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68
Using 8-bit Versus 10-bit Video
While both 8- and 10-bit uncompressed video are capable of providing excellent quality broadcast video, 10-bit represents a significantly higher quality and is preferable in many situations.
Because 10-bit video has four times the numerical precision when compared to 8bit, it has a signal-to-noise ratio 12 db higher than 8-bit video.
Visually, in 8-bit video compared to 10-bit video, you will notice a substantial difference. In 8-bit video there will be “contour lines” or “striations” visible, particularly noticeable in scenes having soft gradients like a ramp or sunset. For example, if a sky region is mostly the same color but varies by only a few digital numbers from one side of the picture to another, you may see contour lines where the signal passes from one digital value to the next higher value.
Since each numerical value in a 10-bit system is only one fourth as large as an 8-bit system's, these contours become invisible and the sky varies smoothly.
10-bit video is often used when the source and output video (or “master”) is also 10bit. Even if the input and/or output video is 8-bit, a 10-bit “project” will still maintain a higher quality when there is a significant amount of effects rendering involved.
Industry standard professional mastering formats—Sony Digital Betacam for
Standard Definition and Panasonic D5 for High Definition—are both true 10-bit formats.
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Table of contents
- 9 Table of Contents
- 10 Features
- 10 Hardware
- 10 Dual Link
- 11 Broadcast-Quality Conversion
- 11 KONA 2 Audio
- 11 Qrez™ 4:1 Hardware Codec
- 12 DVCPRO HD Acceleration
- 13 Software
- 13 What’s In The Box?
- 13 Optional K-Box Package Contents
- 15 System Requirements
- 15 Minimum and Recommended System and Software Requirements
- 15 Understanding Disk Storage Methods
- 17 About RAIDs
- 18 Software For Striping
- 18 AJA KONA 2 and Xserve RAID
- 19 Storage capacity
- 19 Cable Connections
- 20 Using the Standard Cables
- 21 Using K-Box
- 21 About BNC Connectors
- 22 Connector Descriptions—Cables and K-Box
- 22 8 Channel Digital AES/EBU Audio Inputs And Outputs
- 22 Analog 2 Channel Unbalanced Audio (K-Box only)
- 22 RS422 Machine Control
- 22 SDI Input and Outputs
- 23 Analog Monitor Out (Component/Composite HD/SD)
- 23 Reference Video (looping)
- 24 In This Manual
- 25 KONA 2 And Your Workflow
- 26 Understanding Typical Workflows
- 27 PhotoJPEG
- 29 DV (DV25)
- 29 DVCPRO HD
- 29 Uncompressed 8-bit
- 30 Uncompressed 10-bit
- 30 Uncompressed 10-bit Dual Link HD
- 30 Workflow General Notes
- 31 HD Offline Scenario
- 31 HD / SD Online Scenario With Qrez
- 32 Mixing and Matching Formats in Final Cut
- 33 Installation Overview
- 34 Unpacking
- 34 Shipping Box Contents
- 35 Installing the KONA 2 Card
- 37 Installing the Optional K-Box Breakout Box—Desk or Rackmount
- 37 Physical Requirements
- 38 Cabling the System
- 38 System Video/Audio Cable Connections
- 38 System Cabling When Using BNCs for Audio
- 41 Typical System
- 42 Installing KONA 2 Software
- 42 Software Installation Procedure
- 47 Genlock and Your System
- 49 Final Cut Pro
- 49 Using The KONA 2 Control Panel
- 50 Control Panel Basics
- 52 Input Screen
- 53 Input Screen Settings
- 54 Formats Screen
- 56 Format Screen Settings
- 57 Digital Out Screen
- 57 Digital Out Screen Settings
- 59 Analog Out Screen
- 59 Analog Out Screen Settings
- 60 Control Screen
- 61 Control Screen Settings
- 62 Timecode Screen
- 63 Timecode Screen Settings
- 64 Info Screen
- 64 Saving Your Control Panel Presets
- 65 Easy Setups for Typical Uses
- 65 Easy Setups Menu
- 67 Easy Setups For Use With KONA
- 68 Audio/Video Settings Menu
- 69 To Create A New Easy Setup
- 70 The Sequence Presets Window
- 75 Checking the System with a Simple Test Project of Bars and Tone
- 78 Using 8-bit Versus 10-bit Video
- 79 If You Run Into Problems
- 80 Updating Software
- 80 Support
- 81 Apple Resources