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  • Faroudja
    video processing IP with display calibration guidelines and tools Read more Audio connection IP that optimizes TV sound by removing errors caused by the speaker cabinet and electronics Read more Video image processing with advanced diagonal line interpolation Read more Complete video processing for high performance consumer electronics applications including advanced deinterlacing with per pixel diagonal processing Read more Latest news Orly STiH416 multi core multimedia engine for advanced set

    Original URL path: http://www.faroudja.com/faroudja/content/home.jsp (2016-04-24)
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  • Faroudja Video Optimized
    superior video experience The program parameters cover the complete end product from properly programming the video signal processing to enacting specific procedures for the calibration and optimization of the LCD panel or projector to result in an accurate high definition picture The logo identifies a higher performance product calibrated to its maximum potential and differentiated from others by award winning video processing How does the Faroudja Video Optimized program work Instructions are provided to the TV manufacturer on how to maximize the performance of the various advanced video processing algorithms available on the SoC These include color decoding deinterlacing scaling color processing sharpness and enhancements temporal noise reduction and digital noise reduction The logo program provides guidelines and flexible tools to the TV manufacturer to calibrate the display to reference standards used in professional video studios These include extended contrast ratio rich shadows able to yield subtle details proper gamma and color temperature realistic color processing and excellent detail without excessive enhancement or noise reduction This ensures that the final image is close to what the movie director had envisaged These optimized settings are added during the manufacturing process and stored in a new theme called Faroudja Movie This theme

    Original URL path: http://www.faroudja.com/faroudja/brands/video-optimized.jsp (2016-04-24)
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  • Faroudja Audio Optimized
    audio processing for televisions By modifying both the phase and amplitude to a reference level the TV will offer up improved performance in addition to any other audio processing offered by the TV such as dynamic base boost or SRS processing Any product that shows the Faroudja Audio Optimized logo is assured of having this corrected performance feature Why do TV s need Faroudja Audio Optimized This is the shape

    Original URL path: http://www.faroudja.com/faroudja/brands/audio-optimized.jsp (2016-04-24)
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  • DCDi by Faroudja
    plasma and LCD TVs and DLP D iLA projectors can only show progressive scanned images as opposed to interlaced In order to do this the display must scan at a higher rate 2x the speed of NTSC Because we are scanning at twice the speed we can draw an entire frame in the same amount of time it takes an interlaced system to draw a single field We learned above that an interlaced display shows 60 fields per second But with progressive each field is now a complete picture including all scan lines top to bottom so we will now call it a frame and we are showing 60 of those per second written as 60 Hz Of course only 24 of those are unique if the source is film based The benefits of a progressive display are no flicker scan lines are much less visible permitting closer seating to the display and they have none of the artifacts we described for the interlaced display as long as the source material is progressive in nature film or a progressive video camera Movies on DVD are almost always decoded as interlaced fields yet all of the film s original frames are there just broken up What we re going to talk about next is how we take the interlaced content of DVD and recreate the full film frames so we can display them progressively The term commonly used to restore the progressive image is deinterlacing though we think it is more correct to call it re interleaving which is a subset of deinterlacing Deinterlacing or re interleaving involves assembling pairs of interlaced fields into one progressive frame 1 60 of a second long and showing it at least twice to use up the same amount of time as two fields The need for 60 flashes on the screen each second stems from a biological property called the Flicker Fusion Frequency meaning how many flashes that we need to see each second so that we our brains fuse the image into one where we don t see a flicker For every film frame that had three fields made from it the third field is a duplicate of the first and if the MPEG 2 encoder is behaving properly won t even be stored on the DVD Instead of encoding the duplicate fields the DVD flags repeat first field and top field first are used to instruct the MPEG decoder where to place these duplicate fields during playback The progressive output of a DVD player should assemble 2 fields from each film frame and create a complete progressive one that looks just like the original film frame You should now be thinking that the DVD will once again have 24 frames to show in one second But the progressive display is still expecting 60 complete frames per second In order to space them out the DVD player shows the complete frames in this order 1 1 1 2 2 3 3 3 4 4 and so on This form of display gives us a moving image very close to the original film It has a tendency to judder a bit though as every other film frame lasts 1 60 of a second longer than the previous one Even our little synthesis of the final product which actually contains 10 pieces shows this judder In the future both the player and the display could increase their display rate above 60 fields per second to 72 per second At that point the fields would only last 1 72 of a second permitting the player to show every film frame three times 24 x 3 72 eliminating the motion judder and also helping us with the Flicker Fusion Frequency problem 60 flashes per second are just barely enough in a well lit viewing environment This would look like 1 1 1 2 2 2 3 3 3 4 4 4 and so on 72 fps will only work with film based sources though as it is a multiple of 24 It will not work well with video sources which are 60 field per second The re interleaving process we ve just covered is specific to 24fps film material which is MPEG 2 decoded as interlaced fields It s really a matter of putting the right fields together so it s fairly simple Deinterlacing native NTSC interlaced video material is much more complicated In such video material each field is a unique image in time and in order to be deinterlaced at an acceptable level it requires getting into motion adaptive and motion compensation algorithms to overcome the inherent problems of the interlaced material There is no best method and the two mentioned are expensive to implement Note NTSC does not really run at 60 Hz it is technically 59 94 Hz The industry rounds it up to make it easier to read If you did play back video at 60 Hz instead of 59 94 Hz you would end up with a dropped frame approximately once every 20 seconds Background Now that you have a basic understanding of how film is transferred to video a few more terms need to be explained before we move on We like to use the term deinterlacing while others may call it line doubling or even I to P conversion Where I means interlaced and P means progressive All of these really mean the same thing We will also talk about vertical resolution As Brian explained above there are 525 horizontal scan lines see diagram below that make up an NTSC image These horizontal lines are how we measure the vertical resolution We will be using the terms video mode and film mode to describe the type of deinterlacing algorithm used When we say Film mode we are to the algorithm that will detect the 3 2 pulldown cadence and weave the two fields of video into one that would match the original frame of film When this is done

    Original URL path: http://www.faroudja.com/faroudja/brands/dcdi.jsp (2016-04-24)
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  • Faroudja DCDi Cinema
    in a scene and adjusts the angle of interpolation at each pixel so that the interpolation always follows the edge instead of crossing it eliminating staircasing or jagged edge artifacts This technology in combination with its decoding deinterlacing and enhancement technologies won an Emmy Award from National Academy of Television Arts and Sciences in 2001 The DCDi algorithm is now incorporated into ST s video controllers that were derived from the Faroudja technology Many consumer electronics products utilizing this Emmy award winning technology leverage the Faroudja brand with the DCDi by Faroudja Faroudja DCDi Cinema and Faroudja DCDi Edge logos on their products and marketing materials Film mode detection technology Faroudja acquired by ST in 2008 first invented and patented film mode detection or 3 2 pulldown detection in 1989 Film originated content that has gone through 3 2 pulldown for conversion to NTSC is detected and the original film frames are recreated by blending the fields back together However this creates an artifact known as a comb Faroudja became the first company with bad edit detection capability to detect the original frames of film within the video stream and reconstruct an accurate image This produced an image free of motion artifacts with full vertical resolution One environment where this creates a lot of value is when users switch back and forth between commercials on TV which are not film mode and a movie which is film mode This film mode processing is widely accepted in the industry TrueLife enhancement Conventional video enhancement is done by a peaking filter that enhances the high frequency components of the video signal However this creates unwanted artifacts ST does not use a peaking filter to enhance an image rather uses its TrueLife Enhancement technology to identify transitions considered to be the details in

    Original URL path: http://www.faroudja.com/faroudja/brands/dcdi-cinema.jsp (2016-04-24)
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  • MCTi by Faroudja
    the built in adaptive film mode detection controller The field sequence is first detected by examining the field motion values and once a field sequence is identified the corresponding film mode processing is applied by MCTi Motion vector estimation MVE The role of the MVE block is to generate appropriate motion vectors which correspond to the movement in the video input Data is retrieved from the external memory stored in local cache analyzed and processed and then motion vector data is fed to the video pixel interpolation VPI block where it is used to direct the generation of interpolated frames Specifically the MVE block performs the following specialized features Vector post processing Global analysis of vectors Repetitive pattern detection Overlay detection Video pixel projection and interpolation VPI The VPI block uses the estimated motion vectors that are generated from four consecutive frames in order to generate interpolated frames The VPI takes the motion vectors from each field and projects onto two new interpolated motion vector fields according to the frame rate conversion ratio Subsequently the VPI takes these four pairs of projected motion vector fields and the corresponding pixels in block basis to generate the interpolated frames simultaneously In order to improve the image quality of the interpolated frames the output pixels are applied onto filters to reduce any visible artifacts as much as possible VPI vector processing for occlusion handling Objects move in front and behind other objects in the real world On a 2D screen however these same objects disappear and reappear in essence data does not exist because the object does not appear This poses a problem when interpolating frames as it is difficult to recreate data where no data exists The MCTi VPI block utilizes and analyzes multiple frames and motion vectors to help fill in

    Original URL path: http://www.faroudja.com/faroudja/technology/mcti.jsp (2016-04-24)
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  • LED-BLAC technology
    compensate the LCD panel has to completely shut off the light This gives a good contrast ratio rating the differerence between dark and light areas but does not allow the subtle details in the shadows to be seen LED BLAC was created to help deal with this issue and improve the image On TVs with direct lighted LED panels where the backlight is separated into sections or zones we can adjust the backlight to improve image quality Zones and grids The backlight is physically divided into a number of horizontal and vertical zones typically in a regular pattern as seen below The brightness of each zone can be independently controlled Some systems use RGB LEDs and some use white LEDs To make calculations simpler zones are sub divided into a number of virtual grids The solution is scalable for direct edge or hybrid LED backlight designs An example of LED backlighting in a high contrast scene In the scene capture at left advanced LED TV technology is used to create an image of an old lightbulb in a dark room The interest here is seeing how the LED TV deals with the transition from full white in the center to full black on the edges The bottom image is of the LED backlighting for this movie scene The LED BLAC technology manipulates the different zones based on the image The black areas of the image get blacker since there is less light to leak through to the front of the LCD panel The contrast ratio increases in the bright regions the backlighting is fully on whereas in the dark regions the backlighting is significantly reduced Because some of the LEDs are on very low an added benefit is a sizeable reduction in power consumption ensuring that the TV meets energy

    Original URL path: http://www.faroudja.com/faroudja/technology/led-blac.jsp (2016-04-24)
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  • RealColor technology
    allow precision color control over the entire color space Definable fade areas around correction regions prevent artifacts Regional definition in luminance as well as in tint and saturation directions allow unprecedented control Independent gain and offset control for hue saturation and luminance A cylinder represents the color signal in the TV saturation increases out from the center tint or hue changes around the center and luminance changes up and down Independent gain and offset controls for hue saturation and luminance enable a large amount of control over the color correction applied to an image Increased flexibility allows for specific color adjustments such as flesh tone correction and global adjustments that can affect the entire image such as increasing the overall color saturation This also allows for additional control for Themes that the TV manufacturer can offer ACM theme modes Theme modes enable the end user to optimize the viewing experience by changing the corrections applied to an image based on the content or viewing conditions For example a sports theme mode might enhance blue and increase green saturation to better distinguish the action and players from the playing surface a nature theme mode might increase the saturation on all colors to produce a more vibrant image Adaptive Contrast Control ACC Faroudja s adaptive contrast control provides algorithms and tools for the TV manufacturer to define and store automatic corrections to image contrast The ACC uses a predefined histogram of the incoming image and adjusts the levels both color and brightness to improve the contrast ratio while also ensuring no errors are introduced In the scene above the image is dull lacking in overall contrast In addition details are lost in the shadows trees With ACC active the contrast is expanded the colors enhanced and the detail in the shadow near

    Original URL path: http://www.faroudja.com/faroudja/technology/realcolor.jsp (2016-04-24)
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