3G/HD/SD/ASI Electrical to Optical Converter User Guide
TM
BrightEye 46
E NSEMBLE
DESIGNS
TM
BrightEye 46
3G/HD/SD/ASI
Electrical to Optical Converter
User Guide
Revision 1.0
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Contents
PRODUCT OVERVIEW 3
APPLICATIONS 4
HD Optical Conversion and Electrical Distribution 4
REAR CONNECTORS 5
Power Connection 5
Optical Out 5
Input/Output BNCs 5
3G/HD/SD/ASI In 5
Out 1-4 5
OPERATION 6
Front Panel Indicators 6
In 6
Pwr (Power) 6
WARRANTY AND FACTORY SERVICE 7
Warranty 7
Factory Service 7
SPECIFICATIONS 8
BRIGHTEYE POWER SUPPLY INFORMATION 9
BEPS 9
BEPS6 9
BEPS6-RP 9
BERKMT 9
BEBP 9
BEAC 9
GLOSSARY 10
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Reclocker
3G/HD/SD/ASI In
(follows input)
Front Panel Indicators
Power
Input Signal
Optical Out
Laser
Diode
PRODUCT OVERVIEW
The BrightEye™ 46 is an electrical to optical converter and distribution amplier that can be used
with standard denition video signals, 3 Gb/s and 1.5 Gb/s high denition signals, or ASI signals. The
video input is reclocked and presented on four BNCs and is also converted to an optical signal and
presented on an optical SC connector. This optical output can drive single mode ber to a distance
of 20 kilometers. With an optical launch power attenuator, multi-mode ber can also be used with
BrightEyes. Refer to the functional block diagram below.
This is a simple device with no USB port and no interface to the BrightEye Mac or PC software. It is
powered by a modular style power supply. Front panel indicators show the presence of an input signal
and power. No adjustments are required on the unit.
A glossary of commonly used video terms is provided at the end of this guide.
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BrightEye 46 Functional Block Diagram
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BrightEye 46
HD Optical Out
HD In
HD Switcher
with Optical I/O
HD Router
Remote Location (up to 20 km for single mode)
HD
Electrical
Outputs
APPLICATIONS
BrightEye 46 can be utilized in any number of dierent applications where conversion of 3G, HD, SD or
ASI signals to optical is required. The reclocked electrical input can also be distributed to four electrical
output BNCs.
As shown in the example below, this unit can accommodate the need to send the input signal
optically to a remote location as well as to distribute the input to other electrical destinations. The 3G,
HD, SD, or ASI input can be converted and output from the optical connector to long distances (up to
20 kilometers of single mode ber).
Another advantage of using optical signal distribution is the electrical isolation provided allowing
complete freedom from ground loops.
HD Optical Conversion and Electrical Distribution
One application, shown in the illustration below, utilizes ber optic transmission to send a converted
SDI signal from a serial digital router to an SDI switcher with an optical I/O in another building. Four
additional outputs are available for other local applications from the BNC connectors.
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BrightEye 46 Application
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REAR CONNECTORS
All connections to the BrightEye 46 are made on the rear of the unit. Refer to the illustration below.
CAUTION: This is a Class A Laser Product. The optical output emits invisible radiation. Do not
stare directly into the optical output beam or view directly with optical instruments.
BrightEye 46 Rear Connectors
Power Connection
Connect a modular power supply to the 12 volt DC power input connection on the far left of the unit.
Use the locking ring to secure it.
Optical Out
The optical output connector carries the same ITU-R 601 component digital television signal as a
directly modulated optical carrier in accordance with SMPTE 297M. It also conforms to high denition
and ASI specications. The output wavelength is 1310 nm (nanometers), with a nominal output power
of -7 dBm. It is capable of driving both single mode (SM) and with an optical launch power attenuator
installed, multi-mode (MM) optical ber. This is an LC type connector.
Input/Output BNCs
There are ve rear BNC connectors which are used as follows:
3G/HD/SD/ASI In
Connect a 3G, HD, SD, or ASI video input to this BNC for distribution to the four BNC outputs and for
conversion to optical for outputting on the optical connector.
Out 1-4
Connect the four BNC outputs to the desired electrical video destinations corresponding to the correct
video input type.
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OPERATION
Monitoring of the BrightEye 46 converter is performed from the front panel as illustrated in the gure
below. This is a simple device with no interface to the BrightEye Control application. There are no
adjustments required for this unit.
BrightEye 46 Front Panel
Front Panel Indicators
The front panel of the converter, shown in the gure above, provides the following status indicators for
the video input and power to the unit.
In
Illuminates green when a 3G, HD, SD, or ASI video input is detected on the input connector.
Pwr (Power)
Illuminates green when power is applied to the converter and the internal voltage regulator is
functioning correctly.
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WARRANTY AND FACTORY SERVICE
Warranty
This product is covered by a ve year limited warranty. If you require service (under warranty or not),
please contact Ensemble Designs and ask for customer service before you return this product. This
will allow the service technician to provide any other suggestions for identifying the problem and
recommend possible solutions.
Factory Service
If you return equipment for repair, please get a Return Material Authorization Number (RMA) from the
factory rst.
Ship the product and a written description of the problem to:
Ensemble Designs, Inc.
Attention: Customer Service RMA #####
870 Gold Flat Rd.
Nevada City, CA. 95959 USA
(530) 478-1830
Fax: (530) 478-1832
service@ensembledesigns.com
http://www.ensembledesigns.com
Be sure to put your RMA number on the outside of the box.
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SPECIFICATIONS
Serial Digital Input
Number: One
Signal Type: 270 Mb/s SD Serial Digital
(SMPTE 259M)
1.485 Gb/s HD Serial Digital
(SMPTE 274M, 292M or 296M)
2.97 Gb/s HD Serial Digital
(SMPTE 424M, 425M)
Impedance: 75 Ω
Return Loss: > 15 dB for 270 Mb/s
> 15 dB for 1.485 Gb/s
> 10 dB for 3 Gb/s
Max Cable Length 300 meters for 270 Mb/s
100 meters for 1.485 Gb/s
70 meters for 3 Gb/s
(Belden 1694A)
Serial Digital Output
Number: Four
Signal Type: 3G/HD/SD/ASI Serial Digital (follows input)
Impedance: 75 Ω
Return Loss: > 15 dB to 1.485 Gb/s
Output DC: None (AC coupled)
Optical Output
Number: One
Type: SD and ASI (SMPTE 297M, optical equivalent of 259M)
1.485 Gb/s HD (SMPTE 274M, 292M or 296M)
2.97 Gb/s HD (SMPTE 424M, 425M)
Wavelength: 1310 nm (1550 by special order)
Power: -7 dBm
Max Cable Length: 20 km
Fiber Type: Single Mode
Multi-mode compatible with 8 dB attenuation at transmit end
Connector: LC/UPC
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General Specications
Size: 5.625” W x 0.8 “ H x 5.5” D
(143 mm x 20 mm x 140 mm)
including connectors
Power: 12 volts, 7 watts
(100-230 VAC modular power supply not included)
Temperature Range: 0 to 40 degrees C ambient
Relative Humidity: 0 to 95% noncondensing
Due to ongoing product development, all specications are subject to change.
BRIGHTEYE POWER SUPPLY INFORMATION
Below is a list of power supplies and optional items that may have come with your BrightEye:
BEPS
BrightEye Individual Power Supply.
BEPS6
Spider Power Supply. This powers 6 single high BrightEyes or 3 double high BrightEyes (BrightEye 90
family).
BEPS6-RP
Redundant Power Supply for Spider.
BERKMT
BrightEye Rack Mount. This holds 6 single high BrightEyes or 3 double high BrightEyes (BrightEye 90
family) or a combination.
BEBP
BrightEye Blank Panel. Single high, for empty slots in Rack Mount.
BEAC
Analog Audio Breakout Cable
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GLOSSARY
This is a brief glossary of commonly used terms associated with this product.
AES/EBU
The digital audio standard dened as a joint eort of the Audio Engineering Society and the European
Broadcast Union. AES/EBU or AES3 describes a serial bitstream that carries two audio channels,
thus an AES stream is a stereo pair. The AES/EBU standard covers a wide range of sample rates and
quantizations (bit depths.) In television systems, these will generally be 48 kHz and either 20 or 24 bits.
Bandwidth
Strictly speaking, this refers to the range of frequencies (i.e. the width of the band of frequency) used
by a signal, or carried by a transmission channel. Generally, wider bandwidth will carry and reproduce
a signal with greater delity and accuracy.
Beta
Sony Beta SP video tape machines use an analog component format that is similar to SMPTE, but
diers in the amplitude of the color dierence signals. It may also carry setup on the luminance
channel.
Blanking
The Horizontal and Vertical blanking intervals of a television signal refer to the time periods between
lines and between elds. No picture information is transmitted during these times, which are required
in CRT displays to allow the electron beam to be repositioned for the start of the next line or eld.
They are also used to carry synchronizing pulses which are used in transmission and recovery of the
image. Although some of these needs are disappearing, the intervals themselves are retained for
compatibility purposes. They have turned out to be very useful for the transmission of additional
content, such as teletext and embedded audio.
CAV
Component Analog Video. This is a convenient shorthand form, but it is subject to confusion. It is
sometimes used to mean ONLY color dierence component formats (SMPTE or Beta), and other times
to include RGB format. In any case, a CAV signal will always require 3 connectors – either Y/R-Y/B-Y, or
R/G/B.
Checkeld
A Checkeld signal is a special test signal that stresses particular aspects of serial digital transmission.
The performance of the Phase Locked-Loops (PLLs) in an SDI receiver must be able to tolerate long
runs of 0’s and 1’s. Under normal conditions, only very short runs of these are produced due to a
scrambling algorithm that is used. The Checkeld, also referred to as the Pathological test signal, will
“undo” the scrambling and cause extremely long runs to occur. This test signal is very useful for testing
transmission paths.
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Chroma
The color or chroma content of a signal, consisting of the hue and saturation of the image. See also
Color Dierence.
Component
In a component video system, the totality of the image is carried by three separate but related
components. This method provides the best image delity with the fewest artifacts, but it requires
three independent transmission paths (cables). The commonly used component formats are
Luminance and Color Dierence (Y/Pr/Pb), and RGB. It was far too unwieldy in the early days of color
television to even consider component transmission.
Composite
Composite television dates back to the early days of color transmission. This scheme encodes the
color dierence information onto a color subcarrier. The instantaneous phase of the subcarrier is the
color’s hue, and the amplitude is the color’s saturation or intensity. This subcarrier is then added onto
the existing luminance video signal. This trick works because the subcarrier is set at a high enough
frequency to leave spectrum for the luminance information. But it is not a seamless matter to pull
the signal apart again at the destination in order to display it or process it. The resultant artifacts of
dot crawl (also referred to as chroma crawl) are only the most obvious result. Composite television is
the most commonly used format throughout the world, either as PAL or NTSC. It is also referred to as
Encoded video.
Color Dierence
Color Dierence systems take advantage of the details of human vision. We have more acuity in our
black and white vision than we do in color. This means that we need only the luminance information to
be carried at full bandwidth, we can scrimp on the color channels. In order to do this, RGB information
is converted to carry all of the luminance (Y is the black and white of the scene) in a single channel.
The other two channels are used to carry the “color dierence”. Noted as B-Y and R-Y, these two signals
describe how a particular pixel “diers” from being purely black and white. These channels typically
have only half the bandwidth of the luminance.
Decibel (dB)
The decibel is a unit of measure used to express the ratio in the amplitude or power of two signals. A
dierence of 20 dB corresponds to a 10:1 ratio between two signals, 6 dB is approximately a 2:1 ration.
Decibels add while the ratios multiply, so 26 dB is a 20:1 ratio, and 14 dB is a 5:1 ratio. There are several
special cases of the dB scale, where the reference is implied. Thus, dBm refers to power relative to 1
milliwatt, and dBu refers to voltage relative to .775V RMS. The original unit of measure was the Bel (10
times bigger), named after Alexander Graham Bell.
dBFS
In Digital Audio systems, the largest numerical value that can be represented is referred to as Full
Scale. No values or audio levels greater than FS can be reproduced because they would be clipped.
The nominal operating point (roughly corresponding to 0 VU) must be set below FS in order to have
headroom for audio peaks. This operating point is described relative to FS, so a digital reference level
of -20 dBFS has 20 dB of headroom before hitting the FS clipping point.
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EDH
Error Detection and Handling is a method to verify proper reception of an SDI or HD-SDI signal at the
destination. The originating device inserts a data packet in the vertical interval of the SDI signal and
every line of the HD signal which contains a checksum of the entire video frame. This checksum is
formed by adding up the numerical values of all of the samples in the frame, using a complex formula.
At the destination this same formula is applied to the incoming video and the resulting value is
compared to the one included in the transmission. If they match, then the content has all arrived with
no errors. If they don’t, then an error has occurred.
Embedded Audio
Digital Audio can be carried along in the same bitstream as an SDI or HD-SDI signal by taking
advantage of the gaps in the transmission which correspond to the horizontal and vertical intervals
of the television waveform. This technique an be very cost eective in transmission and routing, but
can also add complexity to signal handling issues because the audio content can no longer be treated
independently of the video.
Frame Sync
A Frame Synchronizer is used to synchronize the timing of a video signal to coincide with a timing
reference (usually a color black signal that is distributed throughout a facility). The synchronizer
accomplishes this by writing the incoming video into a frame buer memory under the timing
direction of the sync information contained in that video. Simultaneously the memory is being read
back by a timing system that is genlocked to a house reference. As a result, the timing or alignment of
the video frame can be adjusted so that the scan of the upper left corner of the image is happening
simultaneously on all sources. This is a requirement for both analog and digital systems in order to
perform video eects or switch glitch-free in a router. Frame synchronization can only be performed
within a single television line standard. A synchronizer will not convert an NTSC signal to a PAL signal,
it takes a standards converter to do that.
Frequency Response
A measurement of the accuracy of a system to carry or reproduce a range of signal frequencies. Similar
to Bandwidth.
IEC
The International Electrotechnical Commission provides a wide range of worldwide standards. They
have provided standardization of the AC power connection to products by means of an IEC line cord.
The connection point uses three at contact blades in a triangular arrangement, set in a rectangular
connector. The IEC specication does not dictate line voltage or frequency. Therefore, the user must
take care to verify that a device either has a universal input (capable of 90 to 230 volts, either 50 or 60
Hz), or that a line voltage switch, if present, is set correctly.
Interlace
Human vision can be fooled to see motion by presenting a series of images, each with a small change
relative to the previous image. In order to eliminate the icker, our eyes need to see more than 30
images per second. This is accomplished in television systems by dividing the lines that make up
each video frame (which run at 25 or 30 frames per second) into two elds. All of the odd-numbered
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lines are transmitted in the rst eld, the even-numbered lines are in the second eld. In this way, the
repetition rate is 50 or 60 Hz, without using more bandwidth. This trick has worked well for years, bit
it introduces other temporal artifacts. Motion pictures use a slightly dierent technique to raise the
repetition rate from the original 24 frames that make up each second of lm—they just project each
one twice.
IRE
Video level is measured on the IRE scale, where 0 IRE is black, and 100 IRE is full white. The actual
voltages that these levels correspond to can vary between formats.
ITU-R 601
This is the principal standard for standard denition component digital video. It denes the luminance
and color dierence coding system that is also referred to as 4:2:2. The standard applies to both PAL
and NTSC derived signals. They both will result in an image that contains 720 pixels horizontally, with
486 vertical pixels in NTSC, and 576 vertically in PAL. Both systems use a sample clock rate of 27 Mhz,
and are serialized at 270 Mb/s.
Jitter
Serial digital signals (either video or audio) are subject to the eects of jitter. This refers to the
instantaneous error that can occur from one bit to the next in the exact position each digital transition.
Although the signal may be at the correct frequency on average, in the interim it varies. Some bits
come slightly early, other come slightly late. The measurement of this jitter is given either as the
amount of time uncertainty or as the fraction of a bit width. For 270 Mb/s video, the allowable jitter is
740 picoseconds, or 0.2 UI (Unit Interval – one bit width).
Luminance
The “black & white” content of the image. Human vision had more acuity in luminance, so television
systems generally devote more bandwidth to the luminance content. In component systems, the
luminance is referred to as Y.
Multi-mode
Multi-mode bers have a larger diameter core (either 50 or 62.5 microns), and a correspondingly larger
aperture. It is much easier to couple light energy into a multimode ber, but internal reections will
cause multiple “modes” of the signal to propagate down the ber. This will degrade the ability of the
ber to be used over long distances.
See also Single mode.
NTSC
The color television encoding system used in North America was originally dened by the National
Television Standards Committee. This American standard has also been adopted by Canada, Mexico,
Japan, Korea, and Taiwan. (This standard is referred to disparagingly as Never Twice Same Color.)
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Optical
An optical interface between two devices carries data by modulating a light source. This light source
is typically a laser or laser diode (similar to an LED) which is turned on and o at the bitrate of the
datastream. The light is carried from one device to another through a glass ber. The ber’s core acts
as a waveguide or lightpipe to carry the light energy from one end to another. Optical transmission
has two very signicant advantages over metallic copper cables. Firstly, it does not require that the
two endpoint devices have any electrical connection to each other. This can be very advantageous
in large facilities where problems with ground loops appear. And secondly, and most importantly, an
optical interface can carry a signal for many kilometers or miles without any degradation or loss in the
recovered signal. Copper is barely useful at distances of just 1000 feet.
Oversampling
A technique to perform digital sampling at a multiple of the required sample rate. This has the
advantage of raising the Nyquist Rate (the maximum frequency which can be reproduced by a given
sample rate) much higher than the desired passband. this allows more easily realized anti-aliasing
lters.
PAL
During the early days of color television in North America, European broadcasters developed a
competing system called Phase Alternation by Line. This slightly more complex system is better able
to withstand the dierential gain and phase errors that appear in ampliers and transmission systems.
Engineers at the BBC claim that it stands for Perfection At Last.
Progressive
An image scanning technique which progresses through all of the lines in a frame in a single pass.
Computer monitors all use progressive displays. This contrasts to the interlace technique common to
television systems.
Return Loss
An idealized input or output circuit will exactly match its desired impedance (generally 75 ohms) as a
purely resistive element, with no reactive (capacitive or inductive elements). In the real world we can
only approach the ideal. So our real inputs and outputs will have some capacitance and inductance.
This will create impedance matching errors, especially at higher frequencies. The Return Loss of
an input or output measures how much energy is returned (reected back due to the impedance
mismatch). For digital circuits, a return loss of 15 dB is typical. This means that the energy returned is
15 dB less than the original signal. In analog circuits, a 40 dB gure is expected.
RGB
RGB systems carry the totality of the picture information as independent Red, Green, and Blue signals.
Television is an additive color system, where all three components add to produce white. Because the
luminance (or detail) information is carried partially in each of the RGB channels, all three must be
carried at full bandwidth in order to faithfully reproduce an image.
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ScH Phase
Used in composite systems, ScH Phase measures the relative phase between the leading edge of sync
on line 1 of eld 1 and a continuous subcarrier sinewave. Due to the arithmetic details of both PAL and
NTSC, this relationship is not the same at the beginning of each frame. In PAL, the pattern repeats ever
4 frames (8 elds) which is also known as the Bruch Blanking sequence. In NTSC, the repeat is every 2
frames (4 elds). This creates enormous headaches in editing systems and the system timing of analog
composite facilities.
SDI
Serial Digital Interface. This term refers to inputs and outputs of devices that support serial digital
component video. This generally means standard denition at 270 Mb/s. The use of “HD-SDI” is
beginning to appear to indicate High Denition Serial Digital video at 1.485 Gb/s.
SMPTE
The Society of Motion Picture and Television Engineers is a professional organization which has done
tremendous work in setting standards for both the lm and television industries. The term “SMPTE’” is
also shorthand for one particular component video format - luminance and color dierence.
Single mode
A Single mode (or monomode) optical ber carries an optical signal on a very small diameter (9
micron) core surrounded with cladding. The small diameter means that no internally reected
lightwaves will be propagated. Thus only the original “mode” of the signal passes down the ber. A
single mode ber used in an optical SDI system can carry a signal for up to 20 kilometers. Single mode
bers require particular care in their installation due to the extremely small optical aperture that they
present at splice and connection points.
See also Multi-mode.
TBC
A Time Base Corrector is a system to reduce the Time Base Error in a signal to acceptable levels. It
accomplishes this by using a FIFO (First In, First Out) memory. The incoming video is written into the
memory using its own jittery timing. This operation is closely associated with the actual digitization of
the analog signal because the varying position of the sync timing must be mimicked by the sampling
function of the analog to digital converter. A second timing system, genlocked to a stable reference,
is used to read the video back out of the memory. The memory acts as a dynamically adjusting delay
to smooth out the imperfections in the original signal’s timing. Very often a TBC will also function as a
Frame Synchronizer.
See also: Frame Sync.
Time Base Error
Time base error is present when there is excessive jitter or uncertainty in the line to line output
timing of a video signal. This is commonly associated with playback from video tape recorders, and
is particularly severe with consumer type heterodyne systems like VHS. Time base error will render a
signal unusable for broadcast or editing purposes.
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Tri Level Sync
An analog sync reference signal that is used in High Denition systems. Tri Level Sync is constructed
with three signal levels, the sync pulses extend above and below a mid-level average voltage (the
blanking level). Unlike conventional analog sync which is bi-level, the proper 50% picko point is
already identied in Tri Level Sync. This contributes to lower jitter in digital systems.
YUV
Strictly speaking, YUV does not apply to component video. The letters refer to the Luminance (Y), and
the U and V encoding axes using in the PAL composite system. Since the U axis is very close to the B-Y
axis, and the V axis is very close to the R-Y axis, YUV is often used as a sort of shorthand for the more
long-winded “Y/R-Y/B-Y”.
Y/Cr/Cb
In digital component video, the luminance component is Y, and the two color dierence signals are Cr
(R-Y) and Cb (B-Y).
Y/Pr/Pb
In analog component video, the image is carried in three components. The luminance is Y, the R-Y
color dierence signal is Pr, and the B-Y color dierence signal is Pb.
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