There are two approaches to digital filtering. One is to implement the impulse response directly. The other is to use recursion. Here we look at the direct implementation.
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The variable directivity microphone is very popular for studio work. What goes on inside is very clever and not widely appreciated.
Digital filters are ubiquitous. That has happened because they have significant advantages over the technology they widely replaced.
Remote broadcast transmitters were once logged and controlled from studios over a standard telephone line, and monitored on a consumer TV. The alarm was the GM calling the Master Control Red Phone.
In real systems the issue of sampling rate conversion arises frequently but fortunately there are plenty of solutions.
There is a school of thought that suggests increasing the brightness through the contrast control on a television will give a higher dynamic range. However, this doesn’t necessarily increase the contrast ratio. Quantization noise is the enemy of dynamic range and increasing brightness in a system with a low bit depth makes quantizing banding obvious. When banding occurs, the brightness must be turned down to remove it or, the bit depth should be increased.
HDR is taking the broadcasting world by storm. The combination of a greater dynamic range and wider color gamut is delivering images that truly bring the immersive experience to home viewers. Vibrant colors and detailed specular highlights build a kind of realism into broadcast productions that our predecessors could only ever have dreamed of.
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