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Advanced Video Scaling

Easy Explanations of Inverse 3:2 Pulldown,

Anamorphic Scaling and Other Confusing Concepts

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Guide

Making sense out of complex Pro A/V and Broadcast technologies.

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Communications Specialties, Inc.

October 8, 2009



Introduction

Video scaling. It’s hard to believe that only a few years back, nobody involved

in the Professional A/V or Home Theater markets had even heard of this term.

Line doubling and line quadrupling were the standard methods of increasing

the resolution of traditional video images, and the concept of “video scaling”

as an alternative was strange and new.

What a difference a few years makes! Today, video scaling has become its

own, well-respected category of product, recognized for its many advantages

over line doubling and quadrupling. In fact, the technology has become so

mainstream and accepted that many display manufacturers have begun

integrating scaling capabilities right into their units. As a result, the need for

external scalers – once thought to be a critical add-on when designing a top

quality display system – has become “less obvious.” After all, if a projector or

display can internally scale video input to match its own native resolution

(H&V pixel count), many customers, dealers and system integrators are having

a hard time justifying the added expense of purchasing or specifying an

external scaler.

They may want to rethink this position. This is because a good scaler is more

than just a fancy “upconverter,” designed to change resolutions from lower to

higher. It is also a sophisticated video processor, with the ability to make

difficult adjustments for motion, conversion from film to video and changing

aspect ratios. Without these capabilities, simple “scaling” of an image may

result in less visible flicker or horizontal lines, but true, film-like quality cannot

be achieved. And, with the introduction of HDTV, a whole new set of

situations arises in which proper video scaling AND processing becomes

critical for creating a top-quality viewing experience.

This guide assumes you are familiar with the basics of video scaling — what it

is and how it works. If you are not, we suggest you first read our eduGuide

entitled “Guide to Video Scaling.” You will need to understand the basics of the

technology in order to conceptualize the more advanced issues discussed in

this eduGuide.

Motion Compensation

Many challenges arise in the conversion process from standard TV video to

non-interlaced, high-resolution, computer-quality or HDTV-quality video.

Moving objects are one of those challenges. The issue arises not because of

the motion itself, but because of the way motion is recorded and captured in

traditional interlaced video, and then what happens to it when it is then

converted to a non-interlaced format.

Advanced Video Scaling

3



As discussed in “Guide to Video Scaling,” each frame of traditional video is

made up of two fields: odd lines and even lines. When a frame is “painted”

onto a TV or video screen, first the odd lines appear, from left to right, top to

bottom, and then the even lines appear in a second pass, again from left to

right, top to bottom, 1/60th of a second later

1

. This is not only the way video

is displayed; it is also the way it is recorded. In other words, if a video camera

records the motion of a flying bird, in any given frame of the video, the bird is

located at a slightly different location in the odd field than in the even field.

Now imagine what happens when the odd lines and even lines get combined

into a single frame, as they do in the process of video scaling.

Field 1

Field 2

Field 1

Superimposed

over Field 2

How the bird

might appear

due to differ-

ent placement

in odd and

even fields.

(exaggerated)

The edges of the bird are going to appear staggered, or jagged. (This

phenomenon is often referred to as “the jaggies.”) It is the video processing

function of a scaler to smooth out these edges, so that within each full frame

of video, the bird appears at one, distinct location. At the same time, the

scaler must also make sure that, as a result of the video processing, the edges

of the bird do not appear blurred, that its motion across the screen remains

smooth and realistic, and that other, static images within the frame (roof tops,

trees) are not affected by any manipulations done to the moving image (the

bird). A good video scaler uses a variety of video processing and “motion

compensation” techniques to achieve the desired effect.

Static Mesh Processing

Static Mesh Processing is the most basic type of conversion from interlaced

to non-interlaced video. When employing static mesh processing, a scaler

merges the odd and even fields of a video frame into a single, combined

image without any regard for movement or discrepancies between the

odd and even fields. When applied to static images, this type of processing

generates the most crisp details and eliminates any jitter – particularly with

thin horizontal lines. However, it does nothing to eliminate “the jaggies.” As

a result, static mesh processing is most effectively used when combined with

4

Advanced Video Scaling



other types of video processing and selectively applied only to those parts of

the video frame that show little or no motion.

Vertical Temporal Processing

Vertical Temporal (VT) processing is a technique intended for use when

processing moving images. As in static mesh processing, a scaler employing

VTprocessing combines the odd and even fields into a single frame. However,

using the “bird” example, as the fields are combined, the scaler averages

together the points that make up the bird’s jagged border and creates a new,

smooth edge for the moving bird, midway between where it appears in the

odd and even fields. While a good quality scaler is able to do this with minimal

blurring or loss of detail, there is obviously some compromising made to the

original video signal. Therefore, as with static mesh processing, it is best when

VT processing is applied selectively. A scaler that effectively combines static

mesh and VT processing, using each where most appropriate, will provide the

most satisfactory picture quality overall.

Adaptive Frame Processing – for Video that Originated as Film

(Inverse 3:2 and 2:2 Pulldown)

Perhaps the most popular application for high-resolution displays is creating a

“theater-like” experience for viewing movies recorded to videotape or DVD.

The conversion of film to standard video creates a unique set of conditions for

which scalers with top-quality motion compensation processing can be

particularly helpful. This is because traditional film has many properties that

are qualitatively different than standard video (NTSC or PAL).

First of all, unlike video, each frame of film represents a unique moment in

time. There are no separate “odd and even” fields, nor is there any “scanning”

of the image left to right, top to bottom. Each frame is a static, complete

snapshot of what is happening at a specific moment.

Secondly, film is recorded and played back at a different speed than video. A

movie camera shoots 24 frames per second, and the film plays back at a speed

of 24 Hz. By comparison, there are 30 frames (60 fields) per second in NTSC

video and 25 frames (50 fields) per second in PAL video.

Thirdly, film is generally shot at a different aspect ratio than TV video.

Movies shot for the theater are generally in a wide screen format while TV

screens and traditional video sources have a more square-shaped, 4:3 aspect

ratio. We’ll address this issue in the next section of this booklet. For now, let’s

focus exclusively on the previous two points relating to motion and timing.

1

NTSC, the standard used in N. America and Japan, has a nominal refresh rate of 60Hz. PAL, the standard used in most of

the remainder of the world, has a refresh rate of 50Hz. In this case, the second field appears 1/50th of a second after

the first field.

Advanced Video Scaling

5



Converting Film to Video:

The following drawing represents 8 frames of film. Each frame, A through H,

depicts a precise moment in time at which the image in the frame was

captured.

If we wanted to convert this film to a standard “video” image, such as we use

on videotape, the most obvious way to imagine doing it would be like this:

In the diagram, each frame of film has been converted to two fields of video –

made up of odd and even lines. The two fields, when combined, create full

frames of video, each one corresponding to one of the original frames of film.

Converting film to video in this matter would be possible, but a problem

would arise when you went to play back the videotape. The movie would run

way too fast. This is because the original film was recorded at 24 frames per

second, while NTSC video plays at 30 frames per second. This means that one

hour of the original movie would play back in only 48 minutes! (In Europe

and other places that use the PAL standard, the problem would not be as

noticeable. PAL video runs at a speed of 25 frames per second, so one hour of

original film would play back on videotape in about 57 �½ minutes.) Clearly,

the difference in speed between original film and NTSC is not acceptable.

Therefore, an additional step, beyond the process shown in the previous

diagram, must occur in order to create a satisfactory conversion from film to

video.

A

B

C

D

E

F

G

H

A

B

C

D

E

F

G

H

6

Advanced Video Scaling

A

B

C

D

E

F

G

H



Basically, we need to calculate how many fields of video we should create

from each original film frame so that when the video plays back at its correct

speed of 30 frames per second (60 fields per second), the movie appears to

run at the correct speed. We can calculate this as follows:

1) If the original film runs at a speed of 24 frames per second, then each

film frame is intended to display for 1/24th of a second, or .041666

seconds. (1 second/24 frames = .041666)

2) In NTSC video, which runs at a speed of 30 frames per second2, each

frame of video displays for 1/30th (.0333) of a second.

Furthermore, since each frame is made up of two fields, we can calculate

that each field appears for half that amount of time, or 1/60th (.01666)

of a second.

3) To calculate how many fields of video should be used to represent each

frame of film, we simply divide 1/24th (the speed of each film frame) by

1/60th (the speed of each video field).

1/24 ÷ 1/60 = 60 ÷ 24 = 2.5

or

.041666 ÷ .01666 = 2.5

So, in order to make the original film appear to run at the correct speed when

converted to NTSC video, we need to make 2 �½ fields of video for each frame

of film.

This, unfortunately, is not possible. There is no such thing as a half field of

video. However, what we can do instead is create 5 fields of video for each

2 frames of film. We can do this by creating 3 fields from the first film frame,

and then 2 fields from the next film frame, and just repeating this process over

and over.

}

}

}

}

}

}

}

}

Advanced Video Scaling

A

B

C

D

E

F

G

H

3 Fields

2 Fields

3 Fields

2 Fields

3 Fields

2 Fields

3 Fields

2 Fields

7



This process of converting one frame of film to 3 fields of video and the next

film frame to 2 fields of video is known as “3:2 Pulldown.” For a video scaler to

do the best possible job of scaling and processing video that was created via

this method, the scaler should offer a processing technique called “Inverse 3:2

Pulldown.” Inverse 3:2 Pulldown, sometimes also referred to as an “adaptive

frame mode,” is designed specifically to address the properties unique to

NTSC video originating from film.

How Does A Scaler Know When To Apply

Inverse 3:2 Pulldown Processing?

A video scaler that offers Inverse 3:2 Pulldown must first be able to detect

that the video it is processing originated from film. It does this by looking for

certain patterns in the way the odd and even fields of video “match up.” Let’s

take a closer look at the fields of video as they would be generated using 3:2

Pulldown.

A diagram illustrating

video frames generated

from 3:2 Pulldown

Letters

A

BlackFields represent

Odd

A

Grey Letters represent

Even Field

As you can see, for video frames 1, 4 and 5, the odd and even fields

comprising these frames are identical to each other, originating from

the same frame of film. Video frames 2 and 3, by contrast, have different

information appearing in their odd and even fields, as each field originated

from a different frame of film.

When a video scaler detects this repeated, 5-frame pattern of “same, different,

different, same, same…” in the source video it is processing, it knows it is

looking at video resulting from 3:2 Pulldown. In these instances, the scaler

performs best by applying an Inverse 3:2 Pulldown technique.

8

Advanced Video Scaling

}

}

}

}

1

1

Frame Number

A

B

C

D

3 Fields

2 Fields

3 Fields

2 Fields

AA BC DD

AB CC

3

5

2

4



How Does Inverse 3:2 Pulldown Work?

Inverse 3:2 Pulldown is actually a combination of the same static mesh and

vertical temporal processing techniques described earlier in this booklet. As

previously explained, static mesh is most effective when processing relatively

still images, while vertical temporal processing works best when applied to

fields (or portions of fields) that show motion – detected as differences in the

placement of objects from the prior field. What constitutes “Inverse 3:2

Pulldown” is the way these techniques are combined for application to 3:2

Pulldown source material.

Looking at the pattern of “same” and “different” fields, we can assume that

when employing Inverse 3:2 Pulldown, static mesh would be applied for

frames 1, 4 and 5, while vertical temporal processing would be applied for

fields 2 and 3 (unless no motion was present). Similarly, the scaler would also

look at differences between fields comprising adjacent frames, and apply the

correct processing technique as appropriate. For example, the second field

of frame 1 and the first field of frame 2 are identical, so static mesh would be

applied at this point. However, as the second field of frame 4 and the first field

of frame 5 are different from each other, vertical temporal processing might

be necessary for this transition.

Obviously, this is a very simplified explanation of how Inverse 3:2 Pulldown

works, but it addresses the basic principles of the process. In short, for original

film material to appear as film-like as possible when viewed from a video

source, a scaler that offers Inverse 3:2 Pulldown or an “adaptive frame mode”

plays a critical role.

Advanced Video Scaling

9



Changing Aspect Ratios

In addition to providing superior motion compensation processing, video

scalers also help to maximize the benefits that can be derived from viewing

video in a widescreen format.

Let’s quickly review the basics of aspect ratios – both for video and film (as

much of the video we watch originates as film).

TV Aspect Ratios

Traditional TVs have an aspect ratio

of 4:3. In other words, the screen

has a width of 4 units and a height

of 3 units.

These TVs provide the best quality

viewing experience when watched

from a distance of 8 times the

height of the screen. This is the

minimum distance from the screen

at which horizontal lines and flicker,

inherent in NTSC and PAL video,

become virtually undetectable.

So, for example, when watching

a standard 27 inch TV which has

a screen height of approximately

16.2 inches, you should sit almost

11 feet from the TV in order for your

eyes to perceive the highest quality

picture. (16.2 inches x 8 = 129.6

inches = 10.8 feet.)

Traditional 4:3 Television

4 Units

3 Units

Widescreen 16:9 Television

16 Units

9 Units

By contrast, an HDTV display has an aspect ratio of 16:9. The origins of this as-

pect ratio date back to post WWII, when the Japanese began to develop HDTV

technology. The goal of this project was to develop a TV standard that would

provide viewers with a more lifelike, sensory immersing experience.

Part of the solution involved the creation of a wider screen standard that

would result in a broader viewing field. The 16:9 shape was ultimately chosen

was because it provided viewers with a 30 degree field of vision when sitting

at a distance of three screen heights away from the TV. (Three screen heights,

as opposed to eight, was intended to be the ideal distance for viewing HDTV,

based on the higher resolution which eliminates flicker and visible horizontal

lines.)

10

Advanced Video Scaling



Viewing Distance = Screen Height x 3

This 30 degree field of vision contrasts to only a 10 degree field provided

by standard 4:3 TVs at the 8x screen height viewing distance.

This information may seem a bit extraneous at this point in this guide,

but its relevancy will become apparent during our later discussion on

anamorphic scaling.

Aspect Ratio of Film

Unlike TV, there are no set standard aspect ratios that film must conform to,

although there are certain sizes that are most often used.

Prior to the early 1950’s, most movies were filmed at an aspect ratio of 1.37:1,

which is very close to the 4:3 (1.33:1) aspect ratio of standard television. In

fact, it is very likely that during the years in which television technology was

first developed, the 4:3 aspect ratio of the “little screen” was modeled after

what was then the shape of popular “silver screen.” However, today’s

cinematic productions are most often filmed in a widescreen format.

The most common aspect ratio in use today for film is 1.85:1, but there

are other, frequently used ratios as well, including 1.66:1 and 2.35:1.

Obviously, films recorded to video can be better displayed on new,

widescreen HDTV displays that come closer to approximating the films’

original aspect ratio. However, new HDTV displays do not exactly match the

proportions of original film. (HDTV’s 16:9 screen shape is equal to a 1.77:1

aspect ratio.) Furthermore, when making any transfer of film to video,

traditional NTSC and PAL standards are still used — even if the video will

ultimately be displayed in a widescreen format. In other words, film converted

to video must be displayed within the structure of a 4:3 video frame, even if

the video will ultimately be displayed on a 16:9 screen. These incompatibility

issues can be eased through the use a video scaler.

Advanced Video Scaling

11



Converting Between Aspect Ratios

There are many different conversion and display permutations that must be

addressed in a thorough discussion of this topic. Let’s look at each of them

individually.

Displaying Widescreen Images on a 4:3 Screen

Until the majority of us replace our current televisions with new, widescreen

models, this will continue to be the most common conversion challenge. By

now, we are all accustomed to viewing some videos, TV shows and even

commercials in the widescreen format. In order to fit a widescreen image on a

4:3 screen, two black bands appear along the top and bottom of the screen,

effectively reducing the height of the viewable image so that a widescreen

aspect ratio is achieved. This technique is called letterboxing. Whether the

desired aspect ratio is 16:9, 1.85:1 or even the very wide 2.35:1, the same black

banding technique is used. The only change is that the height of the bands

increases proportionally as the aspect ratio of the viewable image becomes

“wider.”

Displaying Letterbox Formats on a 4:3 Screen

1.66:1 Viewing Area

16:9 Viewing Area

1.85:1 Viewing Area

2.35:1 Viewing Area

Displaying 4:3 Images on a 16:9 Display

Just as horizontal black bars must

be used for displaying widescreen

images on a 4:3 screen, vertical

black bars must be used on the

sides of the screen to display 4:3

images on a widescreen display.

Otherwise, the image would appear

unnaturally stretched horizontally

to fill the screen.

Displaying 4:3 Video on a 16:9 Screen

As the majority of source material currently available for viewing, including

most TV shows and videotapes, is still provided in a 4:3 format, widescreen

displays generally have a built-in feature that allows them to display 4:3 video

in this manner.

12

Advanced Video Scaling



Displaying Widescreen Images on a 16:9 Display

Displaying widescreen video on a widescreen display would seem to be pretty

basic. However, in reality, this is the most confusing conversion challenge with

the most variables to consider.

First of all, remember that the 16:9 widescreen aspect ratio of new HDTV

displays does not exactly match the most common film ratios of 1.66:1, 1.85:1

or 2.35:1. So, in a technique similar to the letterboxing discussed earlier, black

bars can be used to adjust the aspect ratio of the viewable area of the screen.

Displaying Film Aspect Ratios on a 16:9 Screen

1.85:1 Viewing Area

2.35:1 Viewing Area

The exception to this rule is

when the original film was

shot at a 1.66:1 aspect ratio.

In this case, because the 16:9

screen has a wider aspect

ratio than the source material,

vertical bars must be used to

allow for full viewing of the

1.66:1 image without any

distortion.

1.66:1 Viewing Area

Displaying Widescreen Images Using Anamorphic Scaling

Earlier in the booklet, we made the point that HDTV is intended to be viewed

from a relatively close distance; approximately three times the height of the

screen. This is because the wide aspect ratio of HDTV is designed to provide

the viewer with a wider angle of viewing that requires the use of more

peripheral vision. Our peripheral vision is highly sensitive to motion and the

viewing experience becomes much more lifelike when images on the screen

are processed by both our “straight-on” and “peripheral” sight. However, if

we are to sit that close to the screen, it is imperative that the quality of the

displayed image be as crisp and detailed as possible. Any distortions or

artifacts will be much more noticeable than if we were sitting eight times the

screen height away from the display — the “traditional” distance we currently

sit for standard 4:3 NTSC or PAL video.

Advanced Video Scaling

13



However, even though many films are now being provided on DVD in

widescreen format, the DVD makers are still forced to conform with the 4:3

standard when making the conversion from film to video. This is because

almost all consumer level DVD players can only read and process standard 4:3

video in traditional NTSC, PAL or SECAM formats. While the most obvious way

to record these DVDs would be using the letterbox techniques just described,

there is another method, called anamorphic scaling, which provides more

vertical detail of the original image to be recorded and therefore allows wi-

descreen displays to provide a higher quality output that shows the director’s

original intent.

First let’s look at what happens if we just use standard letterboxing to record

a wide screen film to video. We’ll use NTSC for this example, but the same

points pertain for PAL and SECAM video using slightly different math calcula-

tions. NTSC video has 483 visible lines. When widescreen images are recorded

to video using letterbox formatting, the black bars at the top and bottom of

the display take up some of these 483 lines, and only the remaining lines are

used to display information about the image.

Visible Horizontal Lines in Various Letterbox Formats

483

Visible

Lines

483

Visible

Lines

{

{

1.66:1 Viewable Area

= 388 Horizontal Lines

16:9 Viewable Area

= 362 Horizontal Lines

1.85:1 Viewable Area

= 348 Horizontal Lines

2.35:1 Viewable Area

= 274 Horizontal Lines

{

{

483

Visible

Lines

483

Visible

Lines

When these images are fed to a higher resolution device, such as an HDTV

display, the video must be scaled to increase the number of lines to match

the higher number of lines in the targeted display. There is no single standard

established for the number of lines in today’s HDTV displays, but two

common resolutions are 720 lines and 1080 lines. While the scaling process

makes the video appear to be of a higher quality, the fact is that it is

originating from source material that is of an even lower vertical resolution

than standard NTSC (fewer horizontal lines). The scaling process combined

with a high resolution HDTV display can only do so much to disguise this fact.

14

Advanced Video Scaling



However, there is a way to improve the quality of the widescreen image when

it is recorded and stored in a 4:3 standard video format. We can compress the

image horizontally, so that the full height of the 4:3 video frame is used.

The following diagram shows how a 16:9 image might be horizontally

compressed to fit within the confines of a 4:3 video frame.

Horizontally Compressing a 16:9 Image to Fit In a 4:3 Frame

Image is

compressed

horizontally

Original 16:9 Image

Shaded Area Represents Standard 4:3

Video Frame (483 horizontal lines)

Compressed 16:9 Image

Completely Fills a 4:3 Video Frame,

using all 483 horizontal lines

Clearly, if this compressed image is displayed on a standard 4:3 monitor,

the image will appear distorted, with everything looking taller and thinner

than it should be. But what if we uncompress the video back to its original

proportions before displaying it on a widescreen HDTV monitor? The image

would still need to be scaled to match the number of lines in the HDTV

display, but the original source material would now have a full 483 lines

instead of only 362, as in the previous letterbox example. This is a full 33%

more lines, providing 33% more information and vertical detail about the

original material. Obviously this will allow the final output on the HDTV

display to be of a much higher quality.

Summary

In conclusion, there are many issues to consider when displaying an image

that was originally produced in one aspect ratio, stored and transmitted in

another, and ultimately displayed in a third. Unintended geometric

distortions of the displayed image can occur if not processed properly.

But, with knowledge of the image’s format and the targeted display, an

intelligent video scaler can easily product the desired results – and ultimately,

an enhanced viewing experience.

Advanced Video Scaling

15



Other issues in the eduGuide Series

Introduction to Fiber Optics

Undisputably, fiber is the future. Learn all about the benefits

of fiber optic technology in this easy-to-read guide.

Advantages of Digital Fiber Optics

Examine how digital signals over fiber are accomplished,

the phenomenal results they achieve, and how cost-effective it is.

Fiber Optic Cables, Connectors and Integration

Learn how easy it is to terminate and fabricate your own fiber optic cables,

what types of fiber and fiber jackets are available and how to design

and integrate a fiber optic system.

Scan Converters Buyer’s Guide

Everything you need to evaluate and decide on the perfect Scan Converter.

Video Scaling

A comprehensive overview of the technology, how it works

and when to use this technology effectively.

Advanced Video Scaling

Easy explanations of Inverse 3:2 Pulldown, Anamorphic Scaling and Other

Confusing Concepts.

Other Educational Resources

commspecial.com

Visit our website for online education resources, product literature and more!

Pure Digital Fiberlink® Application Brief – Everyday Pro A/V

This application brief illustrates the benefits of using Pure Digital Fiberlink®

in any Pro A/V installation. Regardless of your Pro A/V market specialty,

this Application Brief is a valuable guide to integrating and specifying

Pure Digital Fiberlink® products.

Pure Digital Fiberlink® Intelligence Brief – Government/Military

Detailed analysis of how Pure Digital Fiberlink® has become the solution of

choice for mission critical government, intelligence and military applications.

If you are involved in this market segment, this document will prove to be

valuable during your next project specification.

16

Advanced Video Scaling



Advanced Video Scaling

17



About Communications Specialties, Inc.

Communications Specialties, Inc. (CSI) is an award-winning, Long Island

based company that manufactures and sells a variety of products for the

distribution, conversion or transmission of television and computer video

signals, including fiber optic transmission systems, scan converters and video

scalers.

The company was founded in 1983 by veterans of the broadcast industry.

Since then, CSI has managed to consistently design innovative products that

are used worldwide by Fortune 500 Companies and Government Agencies in

a variety of markets such as Broadcast, Professional A/V, Videoconferencing,

Education, Home Theater, Security, ITS, Industrial Monitoring, Digital Signage,

Government/Military and more!

The

Pure Digital Fiberlink®

line offers an extensive and affordable family

of fiber optic transmission systems for the Professional A/V marketplace

and includes several ground-breaking products for the transmission of

high-resolution RGB signals. Systems for point-to-point and

point-to-multipoint signal distribution make these products highly

desirable for any Pro A/V applications.

Our premier product line, the

Scan Do®

family of computer to video scan

converters, has redefined industry standards in computer video to NTSC/

PAL technology with unsurpassed performance in its price range. All models

support high resolutions and refresh rates and are VGA and Mac® compatible.

The feature-rich and versatile Scan Do family offers the widest range of scan

converters on the market.

The award-winning,

Deuce®

video scalers convert NTSC and PAL to high-

resolution, non-interlaced video and offer a far superior and affordable

alternative to line doubling and quadrupling. The new generation of Deuce

products offer a wide range of non-interlaced resolutions and refresh rates

for every application, from professional A/V installations to home theater,

including a model designed especially for use with HDTV displays.

In addition, CSI manufactures a comprehensive selection of distribution

amplifiers, VGA monitor, keyboard and mouse extenders and accessories for

our entire product line.

18

Advanced Video Scaling



Communications Specialties and its products have been the recipient of

numerous industry awards. In 2005, the Pure Digital Fiberlink® 7220 Series

for high-resolution RGB and Stereo Audio was honored as one of the AV

industry’s best technological innovations of the year by receiving a “rAVe

Radical Product of the Year” award as “Best New Analog Signal Processing

Product”. The rAVe email newsletter is published by professional audiovisual

industry veterans and is read industry-wide.

Among CSI’s many other awards are AV Video Magazine’s Platinum Award

(given to Scan Do® Ultra and Deuce®) and the Video Systems’ Vanguard Award

(given to Deuce).

The company is headquartered in the United States on Long Island, New York,

with Sales Offices in Florida, Indiana and Virginia. Research, development,

design, engineering, manufacturing and customer support operations

are performed at the New York headquarters. Other locations include

Communications Specialties Pte Ltd (CSPL) - a wholly owned subsidiary office

in Singapore that provides support to distributors in the Far East and Pacific

Rim.

Our in-house sales department handles complete product-line sales directly

to end-users as well as to an international network of representatives and

resellers. All of our products are backed by an exceptional warranty.



Learn

Making sense out of complex Pro A/V and Broadcast technologies.

edu

Guide

World Headquarters

55 Cabot Court

Hauppauge, New York 11788

USA

Tel: (631) 273-0404

Fax: (631) 273-1638

info@commspecial.com

An educational resource published by Communications Specialties, Inc..

Asia

commspecial.com

Communications Specialties Pte Ltd

100 Beach Road

#22-09 Shaw Tower

Singapore 189702

Tel: +65 6391 8790

Fax: +65 6396 0138

csiasia@commspecial.com