Sony DTV-01 Bedienungsanleitung

S®

Training Manual

Circuit Description and Troubleshooting

Course: DTV-01

High Definition

Television

Introduction 1

HDTV Transmission Stream 3

Introduction to MPEG-2 Compression 9

Model KW-34HD1 - Normal Operation 19

Inputs 21

Overall Block 25

SIGNAL PROCESS

Video Block 1 29

Video Process A 31

Video Process B 33

Video Block 2 35

Digital Realty Creation 37

MID - Multi Image Driver 41

Table of Contents

Video Process C 43

Video Block 3 45

Video Process D 47

On Screen Display 49

Video Process E 51

Screen Voltage Control 53

POWER SUPPLY

Power Supply Block 55

Standby Power 53

Converter 2 61

Overall Protection Block 67

D Board Protection Block 71

Protection Circuit 1 73

Protection Circuit 2 75

Protection Circuit 3 77

Protection Circuit 4 81

DEFLECTION

Vertical Deflection 85

Horizontal Deflection Block 89

Horizontal Drive 91

Horizontal Driver 93

Horizontal Output PWM 1 97

Horizontal Output PWM 2 101

Pincushion Correction 105

Picture Tilt Circuit 109

Dynamic Focus Block 113

Dynamic Focus 1 - B+ Mfg. 117

Dynamic Focus 2 - Location 121

Dynamic Quadrapole Focus 125

Appendix

Set-Back Box i

Picture Size Modes iii

BoardReplacement iv

Service Mode Display vi

Introduction

TV Transmission Formats

Standard Definition/High Definition

Picture resolution is commonly measured in pixels or lines. The number

of pixels is the number of black to white brightness changes possible on

the screen first in a horizontal, then in a vertical row (e.g. 960x480). CRT

manufacturing tolerances limits the number of pixels possible. This is a

common resolution specification in a computer monitor CRT.

In a TV broadcast, the studio camera is the limitation to higher resolution.

The picture scanned by the camera is segmented by pixels similar to the

viewer’s CRT. The greater the number of pixels in the horizontal and ver-

tical row, the greater the resolution. This will be the current resolution

limitationastheUSA makesthe transitiontoward highdefinition digitalTV.

In a TV transmission, the ability of a signal voltage to quickly change from

low to high and to produce a dark to white transition is comparable to a

pixel. This is not a limitation in the transmission format, but the number of

lines transmitted is and is used as a resolution measurement in transmis-

sions. Thenumber of lines transmitted in the current USANTSC format is

525. This is considered a standard definition (SD) transmission.

A standard definition (SD) transmission of 525 lines can be transmitted in

the analog or digital mode. A higher definition (HD) transmission can be

transmitted only in the digital (DTV) mode.

¨SDTV or SD – Standard definition is the current 525 lines of resolution

transmitted, but only 480 of those lines are viewable. SD can be sent

as an NTSC analog or digital (DTV) transmission.

¨HDTV or HD – A high-definition transmission contains 720 or more

horizontal lines. HD is transmitted only in a digital format.

¨DTV – A digital TV transmission refers only to the digital encoding of

thepicture signal that may containeither a high (HD) orlow (SD) reso-

lutionpicture. The digitalpicture is not viewable on an analogTV with-

out a “decoder box”.

Digital Transmission Formats

There are 18 approved digital transmission formats. The first six offer HD

signals in a 16x9 aspect ratio. The remaining 12 formats are SD signals

inprogressive (p) or interlaced (i) scan. Although not highresolution, they

offer significant improvements over the NTSC analog signal.

18 Digital Transmission Formats

Resolution Aspect

Ratio Frames Resolution Aspect

Ratio Frames

1. 1920x1080 16:9 30 i 10. 704x 480 16:9 24 p

2. “ 16:9 30 p 11. “ 4:3 60 p

3. “ 16:9 24 p 12. “ 4:3 30 i

4. 1280x 720 16:9 60 p 13. “ 4:3 30 p

5. “ 16:9 30 p 14. “ 4:3 24 p

6. “ 16:9 24 p 15. 640x 480 4:3 60 p

7. 704x 480 16:9 60 p 16. “ 4:3 30 i

8. “ 16:9 30 i 17. “ 4:3 30 p

9. “ 16:9 30 p 18. “ 4:3 24 p

A standard definition transmission permits space for another digital video

stream to coexist on the same frequency (channel). Consequently a sta-

tion can have more than one program stream on a digital channel. The

maximum number is not known at this time.

How to use this book for servicing

When encountering this TV set for servicing there are several things you

need to know. Below is a list of the necessary servicing items and where

to locate them: Servicing Needs

Information Location

1. Hookup / Operation / Normal

Operation First document in this training

manual (Normal Operation)

2. External HDTV set-back box

indicator lights Appendix

3. Location of power handling parts

and fuses Service manual / visual

inspection of heat sinks

4. Standby light indication message &

board determination Service manual and

Protection Block document

5. Shutdown troubleshooting plan Protect Circuitry 3 & 4

6. Power Supply, Deflection, Video

Selection and Signal Flow Circuitry Circuitry in this training book.

See table of contents.

7. Focus Circuitry Circuitry in this training book

8. Dynamic Convergence adjustments Service manual page 27

(same as in training manual

supplement)

9. Adjustments after tube replacement Notes on using the service

mode follow this chart.

A list of register names are in

the service manual.

Training manual supplement

Service Mode Adjustment Notes

Becauseof this TV’scomplexity, the following precautions shouldbe noted

while making service adjustments for convergence, video level, size, and

white balance or positioning:

1. The numerous service mode registers are usually grouped by ICs for

easyaccess. Use the remote’s #2 and#5 button to change ICgroups.

Then you can move from register to register with the #1 and #4 but-

tons.

2. Each register that controls the picture’s size, deflection and position

(on pages 45-47 of the service manual) has seven sets of adjustment

data, one for each of the seven picture size modes. These settings do

not interact. Enter the service mode, adjust the TV during that picture

size, and store it.

Seven Picture Size Modes

NTSC or SD DTV HDTV

1. Normal 4:3

aspect ratio 4. Wide Zoom 6. HDTV Full

2. Full 16:9 aspect

ratio

3. Zoom

5. Caption

(Top & bottom pix

compressed)

7. HDTV Twin View

1. Some registers are duplicated under different groups for ease of ad-

justments. These duplicated registers have the same name. Chang-

ing the register data at one location causes the data to change at the

other location as well.

2. Save adjustments often. Changing registers will hold the new data,

but changing picture sizes (zoom, full, caption, etc) will instantly lose

any unsaved data that was just held.

3. There are separate contrast, color level, and hue adjustments for:

¨The main picture

¨The HDTV picture

¨Each twin view picture

They are adjusted for equal levels as you switch modes. This is so

the picture is not brighter in one mode than another.

Introduction to MPEG-2 Compression

MPEG stands for Motion Picture Experts Group, named after the com-

mittee that developed the standard.

Why Compress?

MPEG defines a compression scheme for Video which evolved from the

need to transmit digital video on existing communication channels with

limited bandwidth. In addition to the bandwidth issue there is an obvious

storage one as well.

Fastest Communication Channels Typical Bandwidth

ISDN Line 144Kbps

T1 Line 1.5 Mbps

T3 Line 45 Mbps

With a whopping 4.7 gigabytes of data capacity, DVD-Video would seem

to have more than enough room for motion pictures. Unfortunately, digital

video has an incredibly voracious appetite for storage.

Raw or uncompressed Digital Video requires an enormous 252 Mega-

bits/sec of bandwidth and approx 31 Mbytes per second of storage.

720x480 (Res.) X 8bits/sample X 30frames/sec X 3 Components

To understand this figure, we need to understand video in its purest form.

Component Video

In its purest form, Video is made up of 4 components.

- Luminance or Y which defines the brightness level and

- Color which is made up of 3 components called R-Y, B-Y and G-Y.

As it works out, we can mathematically calculate the 4th component (G-

Y) from the others. Therefore, we only require 3 components for Video

(Y, R-Y and B-Y). Y = (R-Y) + (B-Y) + (G-Y)

Each sample we take of the video is represented by an 8 bit digital word

which translates to 28or 256 different levels of each component. There-

fore, each pixel is made up of 3 components which can represent up to

28 (Y) X 28 (R-Y) X 28 (B-Y) = 224 (commonly known as 24 bit color)or 16

million colors.

R-YB-YY

One PIXEL

The resolution or picture detail we require also plays an important role in

our bandwidth and storage requirement. DVD uses a 720 Horizontal by

480 Vertical resolution or 720 pixels across times 480 rows or lines.

720

480

In summary we need to:

- sample 3 components (Y, R-Y and B-Y) each of which is composed

of 720 x 480 (350,000) pixels.

- Represent each one by an 8 bit word (3 X 350,000 X 8 =

8,400,000bits). Therefore, each frame is made up of 8,400,000

bits.

- Finally, we would need to display at 30 frames per second (30 X

8,400,000 =252,000,000 bits/sec or 252 Mbits/sec Bandwidth.

To calculate the storage we simply divide the Bandwidth in bits by 8 bits

per byte and we get 31.5Mbytes/sec Storage requirement.

As illustrated, the requirement is enormous which paves the way for com-

pression and MPEG.

Compression Process

Compression of Video is accomplished via the following process.

1. Selective Sampling

2. Discrete Cosine Transform (DCT)

3. Predictive & Motion Encoding

4. Hoffman Encoding

Selective Sampling

The number of times per second that you sample a signal is called its

sampling frequency. In Audio, the sampling frequency is 44,000 samples/

sec which is approx 2 times the highest frequency in Audio (20,000 Hz).

In contrast, Video is sampled at 4 times the highest frequency (13.5Mhz).

Hence the term 4 in the sampling structure 4:4:4 representing the sam-

pling ratio of Y, R-Y and B-Y respectively.

Therefore, the same number of samples are taken of Y as they are of R-

Y and B-Y.

Time

Signal

4:2:2

Since the eye is less perceptive to color changes than to Luminance,

significant reduction of data can be accomplished in the Sampling

process if we sample the color components (R-Y and B-Y) half as

much as the Luminance component (Y). The result is a 1/3 reduction

or a bandwidth of 166Mbits/sec.

Video sampled using this technique is represented by a 4:2:2 sampling

structure.Y is sampled normally withR-Y andB-Y sampled half as much.

LINE 1

LINE 2

LINE 480

ONE

PIXEL Samples taken in the Horizontal direction up to 720 per Line

Non Sampled components Illustrated as clear boxes

R-Y B-YY YR-Y B-YYY

4:1:1

Consequently techniques such as the 4:1:1 further reduce color sam-

pling to 1/4th of the Y component and compress by ½ or reduce band-

width to 125Mbits/sec.

4:2:0

DVD takes it to another level by using a modified 4:2:2 sampling struc-

ture called 4:2:0. 4:2:0 samples R-Y half as much as Y and skips B-Y

on the 1st line. However, on the next horizontal line, B-Y is sampled half

as much as Y and R-Y is skipped. This routine is repeated effectively

reducing the color components by another half achieving ½ compres-

sion or a 125Mbit/sec bandwidth.

Through interpolation, the 4:2:0 is reconstructed into 4:2:2 without the

extra bandwidth requirement.

YB-YY

R-YYYR-YY

Y B-Y Y

LINE 1

LINE 2

LINE 3

LINE 4

LINE 480

ONE

PIXEL Samples taken in the Horizontal direction up to 720 per Line

R-YY YR-YYY

B-YY Y

Non Sampled components Illustrated as clear boxes

YB-YY

Discrete Cosine Transform

After the Selective Sampling process is complete, the next step in the

MPEG process is to remove very fine picture detail imperceptible to the

human eye. It is imperceptible because it is typically masked by other

picture content.

In a Video Frame, the very fine picture details consist of high frequency

information which are basically fast changing Luminance and Color

content. In contrast, low frequency information are slow changing

Luminance and Color content.

The high frequency information consumes the most data real estate and

is where we focus to compress in this next stage.

The process of eliminating the imperceptible information is called Dis-

crete Cosine Transform or DCT. The sampling process converts the

information into digital data as described previously. Each digital picture

frame is then sectioned off into 5400 blocks each consisting of 8 pixels

wide X 8 pixels high.

8 X 8

Pixel

Block

Picture

Frame

1 of 5400

Blocks

DCT transforms the 8X8 group of pixel values into frequency compo-

nents.

Although pixel values vary randomly in the 8X8 block, DCT re-positions

low frequency components on the upper left corner and high frequency

components on the lower right of the block.

Through an additional numerical conversion process called “Quantiza-

tion”, frequency component values are assigned.

High freq components are identified by the zero values (lower right) and

low freq components by the larger values (upper left).

Data compression is accomplished by elimination of the high frequency

components designated by the zeros.

105100000

5000000

00000000

8 X 8 Pixel Block

LFreq HFref

HFref

Spacial Redundancy

Within a Frame, there are many redundant pixels. An example would

be a blue sky. This type of redundancy within the Horizotal and Vertical

plane of a frame is called “Spacial Redundancy”.

One pixel could be stored with information to repeat for the remaining

pixels. This would eliminate the need to store every pixel in the frame.

Frames making use of this technique are called “Intra-Frames”.

Temporal Redundancy

Within Video scenes, there are many redundant frames. An example

would be an anchor person reporting the news. With the exception of

lip movement, the other portions of the frame remain unchanged over

time. This type of redundancy over time is called “Temporal Redun-

dancy”.

The first frame could be stored as the reference or non changing por-

tions while remaining frames carry the lip motion information. This would

eliminate the need to store several full frames.

Frames using Temporal redundancy which predict information based on

preceding frames are called “Inter-Frames” or Motion predicted Images.

Predictive & Motion Encoding

The next step in the MPEG process is termed “Predictive & Motion

Encoding” and it takes advantage of both Spacial and Temporal redun-

dancy to achieve compression.

I-Pictures

To begin the process of using Spacial and Temporal redundancy tech-

niques in compression, we need a reference or a start frame which does

not depend on previous or preceding frames.

This start frame would make use of Spacial redundancy within itself and

is termed an I picture.

I pictures are Intra-Frames and have zero dependency on previous or

preceding frames. They do however provide information to preceding

frames.

The other pictures types used by MPEG are called P-Pictures (Predic-

tive) and B-Pictures (Bi-Directional).

I Pictures carry the most amount of data content. They are 3 times the

size of a P-Picture and 5 to 6 times the size of a B-Picture.

P-Pictures

The P-Pictures are Predictive Encoded Images also known as Inter-

Frames.

As the name indicates, a P-Picture is a predicted Image based on

previous I or P-Picture. The P-Picture is dependent on past Images to

exist.

I or P

Picture

P-Picture

Predicted

by looking

back at

I or P Pic

Information

passed to

generate

P Picture

B-Pictures

The B-Pictures have Bi-directional dependency and are called Bi-

Directional Predicted Images.

The B-Picture is also a predicted Image but it is based on prior I or P

Pictures and preceding P-Pictures.

B-Pictures are typically made up of motion information and carry the

least amount of data.

I or P

Picture B-Pictures

Predicted

by looking

back at

I or P Pic

And

Future

P Picture

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