisements, you are still interacting with your television. Every click on the remote control will send information about what the user watches; information that can be analysed and used in marketing purposes (Burke 2000).Another barrier is that the viewer will need a set top box for more advanced interaction. It is always hard to get consumers to buy new devices. A way of solving this is to let the viewer get adapted to interactive services in a slow manner. If the viewer starts to interact in ways that a traditional television can handle, it will be a smaller step to buy a set top box to get further interactive services.4.3 How the media industry will be effectedToday, we can see that different media technologies are melting together. The user wants as few devices as possible and at the same time as many functions as possible. For example mobile phones are nowadays often equipped with cameras and music players. We can see the same trend when we study the development of television. Salesmen of commercials for television have to start looking at how they can benefit from this new kind of TV. They will probably have to find new ways of selling commercials since it with iTV will be easier for the viewer to skip the commercials. There will most likely emerge new forms of advertisement, where it is easier to reach the right target group.5 ConclusionAccording to the information presented in this paper, it seems like iTV will spread pretty fast. It will probably be a part of every day life and change the way we think about television. There has already been a success when letting the viewer use the mobile phone as a returnchannel to vote in live broadcast. This clearly demonstrates that people are keen to show their opinion; so keen that they are willing to pay for itThere are a lot of fields of application and a lot of money involved in the development of the iTV. When people get used to interact with their televisions, more functions and ways of interactions will evolve. Nevertheless, a slow adaptation will probably be necessary.Many forms of media are coming together and in the future there might be a magic box that provides us with entertainment, music, news and communication; a box for all of our needs.ReferencesAnxo Cereijo Roibás & Riccardo Sala.“Main HCI Issues for the Design of Interfaces for Ubiquitous Interactive Multimedia Broadcast”. Interactions/march, april 2004. Borko, Furht. “Interactive Television Systems”. Multimedia Laboratory, Florida Atlantic University, Boca Raton, Florida 33431. 1996.Burke, David. “Spy TV”. Slab-O-Concrete Publications. 2000.Jensen F. Jens. “Interactive Television: New Genres, New Format, New Content”.Proceedings of the Second Australasian Conference on InteractiveEntertainment, Sydney, Australia. ISBN 0-9751533-2-3/05/11Loizides, Lydia. “Interactive TV: Dispelling Misconceptions in the Media”. Paphion, Inc.ACM Computers in Entertainment, Vol. 3, No. 1, January 2005, Article 7a Pagani, Margherita. “Multimedia and Interactive Digital TV: Managing Opportunities Created by Digital Convergence”. Hershey, PA, USA: Idea Group Inc. IRM Press. 2003. References to figuresFigure 1:Shadbolt, Matthew. “Project : Interactive TV : QVC(UK) Buy Now Service”. 2006.<http://www.google.se/imgres?imgurl=/user_files/individual_files/79 447_u3matci2_F0xkmfSOb5rXLXWg.jpg&imgrefurl=/public/ portfolio_file.asp%3Ft%3D%26order_no%3D4%26user_id%3D79447&h=400&w=500&sz= 39&hl=sv&start=1&tbnid=_wkcDppapdnfhM:&tbnh=104&tbnw=130&prev=/images%3Fq% 3Dinteractive%2Btelevision%2BQVC%2BOR%2BActive%26svnum%3D10%26hl%3Dsv% 26lr%3D%26sa%3DG>(25 September 2006)Figure 2:Kokmak, Michael. ”PowerTV Becomes a Trojan Horse of iTV”. Response Magazine. 2000.<http://images.google.se/imgres?imgurl=/articles/images/i nteractive-tv-H1.jpg&imgrefurl=/articles/29-30-powertv-itv.html&h=67&w=130&sz=7&hl=sv&start=31&tbnid=0zTH_1aTgqjD8M:&tbnh=47&tbnw =91&prev=/images%3Fq%3Dinteractive%2Btelevision%2Bad%26start%3D20%26ndsp%3D 20%26svnum%3D10%26hl%3Dsv%26lr%3D%26sa%3DN >(25 September 2006)。