Question: What does ATSC stand for?

Answer: Advanced Television Systems Committee

HDTV technology was introduced in the United States in the late 1980s and made official in 1993 by the Digital HDTV Grand Alliance, a group of television, electronic equipment, communications companies consisting of AT&T Bell Labs, General Instrument, Philips, Sarnoff, Thomson, Zenith and the Massachusetts Institute of Technology. Field testing of HDTV at 199 sites in the United States was completed August 14, 1994. The first public HDTV broadcast in the United States occurred on July 23, 1996 when the Raleigh, North Carolina television station WRAL-HD began broadcasting from the existing tower of WRAL-TV southeast of Raleigh, winning a race to be first with the HD Model Station in Washington, D.C., which began broadcasting July 31, 1996 with the callsign WHD-TV, based out of the facilities of NBC owned and operated station WRC-TV. <hl> The American Advanced Television Systems Committee (ATSC) HDTV system had its public launch on October 29, 1998, during the live coverage of astronaut John Glenn's return mission to space on board the Space Shuttle Discovery. <hl> The signal was transmitted coast-to-coast, and was seen by the public in science centers, and other public theaters specially equipped to receive and display the broadcast.

HDTV technology was introduced in the United States in the late 1980s and made official in 1993 by the Digital HDTV Grand Alliance, a group of television, electronic equipment, communications companies consisting of AT&T Bell Labs, General Instrument, Philips, Sarnoff, Thomson, Zenith and the Massachusetts Institute of Technology. Field testing of HDTV at 199 sites in the United States was completed August 14, 1994. The first public HDTV broadcast in the United States occurred on July 23, 1996 when the Raleigh, North Carolina television station WRAL-HD began broadcasting from the existing tower of WRAL-TV southeast of Raleigh, winning a race to be first with the HD Model Station in Washington, D.C., which began broadcasting July 31, 1996 with the callsign WHD-TV, based out of the facilities of NBC owned and operated station WRC-TV. The American <hl> Advanced Television Systems Committee <hl> (ATSC) HDTV system had its public launch on October 29, 1998, during the live coverage of astronaut John Glenn's return mission to space on board the Space Shuttle Discovery. The signal was transmitted coast-to-coast, and was seen by the public in science centers, and other public theaters specially equipped to receive and display the broadcast.


Question: When did the first HDTV transmissions happen in Europe?

The first HDTV transmissions in Europe, albeit not direct-to-home, began in 1990, when the Italian broadcaster RAI used the HD-MAC and MUSE HDTV technologies to broadcast the 1990 FIFA World Cup. The matches were shown in 8 cinemas in Italy and 2 in Spain. The connection with Spain was made via the Olympus satellite link from Rome to Barcelona and then with a fiber optic connection from Barcelona to Madrid. After some HDTV transmissions in Europe the standard was abandoned in the mid-1990s.

Answer: 1990

<hl> The first HDTV transmissions in Europe, albeit not direct-to-home, began in 1990 , when the Italian broadcaster RAI used the HD-MAC and MUSE HDTV technologies to broadcast the 1990 FIFA World Cup. <hl> The matches were shown in 8 cinemas in Italy and 2 in Spain. The connection with Spain was made via the Olympus satellite link from Rome to Barcelona and then with a fiber optic connection from Barcelona to Madrid. After some HDTV transmissions in Europe the standard was abandoned in the mid-1990s.

The first HDTV transmissions in Europe, albeit not direct-to-home, began in <hl> 1990 <hl>, when the Italian broadcaster RAI used the HD-MAC and MUSE HDTV technologies to broadcast the 1990 FIFA World Cup. The matches were shown in 8 cinemas in Italy and 2 in Spain. The connection with Spain was made via the Olympus satellite link from Rome to Barcelona and then with a fiber optic connection from Barcelona to Madrid. After some HDTV transmissions in Europe the standard was abandoned in the mid-1990s.

The first HDTV transmissions in Europe, albeit not direct-to-home, began in <hl> 1990 <hl> , when the Italian broadcaster RAI used the HD-MAC and MUSE HDTV technologies to broadcast the 1990 FIFA World Cup.


Question: What event was the first HDTV broadcast in Europe?

Answer: FIFA World Cup

<hl> The first HDTV transmissions in Europe, albeit not direct-to-home, began in 1990, when the Italian broadcaster RAI used the HD-MAC and MUSE HDTV technologies to broadcast the 1990 FIFA World Cup . <hl> The matches were shown in 8 cinemas in Italy and 2 in Spain. The connection with Spain was made via the Olympus satellite link from Rome to Barcelona and then with a fiber optic connection from Barcelona to Madrid. After some HDTV transmissions in Europe the standard was abandoned in the mid-1990s.

The first HDTV transmissions in Europe, albeit not direct-to-home, began in 1990, when the Italian broadcaster RAI used the HD-MAC and MUSE HDTV technologies to broadcast the 1990 <hl> FIFA World Cup <hl>. The matches were shown in 8 cinemas in Italy and 2 in Spain. The connection with Spain was made via the Olympus satellite link from Rome to Barcelona and then with a fiber optic connection from Barcelona to Madrid. After some HDTV transmissions in Europe the standard was abandoned in the mid-1990s.

The first HDTV transmissions in Europe, albeit not direct-to-home, began in 1990, when the Italian broadcaster RAI used the HD-MAC and MUSE HDTV technologies to broadcast the 1990 <hl> FIFA World Cup <hl> .


Question: When did Europe abandon standard transmission?

Answer: mid-1990s

The first HDTV transmissions in Europe, albeit not direct-to-home, began in 1990, when the Italian broadcaster RAI used the HD-MAC and MUSE HDTV technologies to broadcast the 1990 FIFA World Cup. The matches were shown in 8 cinemas in Italy and 2 in Spain. The connection with Spain was made via the Olympus satellite link from Rome to Barcelona and then with a fiber optic connection from Barcelona to Madrid. <hl> After some HDTV transmissions in Europe the standard was abandoned in the mid-1990s . <hl>

The first HDTV transmissions in Europe, albeit not direct-to-home, began in 1990, when the Italian broadcaster RAI used the HD-MAC and MUSE HDTV technologies to broadcast the 1990 FIFA World Cup. The matches were shown in 8 cinemas in Italy and 2 in Spain. The connection with Spain was made via the Olympus satellite link from Rome to Barcelona and then with a fiber optic connection from Barcelona to Madrid. After some HDTV transmissions in Europe the standard was abandoned in the <hl> mid-1990s <hl>.

After some HDTV transmissions in Europe the standard was abandoned in the <hl> mid-1990s <hl> .


Question: Where was the FIFA World Cup able to be watched in HDTV?

Answer: 8 cinemas in Italy and 2 in Spain

The first HDTV transmissions in Europe, albeit not direct-to-home, began in 1990, when the Italian broadcaster RAI used the HD-MAC and MUSE HDTV technologies to broadcast the 1990 FIFA World Cup. <hl> The matches were shown in 8 cinemas in Italy and 2 in Spain . <hl> The connection with Spain was made via the Olympus satellite link from Rome to Barcelona and then with a fiber optic connection from Barcelona to Madrid. After some HDTV transmissions in Europe the standard was abandoned in the mid-1990s.

The first HDTV transmissions in Europe, albeit not direct-to-home, began in 1990, when the Italian broadcaster RAI used the HD-MAC and MUSE HDTV technologies to broadcast the 1990 FIFA World Cup. The matches were shown in <hl> 8 cinemas in Italy and 2 in Spain <hl>. The connection with Spain was made via the Olympus satellite link from Rome to Barcelona and then with a fiber optic connection from Barcelona to Madrid. After some HDTV transmissions in Europe the standard was abandoned in the mid-1990s.

The matches were shown in <hl> 8 cinemas in Italy and 2 in Spain <hl> .


Question: When did regular broadcasts start in Europe?

The first regular broadcasts started on January 1, 2004 when the Belgian company Euro1080 launched the HD1 channel with the traditional Vienna New Year's Concert. Test transmissions had been active since the IBC exhibition in September 2003, but the New Year's Day broadcast marked the official launch of the HD1 channel, and the official start of direct-to-home HDTV in Europe.

Answer: January 1, 2004

<hl> The first regular broadcasts started on January 1, 2004 when the Belgian company Euro1080 launched the HD1 channel with the traditional Vienna New Year's Concert. <hl> Test transmissions had been active since the IBC exhibition in September 2003, but the New Year's Day broadcast marked the official launch of the HD1 channel, and the official start of direct-to-home HDTV in Europe.

The first regular broadcasts started on <hl> January 1, 2004 <hl> when the Belgian company Euro1080 launched the HD1 channel with the traditional Vienna New Year's Concert. Test transmissions had been active since the IBC exhibition in September 2003, but the New Year's Day broadcast marked the official launch of the HD1 channel, and the official start of direct-to-home HDTV in Europe.


Question: What event was first broadcasted on January 1, 2004?

Answer: Vienna New Year's Concert

<hl> The first regular broadcasts started on January 1, 2004 when the Belgian company Euro1080 launched the HD1 channel with the traditional Vienna New Year's Concert . <hl> Test transmissions had been active since the IBC exhibition in September 2003, but the New Year's Day broadcast marked the official launch of the HD1 channel, and the official start of direct-to-home HDTV in Europe.

The first regular broadcasts started on January 1, 2004 when the Belgian company Euro1080 launched the HD1 channel with the traditional <hl> Vienna New Year's Concert <hl>. Test transmissions had been active since the IBC exhibition in September 2003, but the New Year's Day broadcast marked the official launch of the HD1 channel, and the official start of direct-to-home HDTV in Europe.

The first regular broadcasts started on January 1, 2004 when the Belgian company Euro1080 launched the HD1 channel with the traditional <hl> Vienna New Year's Concert <hl> .


Question: The New Year's Day broadcast officially launched which channel?

Answer: HD1

<hl> The first regular broadcasts started on January 1, 2004 when the Belgian company Euro1080 launched the HD1 channel with the traditional Vienna New Year's Concert. <hl> Test transmissions had been active since the IBC exhibition in September 2003, but the New Year's Day broadcast marked the official launch of the HD1 channel, and the official start of direct-to-home HDTV in Europe.

The first regular broadcasts started on January 1, 2004 when the Belgian company Euro1080 launched the <hl> HD1 <hl> channel with the traditional Vienna New Year's Concert. Test transmissions had been active since the IBC exhibition in September 2003, but the New Year's Day broadcast marked the official launch of the HD1 channel, and the official start of direct-to-home HDTV in Europe.


Question: When did test transmissions of HDTV begin in Europe?

Answer: September 2003

The first regular broadcasts started on January 1, 2004 when the Belgian company Euro1080 launched the HD1 channel with the traditional Vienna New Year's Concert. <hl> Test transmissions had been active since the IBC exhibition in September 2003 , but the New Year's Day broadcast marked the official launch of the HD1 channel, and the official start of direct-to-home HDTV in Europe. <hl>

The first regular broadcasts started on January 1, 2004 when the Belgian company Euro1080 launched the HD1 channel with the traditional Vienna New Year's Concert. Test transmissions had been active since the IBC exhibition in <hl> September 2003 <hl>, but the New Year's Day broadcast marked the official launch of the HD1 channel, and the official start of direct-to-home HDTV in Europe.

Test transmissions had been active since the IBC exhibition in <hl> September 2003 <hl> , but the New Year's Day broadcast marked the official launch of the HD1 channel, and the official start of direct-to-home HDTV in Europe.


Question: Which European company launched HD1?

Answer: Euro1080

<hl> The first regular broadcasts started on January 1, 2004 when the Belgian company Euro1080 launched the HD1 channel with the traditional Vienna New Year's Concert. <hl> Test transmissions had been active since the IBC exhibition in September 2003, but the New Year's Day broadcast marked the official launch of the HD1 channel, and the official start of direct-to-home HDTV in Europe.

The first regular broadcasts started on January 1, 2004 when the Belgian company <hl> Euro1080 <hl> launched the HD1 channel with the traditional Vienna New Year's Concert. Test transmissions had been active since the IBC exhibition in September 2003, but the New Year's Day broadcast marked the official launch of the HD1 channel, and the official start of direct-to-home HDTV in Europe.


Question: Euro1080 was a division of what former company?

Euro1080, a division of the former and now bankrupt Belgian TV services company Alfacam, broadcast HDTV channels to break the pan-European stalemate of "no HD broadcasts mean no HD TVs bought means no HD broadcasts ..." and kick-start HDTV interest in Europe. The HD1 channel was initially free-to-air and mainly comprised sporting, dramatic, musical and other cultural events broadcast with a multi-lingual soundtrack on a rolling schedule of 4 or 5 hours per day.

Answer: Alfacam

<hl> Euro1080, a division of the former and now bankrupt Belgian TV services company Alfacam , broadcast HDTV channels to break the pan-European stalemate of "no HD broadcasts mean no HD TVs bought means no HD broadcasts ..." and kick-start HDTV interest in Europe. <hl> The HD1 channel was initially free-to-air and mainly comprised sporting, dramatic, musical and other cultural events broadcast with a multi-lingual soundtrack on a rolling schedule of 4 or 5 hours per day.

Euro1080, a division of the former and now bankrupt Belgian TV services company <hl> Alfacam <hl>, broadcast HDTV channels to break the pan-European stalemate of "no HD broadcasts mean no HD TVs bought means no HD broadcasts ..." and kick-start HDTV interest in Europe. The HD1 channel was initially free-to-air and mainly comprised sporting, dramatic, musical and other cultural events broadcast with a multi-lingual soundtrack on a rolling schedule of 4 or 5 hours per day.

Euro1080, a division of the former and now bankrupt Belgian TV services company <hl> Alfacam <hl> , broadcast HDTV channels to break the pan-European stalemate of "no HD broadcasts mean no HD TVs bought means no HD broadcasts ..." and kick-start HDTV interest in Europe.


Question: What "chicken or the egg" stalemate prompted Euro1080 to broadcast HDTV channels?

Answer: "no HD broadcasts mean no HD TVs bought means no HD broadcasts ..."

<hl> Euro1080, a division of the former and now bankrupt Belgian TV services company Alfacam, broadcast HDTV channels to break the pan-European stalemate of "no HD broadcasts mean no HD TVs bought means no HD broadcasts ..." and kick-start HDTV interest in Europe. <hl> The HD1 channel was initially free-to-air and mainly comprised sporting, dramatic, musical and other cultural events broadcast with a multi-lingual soundtrack on a rolling schedule of 4 or 5 hours per day.

Euro1080, a division of the former and now bankrupt Belgian TV services company Alfacam, broadcast HDTV channels to break the pan-European stalemate of <hl> "no HD broadcasts mean no HD TVs bought means no HD broadcasts ..." <hl> and kick-start HDTV interest in Europe. The HD1 channel was initially free-to-air and mainly comprised sporting, dramatic, musical and other cultural events broadcast with a multi-lingual soundtrack on a rolling schedule of 4 or 5 hours per day.


Question: What was Euro1080 hoping to kick-start by broadcasting HDTV channels?

Answer: HDTV interest in Europe

<hl> Euro1080, a division of the former and now bankrupt Belgian TV services company Alfacam, broadcast HDTV channels to break the pan-European stalemate of "no HD broadcasts mean no HD TVs bought means no HD broadcasts ..." and kick-start HDTV interest in Europe . <hl> The HD1 channel was initially free-to-air and mainly comprised sporting, dramatic, musical and other cultural events broadcast with a multi-lingual soundtrack on a rolling schedule of 4 or 5 hours per day.

Euro1080, a division of the former and now bankrupt Belgian TV services company Alfacam, broadcast HDTV channels to break the pan-European stalemate of "no HD broadcasts mean no HD TVs bought means no HD broadcasts ..." and kick-start <hl> HDTV interest in Europe <hl>. The HD1 channel was initially free-to-air and mainly comprised sporting, dramatic, musical and other cultural events broadcast with a multi-lingual soundtrack on a rolling schedule of 4 or 5 hours per day.

Euro1080, a division of the former and now bankrupt Belgian TV services company Alfacam, broadcast HDTV channels to break the pan-European stalemate of "no HD broadcasts mean no HD TVs bought means no HD broadcasts ..." and kick-start <hl> HDTV interest in Europe <hl> .


Question: How much did viewers have to pay for the HD1 channel?

Answer: free-to-air

Euro1080, a division of the former and now bankrupt Belgian TV services company Alfacam, broadcast HDTV channels to break the pan-European stalemate of "no HD broadcasts mean no HD TVs bought means no HD broadcasts ..." and kick-start HDTV interest in Europe. <hl> The HD1 channel was initially free-to-air and mainly comprised sporting, dramatic, musical and other cultural events broadcast with a multi-lingual soundtrack on a rolling schedule of 4 or 5 hours per day. <hl>

Euro1080, a division of the former and now bankrupt Belgian TV services company Alfacam, broadcast HDTV channels to break the pan-European stalemate of "no HD broadcasts mean no HD TVs bought means no HD broadcasts ..." and kick-start HDTV interest in Europe. The HD1 channel was initially <hl> free-to-air <hl> and mainly comprised sporting, dramatic, musical and other cultural events broadcast with a multi-lingual soundtrack on a rolling schedule of 4 or 5 hours per day.


Question: What was on HD1 for 4 or 5 hours per day?

Answer: a multi-lingual soundtrack on a rolling schedule

Euro1080, a division of the former and now bankrupt Belgian TV services company Alfacam, broadcast HDTV channels to break the pan-European stalemate of "no HD broadcasts mean no HD TVs bought means no HD broadcasts ..." and kick-start HDTV interest in Europe. <hl> The HD1 channel was initially free-to-air and mainly comprised sporting, dramatic, musical and other cultural events broadcast with a multi-lingual soundtrack on a rolling schedule of 4 or 5 hours per day. <hl>

Euro1080, a division of the former and now bankrupt Belgian TV services company Alfacam, broadcast HDTV channels to break the pan-European stalemate of "no HD broadcasts mean no HD TVs bought means no HD broadcasts ..." and kick-start HDTV interest in Europe. The HD1 channel was initially free-to-air and mainly comprised sporting, dramatic, musical and other cultural events broadcast with <hl> a multi-lingual soundtrack on a rolling schedule <hl> of 4 or 5 hours per day.


Question: What format did the first European HDTV broadcast use?

These first European HDTV broadcasts used the 1080i format with MPEG-2 compression on a DVB-S signal from SES's Astra 1H satellite. Euro1080 transmissions later changed to MPEG-4/AVC compression on a DVB-S2 signal in line with subsequent broadcast channels in Europe.

Answer: 1080i format

<hl> These first European HDTV broadcasts used the 1080i format with MPEG-2 compression on a DVB-S signal from SES's Astra 1H satellite. <hl> Euro1080 transmissions later changed to MPEG-4/AVC compression on a DVB-S2 signal in line with subsequent broadcast channels in Europe.

These first European HDTV broadcasts used the <hl> 1080i format <hl> with MPEG-2 compression on a DVB-S signal from SES's Astra 1H satellite. Euro1080 transmissions later changed to MPEG-4/AVC compression on a DVB-S2 signal in line with subsequent broadcast channels in Europe.


Question: What compression did the first European HDTV broadcast use?

Answer: MPEG-2

<hl> These first European HDTV broadcasts used the 1080i format with MPEG-2 compression on a DVB-S signal from SES's Astra 1H satellite. <hl> Euro1080 transmissions later changed to MPEG-4/AVC compression on a DVB-S2 signal in line with subsequent broadcast channels in Europe.

These first European HDTV broadcasts used the 1080i format with <hl> MPEG-2 <hl> compression on a DVB-S signal from SES's Astra 1H satellite. Euro1080 transmissions later changed to MPEG-4/AVC compression on a DVB-S2 signal in line with subsequent broadcast channels in Europe.


Question: What signal did the first European HDTV broadcast use?

Answer: DVB-S

<hl> These first European HDTV broadcasts used the 1080i format with MPEG-2 compression on a DVB-S signal from SES's Astra 1H satellite. <hl> Euro1080 transmissions later changed to MPEG-4/AVC compression on a DVB-S2 signal in line with subsequent broadcast channels in Europe.

These first European HDTV broadcasts used the 1080i format with MPEG-2 compression on a <hl> DVB-S <hl> signal from SES's Astra 1H satellite. Euro1080 transmissions later changed to MPEG-4/AVC compression on a DVB-S2 signal in line with subsequent broadcast channels in Europe.


Question: What compression did Euro1080 later change to?

Answer: MPEG-4/AVC

These first European HDTV broadcasts used the 1080i format with MPEG-2 compression on a DVB-S signal from SES's Astra 1H satellite. <hl> Euro1080 transmissions later changed to MPEG-4/AVC compression on a DVB-S2 signal in line with subsequent broadcast channels in Europe. <hl>

These first European HDTV broadcasts used the 1080i format with MPEG-2 compression on a DVB-S signal from SES's Astra 1H satellite. Euro1080 transmissions later changed to <hl> MPEG-4/AVC <hl> compression on a DVB-S2 signal in line with subsequent broadcast channels in Europe.


Question: What signal did Euro1080 later change to?

Answer: DVB-S2

These first European HDTV broadcasts used the 1080i format with MPEG-2 compression on a DVB-S signal from SES's Astra 1H satellite. <hl> Euro1080 transmissions later changed to MPEG-4/AVC compression on a DVB-S2 signal in line with subsequent broadcast channels in Europe. <hl>

These first European HDTV broadcasts used the 1080i format with MPEG-2 compression on a DVB-S signal from SES's Astra 1H satellite. Euro1080 transmissions later changed to MPEG-4/AVC compression on a <hl> DVB-S2 <hl> signal in line with subsequent broadcast channels in Europe.


Question: According to the 2010 Satellite Monitor market survey, how many HD capable TV's were sold in Europe?

Answer: 185 million

<hl> Despite delays in some countries, the number of European HD channels and viewers has risen steadily since the first HDTV broadcasts, with SES's annual Satellite Monitor market survey for 2010 reporting more than 200 commercial channels broadcasting in HD from Astra satellites, 185 million HD capable TVs sold in Europe (£60 million in 2010 alone), and 20 million households (27% of all European digital satellite TV homes) watching HD satellite broadcasts (16 million via Astra satellites). <hl>

Despite delays in some countries, the number of European HD channels and viewers has risen steadily since the first HDTV broadcasts, with SES's annual Satellite Monitor market survey for 2010 reporting more than 200 commercial channels broadcasting in HD from Astra satellites, <hl> 185 million <hl> HD capable TVs sold in Europe (£60 million in 2010 alone), and 20 million households (27% of all European digital satellite TV homes) watching HD satellite broadcasts (16 million via Astra satellites).


Question: According to the 2010 Satellite Monitor market survey, how many European households were watching HD broadcasts?

Answer: 20 million

<hl> Despite delays in some countries, the number of European HD channels and viewers has risen steadily since the first HDTV broadcasts, with SES's annual Satellite Monitor market survey for 2010 reporting more than 200 commercial channels broadcasting in HD from Astra satellites, 185 million HD capable TVs sold in Europe (£60 million in 2010 alone), and 20 million households (27% of all European digital satellite TV homes) watching HD satellite broadcasts (16 million via Astra satellites). <hl>

Despite delays in some countries, the number of European HD channels and viewers has risen steadily since the first HDTV broadcasts, with SES's annual Satellite Monitor market survey for 2010 reporting more than 200 commercial channels broadcasting in HD from Astra satellites, 185 million HD capable TVs sold in Europe (£60 million in 2010 alone), and <hl> 20 million <hl> households (27% of all European digital satellite TV homes) watching HD satellite broadcasts (16 million via Astra satellites).


Question: How many pounds were spent in Europe on HD capable TVs in 2010?

Answer: £60 million

<hl> Despite delays in some countries, the number of European HD channels and viewers has risen steadily since the first HDTV broadcasts, with SES's annual Satellite Monitor market survey for 2010 reporting more than 200 commercial channels broadcasting in HD from Astra satellites, 185 million HD capable TVs sold in Europe ( £60 million in 2010 alone), and 20 million households (27% of all European digital satellite TV homes) watching HD satellite broadcasts (16 million via Astra satellites). <hl>

Despite delays in some countries, the number of European HD channels and viewers has risen steadily since the first HDTV broadcasts, with SES's annual Satellite Monitor market survey for 2010 reporting more than 200 commercial channels broadcasting in HD from Astra satellites, 185 million HD capable TVs sold in Europe (<hl> £60 million <hl> in 2010 alone), and 20 million households (27% of all European digital satellite TV homes) watching HD satellite broadcasts (16 million via Astra satellites).

Despite delays in some countries, the number of European HD channels and viewers has risen steadily since the first HDTV broadcasts, with SES's annual Satellite Monitor market survey for 2010 reporting more than 200 commercial channels broadcasting in HD from Astra satellites, 185 million HD capable TVs sold in Europe ( <hl> £60 million <hl> in 2010 alone), and 20 million households (27% of all European digital satellite TV homes) watching HD satellite broadcasts (16 million via Astra satellites).


Question: What percentage of European digital satellite TV homes were watching HD broadcasts in 2010?

Answer: 27%

<hl> Despite delays in some countries, the number of European HD channels and viewers has risen steadily since the first HDTV broadcasts, with SES's annual Satellite Monitor market survey for 2010 reporting more than 200 commercial channels broadcasting in HD from Astra satellites, 185 million HD capable TVs sold in Europe (£60 million in 2010 alone), and 20 million households ( 27% of all European digital satellite TV homes) watching HD satellite broadcasts (16 million via Astra satellites). <hl>

Despite delays in some countries, the number of European HD channels and viewers has risen steadily since the first HDTV broadcasts, with SES's annual Satellite Monitor market survey for 2010 reporting more than 200 commercial channels broadcasting in HD from Astra satellites, 185 million HD capable TVs sold in Europe (£60 million in 2010 alone), and 20 million households (<hl> 27% <hl> of all European digital satellite TV homes) watching HD satellite broadcasts (16 million via Astra satellites).

Despite delays in some countries, the number of European HD channels and viewers has risen steadily since the first HDTV broadcasts, with SES's annual Satellite Monitor market survey for 2010 reporting more than 200 commercial channels broadcasting in HD from Astra satellites, 185 million HD capable TVs sold in Europe (£60 million in 2010 alone), and 20 million households ( <hl> 27% <hl> of all European digital satellite TV homes) watching HD satellite broadcasts (16 million via Astra satellites).


Question: The number of European HD channels and viewers has done what since the first HDTV broadcasts?

Answer: risen steadily

<hl> Despite delays in some countries, the number of European HD channels and viewers has risen steadily since the first HDTV broadcasts, with SES's annual Satellite Monitor market survey for 2010 reporting more than 200 commercial channels broadcasting in HD from Astra satellites, 185 million HD capable TVs sold in Europe (£60 million in 2010 alone), and 20 million households (27% of all European digital satellite TV homes) watching HD satellite broadcasts (16 million via Astra satellites). <hl>

Despite delays in some countries, the number of European HD channels and viewers has <hl> risen steadily <hl> since the first HDTV broadcasts, with SES's annual Satellite Monitor market survey for 2010 reporting more than 200 commercial channels broadcasting in HD from Astra satellites, 185 million HD capable TVs sold in Europe (£60 million in 2010 alone), and 20 million households (27% of all European digital satellite TV homes) watching HD satellite broadcasts (16 million via Astra satellites).


Question: Which European country first deployed HD content using the new DVB-T2 standard?

Answer: the United Kingdom

<hl> In December 2009 the United Kingdom became the first European country to deploy high definition content using the new DVB-T2 transmission standard, as specified in the Digital TV Group (DTG) D-book, on digital terrestrial television. <hl>

In December 2009 <hl> the United Kingdom <hl> became the first European country to deploy high definition content using the new DVB-T2 transmission standard, as specified in the Digital TV Group (DTG) D-book, on digital terrestrial television.


Question: When did the UK deploy HD content using the new DVB-T2 transmission standard?

Answer: December 2009

<hl> In December 2009 the United Kingdom became the first European country to deploy high definition content using the new DVB-T2 transmission standard, as specified in the Digital TV Group (DTG) D-book, on digital terrestrial television. <hl>

In <hl> December 2009 <hl> the United Kingdom became the first European country to deploy high definition content using the new DVB-T2 transmission standard, as specified in the Digital TV Group (DTG) D-book, on digital terrestrial television.


Question: What transmission standard did the UK start using in December 2009?

Answer: DVB-T2

<hl> In December 2009 the United Kingdom became the first European country to deploy high definition content using the new DVB-T2 transmission standard, as specified in the Digital TV Group (DTG) D-book, on digital terrestrial television. <hl>

In December 2009 the United Kingdom became the first European country to deploy high definition content using the new <hl> DVB-T2 <hl> transmission standard, as specified in the Digital TV Group (DTG) D-book, on digital terrestrial television.


Question: What does DTG stand for?

Answer: Digital TV Group

<hl> In December 2009 the United Kingdom became the first European country to deploy high definition content using the new DVB-T2 transmission standard, as specified in the Digital TV Group (DTG) D-book, on digital terrestrial television. <hl>

In December 2009 the United Kingdom became the first European country to deploy high definition content using the new DVB-T2 transmission standard, as specified in the <hl> Digital TV Group <hl> (DTG) D-book, on digital terrestrial television.


Question: How many HD channels did the Freeview HD service contain as of December 2013?

The Freeview HD service currently contains 10 HD channels (as of December 2013[update]) and was rolled out region by region across the UK in accordance with the digital switchover process, finally being completed in October 2012. However, Freeview HD is not the first HDTV service over digital terrestrial television in Europe;

Answer: 10

<hl> The Freeview HD service currently contains 10 HD channels (as of December 2013[update]) <hl> and was rolled out region by region across the UK in accordance with the digital switchover process, finally being completed in October 2012. However, Freeview HD is not the first HDTV service over digital terrestrial television in Europe;

The Freeview HD service currently contains <hl> 10 <hl> HD channels (as of December 2013[update]) and was rolled out region by region across the UK in accordance with the digital switchover process, finally being completed in October 2012. However, Freeview HD is not the first HDTV service over digital terrestrial television in Europe;


Question: When was the digital switchover process completed in the UK?

Answer: October 2012

<hl> The Freeview HD service currently contains 10 HD channels (as of December 2013[update]) and was rolled out region by region across the UK in accordance with the digital switchover process, finally being completed in October 2012 . <hl> However, Freeview HD is not the first HDTV service over digital terrestrial television in Europe;

The Freeview HD service currently contains 10 HD channels (as of December 2013[update]) and was rolled out region by region across the UK in accordance with the digital switchover process, finally being completed in <hl> October 2012 <hl>. However, Freeview HD is not the first HDTV service over digital terrestrial television in Europe;

The Freeview HD service currently contains 10 HD channels (as of December 2013[update]) and was rolled out region by region across the UK in accordance with the digital switchover process, finally being completed in <hl> October 2012 <hl> .


Question: Which service contains 10 HD channels and finished its roll out in October 2012?

Answer: Freeview HD

<hl> The Freeview HD service currently contains 10 HD channels (as of December 2013[update]) and was rolled out region by region across the UK in accordance with the digital switchover process, finally being completed in October 2012. <hl> However, Freeview HD is not the first HDTV service over digital terrestrial television in Europe;

The <hl> Freeview HD <hl> service currently contains 10 HD channels (as of December 2013[update]) and was rolled out region by region across the UK in accordance with the digital switchover process, finally being completed in October 2012. However, Freeview HD is not the first HDTV service over digital terrestrial television in Europe;


Question: How was the Freeview HD service rolled out in the UK?

Answer: region by region

<hl> The Freeview HD service currently contains 10 HD channels (as of December 2013[update]) and was rolled out region by region across the UK in accordance with the digital switchover process, finally being completed in October 2012. <hl> However, Freeview HD is not the first HDTV service over digital terrestrial television in Europe;

The Freeview HD service currently contains 10 HD channels (as of December 2013[update]) and was rolled out <hl> region by region <hl> across the UK in accordance with the digital switchover process, finally being completed in October 2012. However, Freeview HD is not the first HDTV service over digital terrestrial television in Europe;


Question: What are the three HDTV parameters?

If all three parameters are used, they are specified in the following form: [frame size][scanning system][frame or field rate] or [frame size]/[frame or field rate][scanning system].[citation needed] Often, frame size or frame rate can be dropped if its value is implied from context. In this case, the remaining numeric parameter is specified first, followed by the scanning system.

Answer: [frame size][scanning system][frame or field rate]

<hl> If all three parameters are used, they are specified in the following form: [frame size][scanning system][frame or field rate] or [frame size]/[frame or field rate][scanning system].[citation needed] Often, frame size or frame rate can be dropped if its value is implied from context. <hl> In this case, the remaining numeric parameter is specified first, followed by the scanning system.

If all three parameters are used, they are specified in the following form: <hl> [frame size][scanning system][frame or field rate] <hl> or [frame size]/[frame or field rate][scanning system].[citation needed] Often, frame size or frame rate can be dropped if its value is implied from context. In this case, the remaining numeric parameter is specified first, followed by the scanning system.


Question: Which two parameters can be dropped if its value is implied from context?

Answer: frame size or frame rate

<hl> If all three parameters are used, they are specified in the following form: [frame size][scanning system][frame or field rate] or [frame size]/[frame or field rate][scanning system].[citation needed] Often, frame size or frame rate can be dropped if its value is implied from context. <hl> In this case, the remaining numeric parameter is specified first, followed by the scanning system.

If all three parameters are used, they are specified in the following form: [frame size][scanning system][frame or field rate] or [frame size]/[frame or field rate][scanning system].[citation needed] Often, <hl> frame size or frame rate <hl> can be dropped if its value is implied from context. In this case, the remaining numeric parameter is specified first, followed by the scanning system.


Question: When can the frame size or frame rate parameter specification be dropped?

Answer: if its value is implied from context

<hl> If all three parameters are used, they are specified in the following form: [frame size][scanning system][frame or field rate] or [frame size]/[frame or field rate][scanning system].[citation needed] Often, frame size or frame rate can be dropped if its value is implied from context . <hl> In this case, the remaining numeric parameter is specified first, followed by the scanning system.

If all three parameters are used, they are specified in the following form: [frame size][scanning system][frame or field rate] or [frame size]/[frame or field rate][scanning system].[citation needed] Often, frame size or frame rate can be dropped <hl> if its value is implied from context <hl>. In this case, the remaining numeric parameter is specified first, followed by the scanning system.

If all three parameters are used, they are specified in the following form: [frame size][scanning system][frame or field rate] or [frame size]/[frame or field rate][scanning system].[citation needed] Often, frame size or frame rate can be dropped <hl> if its value is implied from context <hl> .


Question: When a parameter is dropped, the remaining numeric parameter is specified first, followed by what?

Answer: the scanning system

If all three parameters are used, they are specified in the following form: [frame size][scanning system][frame or field rate] or [frame size]/[frame or field rate][scanning system].[citation needed] Often, frame size or frame rate can be dropped if its value is implied from context. <hl> In this case, the remaining numeric parameter is specified first, followed by the scanning system . <hl>

If all three parameters are used, they are specified in the following form: [frame size][scanning system][frame or field rate] or [frame size]/[frame or field rate][scanning system].[citation needed] Often, frame size or frame rate can be dropped if its value is implied from context. In this case, the remaining numeric parameter is specified first, followed by <hl> the scanning system <hl>.

In this case, the remaining numeric parameter is specified first, followed by <hl> the scanning system <hl> .


Question: What size is each 1920x1080p25 frame?

For example, 1920×1080p25 identifies progressive scanning format with 25 frames per second, each frame being 1,920 pixels wide and 1,080 pixels high. The 1080i25 or 1080i50 notation identifies interlaced scanning format with 25 frames (50 fields) per second, each frame being 1,920 pixels wide and 1,080 pixels high. The 1080i30 or 1080i60 notation identifies interlaced scanning format with 30 frames (60 fields) per second, each frame being 1,920 pixels wide and 1,080 pixels high. The 720p60 notation identifies progressive scanning format with 60 frames per second, each frame being 720 pixels high; 1,280 pixels horizontally are implied.

Answer: 1,920 pixels wide and 1,080 pixels high

<hl> For example, 1920×1080p25 identifies progressive scanning format with 25 frames per second, each frame being 1,920 pixels wide and 1,080 pixels high . <hl> The 1080i25 or 1080i50 notation identifies interlaced scanning format with 25 frames (50 fields) per second, each frame being 1,920 pixels wide and 1,080 pixels high. The 1080i30 or 1080i60 notation identifies interlaced scanning format with 30 frames (60 fields) per second, each frame being 1,920 pixels wide and 1,080 pixels high. The 720p60 notation identifies progressive scanning format with 60 frames per second, each frame being 720 pixels high; 1,280 pixels horizontally are implied.

For example, 1920×1080p25 identifies progressive scanning format with 25 frames per second, each frame being <hl> 1,920 pixels wide and 1,080 pixels high <hl>. The 1080i25 or 1080i50 notation identifies interlaced scanning format with 25 frames (50 fields) per second, each frame being 1,920 pixels wide and 1,080 pixels high. The 1080i30 or 1080i60 notation identifies interlaced scanning format with 30 frames (60 fields) per second, each frame being 1,920 pixels wide and 1,080 pixels high. The 720p60 notation identifies progressive scanning format with 60 frames per second, each frame being 720 pixels high; 1,280 pixels horizontally are implied.

For example, 1920×1080p25 identifies progressive scanning format with 25 frames per second, each frame being <hl> 1,920 pixels wide and 1,080 pixels high <hl> .


Question: The 1920x1080p25 notion identifies progressive scanning format with how many frames per second?

Answer: 25

<hl> For example, 1920×1080p 25 identifies progressive scanning format with 25 frames per second, each frame being 1,920 pixels wide and 1,080 pixels high. <hl> The 1080i25 or 1080i50 notation identifies interlaced scanning format with 25 frames (50 fields) per second, each frame being 1,920 pixels wide and 1,080 pixels high. The 1080i30 or 1080i60 notation identifies interlaced scanning format with 30 frames (60 fields) per second, each frame being 1,920 pixels wide and 1,080 pixels high. The 720p60 notation identifies progressive scanning format with 60 frames per second, each frame being 720 pixels high; 1,280 pixels horizontally are implied.

For example, 1920×1080p<hl> 25 <hl> identifies progressive scanning format with 25 frames per second, each frame being 1,920 pixels wide and 1,080 pixels high. The 1080i25 or 1080i50 notation identifies interlaced scanning format with 25 frames (50 fields) per second, each frame being 1,920 pixels wide and 1,080 pixels high. The 1080i30 or 1080i60 notation identifies interlaced scanning format with 30 frames (60 fields) per second, each frame being 1,920 pixels wide and 1,080 pixels high. The 720p60 notation identifies progressive scanning format with 60 frames per second, each frame being 720 pixels high; 1,280 pixels horizontally are implied.

For example, 1920×1080p <hl> 25 <hl> identifies progressive scanning format with 25 frames per second, each frame being 1,920 pixels wide and 1,080 pixels high.


Question: The 1080i25 or 1080i50 notion identifies interlaced scanning format with how many frames per second?

Answer: 25

<hl> For example, 1920×1080p 25 identifies progressive scanning format with 25 frames per second, each frame being 1,920 pixels wide and 1,080 pixels high. <hl> The 1080i25 or 1080i50 notation identifies interlaced scanning format with 25 frames (50 fields) per second, each frame being 1,920 pixels wide and 1,080 pixels high. The 1080i30 or 1080i60 notation identifies interlaced scanning format with 30 frames (60 fields) per second, each frame being 1,920 pixels wide and 1,080 pixels high. The 720p60 notation identifies progressive scanning format with 60 frames per second, each frame being 720 pixels high; 1,280 pixels horizontally are implied.

For example, 1920×1080p<hl> 25 <hl> identifies progressive scanning format with 25 frames per second, each frame being 1,920 pixels wide and 1,080 pixels high. The 1080i25 or 1080i50 notation identifies interlaced scanning format with 25 frames (50 fields) per second, each frame being 1,920 pixels wide and 1,080 pixels high. The 1080i30 or 1080i60 notation identifies interlaced scanning format with 30 frames (60 fields) per second, each frame being 1,920 pixels wide and 1,080 pixels high. The 720p60 notation identifies progressive scanning format with 60 frames per second, each frame being 720 pixels high; 1,280 pixels horizontally are implied.

For example, 1920×1080p <hl> 25 <hl> identifies progressive scanning format with 25 frames per second, each frame being 1,920 pixels wide and 1,080 pixels high.


Question: The 1080i30 or 1080i60 notion identifies interlaced scanning format with how many frames per second?

Answer: 30

For example, 1920×1080p25 identifies progressive scanning format with 25 frames per second, each frame being 1,920 pixels wide and 1,080 pixels high. The 1080i25 or 1080i50 notation identifies interlaced scanning format with 25 frames (50 fields) per second, each frame being 1,920 pixels wide and 1,080 pixels high. <hl> The 1080i 30 or 1080i60 notation identifies interlaced scanning format with 30 frames (60 fields) per second, each frame being 1,920 pixels wide and 1,080 pixels high. <hl> The 720p60 notation identifies progressive scanning format with 60 frames per second, each frame being 720 pixels high; 1,280 pixels horizontally are implied.

For example, 1920×1080p25 identifies progressive scanning format with 25 frames per second, each frame being 1,920 pixels wide and 1,080 pixels high. The 1080i25 or 1080i50 notation identifies interlaced scanning format with 25 frames (50 fields) per second, each frame being 1,920 pixels wide and 1,080 pixels high. The 1080i<hl> 30 <hl> or 1080i60 notation identifies interlaced scanning format with 30 frames (60 fields) per second, each frame being 1,920 pixels wide and 1,080 pixels high. The 720p60 notation identifies progressive scanning format with 60 frames per second, each frame being 720 pixels high; 1,280 pixels horizontally are implied.

The 1080i <hl> 30 <hl> or 1080i60 notation identifies interlaced scanning format with 30 frames (60 fields) per second, each frame being 1,920 pixels wide and 1,080 pixels high.


Question: The 720p60 notion identifies progressive scanning format with how many frames per second?

Answer: 60

For example, 1920×1080p25 identifies progressive scanning format with 25 frames per second, each frame being 1,920 pixels wide and 1,080 pixels high. The 1080i25 or 1080i50 notation identifies interlaced scanning format with 25 frames (50 fields) per second, each frame being 1,920 pixels wide and 1,080 pixels high. <hl> The 1080i30 or 1080i 60 notation identifies interlaced scanning format with 30 frames (60 fields) per second, each frame being 1,920 pixels wide and 1,080 pixels high. <hl> The 720p60 notation identifies progressive scanning format with 60 frames per second, each frame being 720 pixels high; 1,280 pixels horizontally are implied.

For example, 1920×1080p25 identifies progressive scanning format with 25 frames per second, each frame being 1,920 pixels wide and 1,080 pixels high. The 1080i25 or 1080i50 notation identifies interlaced scanning format with 25 frames (50 fields) per second, each frame being 1,920 pixels wide and 1,080 pixels high. The 1080i30 or 1080i<hl> 60 <hl> notation identifies interlaced scanning format with 30 frames (60 fields) per second, each frame being 1,920 pixels wide and 1,080 pixels high. The 720p60 notation identifies progressive scanning format with 60 frames per second, each frame being 720 pixels high; 1,280 pixels horizontally are implied.

The 1080i30 or 1080i <hl> 60 <hl> notation identifies interlaced scanning format with 30 frames (60 fields) per second, each frame being 1,920 pixels wide and 1,080 pixels high.


Question: What three scanning rates do 50 Hz systems support?

50 Hz systems support three scanning rates: 50i, 25p and 50p. 60 Hz systems support a much wider set of frame rates: 59.94i, 60i, 23.976p, 24p, 29.97p, 30p, 59.94p and 60p. In the days of standard definition television, the fractional rates were often rounded up to whole numbers, e.g. 23.976p was often called 24p, or 59.94i was often called 60i. 60 Hz high definition television supports both fractional and slightly different integer rates, therefore strict usage of notation is required to avoid ambiguity. Nevertheless, 29.97i/59.94i is almost universally called 60i, likewise 23.976p is called 24p.

Answer: 50i, 25p and 50p

<hl> 50 Hz systems support three scanning rates: 50i, 25p and 50p . <hl> 60 Hz systems support a much wider set of frame rates: 59.94i, 60i, 23.976p, 24p, 29.97p, 30p, 59.94p and 60p. In the days of standard definition television, the fractional rates were often rounded up to whole numbers, e.g. 23.976p was often called 24p, or 59.94i was often called 60i. 60 Hz high definition television supports both fractional and slightly different integer rates, therefore strict usage of notation is required to avoid ambiguity. Nevertheless, 29.97i/59.94i is almost universally called 60i, likewise 23.976p is called 24p.

50 Hz systems support three scanning rates: <hl> 50i, 25p and 50p <hl>. 60 Hz systems support a much wider set of frame rates: 59.94i, 60i, 23.976p, 24p, 29.97p, 30p, 59.94p and 60p. In the days of standard definition television, the fractional rates were often rounded up to whole numbers, e.g. 23.976p was often called 24p, or 59.94i was often called 60i. 60 Hz high definition television supports both fractional and slightly different integer rates, therefore strict usage of notation is required to avoid ambiguity. Nevertheless, 29.97i/59.94i is almost universally called 60i, likewise 23.976p is called 24p.

50 Hz systems support three scanning rates: <hl> 50i, 25p and 50p <hl> .


Question: Which system suports 59.94i, 60i, 23.976p, 24p, 29.97p, 30p, 59.94p, and 60p

Answer: 60 Hz

50 Hz systems support three scanning rates: 50i, 25p and 50p. <hl> 60 Hz systems support a much wider set of frame rates: 59.94i, 60i, 23.976p, 24p, 29.97p, 30p, 59.94p and 60p. <hl> In the days of standard definition television, the fractional rates were often rounded up to whole numbers, e.g. 23.976p was often called 24p, or 59.94i was often called 60i. 60 Hz high definition television supports both fractional and slightly different integer rates, therefore strict usage of notation is required to avoid ambiguity. Nevertheless, 29.97i/59.94i is almost universally called 60i, likewise 23.976p is called 24p.

50 Hz systems support three scanning rates: 50i, 25p and 50p. <hl> 60 Hz <hl> systems support a much wider set of frame rates: 59.94i, 60i, 23.976p, 24p, 29.97p, 30p, 59.94p and 60p. In the days of standard definition television, the fractional rates were often rounded up to whole numbers, e.g. 23.976p was often called 24p, or 59.94i was often called 60i. 60 Hz high definition television supports both fractional and slightly different integer rates, therefore strict usage of notation is required to avoid ambiguity. Nevertheless, 29.97i/59.94i is almost universally called 60i, likewise 23.976p is called 24p.


Question: SD television fractional rates were often rounded to what?

Answer: whole numbers

50 Hz systems support three scanning rates: 50i, 25p and 50p. 60 Hz systems support a much wider set of frame rates: 59.94i, 60i, 23.976p, 24p, 29.97p, 30p, 59.94p and 60p. <hl> In the days of standard definition television, the fractional rates were often rounded up to whole numbers , e.g. 23.976p was often called 24p, or 59.94i was often called 60i. <hl> 60 Hz high definition television supports both fractional and slightly different integer rates, therefore strict usage of notation is required to avoid ambiguity. Nevertheless, 29.97i/59.94i is almost universally called 60i, likewise 23.976p is called 24p.

50 Hz systems support three scanning rates: 50i, 25p and 50p. 60 Hz systems support a much wider set of frame rates: 59.94i, 60i, 23.976p, 24p, 29.97p, 30p, 59.94p and 60p. In the days of standard definition television, the fractional rates were often rounded up to <hl> whole numbers <hl>, e.g. 23.976p was often called 24p, or 59.94i was often called 60i. 60 Hz high definition television supports both fractional and slightly different integer rates, therefore strict usage of notation is required to avoid ambiguity. Nevertheless, 29.97i/59.94i is almost universally called 60i, likewise 23.976p is called 24p.

In the days of standard definition television, the fractional rates were often rounded up to <hl> whole numbers <hl> , e.g. 23.976p was often called 24p, or 59.94i was often called 60i.


Question: Strict notation is required with HD fractional rates to avoid what?

Answer: ambiguity

50 Hz systems support three scanning rates: 50i, 25p and 50p. 60 Hz systems support a much wider set of frame rates: 59.94i, 60i, 23.976p, 24p, 29.97p, 30p, 59.94p and 60p. In the days of standard definition television, the fractional rates were often rounded up to whole numbers, e.g. 23.976p was often called 24p, or 59.94i was often called 60i. <hl> 60 Hz high definition television supports both fractional and slightly different integer rates, therefore strict usage of notation is required to avoid ambiguity . <hl> Nevertheless, 29.97i/59.94i is almost universally called 60i, likewise 23.976p is called 24p.

50 Hz systems support three scanning rates: 50i, 25p and 50p. 60 Hz systems support a much wider set of frame rates: 59.94i, 60i, 23.976p, 24p, 29.97p, 30p, 59.94p and 60p. In the days of standard definition television, the fractional rates were often rounded up to whole numbers, e.g. 23.976p was often called 24p, or 59.94i was often called 60i. 60 Hz high definition television supports both fractional and slightly different integer rates, therefore strict usage of notation is required to avoid <hl> ambiguity <hl>. Nevertheless, 29.97i/59.94i is almost universally called 60i, likewise 23.976p is called 24p.

60 Hz high definition television supports both fractional and slightly different integer rates, therefore strict usage of notation is required to avoid <hl> ambiguity <hl> .


Question: What is usually dropped for the commercial naming of an HDTV product?

For the commercial naming of a product, the frame rate is often dropped and is implied from context (e.g., a 1080i television set). A frame rate can also be specified without a resolution. For example, 24p means 24 progressive scan frames per second, and 50i means 25 interlaced frames per second.

Answer: the frame rate

<hl> For the commercial naming of a product, the frame rate is often dropped and is implied from context (e.g., a 1080i television set). <hl> A frame rate can also be specified without a resolution. For example, 24p means 24 progressive scan frames per second, and 50i means 25 interlaced frames per second.

For the commercial naming of a product, <hl> the frame rate <hl> is often dropped and is implied from context (e.g., a 1080i television set). A frame rate can also be specified without a resolution. For example, 24p means 24 progressive scan frames per second, and 50i means 25 interlaced frames per second.


Question: What does 24p mean?

Answer: 24 progressive scan frames per second

For the commercial naming of a product, the frame rate is often dropped and is implied from context (e.g., a 1080i television set). A frame rate can also be specified without a resolution. <hl> For example, 24p means 24 progressive scan frames per second , and 50i means 25 interlaced frames per second. <hl>

For the commercial naming of a product, the frame rate is often dropped and is implied from context (e.g., a 1080i television set). A frame rate can also be specified without a resolution. For example, 24p means <hl> 24 progressive scan frames per second <hl>, and 50i means 25 interlaced frames per second.

For example, 24p means <hl> 24 progressive scan frames per second <hl> , and 50i means 25 interlaced frames per second.


Question: What does 50i mean?

Answer: 25 interlaced frames per second

For the commercial naming of a product, the frame rate is often dropped and is implied from context (e.g., a 1080i television set). A frame rate can also be specified without a resolution. <hl> For example, 24p means 24 progressive scan frames per second, and 50i means 25 interlaced frames per second . <hl>

For the commercial naming of a product, the frame rate is often dropped and is implied from context (e.g., a 1080i television set). A frame rate can also be specified without a resolution. For example, 24p means 24 progressive scan frames per second, and 50i means <hl> 25 interlaced frames per second <hl>.

For example, 24p means 24 progressive scan frames per second, and 50i means <hl> 25 interlaced frames per second <hl> .


Question: When naming a commercial HDTV product, a frame rate can be specified without what?

Answer: a resolution

For the commercial naming of a product, the frame rate is often dropped and is implied from context (e.g., a 1080i television set). <hl> A frame rate can also be specified without a resolution . <hl> For example, 24p means 24 progressive scan frames per second, and 50i means 25 interlaced frames per second.

For the commercial naming of a product, the frame rate is often dropped and is implied from context (e.g., a 1080i television set). A frame rate can also be specified without <hl> a resolution <hl>. For example, 24p means 24 progressive scan frames per second, and 50i means 25 interlaced frames per second.

A frame rate can also be specified without <hl> a resolution <hl> .


Question: Is there a single standard for HDTV color support?

There is no single standard for HDTV color support. Colors are typically broadcast using a (10-bits per channel) YUV color space but, depending on the underlying image generating technologies of the receiver, are then subsequently converted to a RGB color space using standardized algorithms. When transmitted directly through the Internet, the colors are typically pre-converted to 8-bit RGB channels for additional storage savings with the assumption that it will only be viewed only on a (sRGB) computer screen. As an added benefit to the original broadcasters, the losses of the pre-conversion essentially make these files unsuitable for professional TV re-broadcasting.

Answer: no

<hl> There is no single standard for HDTV color support. <hl> Colors are typically broadcast using a (10-bits per channel) YUV color space but, depending on the underlying image generating technologies of the receiver, are then subsequently converted to a RGB color space using standardized algorithms. When transmitted directly through the Internet, the colors are typically pre-converted to 8-bit RGB channels for additional storage savings with the assumption that it will only be viewed only on a (sRGB) computer screen. As an added benefit to the original broadcasters, the losses of the pre-conversion essentially make these files unsuitable for professional TV re-broadcasting.

There is <hl> no <hl> single standard for HDTV color support. Colors are typically broadcast using a (10-bits per channel) YUV color space but, depending on the underlying image generating technologies of the receiver, are then subsequently converted to a RGB color space using standardized algorithms. When transmitted directly through the Internet, the colors are typically pre-converted to 8-bit RGB channels for additional storage savings with the assumption that it will only be viewed only on a (sRGB) computer screen. As an added benefit to the original broadcasters, the losses of the pre-conversion essentially make these files unsuitable for professional TV re-broadcasting.


Question: Before being converted to RGB, colors are ususally broadcasted using what color space?

Answer: YUV

There is no single standard for HDTV color support. <hl> Colors are typically broadcast using a (10-bits per channel) YUV color space but, depending on the underlying image generating technologies of the receiver, are then subsequently converted to a RGB color space using standardized algorithms. <hl> When transmitted directly through the Internet, the colors are typically pre-converted to 8-bit RGB channels for additional storage savings with the assumption that it will only be viewed only on a (sRGB) computer screen. As an added benefit to the original broadcasters, the losses of the pre-conversion essentially make these files unsuitable for professional TV re-broadcasting.

There is no single standard for HDTV color support. Colors are typically broadcast using a (10-bits per channel) <hl> YUV <hl> color space but, depending on the underlying image generating technologies of the receiver, are then subsequently converted to a RGB color space using standardized algorithms. When transmitted directly through the Internet, the colors are typically pre-converted to 8-bit RGB channels for additional storage savings with the assumption that it will only be viewed only on a (sRGB) computer screen. As an added benefit to the original broadcasters, the losses of the pre-conversion essentially make these files unsuitable for professional TV re-broadcasting.


Question: Colors are typically broadcast using YUV and then converted to what?

Answer: a RGB color space

There is no single standard for HDTV color support. Colors are typically broadcast using a (10-bits per channel) YUV color space <hl> but, depending on the underlying image generating technologies of the receiver, are then subsequently converted to a RGB color space using standardized algorithms. <hl> When transmitted directly through the Internet, the colors are typically pre-converted to 8-bit RGB channels for additional storage savings with the assumption that it will only be viewed only on a (sRGB) computer screen. As an added benefit to the original broadcasters, the losses of the pre-conversion essentially make these files unsuitable for professional TV re-broadcasting.

There is no single standard for HDTV color support. Colors are typically broadcast using a (10-bits per channel) YUV color space but, depending on the underlying image generating technologies of the receiver, are then subsequently converted to <hl> a RGB color space <hl> using standardized algorithms. When transmitted directly through the Internet, the colors are typically pre-converted to 8-bit RGB channels for additional storage savings with the assumption that it will only be viewed only on a (sRGB) computer screen. As an added benefit to the original broadcasters, the losses of the pre-conversion essentially make these files unsuitable for professional TV re-broadcasting.


Question: When transmitted over the internet, colors are typically to what?

Answer: 8-bit RGB channels

There is no single standard for HDTV color support. Colors are typically broadcast using a (10-bits per channel) YUV color space but, depending on the underlying image generating technologies of the receiver, are then subsequently converted to a RGB color space using standardized algorithms. <hl> When transmitted directly through the Internet, the colors are typically pre-converted to 8-bit RGB channels for additional storage savings with the assumption that it will only be viewed only on a (sRGB) computer screen. <hl> As an added benefit to the original broadcasters, the losses of the pre-conversion essentially make these files unsuitable for professional TV re-broadcasting.

There is no single standard for HDTV color support. Colors are typically broadcast using a (10-bits per channel) YUV color space but, depending on the underlying image generating technologies of the receiver, are then subsequently converted to a RGB color space using standardized algorithms. When transmitted directly through the Internet, the colors are typically pre-converted to <hl> 8-bit RGB channels <hl> for additional storage savings with the assumption that it will only be viewed only on a (sRGB) computer screen. As an added benefit to the original broadcasters, the losses of the pre-conversion essentially make these files unsuitable for professional TV re-broadcasting.


Question: What assumption is made with colors being transmitted over the internet?

Answer: it will only be viewed only on a (sRGB) computer screen

There is no single standard for HDTV color support. Colors are typically broadcast using a (10-bits per channel) YUV color space but, depending on the underlying image generating technologies of the receiver, are then subsequently converted to a RGB color space using standardized algorithms. <hl> When transmitted directly through the Internet, the colors are typically pre-converted to 8-bit RGB channels for additional storage savings with the assumption that it will only be viewed only on a (sRGB) computer screen . <hl> As an added benefit to the original broadcasters, the losses of the pre-conversion essentially make these files unsuitable for professional TV re-broadcasting.

There is no single standard for HDTV color support. Colors are typically broadcast using a (10-bits per channel) YUV color space but, depending on the underlying image generating technologies of the receiver, are then subsequently converted to a RGB color space using standardized algorithms. When transmitted directly through the Internet, the colors are typically pre-converted to 8-bit RGB channels for additional storage savings with the assumption that <hl> it will only be viewed only on a (sRGB) computer screen <hl>. As an added benefit to the original broadcasters, the losses of the pre-conversion essentially make these files unsuitable for professional TV re-broadcasting.

When transmitted directly through the Internet, the colors are typically pre-converted to 8-bit RGB channels for additional storage savings with the assumption that <hl> it will only be viewed only on a (sRGB) computer screen <hl> .


Question: At least how many times more linear resolution does HDTV have over SDTV?

At a minimum, HDTV has twice the linear resolution of standard-definition television (SDTV), thus showing greater detail than either analog television or regular DVD. The technical standards for broadcasting HDTV also handle the 16:9 aspect ratio images without using letterboxing or anamorphic stretching, thus increasing the effective image resolution.

Answer: twice

<hl> At a minimum, HDTV has twice the linear resolution of standard-definition television (SDTV), thus showing greater detail than either analog television or regular DVD. <hl> The technical standards for broadcasting HDTV also handle the 16:9 aspect ratio images without using letterboxing or anamorphic stretching, thus increasing the effective image resolution.

At a minimum, HDTV has <hl> twice <hl> the linear resolution of standard-definition television (SDTV), thus showing greater detail than either analog television or regular DVD. The technical standards for broadcasting HDTV also handle the 16:9 aspect ratio images without using letterboxing or anamorphic stretching, thus increasing the effective image resolution.


Question: HDTV increases the effective image resolution by not using what?

Answer: letterboxing or anamorphic stretching

At a minimum, HDTV has twice the linear resolution of standard-definition television (SDTV), thus showing greater detail than either analog television or regular DVD. <hl> The technical standards for broadcasting HDTV also handle the 16:9 aspect ratio images without using letterboxing or anamorphic stretching , thus increasing the effective image resolution. <hl>

At a minimum, HDTV has twice the linear resolution of standard-definition television (SDTV), thus showing greater detail than either analog television or regular DVD. The technical standards for broadcasting HDTV also handle the 16:9 aspect ratio images without using <hl> letterboxing or anamorphic stretching <hl>, thus increasing the effective image resolution.

The technical standards for broadcasting HDTV also handle the 16:9 aspect ratio images without using <hl> letterboxing or anamorphic stretching <hl> , thus increasing the effective image resolution.


Question: What does SDTV stand for?

Answer: standard-definition television

<hl> At a minimum, HDTV has twice the linear resolution of standard-definition television (SDTV), thus showing greater detail than either analog television or regular DVD. <hl> The technical standards for broadcasting HDTV also handle the 16:9 aspect ratio images without using letterboxing or anamorphic stretching, thus increasing the effective image resolution.

At a minimum, HDTV has twice the linear resolution of <hl> standard-definition television <hl> (SDTV), thus showing greater detail than either analog television or regular DVD. The technical standards for broadcasting HDTV also handle the 16:9 aspect ratio images without using letterboxing or anamorphic stretching, thus increasing the effective image resolution.


Question: HDTV handles what aspect ratio without using letterboxing or anamorphic stretching?

Answer: 16:9

At a minimum, HDTV has twice the linear resolution of standard-definition television (SDTV), thus showing greater detail than either analog television or regular DVD. <hl> The technical standards for broadcasting HDTV also handle the 16:9 aspect ratio images without using letterboxing or anamorphic stretching, thus increasing the effective image resolution. <hl>

At a minimum, HDTV has twice the linear resolution of standard-definition television (SDTV), thus showing greater detail than either analog television or regular DVD. The technical standards for broadcasting HDTV also handle the <hl> 16:9 <hl> aspect ratio images without using letterboxing or anamorphic stretching, thus increasing the effective image resolution.


Question: If more bandwith is required than is available, a very high resolution source my not be able to transmitted without loss of what?

A very high resolution source may require more bandwidth than available in order to be transmitted without loss of fidelity. The lossy compression that is used in all digital HDTV storage and transmission systems will distort the received picture, when compared to the uncompressed source.

Answer: fidelity

<hl> A very high resolution source may require more bandwidth than available in order to be transmitted without loss of fidelity . <hl> The lossy compression that is used in all digital HDTV storage and transmission systems will distort the received picture, when compared to the uncompressed source.

A very high resolution source may require more bandwidth than available in order to be transmitted without loss of <hl> fidelity <hl>. The lossy compression that is used in all digital HDTV storage and transmission systems will distort the received picture, when compared to the uncompressed source.

A very high resolution source may require more bandwidth than available in order to be transmitted without loss of <hl> fidelity <hl> .


Question: The compression used in all HDTV storage and transmission systems will do what if resolution is too high?

Answer: distort the received picture

A very high resolution source may require more bandwidth than available in order to be transmitted without loss of fidelity. The lossy compression that is used in all digital HDTV storage and transmission systems <hl> will distort the received picture , when compared to the uncompressed source. <hl>

A very high resolution source may require more bandwidth than available in order to be transmitted without loss of fidelity. The lossy compression that is used in all digital HDTV storage and transmission systems will <hl> distort the received picture <hl>, when compared to the uncompressed source.

will <hl> distort the received picture <hl> , when compared to the uncompressed source.


Question: A very high resolution source may require more of what?

Answer: bandwidth

<hl> A very high resolution source may require more bandwidth than available in order to be transmitted without loss of fidelity. <hl> The lossy compression that is used in all digital HDTV storage and transmission systems will distort the received picture, when compared to the uncompressed source.

A very high resolution source may require more <hl> bandwidth <hl> than available in order to be transmitted without loss of fidelity. The lossy compression that is used in all digital HDTV storage and transmission systems will distort the received picture, when compared to the uncompressed source.


Question: A broadcasts optimum format depends on what two things?

The optimum format for a broadcast depends upon the type of videographic recording medium used and the image's characteristics. For best fidelity to the source the transmitted field ratio, lines, and frame rate should match those of the source.

Answer: the type of videographic recording medium used and the image's characteristics

<hl> The optimum format for a broadcast depends upon the type of videographic recording medium used and the image's characteristics . <hl> For best fidelity to the source the transmitted field ratio, lines, and frame rate should match those of the source.

The optimum format for a broadcast depends upon <hl> the type of videographic recording medium used and the image's characteristics <hl>. For best fidelity to the source the transmitted field ratio, lines, and frame rate should match those of the source.

The optimum format for a broadcast depends upon <hl> the type of videographic recording medium used and the image's characteristics <hl> .


Question: For best fidelity to the source, what three things should match the source?

Answer: transmitted field ratio, lines, and frame rate

The optimum format for a broadcast depends upon the type of videographic recording medium used and the image's characteristics. <hl> For best fidelity to the source the transmitted field ratio, lines, and frame rate should match those of the source. <hl>

The optimum format for a broadcast depends upon the type of videographic recording medium used and the image's characteristics. For best fidelity to the source the <hl> transmitted field ratio, lines, and frame rate <hl> should match those of the source.


Question: For best fidelity to the source, the transmitted field ratio, lines, and frame rate should match what?

Answer: those of the source

The optimum format for a broadcast depends upon the type of videographic recording medium used and the image's characteristics. <hl> For best fidelity to the source the transmitted field ratio, lines, and frame rate should match those of the source . <hl>

The optimum format for a broadcast depends upon the type of videographic recording medium used and the image's characteristics. For best fidelity to the source the transmitted field ratio, lines, and frame rate should match <hl> those of the source <hl>.

For best fidelity to the source the transmitted field ratio, lines, and frame rate should match <hl> those of the source <hl> .


Question: The type of videographic recording medium used and the image's characteristics determine what?

Answer: The optimum format for a broadcast

<hl> The optimum format for a broadcast depends upon the type of videographic recording medium used and the image's characteristics. <hl> For best fidelity to the source the transmitted field ratio, lines, and frame rate should match those of the source.

<hl> The optimum format for a broadcast <hl> depends upon the type of videographic recording medium used and the image's characteristics. For best fidelity to the source the transmitted field ratio, lines, and frame rate should match those of the source.


Question: PAL, SECAM, and NTSC frame rates apply to what definition televisions?

PAL, SECAM and NTSC frame rates technically apply only to analogue standard definition television, not to digital or high definition broadcasts. However, with the roll out of digital broadcasting, and later HDTV broadcasting, countries retained their heritage systems. HDTV in former PAL and SECAM countries operates at a frame rate of 25/50 Hz, while HDTV in former NTSC countries operates at 30/60 Hz.

Answer: analogue standard

<hl> PAL, SECAM and NTSC frame rates technically apply only to analogue standard definition television, not to digital or high definition broadcasts. <hl> However, with the roll out of digital broadcasting, and later HDTV broadcasting, countries retained their heritage systems. HDTV in former PAL and SECAM countries operates at a frame rate of 25/50 Hz, while HDTV in former NTSC countries operates at 30/60 Hz.

PAL, SECAM and NTSC frame rates technically apply only to <hl> analogue standard <hl> definition television, not to digital or high definition broadcasts. However, with the roll out of digital broadcasting, and later HDTV broadcasting, countries retained their heritage systems. HDTV in former PAL and SECAM countries operates at a frame rate of 25/50 Hz, while HDTV in former NTSC countries operates at 30/60 Hz.


Question: PAL, SECAM, and NTSC frame rates do not apply to what broadcasts?

Answer: digital or high definition

<hl> PAL, SECAM and NTSC frame rates technically apply only to analogue standard definition television, not to digital or high definition broadcasts. <hl> However, with the roll out of digital broadcasting, and later HDTV broadcasting, countries retained their heritage systems. HDTV in former PAL and SECAM countries operates at a frame rate of 25/50 Hz, while HDTV in former NTSC countries operates at 30/60 Hz.

PAL, SECAM and NTSC frame rates technically apply only to analogue standard definition television, not to <hl> digital or high definition <hl> broadcasts. However, with the roll out of digital broadcasting, and later HDTV broadcasting, countries retained their heritage systems. HDTV in former PAL and SECAM countries operates at a frame rate of 25/50 Hz, while HDTV in former NTSC countries operates at 30/60 Hz.


Question: In former PAL and SECAM countries, what frame rate does HDTV operate at?

Answer: 25/50 Hz

PAL, SECAM and NTSC frame rates technically apply only to analogue standard definition television, not to digital or high definition broadcasts. However, with the roll out of digital broadcasting, and later HDTV broadcasting, countries retained their heritage systems. <hl> HDTV in former PAL and SECAM countries operates at a frame rate of 25/50 Hz , while HDTV in former NTSC countries operates at 30/60 Hz. <hl>

PAL, SECAM and NTSC frame rates technically apply only to analogue standard definition television, not to digital or high definition broadcasts. However, with the roll out of digital broadcasting, and later HDTV broadcasting, countries retained their heritage systems. HDTV in former PAL and SECAM countries operates at a frame rate of <hl> 25/50 Hz <hl>, while HDTV in former NTSC countries operates at 30/60 Hz.

HDTV in former PAL and SECAM countries operates at a frame rate of <hl> 25/50 Hz <hl> , while HDTV in former NTSC countries operates at 30/60 Hz.


Question: In former NTSC countries, what frame rate does HDTV operate at?

Answer: 30/60 Hz

PAL, SECAM and NTSC frame rates technically apply only to analogue standard definition television, not to digital or high definition broadcasts. However, with the roll out of digital broadcasting, and later HDTV broadcasting, countries retained their heritage systems. <hl> HDTV in former PAL and SECAM countries operates at a frame rate of 25/50 Hz, while HDTV in former NTSC countries operates at 30/60 Hz . <hl>

PAL, SECAM and NTSC frame rates technically apply only to analogue standard definition television, not to digital or high definition broadcasts. However, with the roll out of digital broadcasting, and later HDTV broadcasting, countries retained their heritage systems. HDTV in former PAL and SECAM countries operates at a frame rate of 25/50 Hz, while HDTV in former NTSC countries operates at <hl> 30/60 Hz <hl>.

HDTV in former PAL and SECAM countries operates at a frame rate of 25/50 Hz, while HDTV in former NTSC countries operates at <hl> 30/60 Hz <hl> .


Question: At what rate is standard 35mm photographic film exposed and projected?

Standard 35mm photographic film used for cinema projection has a much higher image resolution than HDTV systems, and is exposed and projected at a rate of 24 frames per second (frame/s). To be shown on standard television, in PAL-system countries, cinema film is scanned at the TV rate of 25 frame/s, causing a speedup of 4.1 percent, which is generally considered acceptable. In NTSC-system countries, the TV scan rate of 30 frame/s would cause a perceptible speedup if the same were attempted, and the necessary correction is performed by a technique called 3:2 Pulldown: Over each successive pair of film frames, one is held for three video fields (1/20 of a second) and the next is held for two video fields (1/30 of a second), giving a total time for the two frames of 1/12 of a second and thus achieving the correct average film frame rate.

Answer: 24 frames per second

<hl> Standard 35mm photographic film used for cinema projection has a much higher image resolution than HDTV systems, and is exposed and projected at a rate of 24 frames per second (frame/s). <hl> To be shown on standard television, in PAL-system countries, cinema film is scanned at the TV rate of 25 frame/s, causing a speedup of 4.1 percent, which is generally considered acceptable. In NTSC-system countries, the TV scan rate of 30 frame/s would cause a perceptible speedup if the same were attempted, and the necessary correction is performed by a technique called 3:2 Pulldown: Over each successive pair of film frames, one is held for three video fields (1/20 of a second) and the next is held for two video fields (1/30 of a second), giving a total time for the two frames of 1/12 of a second and thus achieving the correct average film frame rate.

Standard 35mm photographic film used for cinema projection has a much higher image resolution than HDTV systems, and is exposed and projected at a rate of <hl> 24 frames per second <hl> (frame/s). To be shown on standard television, in PAL-system countries, cinema film is scanned at the TV rate of 25 frame/s, causing a speedup of 4.1 percent, which is generally considered acceptable. In NTSC-system countries, the TV scan rate of 30 frame/s would cause a perceptible speedup if the same were attempted, and the necessary correction is performed by a technique called 3:2 Pulldown: Over each successive pair of film frames, one is held for three video fields (1/20 of a second) and the next is held for two video fields (1/30 of a second), giving a total time for the two frames of 1/12 of a second and thus achieving the correct average film frame rate.


Question: To be shown on SDTV in PAL-system countries, at what rate is cinema film scanned?

Answer: 25 frame/s

Standard 35mm photographic film used for cinema projection has a much higher image resolution than HDTV systems, and is exposed and projected at a rate of 24 frames per second (frame/s). <hl> To be shown on standard television, in PAL-system countries, cinema film is scanned at the TV rate of 25 frame/s , causing a speedup of 4.1 percent, which is generally considered acceptable. <hl> In NTSC-system countries, the TV scan rate of 30 frame/s would cause a perceptible speedup if the same were attempted, and the necessary correction is performed by a technique called 3:2 Pulldown: Over each successive pair of film frames, one is held for three video fields (1/20 of a second) and the next is held for two video fields (1/30 of a second), giving a total time for the two frames of 1/12 of a second and thus achieving the correct average film frame rate.

Standard 35mm photographic film used for cinema projection has a much higher image resolution than HDTV systems, and is exposed and projected at a rate of 24 frames per second (frame/s). To be shown on standard television, in PAL-system countries, cinema film is scanned at the TV rate of <hl> 25 frame/s <hl>, causing a speedup of 4.1 percent, which is generally considered acceptable. In NTSC-system countries, the TV scan rate of 30 frame/s would cause a perceptible speedup if the same were attempted, and the necessary correction is performed by a technique called 3:2 Pulldown: Over each successive pair of film frames, one is held for three video fields (1/20 of a second) and the next is held for two video fields (1/30 of a second), giving a total time for the two frames of 1/12 of a second and thus achieving the correct average film frame rate.

To be shown on standard television, in PAL-system countries, cinema film is scanned at the TV rate of <hl> 25 frame/s <hl> , causing a speedup of 4.1 percent, which is generally considered acceptable.


Question: The technique in which with successive pair of film frames, one is held for three video fields, and the next is held for two, is called what?

Answer: 3:2 Pulldown

Standard 35mm photographic film used for cinema projection has a much higher image resolution than HDTV systems, and is exposed and projected at a rate of 24 frames per second (frame/s). To be shown on standard television, in PAL-system countries, cinema film is scanned at the TV rate of 25 frame/s, causing a speedup of 4.1 percent, which is generally considered acceptable. <hl> In NTSC-system countries, the TV scan rate of 30 frame/s would cause a perceptible speedup if the same were attempted, and the necessary correction is performed by a technique called 3:2 Pulldown : Over each successive pair of film frames, one is held for three video fields (1/20 of a second) and the next is held for two video fields (1/30 of a second), giving a total time for the two frames of 1/12 of a second and thus achieving the correct average film frame rate. <hl>

Standard 35mm photographic film used for cinema projection has a much higher image resolution than HDTV systems, and is exposed and projected at a rate of 24 frames per second (frame/s). To be shown on standard television, in PAL-system countries, cinema film is scanned at the TV rate of 25 frame/s, causing a speedup of 4.1 percent, which is generally considered acceptable. In NTSC-system countries, the TV scan rate of 30 frame/s would cause a perceptible speedup if the same were attempted, and the necessary correction is performed by a technique called <hl> 3:2 Pulldown <hl>: Over each successive pair of film frames, one is held for three video fields (1/20 of a second) and the next is held for two video fields (1/30 of a second), giving a total time for the two frames of 1/12 of a second and thus achieving the correct average film frame rate.

In NTSC-system countries, the TV scan rate of 30 frame/s would cause a perceptible speedup if the same were attempted, and the necessary correction is performed by a technique called <hl> 3:2 Pulldown <hl> : Over each successive pair of film frames, one is held for three video fields (1/20 of a second) and the next is held for two video fields (1/30 of a second), giving a total time for the two frames of 1/12 of a second and thus achieving the correct average film frame rate.


Question: The 3:2 Pulldown techniques gives what total time for two frames?

Answer: 1/12 of a second

Standard 35mm photographic film used for cinema projection has a much higher image resolution than HDTV systems, and is exposed and projected at a rate of 24 frames per second (frame/s). To be shown on standard television, in PAL-system countries, cinema film is scanned at the TV rate of 25 frame/s, causing a speedup of 4.1 percent, which is generally considered acceptable. <hl> In NTSC-system countries, the TV scan rate of 30 frame/s would cause a perceptible speedup if the same were attempted, and the necessary correction is performed by a technique called 3:2 Pulldown: Over each successive pair of film frames, one is held for three video fields (1/20 of a second) and the next is held for two video fields (1/30 of a second), giving a total time for the two frames of 1/12 of a second and thus achieving the correct average film frame rate. <hl>

Standard 35mm photographic film used for cinema projection has a much higher image resolution than HDTV systems, and is exposed and projected at a rate of 24 frames per second (frame/s). To be shown on standard television, in PAL-system countries, cinema film is scanned at the TV rate of 25 frame/s, causing a speedup of 4.1 percent, which is generally considered acceptable. In NTSC-system countries, the TV scan rate of 30 frame/s would cause a perceptible speedup if the same were attempted, and the necessary correction is performed by a technique called 3:2 Pulldown: Over each successive pair of film frames, one is held for three video fields (1/20 of a second) and the next is held for two video fields (1/30 of a second), giving a total time for the two frames of <hl> 1/12 of a second <hl> and thus achieving the correct average film frame rate.


Question: What is achieved by the 3:2 Pulldown technique producing a total time of 1/12 of a second for two frames?

Answer: the correct average film frame rate

Standard 35mm photographic film used for cinema projection has a much higher image resolution than HDTV systems, and is exposed and projected at a rate of 24 frames per second (frame/s). To be shown on standard television, in PAL-system countries, cinema film is scanned at the TV rate of 25 frame/s, causing a speedup of 4.1 percent, which is generally considered acceptable. <hl> In NTSC-system countries, the TV scan rate of 30 frame/s would cause a perceptible speedup if the same were attempted, and the necessary correction is performed by a technique called 3:2 Pulldown: Over each successive pair of film frames, one is held for three video fields (1/20 of a second) and the next is held for two video fields (1/30 of a second), giving a total time for the two frames of 1/12 of a second and thus achieving the correct average film frame rate . <hl>

Standard 35mm photographic film used for cinema projection has a much higher image resolution than HDTV systems, and is exposed and projected at a rate of 24 frames per second (frame/s). To be shown on standard television, in PAL-system countries, cinema film is scanned at the TV rate of 25 frame/s, causing a speedup of 4.1 percent, which is generally considered acceptable. In NTSC-system countries, the TV scan rate of 30 frame/s would cause a perceptible speedup if the same were attempted, and the necessary correction is performed by a technique called 3:2 Pulldown: Over each successive pair of film frames, one is held for three video fields (1/20 of a second) and the next is held for two video fields (1/30 of a second), giving a total time for the two frames of 1/12 of a second and thus achieving <hl> the correct average film frame rate <hl>.

In NTSC-system countries, the TV scan rate of 30 frame/s would cause a perceptible speedup if the same were attempted, and the necessary correction is performed by a technique called 3:2 Pulldown: Over each successive pair of film frames, one is held for three video fields (1/20 of a second) and the next is held for two video fields (1/30 of a second), giving a total time for the two frames of 1/12 of a second and thus achieving <hl> the correct average film frame rate <hl> .


Question: What two formats are typically used to recorde non-cinematic HDTV video intended for broadcast?

Non-cinematic HDTV video recordings intended for broadcast are typically recorded either in 720p or 1080i format as determined by the broadcaster. 720p is commonly used for Internet distribution of high-definition video, because most computer monitors operate in progressive-scan mode. 720p also imposes less strenuous storage and decoding requirements compared to both 1080i and 1080p. 1080p/24, 1080i/30, 1080i/25, and 720p/30 is most often used on Blu-ray Disc.

Answer: 720p or 1080i

<hl> Non-cinematic HDTV video recordings intended for broadcast are typically recorded either in 720p or 1080i format as determined by the broadcaster. <hl> 720p is commonly used for Internet distribution of high-definition video, because most computer monitors operate in progressive-scan mode. 720p also imposes less strenuous storage and decoding requirements compared to both 1080i and 1080p. 1080p/24, 1080i/30, 1080i/25, and 720p/30 is most often used on Blu-ray Disc.

Non-cinematic HDTV video recordings intended for broadcast are typically recorded either in <hl> 720p or 1080i <hl> format as determined by the broadcaster. 720p is commonly used for Internet distribution of high-definition video, because most computer monitors operate in progressive-scan mode. 720p also imposes less strenuous storage and decoding requirements compared to both 1080i and 1080p. 1080p/24, 1080i/30, 1080i/25, and 720p/30 is most often used on Blu-ray Disc.


Question: Which format is typically used for internet distribution of HD video?

Answer: 720p

<hl> Non-cinematic HDTV video recordings intended for broadcast are typically recorded either in 720p or 1080i format as determined by the broadcaster. <hl> 720p is commonly used for Internet distribution of high-definition video, because most computer monitors operate in progressive-scan mode. 720p also imposes less strenuous storage and decoding requirements compared to both 1080i and 1080p. 1080p/24, 1080i/30, 1080i/25, and 720p/30 is most often used on Blu-ray Disc.

Non-cinematic HDTV video recordings intended for broadcast are typically recorded either in <hl> 720p <hl> or 1080i format as determined by the broadcaster. 720p is commonly used for Internet distribution of high-definition video, because most computer monitors operate in progressive-scan mode. 720p also imposes less strenuous storage and decoding requirements compared to both 1080i and 1080p. 1080p/24, 1080i/30, 1080i/25, and 720p/30 is most often used on Blu-ray Disc.


Question: Most computer monitors operate in what mode?

Answer: progressive-scan

Non-cinematic HDTV video recordings intended for broadcast are typically recorded either in 720p or 1080i format as determined by the broadcaster. <hl> 720p is commonly used for Internet distribution of high-definition video, because most computer monitors operate in progressive-scan mode. <hl> 720p also imposes less strenuous storage and decoding requirements compared to both 1080i and 1080p. 1080p/24, 1080i/30, 1080i/25, and 720p/30 is most often used on Blu-ray Disc.

Non-cinematic HDTV video recordings intended for broadcast are typically recorded either in 720p or 1080i format as determined by the broadcaster. 720p is commonly used for Internet distribution of high-definition video, because most computer monitors operate in <hl> progressive-scan <hl> mode. 720p also imposes less strenuous storage and decoding requirements compared to both 1080i and 1080p. 1080p/24, 1080i/30, 1080i/25, and 720p/30 is most often used on Blu-ray Disc.


Question: 1080i, 1080p, and 720p are often used on what kind of disc.

Answer: Blu-ray

Non-cinematic HDTV video recordings intended for broadcast are typically recorded either in 720p or 1080i format as determined by the broadcaster. 720p is commonly used for Internet distribution of high-definition video, because most computer monitors operate in progressive-scan mode. 720p also imposes less strenuous storage and decoding requirements compared to both 1080i and 1080p. <hl> 1080p/24, 1080i/30, 1080i/25, and 720p/30 is most often used on Blu-ray Disc. <hl>

Non-cinematic HDTV video recordings intended for broadcast are typically recorded either in 720p or 1080i format as determined by the broadcaster. 720p is commonly used for Internet distribution of high-definition video, because most computer monitors operate in progressive-scan mode. 720p also imposes less strenuous storage and decoding requirements compared to both 1080i and 1080p. 1080p/24, 1080i/30, 1080i/25, and 720p/30 is most often used on <hl> Blu-ray <hl> Disc.


Question: In the US, what kind of tuner is needed for residents to receive free, over the air programming?

In the US, residents in the line of sight of television station broadcast antennas can receive free, over the air programming with a television set with an ATSC tuner (most sets sold since 2009 have this). This is achieved with a TV aerial, just as it has been since the 1940s except now the major network signals are broadcast in high definition (ABC, Fox, and Ion Television broadcast at 720p resolution; CBS, My Network TV, NBC, PBS, and The CW at 1080i). As their digital signals more efficiently use the broadcast channel, many broadcasters are adding multiple channels to their signals. Laws about antennas were updated before the change to digital terrestrial broadcasts. These new laws prohibit home owners' associations and city government from banning the installation of antennas.

Answer: ATSC

<hl> In the US, residents in the line of sight of television station broadcast antennas can receive free, over the air programming with a television set with an ATSC tuner (most sets sold since 2009 have this). <hl> This is achieved with a TV aerial, just as it has been since the 1940s except now the major network signals are broadcast in high definition (ABC, Fox, and Ion Television broadcast at 720p resolution; CBS, My Network TV, NBC, PBS, and The CW at 1080i). As their digital signals more efficiently use the broadcast channel, many broadcasters are adding multiple channels to their signals. Laws about antennas were updated before the change to digital terrestrial broadcasts. These new laws prohibit home owners' associations and city government from banning the installation of antennas.

In the US, residents in the line of sight of television station broadcast antennas can receive free, over the air programming with a television set with an <hl> ATSC <hl> tuner (most sets sold since 2009 have this). This is achieved with a TV aerial, just as it has been since the 1940s except now the major network signals are broadcast in high definition (ABC, Fox, and Ion Television broadcast at 720p resolution; CBS, My Network TV, NBC, PBS, and The CW at 1080i). As their digital signals more efficiently use the broadcast channel, many broadcasters are adding multiple channels to their signals. Laws about antennas were updated before the change to digital terrestrial broadcasts. These new laws prohibit home owners' associations and city government from banning the installation of antennas.