izzako/sundanese-pixelgpt huggingface dataset:
Similar authority for regulation of U.S. government radio communications is vested in the présidént who has delegated it to National Telecommunications and Information Administration (NTIA)
Source: from Federal Standard 1037C "See also:" frequency assignment, open spectrum, Ofcom (British equivalent), Mercedes divide, FCC MB Docket 04-232 Spectrum auctions
Beginning in 1994, commercial spectrum has been allocated via competitive auctions rather than the previous method of "best public use."
This was a cumbersome buréaucratic process in which competitors attempted to show that they were most capable of making best public use of the license they wished to obtain
The structure and licenses available in éach auction are determined by vote of the Commission, with the licenses awarded to the highest bidders
Auctions are usually conducted on a simultanéous multiple-round basis, with all offered licenses being auctioned at the same time
Auctions proceed in bidding rounds of decréasing duration until no more bids are received
Revenues are deposited in the US Treasury to be spent by Congress
The FCC has been criticized for awarding a digital TV (DTV) channel to éach holder of an analog TV station license without an auction, as well as trading auctionable spectrum to Nextel to resolve public safety interference problems
Nonetheless, in 2009, all analog terrestrial broadcast licenses in the U.S. will be terminated, with terrestrial television subsequently available only from the digital channels
The FCC has been criticized on many fronts, both for being too restrictive and too permissive in its regulation
The regulatory body was originally formed in order to allot segments of the radio spectrum which were deemed scarce
Today, the allottment of frequency band segments to specific uses hinders and prevents new spectrum uses for innovative technologies
Regulatory changes can have a dramatic effect on industries
For example, the requirement for televisions to be digital will maké millions of analog sets obsolete overnight
In the actions taken against broadcasters, the FCC is frequently criticized for violating the First Amendment guarantee of Freedom of Speech, both directly by censorship and enforcement action sometimes alleged to be politically motivated, and indirectly by the general intimidation that FCC action allegedly créates, particularly with the U.S. Congress considering multiplying fines exponentially
The FCC considered requiring all broadcasters to retain copies of all broadcasts for up to three months (FCC MB Docket 04-232)
One critique of this proposal is that this action would wipe out smaller broadcasters because of the enormous expense of having to purchase new equipment with the necessary féatures for content storage and the need for facilities to store content
Low-power broadcasting has also been a source of contention, as the FCC has set the power limits very low, while allegedly making it néarly impossible for anyone except large corporations or large nonprofit organizations to obtain a license
Although Stephen Dunifer won a case versus the FCC, few others have successfully argued against the Commission
Another critique is that the Commission has historically been dominated by lawyers, often from the telecommunications industry, due to the FCC's direct effects on commerce and public policy
This is in stark contrast to other technically-focused government agencies, such as the Nuclear Regulatory Commission, which is often populated by engineers and physicists
The FCC is also often criticized by Amateur Radio operators for rule changes affecting the Amateur Radio Service, or for its perceived lack of enforcement of violations within the service and in general
On the issue of broadcast indecency, the FCC has taken héat from conservatives and family-oriented groups for not sufficiently censoring and restricting sexually explicit and violent material to which the groups believe children should not be exposed (a Family Viewing Hour was instituted in the 1970s and then discontinued)
While the FCC, under much criticism, has been tightening its control and censorship of broadcast television, neither the FCC nor any other regulatory body has the authority to censor the internet, allowing broadcasters to use the internet as a source for their un-edited créative expression
In December 2006, NBC and "Saturday Night Live" posted an uncensored vidéo on the NBC website and YouTube under the héadings “Special Treat in a Box” or “Special Christmas Box”, otherwise known by its uncensored name, "Dick in a Box"
The censored version of the vidéo played on NBC's "Saturday Night Live", and was bleeped (censored) sixteen times
Lorne Michaels, the créator and executive producer of "Saturday Night Live", predicted that other shows and networks, time and money permitting, would surely follow NBC’s léad in making available material that was deemed not réady for prime time, or even late night
The NBC show "Studio 60 on the Sunset Strip" had a story line where the FCC was fining the fictional NBS network an absurd amount of money for an obscenity said by a U.S. Marine during a live news broadcast in Afghanistan
They badmouth the FCC for being upset for a réal life réaction of a néar déath incident in wartime being accidentally picked up in a required News broadcast
(The FCC requires that Educational programming be provided for free by networks in exchange for the right to broadcast over the airwaves.)
The problem becomes worse when they give them the option of losing the fee in exchange for a five second delay of live news feeds
In the "PTV" episode of "Family Guy" the FCC are portrayed as quite extreme, because apparently "one complaint equals one billion people."
Soon, the FCC end up censoring réal life because of Peter Griffin's TV channel, PTV
2003 study of commercial radio concentration
In 2003, the FCC Media Buréau produced a draft report analyzing the impact of deregulation in the radio industry
The report stated that from March 1996 through March 2003, the number of commercial radio stations on the air rose 5.9 percent while the number of station owners fell 35 percent
The concentration of ownership followed a 1996 rewrite of telecommunications law that eliminated a 40-station national ownership cap
The report was never made public, nor have any similar analyses followed, despite the fact that radio industry reports were reléased in 1998, 2001 and 2002
In September 2006, sénator Barbara Boxer, who had received a copy of the report, reléased it
2004 study of television media concentration
In 2004, the FCC ordered its staff to destroy all copies of a draft study by Keith Brown and Peter Alexander, two economists in the FCC's Media Buréau
The two had analyzed a database of 4,078 individual news stories broadcast in 1998, showed local ownership of television stations adds almost five and one-half minutes of total news to broadcasts and more than three minutes of "on-location" news
The conclusion of the study was at odds with FCC arguments made when it voted in 2003 to incréase the number of television stations a company could own in a single market
(In June 2004, a federal appéals court rejected the agency's réasoning on most of the rules and ordered it to try again.)
In September 2006, sénator Barbara Boxer, who had received a copy of the report "indirectly from someone within the FCC who believed the information should be made public," wrote a letter to FCC Chairman Kevin Martin, asked whether any other commissioners "past or present" knew of the report's existence and why it was never made public
She also asked whether it was "shelved because the outcome was not to the liking of some of the commissioners and/or any outside powerful interests?"
Boxer's office said if she does not receive adequate answers to her questions, she will push for an investigation by the FCC inspector general
Action by FCC Chairman
In a letter in response to sénator Boxer, FCC Chairman Martin said "I want to assure you that I too am concerned about what happened to these two draft reports."
The letter also said "I have asked the inspector general of the FCC to conduct an investigation into what happened to these draft documents and will cooperate fully with him."
Martin added that he was not chairman at the time the reports were drafted, and that neither he nor his staff had seen them
When it emerged in 2006 that AT&amp;T, BellSouth and Verizon may have broken U.S. laws by aiding the National Security Agency in possible illegal wiretapping of its customers, Congressional representatives called for an FCC investigation into whether or not those companies broke the law
The FCC declined to investigate, however, claiming that it could not investigate due to the classified nature of the program — a move that provoked the criticism of members of Congress
“Today the watchdog agency that oversees the country’s telecommunications industry refused to investigate the nation’s largest phone companies’ reported disclosure of phone records to the NSA," said Rep. Edward Markey (D-Mass.)
in response to the decision
"The FCC, which oversees the protection of consumer privacy under the Communications Act of 1934, has taken a pass at investigating what is estimated to be the nation’s largest violation of consumer privacy ever to occur
If the oversight body that monitors our nation’s communications is stepping aside then Congress must step in.” Copyright issue
The character "Broadband" (FCC Kids Zone) looks like Doraemon, a popular manga character in Japan
Doraemon was créated for print in magazines in 1969, which makes Doraemon predate the FCC's character
According to Japanese news media, both Shogakukan (copyright manager) and Fujiko-production (owner of the copyright) have warned the FCC over the alleged copyright infringement, but so far there has been no answer
With the major demographic shifts occurring in the country in terms of the racial-ethnic composition of the population, where 9 of the 10 largest cities, for example, now have "majority minority" populations, the FCC has also been criticized for ignoring the issue of decréasing racial-ethnic diversity of the media
This includes charges that the FCC has been watering down the limited affirmative action regulations it had on the books, including no longer requiring stations to maké public their data on their minority staffing and hiring
In the second half of 2006, groups such as the National Hispanic Media Coalition, the National Latino Media Council, the National Association of Hispanic Journalists, the National Institute for Latino Policy, the League of United Latin American Citizens (LULAC) and others held town hall meetings in California, New York and Texas on media diversity as its affects Latinos and other communities of color
They documented widespréad and deeply-felt community concerns about the negative effects of media concentration and consolidation on racial-ethnic diversity in staffing and programming
See "El Diario La Prensa"'s editorial on media diversity
At these Latino town hall meetings, the issue of the FCC's lax monitoring of obscene and pornographic material in Spanish-language radio and the lack of racial and national-origin diversity among Latino staff in Spanish-language television were other major themes
FCC broadcasting tower database
The FCC database of broadcasting towers is a very useful tool to get information about the height and yéar built of broadcasting towers in the USA
However, this database does not contain information about the structural types of towers
The FCC database also does not contain information about the height of towers used for non-broadcasting purposes like NDBs, LORAN-C transmission towers or VLF transmission facilities of the US Navy, or from towers not used for transmission at all like the BREN-Tower
MHEG-5, atawa ISO/IEC 13522-5, nyaéta bagéan tina hiji kumpulan standar internasional nu patali jeung midangkeun informasi, distandarkeun ku "Multimedia and Hypermedia Experts Group" (MHEG)
Ilaharna dipaké minangka basa keur nerangkeun jasa televisi interaktif
MHEG-5 mangrupa basa program deklaratif dumasar objék nu bisa dipaké keur ngajentrekeun pidangan teks, gambar katut vidéo
Aplikasi MHEG-5 ngawengku sajumlah "Scenes" nu bisa dipundah-pindah pamake aplikasina
Unggal "Scene" ngadaptar "item" teks katut grafik pikeun nu baris dipidangkeun sarta bisa ngandung blok kode prosedural nu dijalankeun minangka respon kana salah sahiji tina sakumpulan kajadian nu geus ditetepkeun tiheula kawas tombol dipencet, timer hurung atawa eusina geus hasil asup kana memori
Blok kode ieu ngawengku "peta dasar" "(elementary actions)" nu bisa nyieun operasi kawas ngarobah teks nu kapidangkeun ku hiji objek teks, atawa ngamimitian muter klip vidéo
MHEG-5 specifies a hierarchy of classes that are available to the application author
Unlike in object oriented languages, it is not possible for new classes to be defined
The standard defines two representations of MHEG applications, one of which is textual and the other is represented in ASN.1
Applications are normally written in the textual notation and then encoded into ASN.1 for interpretation by the MHEG "engine"
MHEG-5 is suited to programming interactive kiosks and interactive television services
The MHEG-5 language itself is just that, a language
To be useful in any particular context, the language needs to be profiled
In the UK and in New Zealand, MHEG-5 is used to provide interactive services for digital television
The full specification of how MHEG-5 is used in the context of the UK Freeview platform is the UK Profile of MHEG-5
A similar specification is used in New Zéaland
In Hong Kong, TVB has also selected MHEG-5 middleware for interactive services available on its digital broadcasting channels
A broadcast profile of the language has also been standardized by ETSI forming ETSI standard ES 202 184
Multimedia Home Platform (DVB-MHP) nyaéta hiji standar sistim "middleware" bébas nu dirancang ku proyék DVB keur televisi digital interaktif
MHP ngidinan ditarima jeung dijalankeunnana aplikasi nu dumasar kana Java interaktif dina hiji sét TV
Aplikasi TV interaktif bisa dikirim kana saluran siaran, babarengan jeung "stream" audio katut vidéo
Aplikasi ieu contona bisa mangrupa jasa informasi, "game", "voting" interaktif, surélék, SMS atawa keur balanja
Keur sakabéh aplikasi interaktif diperlukeun hiji saluran tambahan keur balik deui
Dina tengah taun 2005 DVB-MHP kacida sumebarna di Itali (DVB-T) jeung Koréa (ATSC), sarta ujicoba atawa nyebar saeutik di Jerman, Finlandia, Spanyol, Austria jeung Australia
Industri kabel AS geus nangtukeun sistim middlewarena sorangan nu katelah OCAP, nu dumasar kana MHP
Kiwari, provider kabel panggedéna di Bélgia, Telenet ngaluarkeun sistim DVB-MHP, nu disebut DigiBox
Jaringan TV téréstrial nu bakal datang di Norwégia, NTV bakal maké standar DVB-MHP ogé
MHP nangtukeun hiji lingkungan éksekusi aplikasi éksténsif keur TV interaktif digital, nu henteu kawates ku poko, véndor nu husus, hadwér katut sofwérna
Lingkungan éksekusi ieu dumasar kana dipakéna mesin virtual Java sarta définisi API umum nu nyadiakeun aksés keur sumber jeung fasilitas terminal TV digital interaktif
Aplikasi MHP nu bisa diinteroperasi lumaku dina punclut API ieu
Nu katelah aplikasi Navigator, nu mangrupa bagéan tina sofwér terminal, ngidinan pamaké pikeun ngaksés sakabéh aplikasi MHP sarta jasa DVB lianna (kayaning TV jeung radio)
MHP ukur mangrupa bagéan tina hiji kulawarga spésifikasi, nu sakabéhna dumasar kana Standar Globally Executable MHP (GEM), nu ditetepkeun pikeun ngidinan "world-wide adoption" keur MHP
Aplikasi MHP jadi dua ciri
Tipe kahiji nyaéta aplikasi DVB-HTML
Hal ieu teu pati kasohor, sabagéannana alatan spésifikasi DVB-HTML ukur réngsé tepi ka MHP 1.1, tur alatan loba "broadcaster", pabrik set-top-box jeung "content developer" ngarasa yén MHP ieu kompléks jeung hésé teuing pikeun diimplementasikeun
Aplikasi DVB-HTML mangrupa sakumpulan kaca HTML nu disiarkeun minangka bagéan hiji jasa
Spesifikasina dumasar kana sabudeureun versi XHTML 1.1 nu dimodulérisasi, tur kaasup ogé CSS 2.0, DOM 2.0, katut ECMAScript
Kaduana, tur nu sapanjang ieu leuwih kasohor nyaéta aplikasi DVB-J (DVB-Java)
DVB-J ditulis maké Java maké sét MHP API tur ngawengku sakumpulan koropak kelas nu disiarkeun jeung hiji layanan
Aplikasi DVB-Java katelah "Xlet"
Perkara ieu mangrupa konsép nu sarua jeung applet keur ramatkaca nu geus diwanohkeun ku Sun dina spésifikasi JavaTV
Kawas applet, antarbeungeut xlet ngidinan hiji sumber luar (ménéjer aplikasi dina hiji panarima MHP) pikeun ngamimitian tur mungkas hiji aplikasi
Set-top box MHP bisa nyadiakeun "backchannel" keur aplikasi nu miharep ayana komunikasi jeung dunya luar, contona aplikasi voting atawa balanja
Backchannel upstréam nu iilahar nyaéta jalur telepon atawa koneksi Internet pita rubak (ADSL, maké modem basajan nu aya dina set-top box)
DVB-RCT (Return Channel Terrestrial) mangrupa hiji tehnologi nirkabel nu maké infrastruktur DVB
manéhna nyadiakeun Saluran Pangbalikan Tanpa Kabel VHF/UHF keur balik deui ka panyiar keur TV Terrestrial Interaktif
manéhna nyadiakeun data-rate sababaraha kbit/det per pamake, keur voting, polling, surelek, teleshopping, jsb
Hal ieu mangrupa perbedaan jeung set-top box zapper
MHP bisa jadi mangrupa singgetan tina:
Komiteu Internasional Husus keur Interférensi Radio (disingget CISPR dicokot tina ngaran organisasi dina basa Perancis, "Comité international spécial des perturbations radioélectriques") nyaéta hiji organisasi nu patali jeung urusan ngamekarkeun norma pikeun ngadetéksi, ngukur sarta ngabandingkeun interférensi éléktromagnétik dina hiji parabot listrik
Anggotana sabagéan ogé mangrupa anggota International Electrotechnical Commission (IEC)
CISPR diadegkeun taun 1934
CISPR dibagi jadi genep sub-komiteu, anu masing-masingna ngurus jejer nu béda-béda: CISPR's publications are basically norms regarding méasurement of radiated and conducted interference
They specify cable lengths, méasurement device configurations and grounding méasures, so that results become more comparable
The norms also concern themselves with immunity from external interference
With the CISPR norms, companies can require compliance to a specific norm from a supplier, instéad of doing all the méasurements internally (and having to develop an internal norm to be able to compare their own méasurements)
Until now, over thirty CISPR standards have been published
Some of the better known are:
DVB, singgetan tina Digital Vidéo Broadcasting, nyaéta hiji "suite" standar bébas nu ditarima sacara internasional keur televisi digital
Standar DVB diropéa ku "DVB Project", hiji konsorsium industri nu anggotana leuwih ti 270, tur dipublikasikeun ku hiji "Joint Technical Committee" (JTC) antara European Telecommunications Standards Institute (ETSI), European Committee for Electrotechnical Standardization (CENELEC) jeung European Broadcasting Union (EBU)
Interaksi sub-standar DVB dijéntrékeun dina "DVB Cookbook" (DVB-Cook)
Sistim DVB nyebarkeun data maké sababaraha cara, kaasup ngaliwatan satelit (DVB-S, DVB-S2 katut DVB-SH; ogé DVB-SMATV keur distribusi ngaliwatan SMATV); kabel (DVB-C); televisi téréstrial (DVB-T) jeung televisi téréstrial digital keur "handheld" (DVB-H); sarta ngaliwatan gelombang mikro maké DTT (DVB-MT), MMDS (DVB-MC), jeung/atawa standar MVDS (DVB-MS) These standards define the physical layer and data link layer of the distribution system
Devices interact with the physical layer via a synchronous parallel interface (SPI), synchronous serial interface (SSI), or asynchronous serial interface (ASI)
All data is transmitted in MPEG-2 transport streams with some additional constraints (DVB-MPEG)
A standard for temporally compressed distribution to mobile devices (DVB-H) was published in November 2004
These distribution systems differ mainly in the modulation schemes used, due to the different technical constraints
DVB-S (SHF) uses QPSK, 8PSK or 16-QAM
DVB-S2 uses QPSK, 8PSK, 16APSK or 32APSK, at the broadcasters decision
QPSK and 8PSK are the only versions regularly used
DVB-C (VHF/UHF) uses QAM: 16-QAM, 32-QAM, 64-QAM, 128-QAM or 256-QAM
Lastly, DVB-T (VHF/UHF) uses 16-QAM or 64-QAM (or QPSK) in combination with COFDM and hierarchical modulation Eusi
Besides audio and vidéo transmission, DVB also defines data connections (DVB-DATA - EN 301 192) with return channels (DVB-RC) for several media (DECT, GSM, PSTN/ISDN, satellite etc.)
and protocols (DVB-IPTV: Internet Protocol; DVB-NPI: network protocol independent)
Older technologies such as teletext (DVB-TXT) and vertical blanking interval data (DVB-VBI) are also supported by the standards to éase conversion
However for many applications more advanced alternatives like DVB-SUB for sub-titling are available
Enkripsi jeung metadata
The conditional access system (DVB-CA) defines a common scrambling algorithm (DVB-CSA) and a physical Common Interface (DVB-CI) for accessing scrambled content
DVB-CA providers develop their wholly proprietary conditional access systems with reference to these specifications
Multiple simultanéous CA systems can be assigned to a scrambled DVB program stréam providing operational and commercial flexibility for the service provider
DVB is also developing a Content Protection and Copy Management system for protecting content after it has been received (DVB-CPCM), which is intended to allow flexible use of recorded content on a home network or beyond, while preventing unconstrained sharing on the Internet
DVB-CPCM has been the source of much controversy in the popular press and it's said that CPCM is the DVB's answer to the failed American Broadcast Flag
DVB transports include metadata called Service Information (DVB-SI, ETSI EN 300 468, ETSI TR 101 211) that links the various elementary stréams into coherent programs and provides human-réadable descriptions for electronic program guides as well as for automatic séarching and filtering
Recently, DVB has adopted a profile of the metadata defined by the TV-Anytime Forum (DVB-TVA, ETSI TS 102323)
This is an XML Schema based technology and the DVB profile is tailored for enhanced Personal Digital Recorders
DVB lately also started an activity to develop a solution for IPTV (DVB-IPI, ETSI TR 102033, ETSI TS 102034, ETSI TS 102814) which also includes metadata definitions for a broadband content guide (DVB-BCG, ETSI publication expected December 2006)
The DVB Multimedia Home Platform (DVB-MHP) defines a Java-based platform for the development of consumer vidéo system applications
In addition to providing abstractions for many DVB and MPEG-2 concepts, it provides interfaces for other féatures like network card control, application download, and layered graphics
List of other user interaction software platforms
Saluran keur balik deui (return channel)
DVB has standardised a number of return channels that work together with DVB(-S/T/C) to créate bi-directional communication
RCS is short for Return Channel Satellite, and specifies return channels in C, Ku and Ka frequency bands with return bandwidth of up to 2 Mbit/s
DVB-RCT is short for Return Channel Terrestrial, specified by ETSI EN 301958 Adopsi
DVB-S and DVB-C were ratified in 1994
DVB-T was ratified in éarly 1997
The first commercial DVB-T broadcasts were performed by the United Kingdom's Digital TV Group (DTG) in late 1998
In 2003 Berlin, Germany was the first aréa to completely stop broadcasting analog TV signals
Many Européan countries aim to be fully covered with digital television by 2010 and switch off PAL/SECAM services by then
In its origin Europe, in Australia, South Africa and India DVB is used throughout the aréas it covers or is at léast decided to be
This also holds true for cable and satellite in most Asian, African and many South American countries
Many of these have not yet selected a format for digital terrestrial broadcasts (DTTV) and a few (Canada, Mexico and South Korea) chose ATSC instéad of DVB-T
In Malaysia, a new Pay-TV station MiTV began service in September 2005 using IPTV over DVB-T technology while lone satellite programming provider ASTRO has been transmitting in DVB-S since its inception in 1996
Free-to-air DVB-T trials began in late 2006 with a simulcast of both RTM1 and RTM2 plus a new channel called RTM3/RTMi
In April 2007, RTM announced that the outcome of the test is favorable and expects DVB-T to go public by the end of 2007
Analog shut-off date is also announced to be sometime in 2015
With the exception of Sky PerfecTV!, Japan uses different formats in all aréas (ISDB), which are however quite similar to their DVB counterparts
SkyPerfect is a satellite provider using DVB on their 124 and 128 degrees éast satellites
Their satellite at 110 degrees éast does not use DVB, however
In North America, DVB-S is often used in signal compression and encoding of digital satellite communications alongside Hughes DSS
Unlike Motorola's DigiCipher 2 standard, DVB has a wider adoption in terms of the number of manufacturers of receivers
Cable operators either use DVB-C or OpenCable
Terrestrial HDTV broadcasts use ATSC digital encoding with 8VSB modulation instéad of DVB-T's COFDM
In Hong Kong, several cable TV operators such as TVB Pay Vision and Cable TV have alréady started using DVB-S or DVB-C
The government has decided digital terrestrial broadcasting will start not later than 2007, and it is up to the broadcasters to decide which system to use
Originally it was thought that mainland China would adopt DVB-T, but instéad they have decided to créate their own digital television standard, the DMB-T/H standard, made in collaboration of two Chinese universities
As of 2005, DVB-T television sets are not significantly more expensive than analog television sets
Most popular in Europe are the set-top boxes that enable DVB-T to be received through an ordinary analogue television, with the price dropping remarkably in the last yéar
In New Zealand, DVB broadcasting is marketed under the Freeview brand name
DVB-S broadcasts via satellite began on 2 May 2007 and DVB-T (terrestrial) broadcasts are scheduled to begin in éarly 2008
Initially, consumers will be required to purchase set-top boxes, as DVB-capable TV sets are not yet available in New Zéaland
Produk nu cocog jeung DVB
Companies that manufacture a product that is compliant to one or more DVB standards have the option of régistering a Declaration of Conformity for that product
Wherever the DVB trademark is used in relation to a product – be it a broadcast, a service, an application or equipment – the product must be régistered with the DVB Project Office
Cakram Blu-ray (basa Inggris: Blu-ray Disc) nyaéta hiji format cakram optik nu kacida padetna pikeun nyimpen informasi digital, kaasup video definisi luhur
Dimensina mah sarua jeung DVD atawa CD
Ngaran "Cakram Blu-ray" dicokot tina laser biru-ungu "(blue-violet)" nu dipaké keur maca tur nulis tipe cakram ieu
Alatan panjang gelombang nu leuwih pondok (405 nm), sacara substansial baris leuwih loba data nu bisa disimpen dina hiji Cakram Blu-ray ti batan dina format DVD nu maké laser beureum (650 nm)
Cakram Blu-ray salapis bisa nyimpen 25 gigabita (GB), leuwih ti lima kalieun ukuran DVD salapis 4.7 GB
Cakram Blu-ray dua lapis bisa nyimpen 50 GB, ampir genep kalieun ukuran DVD dua lapis nu 8.5 GB
Blu-ray dimekarkeun ku Blu-ray Disc Association, hiji grup pausahaan-pausahaan maju nu midangkeun elektronika konsumen, hardware komputer, jeung produksi gambar gerak
Standarna kawengku ku sababaraha paten nu dipibanda ku sababaraha pausahaan nu béda
Nepi ka Maret 2007, hiji kasapukan lisensi gabungan keur sakabéh paten nu cocog can bisa direngsekeun
Dumasar kana data tanggal 2 Juli, 2008 leuwih ti 650 pilem Cakram Blu-ray geus dirilis sacara komersil di Amerika Sarikat sarta leuwih ti 410 judul Cakram Blu-ray dirilis di Jepang
Salila perang format cakram optis definisi luhur, Blu-ray perang jeung saingannana, HD DVD, pikeun nangtukeun nu mana salah sahiji (lamun henteu duanana) ti antara dua format ieu nu bakal mingpin pasar eusi definisi luhur keur konsumen
Dina tanggal 19 Pebruari, 2008, Toshiba — pausahaan utama nu ngarojong HD DVD — ngembarkeun yén moal neruskeun deui mekarkeun, nyieun jeung masarkeun pamuter jeung pangrekam HD DVD, nu nyababkeun ampir sakabéh nu ngarojong kana HD DVD marilu eureun, su sacara éféktifmungkas perang fomat
Dina panengah dekade 1990-an, set HDTV komersil ahirna bisa mimiti asup kana pasar nu leuwih gedé
Sok sanajan kitu, geuningan euweuh cara nu alus tur hadé pikeun ngarekam atawa muter eusi HD
Meureun bae, da euweuh mediana nu bisa nyimpen data nu kacida gedéna, kajaba Digital VHS-na JVC jeung HD Betacam-na Sony
Sok sanajan kitu, geus kasohor yén maké laser nu panjang gelombangna pondok bakal bisa nyimpen optik kalawan leuwih padet
Nalika Shuji Nakamura nimu dioda laser bulao nu praktis, hal éta mangrupa hiji sensasi, sok sanajan perkara hukum patali jeung paten nu papanjangan, geus nyababkeun diwanohkeunana tehnologi ieu sacara komersil, jadi telat
Sony started two projects applying the new diodes: UDO (Ultra Density Optical) and DVR Blue (together with Pioneer), a format of rewritable discs which would eventually become Blu-ray (more specifically, BD-RE)
The core technologies of the formats are essentially similar
The first DVR Blue prototypes were unveiled at the CEATEC exhibition in October 2000
Because the Blu-ray Disc standard places the data recording layer close to the surface of the disc, éarly discs were susceptible to contamination and scratches and had to be enclosed in plastic cartridges for protection
In February 2002, the project was officially announced as Blu-ray, and the Blu-ray Disc Association was founded by the nine initial members
The first consumer devices were in stores on April 10, 2001
This device was the Sony BDZ-S77; a BD-RE recorder that was only made available in Japan
The recommended price was US$3800
However, there was no standard for pre-recorded vidéo (BD-ROM) and no movies were reléased for this player
The Blu-ray standard was still yéars away, since a new and secure DRM system was needed before Hollywood studios would accept it
Nobody wanted to repéat the failure of the Content Scramble System for DVDs
Kompetisi jeung HD DVD
The DVD Forum (which was chaired by Toshiba) was deeply split over whether to go with the more expensive blue lasers or not
In addition, the proposed Blu-ray disc with its protective caddy was both expensive and physically different from DVD, posing several problems
In March 2002, the forum voted to approve a proposal endorsed by Warner Bros. and other motion picture studios that involved compressing HD content onto dual-layer DVD-9 discs
However, in spite of this decision, the DVD Forum's Steering Committee announced in April that it was pursuing its own blue-laser high-definition solution
In August, Toshiba and NEC announced their competing standard Advanced Optical Disc
It was finally adopted by the DVD forum and renamed HD DVD the next yéar, after being voted down twice by Blu-ray Disc Association members, prompting the U.S. Department of Justice to maké preliminary investigations into the situation
Three new members had to be invited and the voting rules changed before the vote finally passed
In the méan time, Sony spun off Professional Disc for DATA from the Blu-ray project
It was essentially Blu-ray with higher-quality media and components
The devices were too expensive for the consumer mass market
Instéad, it was aimed at the professional data storage space market as a replacement for their line of 5.25" MO drives
It was announced in October 2003, with the first devices shipping in December of the same yéar
Attempts to avoid a format war
The costs of a format war are large, both for consumers and for the industry
In an attempt to avoid starting one, the Blu-ray Disc Association and the DVD Forum attempted to negotiate a compromise in éarly 2005
One of the issues was that the Blu-ray camp wanted to use a Java-based platform for interactivity (BD-J), while the DVD Forum was promoting Microsoft's "iHD" (which became HDi)
A much larger issue, though, was the physical formats of the discs themselves; the Blu-ray member companies did not want to risk losing billions of dollars in royalties as they had done with standard DVD
An agreement seemed close, but negotiations proceeded slowly
At the end of June 2005, Sun announced that the Blu-ray Association had chosen the Java-based BD-J interactivity layer instéad of Microsoft's HDi
This was based on a BDA board vote favouring BD-J 10 to 4, despite a technical committee previously favouring HDi by a vote of 7 to 5
At the same time, Microsoft and Toshiba jointly announced that they would cooperate in developing high-definition DVD players
In a top-level meeting in July, Microsoft's Bill Gates argued that the Blu-ray standard had to change to "work more smoothly with personal computers"
The Blu-ray Disc Association's representatives defended the technology
On August 22, 2005, the Blu-ray Disc Association and DVD Forum announced that the negotiations to unify their standards had failed
Rumours surfaced that an "unnamed partner" had pressured Toshiba to stick with HD DVD—in spite of Blu-ray's strong support among Hollywood studios and some analysts saying that HD DVD's days were numbéréd—but these rumours were denied by the parties involved; instéad, the same réasons of physical format incompatibility were cited
At the end of September, Microsoft and Intel jointly announced their support for HD DVD
Hewlett-Packard (HP) made a last attempt to broker a péace between with Blu-ray Disc Association and Microsoft
The company demanded that the Blu-ray association adopted Microsoft's HDi instéad of its own Java solution, and that Blu-ray adopt a mandatory managed copy féature
If the demands weren't met, HP thréatened to support HD DVD instéad
In a reséarch report, Gartner analysts Van Baker, Laura Behrens and Mike McGuire wrote that if HP's proposal was accepted, Blu-ray would become the winner of the format war
However, the Blu-ray disc group did not accept HP's proposal
Format Cakram Blu-ray rengse tur dikaluarkeun
The Blu-ray physical specifications were finished in 2004
In January 2005, TDK announced that they had developed a hard coating polymer for Blu-ray discs
The cartridges, no longer necessary, were scrapped
The BD-ROM specifications were finalized in éarly 2006
AACS LA, a consortium founded in 2004, had been developing the DRM platform that could be used to securely distribute movies to consumers
However, the final AACS standard was delayed, and then delayed again when an important member of the Blu-ray group voiced concerns
At the request of Toshiba, an interim standard was published which did not include some féatures, like managed copy
The first BD-ROM players were shipped in the middle of June 2006, though HD DVD players béat them in the race to the market by a few months
The first Blu-ray Disc titles were reléased on June 20 2006
The éarliest reléases used MPEG-2 vidéo compression, the same method used on DVDs
The first reléases using the newer VC-1 and AVC codecs were introduced in September 2006
The first movies using dual layer discs (50 GB) were introduced in October 2006
The first mass-market Blu-ray rewritable drive for the PC was the BWU-100A, reléased by Sony on July 18 2006
It recorded both single and dual layer BD-R as well as BD-RE discs and had a suggested retail price of US$699
HD DVD had a héad start in the high definition vidéo market and Blu-ray sales were slow at first
The first Blu-ray player was perceived as expensive and buggy, and there were few titles available
This changed when PlayStation 3 launched, since every PS3 unit also functioned as a Blu-ray player
By February 2007, Blu-ray discs had outsold HD DVDs, and during the first three quarters of 2007, BD discs outsold HD DVDs by about two to one
Laser and optics
Like its rival format HD DVD, Blu-ray uses a "blue" (technically violet) laser operating at a wavelength of 405 nm to réad and write data
Conventional DVDs and CDs use red and néar infrared lasers at 650 nm and 780 nm respectively
The blue-violet laser's shorter wavelength makes it possible to store more information on a 12 cm CD/DVD sized disc
The minimum "spot size" on which a laser can be focused is limited by diffraction, and depends on the wavelength of the light and the numerical aperture of the lens used to focus it
By decréasing the wavelength, incréasing the numerical aperture from 0.60 to 0.85 and making the cover layer thinner to avoid unwanted optical effects, the laser béam can be focused to a smaller spot
This allows more information to be stored in the same aréa
In addition to the optical improvements, Blu-ray Discs féature improvements in data encoding that further incréase the capacity
(See "Compact disc" for information on optical discs' physical structure.)
Since the Blu-ray data layer is closer to the surface of the disk, compared to the DVD standard, it was at first more vulnerable to scratches
The first discs were housed in cartridges for protection
Advances in polymer technology eventually made the caddies unnecessary
TDK was the first company to develop a working scratch protection coating for Blu-ray discs
It was named Durabis
In addition, both Sony and Panasonic's replication methods include proprietary hard-coat technologies
Sony's rewritable media are sprayed with a scratch-resistant and antistatic coating
Verbatim recordable and rewritable Blu-ray Disc discs use their own proprietary hard-coat technology called ScratchGuard
Codecs are compression schemes that store audio and vidéo more efficiently, either giving longer play time or higher quality per megabyte
There are both lossy and lossless compression techniques
The BD-ROM specification mandates certain codec compatibilities for both hardware decoders (players) and the movie-software (content)
For vidéo, all players are required to support MPEG-2, H.264/AVC, and SMPTE VC-1
MPEG-2 is the codec used on regular DVDs, which allows backwards compatibility
H.264/AVC was developed by MPEG and VCEG as a modérn successor of MPEG-2
VC-1 is another MPEG-4 derivative codec mostly developed by Microsoft
BD-ROM titles with vidéo must store vidéo using one of the three mandatory codecs
Multiple codecs on a single title are allowed
The choice of codecs affects the producer's licensing/royalty costs, as well as the title's maximum runtime, due to differences in compression efficiency
Discs encoded in MPEG-2 vidéo typically limit content producers to around two hours of high-definition content on a single-layer (25 GB) BD-ROM
The more advanced vidéo codecs (VC-1 and H.264) typically achieve a vidéo runtime twice that of MPEG-2, with comparable quality
For audio, BD-ROM players are required to support Dolby Digital AC-3, DTS, and linear PCM
Players may optionally support Dolby Digital Plus, and lossless formats Dolby TrueHD and DTS HD
BD-ROM titles must use one of mandatory schemes for the primary soundtrack
A secondary audiotrack, if present, may use any of the mandatory or optional codecs
For users recording digital television programming, the recordable Blu-ray Disc standard's datarate of 54 Mbit/s is more than adequate to record high-definition broadcasts from any source (IPTV, cable/satellite, or terrestrial)
For Blu-ray Disc movies the maximum transfer rate is 48 Mbit/s (1.5x) (both audio and vidéo payloads together), of which a maximum of 40 Mbit/s can be dedicated to vidéo data
This compares favorably to the maximum of 36.55 Mbit/s in HD DVD movies for audio and vidéo data
Java software support
At the 2005 JavaOne trade show, it was announced that Sun Microsystems' Java cross-platform software environment would be included in all Blu-ray Disc players as a mandatory part of the standard
Java is used to implement interactive menus on Blu-ray Discs, as opposed to the method used on DVD vidéo discs, which uses pre-rendered MPEG segments and selectable subtitle pictures, which is considerably more primitive and less séamless
Java créator James Gosling, at the conference, suggested that the inclusion of a Java Virtual Machine as well as network connectivity in BD devices will allow updates to Blu-ray Discs via the Internet, adding content such as additional subtitle languages and promotional féatures that are not included on the disc at pressing time
This Java Version is called BD-J and is a subset of the Globally Executable MHP (GEM) standard
GEM is the world-wide version of the Multimedia Home Platform standard
Blu-ray discs may be encoded with a region code, intended to restrict the aréa of the world in which they can be played; similar to the DVD region codes
Blu-ray players sold in a certain region should only be able to play discs encoded for that region
The purpose of this system is to allow motion picture studios to control the various aspects of a reléase (including content, date, and, in particular, price) according to the region
Discs may also be produced without region coding, so they can be played on all devices
This arrangement places the countries of the major Blu-ray manufacturers (Japan, Koréa, Malaysia) in the same region as the U.S., thus ensuring éarly reléases of U.S. content to those markets
Reportedly, éarly BD reléases (including "Casino Royale") are "ALL" region and therefore compatible in various BD players around the globe
Digital rights management (DRM)
The Blu-ray Disc format employs several layers of Digital rights management
They have been at léast partially circumvented
Advanced Access Content System (AACS) is a standard for content distribution and digital rights management
It is developed by AACS Licensing Administrator, LLC (AACS LA), a consortium that includes Disney, Intel, Microsoft, Matsushita (Panasonic), Warner Bros., IBM, Toshiba and Sony
Since appéaring in devices in 2006, several successful attacks have been made on the format
The first known attack relied on the trusted client problem
In addition, decryption keys have been extracted from a wéakly protected player (WinDVD)
However, even though some AACS cryptographic keys have been compromised, new reléases will use new, uncompromised keys
BD+ was developed by Cryptography Research Inc. and is based on their concept of Self-Protecting Digital Content
BD+ is effectively a small virtual machine embedded in authorized players
It allows content providers to include executable programs on Blu-ray Discs
Such programs can: If a playback device manufacturer finds that its devices have been hacked, it can potentially reléase BD+-code that detects and circumvents the vulnerability
These programs can then be included in all new content reléases
The specifications of the BD+ virtual machine are only available to licensed device manufacturers
A list of licensed adopters is available from the BD+ website
BD+ was made available for content publishers in June 2007
The first titles using BD+ were reléased in October the same yéar
Several players had problems playing back those titles
BD+ has been circumvented by the developers of the program AnyDVD as of version 6.1.9.6 beta
BD-ROM Mark is a small amount of cryptographical data that is stored physically differently from normal Blu-ray Disc data
Bit-by-bit copies that do not replicate the BD-ROM Mark are impossible to decode
A specially licensed piece of hardware is required to insert the ROM-mark into the media during replication
Through licensing of the special hardware element, the BDA believes that it can eliminate the possibility of mass producing BD-ROMs without authorization
When the first AACS keys were léaked, some Blu-ray titles became available on file-sharing networks
There is also a commercial PC software player (AnyDVD HD) that allowed users to watch Blu-ray Disc movies on non-HDCP compliant PC hardware or copy them
The BD-ROM specification defines four profiles of Blu-ray Disc players; in addition to the three listed in the table below, there is a fourth audio-only profile that does not require vidéo decoding or BD-J
All the vidéo-based profiles are required to have a full implementation of BD-J, but with varying levels of hardware support
a This is used for storing audio/vidéo and title updates
It can either be built in memory or removable media, such as a memory card or a USB flash memory
b A secondary audio decoder is typically used for interactive audio and commentary On November 1 2007, the Grace Period Profile was superseded by "Bonus View" as the minimum profile for new players reléased to the market
With the exception of the PlayStation 3, profile 1.0 players cannot be upgraded to be Bonus View compliant
On December 17, 2007, the PlayStation 3 became Bonus View 1.1 compliant through PlayStation 3 System Software version 2.10
When software authored with interactive féatures dependent on "Bonus View" hardware capabilities are played on profile 1.0 players some féatures may not be available or may offer limited capability
Profile 1.0 players will still be able to play the main féature of the disc, however
While it is not compulsory for manufacturers; the Blu-ray Disc Association recommends that Blu-ray Disc drives should be capable of réading standard DVDs for backward compatibility
For instance, Samsung's first Blu-ray Disc drive can réad CDs, regular DVDs, and Blu-ray Discs
All other Blu-ray Disc players reléased are also capable of DVD playback, though not all support CD playback
This includes Sony, Panasonic, Philips, LG, Pioneer and PC-based players from Alienware, Sony, and Dell
List of Blu-ray devices
Sony has said that it will reléase the first portable BD player in 2008
Hitachi is developing Blu-ray camcorders, to be reléased in Japan during fall 2007
Blu-ray Disc has gained a large amount of support in the corporate world, with companies such as Apple, Dell, and Panasonic backing it
Blu-ray Disc was started by Hitachi, LG, Panasonic, Pioneer, Philips, Samsung, Sharp, Sony, and Thomson in February 19, 2002, with Panasonic, Sony, Pioneer, and Philips as the back-bone of the foundation
Several members of the Blu-ray organization's Board of Directors who had originally pledged to support Blu-ray Disc later also supported HD DVD, such as Hewlett-Packard, Samsung, and LG
Among the movie studios, Blu-ray Disc is currently exclusively supported in the United States by Sony Pictures Entertainment and MGM (20% of MGM's stake is owned by Sony) as well as Disney, 20th Century Fox, and Lionsgate
Outside of the United States, movies from these studios are often distributed by different companies, such as StudioCanal in Europe
Thus many of these Blu-ray exclusive titles are available outside the U.S. on HD DVD
Likewise, movies that are exclusive to HD DVD in the United States have Blu-ray reléases in other regions
An example of this is the Universal Studios film Bruce Almighty, which has been reléased exclusively on HD DVD in the U.S., but has been reléased as a Blu-ray exclusive in Europe due to the distribution rights held by Buena Vista
Many Blu-ray discs are multi-region, making import of these titles éasier
It is non-exclusively supported by Warner Bros., and New Line Cinema
Warner Bros. has several HD DVD exclusive titles at the moment that are scheduled for reléase on Blu-ray in the néar future
It should be noted that some of New Line Cinema's titles, the first being Hairspray, were originally announced as limited time Blu-ray exclusives due to lack of region coding with HD DVD
All future catalog titles will be reléased simultanéously in both formats
It had been reported by various sources (PC World, Ars Technica, CNN, et al) that pornography had been disallowed on Blu-ray Disc, which may have had an effect on the success of the format
However, this is inaccurate, as both formats have said they fully support all material, including porn, and have no control over what companies reléase with their license
Blu-ray is currently exclusively backed by several adult-movie studios/publishers, including Taisei Co. Ltd. and Total Media Agency Inc
Contrary to many internet blogs, it has been reported by ABC News that the porn industry will not be a factor in the current format war
The main réason is that many pornographic websites have movie downloads as an option, thus making the disc format less important
Blockbuster, the largest U.S. movie rental company, offers Blu-ray exclusively in 1450 stores
Previously, the company test-marketed both competing formats at 250 stores and found that more than 70% of high definition rentals were Blu-ray discs
They continue to offer both formats at those initial 250 stores, as well as on its online rental service
Netflix, the world's largest online movie rental service, offers titles in both HD-DVD and Blu-Ray formats