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Learn Making sense out o complex Pro A/V and Broadcast technologies.

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Advanced Video Scaling

Easy Explanations o Inverse 3:2 Pulldown,

Anamorphic Scaling and Other Conusing Concepts

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October 8, 2009



3Advanced Video Scaling

Introduction

Video scaling. It’s hard to believe that only a ew years back, nobody involved

in the Proessional A/V or Home Theater markets had even heard o this term.

Line doubling and line quadrupling were the standard methods o increasing

the resolution o traditional video images, and the concept o “video scaling”as an alternative was strange and new.

What a dierence a ew years makes! Today, video scaling has become its

own, well-respected category o product, recognized or its many advantages

over line doubling and quadrupling. In act, the technology has become so

mainstream and accepted that many display manuacturers have begun

integrating scaling capabilities right into their units. As a result, the need or

external scalers – once thought to be a critical add-on when designing a topquality display system – has become “less obvious.” Ater all, i a projector or

display can internally scale video input to match its own native resolution

(H&V pixel count), many customers, dealers and system integrators are having

a hard time justiying the added expense o purchasing or speciying an

external scaler.

They may want to rethink this position. This is because a good scaler is more

than just a ancy “upconverter,” designed to change resolutions rom lower tohigher. It is also a sophisticated video processor, with the ability to make

dicult adjustments or motion, conversion rom lm to video and changing

aspect ratios. Without these capabilities, simple “scaling” o an image may

result in less visible ficker or horizontal lines, but true, lm-like quality cannot

be achieved. And, with the introduction o HDTV, a whole new set o

situations arises in which proper video scaling AND processing becomes

critical or creating a top-quality viewing experience.

This guide assumes you are amiliar with the basics o video scaling what it

is and how it works. I you are not, we suggest you rst read our eduGuide

entitled “Guide to Video Scaling.” You will need to understand the basics o the

technology in order to conceptualize the more advanced issues discussed in

this eduGuide.

Motion Compensation

Many challenges arise in the conversion process rom standard TV video to

non-interlaced, high-resolution, computer-quality or HDTV-quality video.

Moving objects are one o those challenges. The issue arises not because o

the motion itsel, but because o the way motion is recorded and captured in

traditional interlaced video, and then what happens to it when it is then

converted to a non-interlaced ormat.



4 Advanced Video Scaling

As discussed in “Guide to Video Scaling,” each rame o traditional video is

made up o two elds: odd lines and even lines. When a rame is “painted”

onto a TV or video screen, rst the odd lines appear, rom let to right, top to

bottom, and then the even lines appear in a second pass, again rom let to

right, top to bottom, 1/60th o a second later1. This is not only the way video

is displayed; it is also the way it is recorded. In other words, i a video camerarecords the motion o a fying bird, in any given rame o the video, the bird is

located at a slightly dierent location in the odd eld than in the even eld.

Now imagine what happens when the odd lines and even lines get combined

into a single rame, as they do in the process o video scaling.

The edges o the bird are going to appear staggered, or jagged. (Thisphenomenon is oten reerred to as “the jaggies.”) It is the video processingunction o a scaler to smooth out these edges, so that within each ull rameo video, the bird appears at one, distinct location. At the same time, thescaler must also make sure that, as a result o the video processing, the edges

o the bird do not appear blurred, that its motion across the screen remainssmooth and realistic, and that other, static images within the rame (roo tops,trees) are not aected by any manipulations done to the moving image (thebird). A good video scaler uses a variety o video processing and “motioncompensation” techniques to achieve the desired eect.

Static Mesh Processing

Static Mesh Processing is the most basic type o conversion rom interlaced

to non-interlaced video. When employing static mesh processing, a scalermerges the odd and even elds o a video rame into a single, combinedimage without any regard or movement or discrepancies between theodd and even elds. When applied to static images, this type o processinggenerates the most crisp details and eliminates any jitter – particularly withthin horizontal lines. However, it does nothing to eliminate “the jaggies.” Asa result, static mesh processing is most eectively used when combined with

Field 1

Superimposed

over Field 2

Field 1

How the bird

might appear

due to dier-

ent placement

in odd and

even elds.(exaggerated)

Field 2




other types o video processing and selectively applied only to those parts o the video rame that show little or no motion.

Vertical Temporal Processing

Vertical Temporal (VT) processing is a technique intended or use whenprocessing moving images. As in static mesh processing, a scaler employingVTprocessing combines the odd and even elds into a single rame. However,using the “bird” example, as the elds are combined, the scaler averagestogether the points that make up the bird’s jagged border and creates a new,smooth edge or the moving bird, midway between where it appears in theodd and even elds. While a good quality scaler is able to do this with minimalblurring or loss o detail, there is obviously some compromising made to theoriginal video signal. Thereore, as with static mesh processing, it is best when

VT processing is applied selectively. A scaler that eectively combines staticmesh and VT processing, using each where most appropriate, will provide themost satisactory picture quality overall.

Adaptive Frame Processing – for Video that Originated as Film

(Inverse 3:2 and 2:2 Pulldown)

Perhaps the most popular application or high-resolution displays is creating a“theater-like” experience or viewing movies recorded to videotape or DVD.

The conversion o lm to standard video creates a unique set o conditions orwhich scalers with top-quality motion compensation processing can beparticularly helpul. This is because traditional lm has many properties thatare qualitatively dierent than standard video (NTSC or PAL).

First o all, unlike video, each rame o lm represents a unique moment intime. There are no separate “odd and even” elds, nor is there any “scanning”o the image let to right, top to bottom. Each rame is a static, completesnapshot o what is happening at a specic moment.

Secondly, lm is recorded and played back at a dierent speed than video. Amovie camera shoots 24 rames per second, and the lm plays back at a speedo 24 Hz. By comparison, there are 30 rames (60 elds) per second in NTSCvideo and 25 rames (50 elds) per second in PAL video.Thirdly, lm is generally shot at a dierent aspect ratio than TV video.Movies shot or the theater are generally in a wide screen ormat while TVscreens and traditional video sources have a more square-shaped, 4:3 aspectratio. We’ll address this issue in the next section o this booklet. For now, let’s

ocus exclusively on the previous two points relating to motion and timing.

1 NTSC, the standard used in N. America and Japan, has a nominal reresh rate o 60Hz. PAL, the standard used in most o the remainder o the world, has a reresh rate o 50Hz. In this case, the second eld appears 1/50th o a second aterthe rst eld.




Converting Film to Video:

The ollowing drawing represents 8 rames o lm. Each rame, A through H,depicts a precise moment in time at which the image in the rame wascaptured.

I we wanted to convert this lm to a standard “video” image, such as we use

on videotape, the most obvious way to imagine doing it would be like this:

In the diagram, each rame o lm has been converted to two elds o video –

made up o odd and even lines. The two elds, when combined, create ullrames o video, each one corresponding to one o the original rames o lm.

Converting lm to video in this matter would be possible, but a problemwould arise when you went to play back the videotape. The movie would runway too ast. This is because the original lm was recorded at 24 rames persecond, while NTSC video plays at 30 rames per second. This means that onehour o the original movie would play back in only 48 minutes! (In Europeand other places that use the PAL standard, the problem would not be as

noticeable. PAL video runs at a speed o 25 rames per second, so one hour o original lm would play back on videotape in about 57 ½ minutes.) Clearly,the dierence in speed between original lm and NTSC is not acceptable.Thereore, an additional step, beyond the process shown in the previousdiagram, must occur in order to create a satisactory conversion rom lm tovideo.

A B C D E F G H

A B C D E F G H

A C E G

FDB H




Basically, we need to calculate how many elds o video we should createrom each original lm rame so that when the video plays back at its correctspeed o 30 rames per second (60 elds per second), the movie appears torun at the correct speed. We can calculate this as ollows:

1) I the original lm runs at a speed o 24 rames per second, then eachlm rame is intended to display or 1/24th o a second, or .041666seconds. (1 second/24 rames = .041666)

2) In NTSC video, which runs at a speed o 30 rames per second2, eachrame o video displays or 1/30th (.0333) o a second.

Furthermore, since each rame is made up o two elds, we can calculatethat each eld appears or hal that amount o time, or 1/60th (.01666)

o a second.

3) To calculate how many elds o video should be used to represent eachrame o lm, we simply divide 1/24th (the speed o each lm rame) by1/60th (the speed o each video eld).

1/24 ÷ 1/60 = 60 ÷ 24 = 2.5 or .041666 ÷ .01666 = 2.5

So, in order to make the original lm appear to run at the correct speed when

converted to NTSC video, we need to make 2 ½ elds o video or each rameo lm.

This, unortunately, is not possible. There is no such thing as a hal eld o video. However, what we can do instead is create 5 elds o video or each2 rames o lm. We can do this by creating 3 elds rom the rst lm rame,and then 2 elds rom the next lm rame, and just repeating this process overand over.

A B C D E F G H

3 Fields

}

2 Fields

}

3 Fields

}

2 Fields

}

3 Fields

}

2 Fields

}

3 Fields

}

2 Fields

}




This process o converting one rame o lm to 3 elds o video and the nextlm rame to 2 elds o video is known as “3:2 Pulldown.” For a video scaler todo the best possible job o scaling and processing video that was created viathis method, the scaler should oer a processing technique called “Inverse 3:2Pulldown.” Inverse 3:2 Pulldown, sometimes also reerred to as an “adaptive

rame mode,” is designed specically to address the properties unique toNTSC video originating rom lm.

How Does A Scaler Know When To Apply

Inverse 3:2 Pulldown Processing?

A video scaler that oers Inverse 3:2 Pulldown must rst be able to detectthat the video it is processing originated rom lm. It does this by looking orcertain patterns in the way the odd and even elds o video “match up.” Let’s

take a closer look at the elds o video as they would be generated using 3:2Pulldown.

As you can see, or video rames 1, 4 and 5, the odd and even eldscomprising these rames are identical to each other, originating romthe same rame o lm. Video rames 2 and 3, by contrast, have dierentinormation appearing in their odd and even elds, as each eld originatedrom a dierent rame o lm.

When a video scaler detects this repeated, 5-rame pattern o “same, dierent,dierent, same, same…” in the source video it is processing, it knows it islooking at video resulting rom 3:2 Pulldown. In these instances, the scalerperorms best by applying an Inverse 3:2 Pulldown technique.

A B C D

3 Fields

}

2 Fields

}

3 Fields

}

2 Fields

}

A A BC DD

CCA B

1

2

3

4

5

1 Frame Number

Black Letters representOdd Fields

Grey Letters representEven Field

A

A

A diagram illustrating

video frames generated

from 3:2 Pulldown




How Does Inverse 3:2 Pulldown Work?

Inverse 3:2 Pulldown is actually a combination o the same static mesh and

vertical temporal processing techniques described earlier in this booklet. As

previously explained, static mesh is most eective when processing relatively

still images, while vertical temporal processing works best when applied toelds (or portions o elds) that show motion – detected as dierences in the

placement o objects rom the prior eld. What constitutes “Inverse 3:2

Pulldown” is the way these techniques are combined or application to 3:2

Pulldown source material.

Looking at the pattern o “same” and “dierent” elds, we can assume that

when employing Inverse 3:2 Pulldown, static mesh would be applied or

rames 1, 4 and 5, while vertical temporal processing would be applied orelds 2 and 3 (unless no motion was present). Similarly, the scaler would also

look at dierences between elds comprising adjacent rames, and apply the

correct processing technique as appropriate. For example, the second eld

o rame 1 and the rst eld o rame 2 are identical, so static mesh would be

applied at this point. However, as the second eld o rame 4 and the rst eld

o rame 5 are dierent rom each other, vertical temporal processing might

be necessary or this transition.

Obviously, this is a very simplied explanation o how Inverse 3:2 Pulldown

works, but it addresses the basic principles o the process. In short, or original

lm material to appear as lm-like as possible when viewed rom a video

source, a scaler that oers Inverse 3:2 Pulldown or an “adaptive rame mode”

plays a critical role.




Changing Aspect Ratios

In addition to providing superior motion compensation processing, videoscalers also help to maximize the benets that can be derived rom viewingvideo in a widescreen ormat.

Let’s quickly review the basics o aspect ratios – both or video and lm (asmuch o the video we watch originates as lm).

TV Aspect Ratios

Traditional TVs have an aspect ratioo 4:3. In other words, the screenhas a width o 4 units and a height

o 3 units.

These TVs provide the best qualityviewing experience when watchedrom a distance o 8 times theheight o the screen. This is theminimum distance rom the screenat which horizontal lines and ficker,inherent in NTSC and PAL video,

become virtually undetectable.So, or example, when watchinga standard 27 inch TV which hasa screen height o approximately16.2 inches, you should sit almost11 eet rom the TV in order or youreyes to perceive the highest qualitypicture. (16.2 inches x 8 = 129.6inches = 10.8 eet.)

By contrast, an HDTV display has an aspect ratio o 16:9. The origins o this as-pect ratio date back to post WWII, when the Japanese began to develop HDTVtechnology. The goal o this project was to develop a TV standard that wouldprovide viewers with a more lielike, sensory immersing experience.

Part o the solution involved the creation o a wider screen standard thatwould result in a broader viewing eld. The 16:9 shape was ultimately chosenwas because it provided viewers with a 30 degree eld o vision when sitting

at a distance o three screen heights away rom the TV. (Three screen heights,as opposed to eight, was intended to be the ideal distance or viewing HDTV,based on the higher resolution which eliminates ficker and visible horizontallines.)

4 Units

3 Units

Traditional 4:3 Television

16 Units

9 Units

Widescreen 16:9 Television




This 30 degree eld o vision contrasts to only a 10 degree eld provided

by standard 4:3 TVs at the 8x screen height viewing distance.

This inormation may seem a bit extraneous at this point in this guide,but its relevancy will become apparent during our later discussion onanamorphic scaling.

Aspect Ratio of Film

Unlike TV, there are no set standard aspect ratios that lm must conorm to,

although there are certain sizes that are most oten used.

Prior to the early 1950’s, most movies were lmed at an aspect ratio o 1.37:1,which is very close to the 4:3 (1.33:1) aspect ratio o standard television. Inact, it is very likely that during the years in which television technology wasrst developed, the 4:3 aspect ratio o the “little screen” was modeled aterwhat was then the shape o popular “silver screen.” However, today’scinematic productions are most oten lmed in a widescreen ormat.The most common aspect ratio in use today or lm is 1.85:1, but there

are other, requently used ratios as well, including 1.66:1 and 2.35:1.

Obviously, lms recorded to video can be better displayed on new,widescreen HDTV displays that come closer to approximating the lms’original aspect ratio. However, new HDTV displays do not exactly match theproportions o original lm. (HDTV’s 16:9 screen shape is equal to a 1.77:1aspect ratio.) Furthermore, when making any transer o lm to video,traditional NTSC and PAL standards are still used even i the video willultimately be displayed in a widescreen ormat. In other words, lm converted

to video must be displayed within the structure o a 4:3 video rame, even i the video will ultimately be displayed on a 16:9 screen. These incompatibilityissues can be eased through the use a video scaler.

Viewing Distance = Screen Height x 3




Converting Between Aspect Ratios

There are many dierent conversion and display permutations that must beaddressed in a thorough discussion o this topic. Let’s look at each o themindividually.

Displaying Widescreen Images on a 4:3 Screen

Until the majority o us replace our current televisions with new, widescreenmodels, this will continue to be the most common conversion challenge. Bynow, we are all accustomed to viewing some videos, TV shows and evencommercials in the widescreen ormat. In order to t a widescreen image on a4:3 screen, two black bands appear along the top and bottom o the screen,eectively reducing the height o the viewable image so that a widescreen

aspect ratio is achieved. This technique is called letterboxing. Whether thedesired aspect ratio is 16:9, 1.85:1 or even the very wide 2.35:1, the same black banding technique is used. The only change is that the height o the bandsincreases proportionally as the aspect ratio o the viewable image becomes“wider.”

Displaying 4:3 Images on a 16:9 Display

Just as horizontal black bars mustbe used or displaying widescreenimages on a 4:3 screen, verticalblack bars must be used on thesides o the screen to display 4:3images on a widescreen display.Otherwise, the image would appearunnaturally stretched horizontallyto ll the screen.

As the majority o source material currently available or viewing, includingmost TV shows and videotapes, is still provided in a 4:3 ormat, widescreendisplays generally have a built-in eature that allows them to display 4:3 videoin this manner.

Displaying Letterbox Formats on a 4:3 Screen

1.66:1 Viewing Area 16:9 Viewing Area 1.85:1 Viewing Area 2.35:1 Viewing Area

Displaying 4:3 Video on a 16:9 Screen




Displaying Widescreen Images on a 16:9 Display

Displaying widescreen video on a widescreen display would seem to be prettybasic. However, in reality, this is the most conusing conversion challenge withthe most variables to consider.

First o all, remember that the 16:9 widescreen aspect ratio o new HDTVdisplays does not exactly match the most common lm ratios o 1.66:1, 1.85:1or 2.35:1. So, in a technique similar to the letterboxing discussed earlier, black bars can be used to adjust the aspect ratio o the viewable area o the screen.

The exception to this rule is

when the original lm wasshot at a 1.66:1 aspect ratio.In this case, because the 16:9screen has a wider aspectratio than the source material,vertical bars must be used toallow or ull viewing o the1.66:1 image without anydistortion.

Displaying Widescreen Images Using Anamorphic Scaling

Earlier in the booklet, we made the point that HDTV is intended to be viewedrom a relatively close distance; approximately three times the height o thescreen. This is because the wide aspect ratio o HDTV is designed to providethe viewer with a wider angle o viewing that requires the use o moreperipheral vision. Our peripheral vision is highly sensitive to motion and the

viewing experience becomes much more lielike when images on the screenare processed by both our “straight-on” and “peripheral” sight. However, i we are to sit that close to the screen, it is imperative that the quality o thedisplayed image be as crisp and detailed as possible. Any distortions orartiacts will be much more noticeable than i we were sitting eight times thescreen height away rom the display the “traditional” distance we currentlysit or standard 4:3 NTSC or PAL video.

Displaying Film Aspect Ratios on a 16:9 Screen

1.85:1 Viewing Area 2.35:1 Viewing Area

1.66:1 Viewing Area




However, even though many lms are now being provided on DVD inwidescreen ormat, the DVD makers are still orced to conorm with the 4:3standard when making the conversion rom lm to video. This is becausealmost all consumer level DVD players can only read and process standard 4:3video in traditional NTSC, PAL or SECAM ormats. While the most obvious way

to record these DVDs would be using the letterbox techniques just described,there is another method, called anamorphic scaling, which provides morevertical detail o the original image to be recorded and thereore allows wi-descreen displays to provide a higher quality output that shows the director’soriginal intent.

First let’s look at what happens i we just use standard letterboxing to recorda wide screen lm to video. We’ll use NTSC or this example, but the samepoints pertain or PAL and SECAM video using slightly dierent math calcula-

tions. NTSC video has 483 visible lines. When widescreen images are recordedto video using letterbox ormatting, the black bars at the top and bottom o the display take up some o these 483 lines, and only the remaining lines areused to display inormation about the image.

When these images are ed to a higher resolution device, such as an HDTVdisplay, the video must be scaled to increase the number o lines to match

the higher number o lines in the targeted display. There is no single standardestablished or the number o lines in today’s HDTV displays, but twocommon resolutions are 720 lines and 1080 lines. While the scaling processmakes the video appear to be o a higher quality, the act is that it isoriginating rom source material that is o an even lower vertical resolutionthan standard NTSC (ewer horizontal lines). The scaling process combinedwith a high resolution HDTV display can only do so much to disguise this act.

Visible Horizontal Lines in Various Letterbox Formats

{

{

{

{

483VisibleLines

483

VisibleLines

483VisibleLines

483

VisibleLines

1.66:1 Viewable Area= 388 Horizontal Lines

16:9 Viewable Area= 362 Horizontal Lines






However, there is a way to improve the quality o the widescreen image whenit is recorded and stored in a 4:3 standard video ormat. We can compress theimage horizontally, so that the ull height o the 4:3 video rame is used.The ollowing diagram shows how a 16:9 image might be horizontallycompressed to t within the connes o a 4:3 video rame.

Clearly, i this compressed image is displayed on a standard 4:3 monitor,the image will appear distorted, with everything looking taller and thinnerthan it should be. But what i we uncompress the video back to its original

proportions beore displaying it on a widescreen HDTV monitor? The imagewould still need to be scaled to match the number o lines in the HDTVdisplay, but the original source material would now have a ull 483 linesinstead o only 362, as in the previous letterbox example. This is a ull 33%more lines, providing 33% more inormation and vertical detail about theoriginal material. Obviously this will allow the nal output on the HDTVdisplay to be o a much higher quality.

Summary

In conclusion, there are many issues to consider when displaying an imagethat was originally produced in one aspect ratio, stored and transmitted inanother, and ultimately displayed in a third. Unintended geometricdistortions o the displayed image can occur i not processed properly.But, with knowledge o the image’s ormat and the targeted display, anintelligent video scaler can easily product the desired results – and ultimately,an enhanced viewing experience.

Horizontally Compressing a 16:9 Image to Fit In a 4:3 Frame

Original 16:9 ImageShaded Area Represents Standard 4:3

Video Frame (483 horizontal lines)

Compressed 16:9 ImageCompletely Fills a 4:3 Video Frame,

using all 483 horizontal lines

Image iscompressedhorizontally




Other issues in the eduGuide Series

Introduction to Fiber OpticsUndisputably, ber is the uture. Learn all about the benetso ber optic technology in this easy-to-read guide.

Advantages of Digital Fiber OpticsExamine how digital signals over ber are accomplished,the phenomenal results they achieve, and how cost-eective it is.

Fiber Optic Cables, Connectors and IntegrationLearn how easy it is to terminate and abricate your own ber optic cables,what types o ber and ber jackets are available and how to designand integrate a ber optic system.

Scan Converters Buyer’s GuideEverything you need to evaluate and decide on the perect Scan Converter.

Video ScalingA comprehensive overview o the technology, how it worksand when to use this technology eectively.

Advanced Video Scaling

Easy explanations o Inverse 3:2 Pulldown, Anamorphic Scaling and OtherConusing Concepts.

Other Educational Resources

commspecial.comVisit our website or online education resources, product literature and more!

Pure Digital Fiberlink® Application Brief – Everyday Pro A/VThis application brie illustrates the benets o using Pure Digital Fiberlink®in any Pro A/V installation. Regardless o your Pro A/V market specialty,this Application Brie is a valuable guide to integrating and speciyingPure Digital Fiberlink® products.

Pure Digital Fiberlink® Intelligence Brief – Government/MilitaryDetailed analysis o how Pure Digital Fiberlink® has become the solution o choice or mission critical government, intelligence and military applications.I you are involved in this market segment, this document will prove to bevaluable during your next project specication.







About Communications Specialties, Inc.

Communications Specialties, Inc. (CSI) is an award-winning, Long Island

based company that manuactures and sells a variety o products or the

distribution, conversion or transmission o television and computer video

signals, including ber optic transmission systems, scan converters and videoscalers.

The company was ounded in 1983 by veterans o the broadcast industry.

Since then, CSI has managed to consistently design innovative products that

are used worldwide by Fortune 500 Companies and Government Agencies in

a variety o markets such as Broadcast, Proessional A/V, Videoconerencing,

Education, Home Theater, Security, ITS, Industrial Monitoring, Digital Signage,

Government/Military and more!

The Pure Digital Fiberlink® line oers an extensive and aordable amily

o ber optic transmission systems or the Proessional A/V marketplace

and includes several ground-breaking products or the transmission o

high-resolution RGB signals. Systems or point-to-point and

point-to-multipoint signal distribution make these products highly

desirable or any Pro A/V applications.

Our premier product line, the Scan Do® amily o computer to video scan

converters, has redened industry standards in computer video to NTSC/

PAL technology with unsurpassed perormance in its price range. All models

support high resolutions and reresh rates and are VGA and Mac® compatible.

The eature-rich and versatile Scan Do amily oers the widest range o scan

converters on the market.

The award-winning, Deuce® video scalers convert NTSC and PAL to high-

resolution, non-interlaced video and oer a ar superior and aordable

alternative to line doubling and quadrupling. The new generation o Deuce

products oer a wide range o non-interlaced resolutions and reresh rates

or every application, rom proessional A/V installations to home theater,

including a model designed especially or use with HDTV displays.

In addition, CSI manuactures a comprehensive selection o distribution

ampliers, VGA monitor, keyboard and mouse extenders and accessories or

our entire product line.



Communications Specialties and its products have been the recipient o

numerous industry awards. In 2005, the Pure Digital Fiberlink® 7220 Series

or high-resolution RGB and Stereo Audio was honored as one o the AV

industry’s best technological innovations o the year by receiving a “rAVe

Radical Product o the Year” award as “Best New Analog Signal Processing

Product”. The rAVe email newsletter is published by proessional audiovisualindustry veterans and is read industry-wide.

Among CSI’s many other awards are AV Video Magazine’s Platinum Award

(given to Scan Do® Ultra and Deuce®) and the Video Systems’ Vanguard Award

(given to Deuce).

The company is headquartered in the United States on Long Island, New York,

with Sales Oces in Florida, Indiana and Virginia. Research, development,design, engineering, manuacturing and customer support operations

are perormed at the New York headquarters. Other locations include

Communications Specialties Pte Ltd (CSPL) - a wholly owned subsidiary oce

in Singapore that provides support to distributors in the Far East and Pacic

Rim.

Our in-house sales department handles complete product-line sales directly

to end-users as well as to an international network o representatives andresellers. All o our products are backed by an exceptional warranty.



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Advanced Video Scaling[1]