1080p (19201080 progressively displayed pixels; also known as Full HD or FHD, and BT.709) is a set of HDTV high-definition video modes characterized by 1,920 pixels displayed across the screen horizontally and 1,080 pixels down the screen vertically;[1] the p stands for progressive scan, i.e. non-interlaced. The term usually assumes a widescreen aspect ratio of 16:9, implying a resolution of 2.1 megapixels. It is often marketed as Full HD or FHD, to contrast 1080p with 720p resolution screens. Although 1080p is sometimes informally referred to as 2K, these terms reflect two distinct technical standards, with differences including resolution and aspect ratio.
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1080p video signals are supported by ATSC standards in the United States and DVB standards in Europe. Applications of the 1080p standard include television broadcasts, Blu-ray Discs, smartphones, Internet content such as YouTube videos and Netflix TV shows and movies, consumer-grade televisions and projectors, computer monitors and video game consoles. Small camcorders, smartphones and digital cameras can capture still and moving images in 1080p resolution.
Any screen device that advertises 1080p typically refers to the ability to accept 1080p signals in native resolution format, which means there are a true 1920 pixels in width and 1080 pixels in height, and the display is not over-scanning, under-scanning, or reinterpreting the signal to a lower resolution.[citation needed] The HD ready 1080p logo program, by DIGITALEUROPE, requires that certified TV sets support 1080p 24 fps, 1080p 25 fps, 1080p 50 fps, and 1080p 60 fps formats, among other requirements, with fps meaning frames per second. For live broadcast applications, a high-definition progressive scan format operating at 1080p at 50 or 60 frames per second is currently being evaluated as a future standard for moving picture acquisition. Although 24 frames per second is used for shooting the movies.[2][3][needs update] EBU has been endorsing 1080p50 as a future-proof production format because it improves resolution and requires no deinterlacing, allows broadcasting of standard 1080i50 and 720p50 signal alongside 1080p50 even in the current infrastructure and is compatible with DCI distribution formats.[4][5][needs update]
1080p50/p60 production format requires a whole new range of studio equipment including cameras, storage and editing systems,[6] and contribution links (such as Dual-link HD-SDI and 3G-SDI) as it has doubled the data rate of current 50 or 60 fields interlaced 1920x1080 from 1.485 Gbit/s to nominally 3 Gbit/s using uncompressed RGB encoding. Most current revisions of SMPTE 372M, SMPTE 424M and EBU Tech 3299 require YCbCr color space and 4:2:2 chroma subsampling for transmitting 1080p50 (nominally 2.08 Gbit/s) and 1080p60 signal. Studies from 2009 show that for digital broadcasts compressed with H.264/AVC, transmission bandwidth savings of interlaced video over fully progressive video are minimal even when using twice the frame rate; i.e., 1080p50 signal (50 progressive frames per second) actually produces the same bit rate as 1080i50 signal (25 interlaced frames or 50 sub-fields per second).[4][5][7]
EBU requires that legacy MPEG-4 AVC decoders should avoid crashing in the presence of SVC or 1080p50 (and higher resolution) packets.[9] SVC enables forward compatibility with 1080p50 and 1080p60 broadcasting for older MPEG-4 AVC receivers, so they will only recognize baseline SVC stream coded at a lower resolution or frame rate (such as 720p60 or 1080i60) and will gracefully ignore additional packets, while newer hardware will be able to decode full-resolution signal (such as 1080p60).
In the United States, 1080p over-the-air broadcasts are currently available in select stations in some cities in the US via ATSC 3.0 multiplex stations where as ATSC 3.0 is currently rolling out throughout the U.S. The majority of the stations that broadcast at 1080p are CBS and NBC stations and affiliates. All other stations do not broadcast at 1080p and usually broadcast at 720p60 (including when simulcasting in ATSC 3.0) or 1080i60 (outside of ATSC 3.0) encoded with MPEG-2. There is also technical restrictions with ATSC 3.0 multiplex stations that prevent stations from airing at 1080p. While converting to ATSC 3.0 is voluntary by TV Stations, there is no word when any of the major networks will consider airing at 1080p in the foreseeable future on a national scale, although they are required to broadcast ATSC signals for at least five years thereafter. However, satellite services (e.g., DirecTV, XstreamHD and Dish Network) utilize the 1080p/24-30 format with MPEG-4 AVC/H.264 encoding for pay-per-view movies that are downloaded in advance via satellite or on-demand via broadband. At this time, no pay service channel such as USA, HDNET, etc. nor premium movie channel such as HBO, etc., stream their services live to their distributors (MVPD) in this format because many MVPDs, especially DBS and cable, do not have sufficient bandwidth to provide the format streaming live to their subscribers without negatively impacting their current services.[citation needed]
For material that originates from a progressive scanned 24 frame/s source (such as film), MPEG-2 lets the video be coded as 1080p24, irrespective of the final output format. These progressively-coded frames are tagged with metadata (literally, fields of the PICTURE header) instructing a decoder how to perform a 3:2 pulldown to interlace them. While the formal output of the MPEG-2 decoding process from such stations is 1080i60, the actual content is coded as 1080p24 and can be viewed as such (using a process known as inverse telecine) since no information is lost even when the broadcaster performs the 3:2 pulldown.[12]
Blu-ray Discs are able to hold 1080p HD content, and most movies released on Blu-ray Disc produce a full 1080p HD picture when the player is connected to a 1080p HDTV via an HDMI cable. The Blu-ray Disc video specification allows encoding of 1080p23.976, 1080p24, 1080i50, and 1080i59.94. Generally this type of video runs at 30 to 40 megabits per second, compared to the 3.5 megabits per second for conventional standard definition broadcasts.[14]
Several websites, including YouTube, allow videos to be uploaded in the 1080p format. YouTube streams 1080p content at approximately 4 megabits per second[16] compared to Blu-ray's 30 to 40 megabits per second. Digital distribution services like Hulu and HBO Max also deliver 1080p content, such as movies available on Blu-ray Disc or from broadcast sources. This can include distribution services like peer-to-peer websites and public or private tracking networks. Netflix has been offering high quality 1080p content in the US and other countries through select internet providers since 2013.[17]
As of 2012, most consumer televisions being sold provide 1080p inputs, mainly via HDMI, and support full high-definition resolutions. 1080p resolution is available in all types of television, including plasma, LCD, DLP front and rear projection and LCD projection. For displaying film-based 1080i60 signals, a scheme called 3:2 pulldown reversal (reverse telecine) is beginning to appear in some newer 1080p displays, which can produce a true 1080p quality image from film-based 1080i60 programs. Similarly, 25fps content broadcast at 1080i50 may be deinterlaced to 1080p content with no loss of quality or resolution.
When you boil it all down, here's the takeaway: Older and smaller TVs are HD, 1080p. Nearly all new TVs are 4K Ultra HD, which have four times as many pixels as 1080p. Someday you might have an 8K or even 10K TV, but that's a l-o-o-o-o-ng way away.
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Ritchie's direction suits the movie's stripped-down, practically elemental energy. As is always the case in a Ritchie picture, there's some magisterial cross-cutting (by James Herbert), but it never feels busy or showy; it's more about the inevitability, fatefulness even, of the forces that these characters have unleashed. The final third is one of those tour-de-force adventures in heist exposition where the exposition and the heist are folded together, and the movie keeps cutting from toy vehicles on a diorama to real ones on the street.
Stream and record videos for YouTube, Twitch and more in full HD 1080p resolution at 60 frames per second. No matter what type of content you create, StreamCam produces sharp content with smooth motion that looks natural on screen.
Thank you for the simple way you explain the requirements. I having doing live streams on Facebook with a Samsung tablet A. I started out using mobile data got spot from a cell phone. I am not aware of the uploaded speed that they offer but there was not much is sure there apart from the using up of the monthly location.We have since installed a fibre network which provides 20down 5up. I am not sure if the 5up is stable however I have started to try adding youtube to the live stream to capture more audience.To do this I have tested out retreat io and Larix Broadcaster however I have noted that I have been having buffering isuures.I am told that FB requires 4mbs and youtube 6mbs and it is best to only stream to one. And I see that with 5mbs offered by the network the bandwith will not give the head room.My interest is setting the bitrates to match the network. In larix the audio bitrate is set at 128kps and video at 2500kps keyframe 2 with a 10881088 resolution.With these settings what adjustment would you recommend?
The way Group HD video works in Zoom is simple. When this feature is enabled, HD video which is 1280720 or 720p will be activated for the active speaker in the video layout. At this time, full HD or 1080p video is limited to Business and Enterprise plans. 2ff7e9595c
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