Monday, June 18, 2012

Solar panel made with ion cannon is cheap enough to challenge fossil fuels



Twin Creeks' Hyperion particle accelerator wafer machine thing

Twin Creeks, a solar power startup that emerged from hiding today, has developed a way of creating photovoltaic cells that are half the price of today’s cheapest cells, and thus within reach of challenging the fossil fuel hegemony. The best bit: Twin Creeks’ photovoltaic cells are created using a hydrogen ion particle accelerator.
As it stands, almost every solar panel is made by slicing a 200-micrometer-thick (0.2mm) wafer from a block of crystalline silicon. You then add some electrodes, cover it in protective glass, and leave it in a sunny area to generate electricity through the photovoltaic effect (when photons hit the silicon, it excites the electrons and generates a charge). There are two problems with this approach: Much in the same way that sawdust is produced when you slice wood, almost half of the silicon block is wasted when it’s cut into 200-micrometer slices; and second, the panels would still function just as well if they were thinner than 200 micrometers, but silicon is brittle and prone to cracking if it’s too thin.
Twin Creeks flexible solar panelThis is where Twin Creeks’ ion cannon, dubbed Hyperion, comes into play. If you look at the picture above, 3-millimeter-thick silicon wafers are placed around the outside edge of the big, spoked wheel. A particle accelerator bombards these wafers with hydrogen ions, and with exacting control of the voltage of the accelerator, the hydrogen ions accumulate precisely 20 micrometers from the surface of each wafer. A robotic arm then transports the wafers to a furnace where the ions expand into hydrogen gas, which cause the 20-micrometer-thick layer to shear off. A metal backing is applied to make it less fragile (and highly flexible, as you see on the right), and the remaining silicon wafer is taken back to the particle accelerator for another dose of ions. At a tenth of the thickness and with considerably less wastage, it’s easy to see how Twin Creeks can halve the cost of solar cells.
According to Technology Review, ion beams have been considered before, but particle accelerators were simply too expensive to be commercially viable. This is the flip side of Twin Creeks’ innovation: It had to make its own particle accelerator which is “10 times more powerful” (100mA at 1 MeV) than anything on the market today.
When all’s said and done, if you buy Twin Creeks’ equipment, it is promising a cost of around 40 cents per watt, about half the cost of panels currently coming out of China (where the vast majority of solar panels are made). At that price, solar power begins to encroach on standard, mostly-hydrocarbon-derived grid power — but, of course, we still need to create batteries that can store solar power over night. Maybe Stanford has the answer to that problem, though, with its everlasting nanobattery — and then there’s Nortwestern University’s graphene-doped lithium-ion batteries, and, perhaps most realistically, electric cars like the Nissan Leaf that can double up as a glorified house battery.

Sunday, June 17, 2012

3D imaging explained


What with the ever-increasing number of 3D cameras and 3D lenses on the market, have you ever wondered how 3D imaging really works?
    3D imaging
    Stereoscopic, or 3D, imaging isn't a new concept. People were experimenting with the idea as far back as the nineteenth century, and it's been almost a hundred years since 3D movies first appeared in the cinema.Example of early stereoscopic camera (1920
    Although the system has been used for medical and scientific purposes for a while, most people would only encounter 3D imaging through certain movies, books and magazines, and so to many it remained nothing more than a novelty. Now, with the advent of digital photography, and to coincide with 3D movies and displays, the idea seems to be finally seeing commercial success.
    There are a few ways of creating and viewing 3D images, although the system with which most are familiar is by viewing what's known as an anaglyph image; two superimposed images viewed through filtered glasses, the images being identical but slightly displaced in relation to one another.
    These are characterised by red and cyan fringing across edges of details, and when viewed via the appropriate glasses different parts of each image are filtered out, which creates the impression of depth and thus creating the 3D effect.
    The other way of creating 3D images is to project two images through two different polarisers, and then to view them through a set of glasses with slightly different polarisers for each eye. This again restricts the light which enters each eye to create the effect; if you've been to the cinema recently to see a film in 3D, there's a good chance you've already worn a set of these glasses.

    Photographing in 3D

    Photographers have long created 3D images with the aid of a slide or twin-camera bar. The former allows for a camera to be mounted onto a tripod, and moved from one side to the other so that two identical images may be captured, with just a slight shift in perspective.
    Slide barAs this process requires an interval between the capture of each image, it the more suitable method for static subjects.
    A twin-camera bar allows for two cameras to be used at the same time, and so is better suited for moving subjects as both shutters can be fired simultaneously; this can be carried out either through precise manual control, or through a wired or wireless control which is connected to each camera. Many 3D cameras were developed over the years while photographers were doing this, although the bar options remained popular as they could be used with existing equipment.  

    3D cameras today

    Today, the photographer has more equipment to choose from, in the shape of cameras, lenses and other products designed specifically for the task. To date, Fujifilm has released two 3D digital cameras, the Real 3D W1 and W3, each essentially being two cameras combined in one body. Images are captured at once and processed inside the camera, and thanks to the design of the LCD screen the results may be viewed in 3D without the need for any special glasses.
    Fujifilm Real 3D W3
    Images can also be viewed on Fujifilm's V1 3D Digital Viewer, again without glasses, and since the launch of the system it has also been possible to order lenticular prints through the company. Keen to make the technology more accessible, Fujifilm has also announced 3D print kiosks which will allow users to print images directly, without orders having to go through its current service based in Japan.
    Kodak also chose this year's CES trade show to unveil a '3D photo creation and printing experience, at an affordable price', which will use Kodak's printer technology to merge and print two 2D images into a single 3D picture.
    Panasonic 3D lensOf course, where image capture goes video capture usually follows, and both of Fujifilm's 3D cameras can also shoot movies in the format. Panasonic has also followed these developments by announcing the first 3D lens designed for an interchangeable lens system, which can be used on is video-shooting G series models, as well as the world's first 3D consumer camcorder, the HDC-SDT750. Sony has also added to the mix with its own Bloggie 3D camcorder, and has included 3D Sweep Panorama technology in its more recent cameras too.
    As anyone who has been to the last few photography and electronics trade shows will testify, 3D imaging and display have received a massive push from manufacturers keen to get their products first to market.
    Panasonic 3D TVEven those paying less attention can't have missed the steady flow of recent 3D movies, or the 3D televisions sets appearing on the high street, as well as the 3D programming currently being promoted by Sky and others. 
    Naturally, as with any new technology, 3D televisions and displays such as the Fujifilm V1 aren't exactly cheap, but over time variety will increase and prices will fall, which will allow us all to enjoy the technology.




    Friday, June 15, 2012

    How to test and detect fake USB flash drive

    If you shop for flash drives on sites through secondary vendors on sites like eBay and Amazon.com, you may end up with a fake drive whose universal serial bus memory is far below the capacity advertised. Insert the drive into a USB port in your computer, and everything will likely look legit. But try to add files to the drive, and you may encounter problems because it doesn't have the advertised capacity. It is important for you to test your drive upon receive it.


                             


               How to test and detect fake USB flash drive thumbnail



    Instructions



      • 1
        Insert your flash drive into your computer's USB port.
      • 2
        Check the flash drive's size. Double-click the icon for your computer on your desktop to display the drive location. Right-click the drive letter for the flash drive, and then click the "Properties" option. Make sure the size of the drive is the size you expected.
      • 3
        Download a test program to make sure the drive size is actually the size listed or the size you bought. Use a program such as USB Flash Tools, H2testw, the BurnIn Test to ensure the drive is not a fake size. Extract your chosen program from its zip file, if necessary, and install it on your computer.
      • 4
        Test your flash drive according to the instructions given with the testing program you chose. Flash drives usually hold several gigabytes, so it can take time to determine how much space is available on a drive, sometimes up to half an hour. After the test is completed, your results will indicate your actual flash drive capacity if it is lower than anticipated. A good drive will run a clean test.

    Thursday, June 14, 2012

    How to Detect if Someone's Stealing Your WiFi


    Internet Connection Image Gallery


    It may be hard to imagine, but just a mere 20 years ago, the Internetwas nothing more than a novelty -- a way for incredibly smart college professors and researchers to share information, and for a few people to network across the newly developed World Wide Web.E-mail was nothing like it is today. The primitive e-mail systems found at universities or even through accounts offered with the first Internet service providers (ISPs) such as Prodigy and America Online were often difficult to use.
    Fast forward to 2009 and things have changed significantly. Back in the day, you paid for Internet access by the minute. That's not the case anymore. Like virtually every technology, changes occur quickly and often for the better. On top of that, the technology becomes cheaper and easier to use. The Internet has certainly gone through this transformation. The most recent advance in digital communication is wireless internet orWiFi. Found in coffee shops, libraries and airports throughout the world, WiFi has made using the Internet almost as common as using your cellular phone -- which in itself is technology that exploded over the past decade. Unfortunately, unsavory activities inevitably find a way to enter even the most benign settings like the Internet, and that's (probably) why you're here.
    Chances are you're reading this article because you suspect someone is piggybacking or using your WiFi without your permission and you want to learn how to determine if you're correct. When wireless squatters steal your WiFi, they slow down your bandwidth and what's worse, they can even steal information off your computer or infect machines on your network with a virus. Fear not, this article will give you the ammunition to fight back. Let's begin by taking a quick look at what makes up your WiFi network so you can prepare yourself to take control of the Internet connection you pay for.

    Understanding Your WiFi Network


    Before you can detect if someone is ripping off your wireless Internet connection, it's important to understand some basic computer networking lingo. For more information on how to set up a wireless network, take a look at How WiFi Works. Now, let's look at a few of the areas in a wireless network that will give you a baseline for determining if your WiFi signal is being sapped unexpectedly.
    A wireless network is comprised of a broadband Internet connection from a DSL, cable or satellite modem. You attach the modem to the wireless router, which distributes the signal and creates a network.
    This is what's called a local area network (LAN). This LAN is where you set up computer peripherals such as your desktop or laptop computer and printer. Your router will have what's called a dynamic host client protocol (DHCP) table. In essence, your DHCP table is your guest list of every allowed piece of computing equipment.
    Each device has its own media access control (MAC) address. Think of this as its signature. MAC addresses are assigned by the manufacturer, but can be changed by users, if they know how. Your router uses these addresses to assign each machine on your network an Internet protocol or IP address. The MAC and IP addresses of your equipment will be useful in a moment when we look at ways to detect whether or not someone is stealing your WiFi. For a more in-depth understanding of IP addresses, readWhat is an IP address?
    If you're confused by some of this computer rhetoric, don't be. What's important is that you know what to look for when we get ready to diagnose your WiFi connection. Speaking of which, let's get to it in the next section. After all, that's what you came here for.

    Detecting Wireless Piggybacking


    Okay, it's time to get down to it. Is your wireless network running slowly? Do you have intermittent losses in Internet access and you can't figure out why? Chances are, you've already detected a WiFi squatter and didn't even know it. If you regularly experience these problems, maybe you have something wrong with your wireless connection. But if you're suddenly having intermittent problems with your Internet performance, especially at the same time each day, it's a red flag that someone is piggybacking off your wireless connection and it's time for you to diagnose your WiFi network.
    The first and simplest thing you can do is check out your wireless network connection and see if it's secure. When you install your router, you're given the option of setting a wireless encryption protocol (WEP) key. Basically this is a password-protected method for you to log on to your own wireless network. If you don't have one, you're operating an open network. That means anyone within range can use your wireless for free. While it's not hacking, it is debatable as to whether this is actually stealing. In any case, if you don't have a WEP key, you're vulnerable to WiFi squatting and certainly not deterring squatters.
    Even if you have a WEP key, that doesn't necessarily mean your neighbor hasn't bypassed it. To determine if he or she is logging onto your wireless network, you can do so by checking your wireless network log. The exact steps vary depending on your computer's operating system, but in general, if you look at your network and see more devices connected than you have allowed on your network, you have WiFi thieves.
    A similar method to determining the status of your WiFi user list is to check your router's DHCP client table. Much like viewing your network, your DHCP client table will list the machines on your network. If the number exceeds what you've set up, you have someone stealing your WiFi.
    Nobody wants to be taken advantage of. What's more, you certainly don't want illegal information flowing through your wireless network. That's why you need to take matters in your own hands. The final section will give you the power to thwart off Internet thieves and protect your wireless connection. Are you ready to fight back?

    Stopping Digital Thieves


    A WEP key is an absolute must for any wireless network; however, even those are vulnerable. While WEP protection will stop the guy parking in front of your house, it may not stop a more determined user like your neighbor. In that case, you can use a security protocol such as WiFi protected access (WPA). This route is more secure but can still be hacked by a determined WiFi thief.
    You can also use manual DHCP assignment. To do this, simply set your router's DHCP to the manual setting and enter in each of your computer's physical addresses. This will restrict your network to allow only those computers recognized by the router.
    If the manual DHCP route isn't comfortable for your level of computer expertise, you may want to consider generating a MAC access list which usually can be created through the browser interface of the router. Unfortunately, MAC address lists can also be bypassed by savvy WiFi thieves; nevertheless, when used in conjunction with other security methods, they're probably enough on a small home network.
    Internet monitoring software is also a viable option. Monitoring software will walk you through some of these methods and is user friendly for those who aren't as comfortable setting up wireless security methods. In addition, monitoring software makes it easy to see what is going on with your wireless connection. Your WiFi router may have some built-in software that will help you monitor your network. Explore the user guide and help section to see if there's a built-in application that will help.
    Finally, turn off your router's SSID broadcasting. This effectively makes your network invisible. It's much harder to steal WiFi from a network that doesn't appear on anyone's radar.
    Next time you suspect WiFi theft, peek out the front window and see if an unfamiliar car is parked in front of or close to your home. If so, you'll probably find someone in the car sapping your Internet. It sounds simple, but it could be just that easy to determine if someone is stealing your WiFi.









    All about CRT to DIGITAL TV's ( ? )


    Inside a CRT

    As you can see in the below drawing, there's not a whole lot to a basic cathode ray tube.


    There is a cathode and a pair (or more) of anodes. There is the phosphor-coated screen. There is a conductive coating inside the tube to soak up the electrons that pile up at the screen-end of the tube. However, in this diagram you can see no way to "steer" the beam -- the beam will always land in a tiny dot right in the center of the screen.
    That's why, if you look inside any TV set, you will find that the tube is wrapped in coils of wires. On the next page, you'll get a good view of steering coils.

    How Television Works




    Television is certainly one of the most influential forces of our time. Through the device called a television set or TV, you are able to receive news, sports, entertainment, information and commercials. The average American spends between two and five hours a day glued to "the tube"!
    Have you ever wondered about the technology that makes television possible? How is it that dozens or hundreds of channels of full-motion video arrive at your house, in many cases for free? How does your television decode the signals to produce the picture? How will the new digital televisionsignals change things? If you have ever wondered about your television (or, for that matter, about your computer monitor), then read on! In this article, we'll answer all of these questions and more. See the next page to get started.




    TV Pixels and Your Brain


    Let's start at the beginning with a quick note about your brain. There are two amazing things about your brain that make television possible. By understanding these two facts, you gain a good bit of insight into why televisions are designed the way they are.
    Start by watching the following video clip. Simply click on the picture and at the dialog that appears select the "Open" option:

    Click here to download the 15-second, full-motion version
    of this file (350KB).
    This is a standard piece of home video showing a happy baby playing with a toy. It is encoded as an MPEG file so that you can view it on your computer, and it embodies the two principles that make TV possible.
    The first principle is this: If you divide a still image into a collection of small colored dots, your brain will reassemble the dots into a meaningful image. This is no small feat, as any researcher who has tried to program a computer to understand images will tell you. The only way we can see that this is actually happening is to blow the dots up so big that our brains can no longer assemble them, like this:

    Most people, sitting right up close to their computer screens, cannot tell what this is a picture of -- the dots are too big for your brain to handle. If you stand 10 to 15 feet away from your monitor, however, your brain will be able to assemble the dots in the image and you will clearly see that it is the baby's face. By standing at a distance, the dots become small enough for your brain to integrate them into a recognizable image.
    Both televisions and computer screens (as well as newspaper and magazine photos) rely on this fusion-of-small-colored-dots capability in the human brain to chop pictures up into thousands of individual elements. On a TV or computer screen, the dots are called pixels. The resolution of your computer's screen might be 800x600 pixels, or maybe 1024x768 pixels.

    TV Motion and Your Brain

    The human brain's second amazing feature relating to television is this: If you divide a moving scene into asequence of still pictures and show the still images in rapid succession, the brain will reassemble the still images into a single, moving scene. Take, for example, these four frames from the example video:


    1


    2


    3


    4
    Each one of these images is slightly different from the next. If you look carefully at the baby's left foot (the foot that is visible), you will see that it is rising in these four frames. The toy also moves forward very slightly. By putting together 15 or more subtly different frames per second, the brain integrates them into a moving scene. Fifteen per second is about the minimum possible -- any fewer than that and it looks jerky.
    When you download and watch the MPEG file offered at the beginning of this section, you see both of these processes at work simultaneously. Your brain is fusing the dots of each image together to form still images and then fusing the separate still images together into a moving scene. Without these two capabilities, TV as we know it would not be possible.

    TV Steering Coils

    The following pictures give you three different views of a typical set of steering coils:



    (Note the large black electrode hooked to the tube near the screen -- it is connected internally to the conductive coating.)

    The steering coils are simply copper windings (see How Electromagnets Work for details on coils). These coils are able to create magnetic fields inside the tube, and the electron beam responds to the fields. One set of coils creates a magnetic field that moves the electron beam vertically, while another set moves the beam horizontally. By controlling the voltages in the coils, you can position the electron beam at any point on the screen.

    TV Phosphors

    ddddd
    Electrical fields may cause a large number of ghost sightings. Learn about electrical fields and find out how electrical fields relate to ghosts.
    A phosphor is any material that, when exposed to radiation, emits visible light. The radiation might be ultraviolet light or a beam of electrons. Any fluorescent color is really a phosphor -- fluorescent colors absorb invisible ultraviolet light and emit visible light at a characteristic color.
    In a CRT, phosphor coats the inside of the screen. When the electron beam strikes the phosphor, it makes the screen glow. In a black-and-white screen, there is one phosphor that glows white when struck. In a color screen, there are three phosphors arranged as dots or stripes that emit red, green and blue light. There are also three electron beams to illuminate the three different colors together.
    There are thousands of different phosphors that have been formulated. They are characterized by their emission color and the length of time emission lasts after they are excited.

    The Black-and-White TV Signal

    In a black-and-white TV, the screen is coated with white phosphor and the electron beam "paints" an image onto the screen by moving the electron beam across the phosphor a line at a time. To "paint" the entire screen, electronic circuits inside the TV use the magnetic coils to move the electron beam in a "raster scan" pattern across and down the screen. The beam paints one line across the screen from left to right. It then quickly flies back to the left side, moves down slightly and paints another horizontal line, and so on down the screen, like this:

    In this figure, the blue lines represent lines that the electron beam is "painting" on the screen from left to right, while the red dashed lines represent the beam flying back to the left. When the beam reaches the right side of the bottom line, it has to move back to the upper left corner of the screen, as represented by the green line in the figure. When the beam is "painting," it is on, and when it is flying back, it is off so that it does not leave a trail on the screen. The term horizontal retrace is used to refer to the beam moving back to the left at the end of each line, while the term vertical retrace refers to its movement from bottom to top.
    As the beam paints each line from left to right, the intensity of the beam is changed to create different shades of black, gray and white across the screen. Because the lines are spaced very closely together, your brain integrates them into a single image. A TV screen normally has about 480 lines visible from top to bottom. In the next section, you'll find out how the TV "paints" these lines on the screen.

    Painting the TV Screen

    Standard TVs use an interlacing technique when painting the screen. In this technique, the screen is painted 60 times per second but only half of the lines are painted per frame. The beam paints every other line as it moves down the screen -- for example, every odd-numbered line. Then, the next time it moves down the screen it paints the even-numbered lines, alternating back and forth between even-numbered and odd-numbered lines on each pass. The entire screen, in two passes, is painted 30 times every second. The alternative to interlacing is calledprogressive scanning, which paints every line on the screen 60 times per second. Most computer monitors use progressive scanning because it significantly reduces flicker.
    Because the electron beam is painting all 525 lines 30 times per second, it paints a total of 15,750 lines per second. (Some people can actually hear this frequency as a very high-pitched sound emitted when the television is on.)
    When a television station wants to broadcast a signal to your TV, or when your VCR wants to display the movie on a video tape on your TV, the signal needs to mesh with the electronics controlling the beam so that the TV can accurately paint the picture that the TV station or VCR sends. The TV station or VCR therefore sends a well-known signal to the TV that contains three different parts:
    • Intensity information for the beam as it paints each line
    • Horizontal-retrace signals to tell the TV when to move the beam back at the end of each line
    • Vertical-retrace signals 60 times per second to move the beam from bottom-right to top-left
    So how does this information get transmitted to the TV? Read the next page to find out.

    Composite Video Signal

    A signal that contains all three of these components -- intensity information, horizontal-retrace signals, and vertical-retrace signals -- is called a composite video signal. A composite-video input on a VCR is normally a yellow RCA jack. One line of a typical composite video signal looks something like this:

    The horizontal-retrace signals are 5-microsecond (abbreviated as "us" in the figure) pulses at zero volts. Electronics inside the TV can detect these pulses and use them to trigger the beam's horizontal retrace. The actual signal for the line is a varying wave between 0.5 volts and 2.0 volts, with 0.5 volts representing black and 2 volts representing white. This signal drives the intensity circuit for the electron beam. In a black-and-white TV, this signal can consume about 3.5 megahertz (MHz) of bandwidth, while in a color set the limit is about 3.0 MHz.
    A vertical-retrace pulse is similar to a horizontal-retrace pulse but is 400 to 500 microseconds long. The vertical-retrace pulse is serrated with horizontal-retrace pulses in order to keep the horizontal-retrace circuit in the TV synchronized.

    Color TV Screen


    A color TV screen differs from a black-and-white screen in three ways:
    • There are three electron beams that move simultaneously across the screen. They are named the red, green and blue beams.
    • The screen is not coated with a single sheet of phosphor as in a black-and-white TV. Instead, the screen is coated with red, green and blue phosphors arranged in dots or stripes. If you turn on your TV or computer monitor and look closely at the screen with a magnifying glass, you will be able to see the dots or stripes.
    • On the inside of the tube, very close to the phosphor coating, there is a thin metal screen called a shadow mask. This mask is perforated with very small holes that are aligned with the phosphor dots (or stripes) on the screen.
    The following figure shows how the shadow mask works:


    When a color TV needs to create a red dot, it fires the red beam at the red phosphor. Similarly for green and blue dots. To create a white dot, red, green and blue beams are fired simultaneously -- the three colors mix together to create white. To create a black dot, all three beams are turned off as they scan past the dot. All other colors on a TV screen are combinations of red, green and blue.
    In the next section, you'll learn about the color TV signal.

    Color TV Signal

    A color TV signal starts off looking just like a black-and-white signal. An extra chrominance signal is added by superimposing a 3.579545 MHz sine wave onto the standard black-and-white signal. Right after the horizontal sync pulse, eight cycles of a 3.579545 MHz sine wave are added as a color burst.
    Following these eight cycles, a phase shift in the chrominance signal indicates the color to display. The amplitude of the signal determines the saturation. The following table shows you the relationship between color and phase:
    Color Phase 
    Burst 0 degrees 
    Yellow 15 degrees 
    Red 75 degrees 
    Magenta 135 degrees 
    Blue 195 degrees 
    Cyan 255 degrees 
    Green 315 degrees 


    A black-and-white TV filters out and ignores the chrominance signal. A color TV picks it out of the signal and decodes it, along with the normal intensity signal, to determine how to modulate the three color beams.

    TV Broadcasts

    Now you are familiar with a standard composite video signal. Note that we have not mentioned sound. If your VCR has a yellow composite-video jack, you've probably noticed that there are separate sound jacks right next to it. Sound and video are completely separate in an analog TV.
    You are probably familiar with five different ways to get a signal into your TV set:
    • Broadcast programming received through an antenna
    • VCR or DVD player that connects to the antenna terminals
    • Cable TV arriving in a set-top box that connects to the antenna terminals
    • Large (6 to 12 feet) satellite-dish antenna arriving in a set-top box that connects to the antenna terminals
    • Small (1 to 2 feet) satellite-dish antenna arriving in a set-top box that connects to the antenna terminals
    The first four signals use standard NTSC analog waveforms as described in the previous sections. As a starting point, let's look at how normal broadcast signals arrive at your house.
    A typical TV signal as described above requires 4 MHz of bandwidth. By the time you add in sound, something called a vestigial sideband and a little buffer space, a TV signal requires 6 MHz of bandwidth. Therefore, the FCC allocated three bands of frequencies in the radio spectrum, chopped into 6-MHz slices, to accommodate TV channels:
    • 54 to 88 MHz for channels 2 to 6
    • 174 to 216 MHz for channels 7 through 13
    • 470 to 890 MHz for UHF channels 14 through 83
    The composite TV signal described in the previous sections can be broadcast to your house on any available channel. The composite video signal is amplitude-modulated into the appropriate frequency, and then the sound is frequency-modulated (+/- 25 KHz) as a separate signal, like this:



    To the left of the video carrier is the vestigial lower sideband (0.75 MHz), and to the right is the full upper sideband (4 MHz). The sound signal is centered on 5.75 MHz. As an example, a program transmitted on channel 2 has its video carrier at 55.25 MHz and its sound carrier at 59.75 MHz. The tuner in your TV, when tuned to channel 2, extracts the composite video signal and the sound signal from the radio waves that transmitted them to the antenna.

    Satellite TV Signals




    Photo courtesy DirecTV
    Small-dish satellite system
    Large-dish satellite antennas pick off unencoded or encoded signals being beamed to Earth by satellites. First, you point the dish to a particular satellite, and then you select a particular channel it is transmitting. The set-top box receives the signal, decodes it if necessary and then sends it to channel 3 or 4.
    Small-dish satellite systems are digital. The TV programs are encoded inMPEG-2 format and transmitted to Earth. The set-top box does a lot of work to decode MPEG-2, then converts it to a standard analog TV signal and sends it to your TV on channel 3 or 4. 





    Digital TV

    The latest buzz is digital TV, also known as DTV or HDTV (high-definition TV). DTV uses MPEG-2 encoding just like the satellite systems do, but digital TV allows a variety of new, larger screen formats.


    Photo courtesy Sony Electronics
    Sony Wega 42" XBR Plasma TV with built-in HDTV tuner
    The formats include:
    • 480p - 640x480 pixels progressive
    • 720p - 1280x720 pixels progressive
    • 1080i - 1920x1080 pixels interlaced
    • 1080p - 1920x1080 pixels progressive
    A digital TV decodes the MPEG-2 signal and displays it just like a computer monitor does, giving it incredible resolution and stability. There is also a wide range of set-top boxes that can decode the digital signal and convert it to analog to display it on a normal TV. 






    SOURCE: http://electronics.howstuffworks.com