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.
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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]
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.
Native 1080p Projector: VANKYO native 1080P full HD projector brings movies, video games, sports, and more to life. This model has 280 Lumens* and a 5000:1 contrast ratio (*Brightness (white light output) will vary depending on usage conditions. Brightness measured in accordance with ISO/IEC 21118.)
The Hangover Part II's chief virtues are its tackling of its interracial element without anything like controversy and a mid-stream dream sequence that is sticky, loaded, and, my God, there it is, brilliant. (It actually draws a line, said sequence, to Terrence Malick's Tree of Life, leading one to fairly wonder if memory and perception are the catchwords of this new decade in film.) Stu's engagement to stupid-beautiful Lauren (Jamie Cheung) is a matter of fact, not controversy--the only bad you could really say about it is that it's just the excuse to set the film in Thailand and that the movie's squeamishness about going too far in demonizing Asians (all of its baddies are Eurotrash) puts it in danger of being a little condescending. Enter Chow (Ken Jeong) to level the racial playing field, so offensive in every quantifiable measure that he's destined to be the Stifler of this franchise and single-handedly responsible for setting back the cause of Asians in mainstream American culture by, oh, a couple of months at least. Saving grace of both Chow and The Hangover Part II proper is that they're funny. (And what the monkey does to Chow while he's sleeping is funny in an indelible way.) All of it's amiable enough, really, that even a coda with Mike Tyson singing selections from "Chess" only kills the vibe for a few minutes. The real shame is that this sequel's ultimately another scatological burlesque that falls in lockstep with Judd Apatow's ultra-conservative message of monogamy and marriage. Following the broad outlines of the first film faithfully, Phil, Alan, and Stu wake up in a devastated hotel room, this time with a severed finger and a chain-smoking monkey instead of a baby and a tiger--but the principle's the same. Again they're missing one of their member (Teddy) and forced to try to piece together what happened the night before using clues and artifacts; frankly, I kind of appreciate that they didn't try to reinvent the wheel.
"Bangkok Tour with Mr. Chow" (3 mins., HD) is more Jeong being Jeong, but allegedly in character, while a painfully long moment of Zach Galifianakis trying to get a microphone to work pads out a 5-minute "Gag Reel" (HD). Continuing a baffling tradition started on the BD of the original, a HiDef "Action Mashup" compacting this sequel's thrills and spills into a 46-second montage rounds out the special features. The dynamic 2.40:1, 1080p transfer of The Hangover Part II proper is above reproach, with Lawrence Sher's cinematography once again making a smooth, filmic transition to the format, even as Sher pushes the rankness well beyond what it was in the first movie. For better or worse, the picture's qualities as a tactile travelogue have been faithfully reproduced here. Meanwhile, there's real flair to the soundmix, presented in 5.1 DTS-HD MA. The beats of Christophe Beck's score drop some deep bass and the entire soundstage yields to the set-pieces, which typically doesn't happen when the overriding genre is comedy. Note that I had to restart the disc to get the centre channel to kick in; I'm sure it was just one of those quirks of technology. A retail DVD additionally housing a Digital Copy of The Hangover Part II is included in the packaging. No unrated version this time--I guess they got to push the envelope enough in theatres. Originally published: December 19, 2011.
The script for the film is definitely problematic. There are issues here, big issues. Why is there power to the top floors where no one has been for the last two decades? Why are none of the inmates wearing prison garb? Why would the corrections officers let the inmates run around completely unsupervised while sitting at the bar doing shots from a flash and alluding to a romantic subplot that never materializes? Logic is thrown out the window here, kids. Thankfully, Dark paces the film really well. Yes, it is a dumb movie, there's no doubt about that, but it movies really quickly and there are enough silly, gory set pieces here to ensure that even if the film is goofy, it's never dull. Plenty of fast editing, music video style cuts and film speed plays, and a stereotypically grim atmosphere devoid of almost all color don't do the movie any favors (we've seen enough of this already!) but if you're okay with watching a big scary guy run around and kill annoying people then See No Evil will fit the bill nicely. 2ff7e9595c