The Wayback Machine - https://web.archive.org/web/19991013131445/http://canondv.com:80/shared/dvinfo/dvinfo2.html
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`1. Preparing for the Digital Age
`Television, which began life in the 1930s, and
`which grew to become the major focal point of
`family life in the second half of this century,
`gave birth to the Video Age in the 1970s, with
`the invention and mass appeal of the
`consumer video cassette recorder (VCR). Our
`view of culture and society has been
`completely transformed because of this
`relatively simple and accessible medium. The
`VCR and the camcorder have created new
`definitions for the way we see ourselves and
`added a variety of new terms and expressions
`to our language.
`
`Now the Video Age is going through a major
`revolution with the arrival of digital video. This
`momentous development will bring new
`opportunities, creativity and a wealth of new
`technology to our fingertips. Video as we know
`it will be replaced with a new focus, as the
`advantages of digital video are universally
`recognized.
`
`But revolution by its very nature is about
`upheaval and confusion, as people have to
`learn new ideas and a new language. There is
`both information and misinformation to wade
`through, and relatively simple principles have
`been made unnecessarily complicated,
`intimidating, or (worse still) boring. It is our aim
`to bring this subject to you in a clear and
`concise way, so you can easily understand the
`potential of digital video.
`
`2. Why Go Digital?
`Simply put, video has taken us a remarkable
`distance in a relatively short period of time.
`We have grown used to the ability to connect
`a fairly inexpensive VCR to our TV, and to
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`Page 0001
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`record programs on an inexpensive video
`tape. It is this low cost/high benefit situation
`that will keep what is called analog video in
`use for many years to come. Now analog
`technology has been surpassed.
`
`The reason for this is that recording video
`digitally delivers remarkably better picture
`quality, sharper images and better color
`reproduction. And isn't that kind of
`improvement what we're always looking for?
`On top of that, digital copies of digital videos
`are unrecognizable from the original, which
`makes editing and image manipulation -- even
`at the level of the average camcorder user --
`so much easier and with higher quality than
`that delivered by analog video technology.
`
`Before we go any further, it is essential that
`we understand the difference between analog
`and digital video, otherwise the digital
`revolution will pass us by.
`
`With analog video, light and sound are
`captured and recorded as electrical signals,
`transmitted as waves that can be represented
`by the up and down movement of a line.
`These signals look like mountain peaks and
`valleys, with variations in the height of the
`mountain and the depths of the valley, and
`variations in the distances between peaks and
`between valleys. With light, those variations
`are the differences between dark and very
`bright, as well as colors; and with audio, the
`differences are between no audible sound and
`very loud sound. Another way of looking at
`these waves is to imagine them as waves on
`the ocean -- infinitely variable -- going from
`dead calm to large waves. There is just as
`much variation in the electrical signals
`captured on analog.
`
`The problem with analog recording is that it is
`hurt by interference which can reduce the
`quality of the electrical signal and make the
`recorded picture quality far worse than what
`was captured by the camera or VCR. Going
`back to our mountain analogy, the interference
`can change the height of the mountain tops
`and the depths of the valleys -- make them
`seem higher or lower -- changing the actual
`recording so that it no longer accurately
`represents the true image.
`
`Analog video is also affected by timing errors,
`so what should be a straight vertical line, such
`as a telephone pole, will play back wavy
`instead.
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`Digital recordings don't have to deal with the
`wide variations found in analog recording.
`Digital recording is binary, with its electrical
`signals consisting of just two values, "on" or
`"off" ('1' or '0') -- there's a signal there, or there
`isn't. Should there be interference, while it
`may alter the strength of the "on" of "off"
`signal, the circuitry of the digital equipment
`can still tell whether the signal is "on" or "off" --
`that's all it has to do. In a language of 1s and
`0s, a message can be translated clearly. This
`makes digital recording almost immune to
`signal problems, and results in the highest
`quality picture and audio. This is a major
`advantage over analog. Digital is the language
`of computers. Computers easily store and
`transfer binary signals, from machine to
`machine, disk to disk, hard drive to floppy disk
`-- without distortion. It is exactly the same with
`digital video.
`
`3. Digital Video - Where did it come
`from?
`The digital video revolution is now in full
`swing. The boom in personal computers has
`created a voracious appetite for all things
`digital, but there have been other factors
`involved in this revolution:
`
`1. technological advances -- giving
`manufacturers the ability to make digital
`video equipment;
`2. more efficient manufacturing -- delivering
`more affordable products;
`3. business and consumer demand.
`Research on digital video and development of
`digital video products began many years ago,
`and by the late 1980s was progressing well on
`several fronts. In 1994, a standard was
`created for a recording format, and work on
`consumer digital video by several
`manufacturers was streamed into a single
`effort -- shortformed here to DVC (Digital
`Video Cassette). This immediately brought the
`efforts of more than 50 companies into focus,
`leading to the introduction of the first
`consumer DVC format products in late 1995.
`
`While digital video originated as a professional
`technology, and continues to increase in
`importance in that sector, the latter stages of
`the 1990s will see its expansion into all
`corners of the prosumer and consumer
`arenas.
`
`4. The DV advantage
`4.1 Let's compare digital video to analog
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`Petitioners' Exhibit 1021
`Page 0003
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`video
`The image from a digital video product is a
`significantly better picture than that available
`from an analog video product. Digital video
`has approximately twice the horizontal
`resolution that can be produced by a standard
`VHS video cassette recorder. The resolution
`of a DV standard image is about 25% better
`than that from an S-VHS or Hi-8 camcorder or
`deck. While resolution is dependent on a
`products components and circuitry, standard
`VHS and 8 mm video are capable of delivering
`about 250 lines of horizontal resolution, with
`S-VHS and Hi-8 at about 400-420 lines. The
`DV format is capable of delivering over 500
`lines on horizontal resolution (of course, actual
`performance will depend on the individual
`camcorder model).
`
`Another way to look at digital video's image
`superiority is to note that an NTSC digital
`video signal contains three times the data of
`its analog counterpart, a PAL digital video
`signal contains six times the data of its analog
`counterpart . Digital video will deliver the
`absolute best consumer video quality.
`Interestingly, DVC has almost the same
`resolution as analog Betacam, a very popular
`professional video format -- an amazing
`quality jump for consumer equipment.
`4.2 Color rendition advantage
`Horizontal resolution is not all that goes into
`making a superior image; color resolution (or
`rendition) is also very important. Color
`rendition refers to the ability to accurately
`reproduce colors, without smear or blur.
`Analog can have trouble with color blur and
`color noise, but digital video does not. In a
`video image, color smear or blur is when, for
`example, the red of a woman's lipstick seems
`to smear beyond her lips, while color noise is
`indicated by random sparkles in the picture.
`
`Because there is neither color blur nor noise,
`digital video delivers a far more life-like video
`image on the screen. This will be especially
`evident in images shot on a camcorder, and
`with images played on large screen TVs. What
`you will see is much sharper subject edges
`and clearer color reproduction.
`4.3 Audio Comparison DVC & Analog
`Digital technology has already made its impact
`in the area of sound with the acceptance of
`CDs (Compact Discs) in the mass market.
`People's demands, when listening to music or
`watching television are higher than ever. Their
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`Petitioners' Exhibit 1021
`Page 0004
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`

`

`expectations for sound quality with Digital
`Video are equally as high.
`
`The DVC standard ensures that audio quality
`matches that of an audio CD or, as you might
`guess, digital audio tape (DAT), since the
`audio portion of the digital video signal is itself
`recorded digitally.
`
`Both CDs and DAT are superior to analog
`audio tape, since both CDs and DAT record
`digitally. As explained previously, analog
`recordings work with electronic signal
`variations (remember the mountain peaks and
`valleys analogy?). Not all the variations get
`recorded, and those that do are often
`subjected to interference, sometimes minor,
`sometimes major. Digital recordings, because
`they have to handle only "on" and "off"
`electrical signals, produce significantly
`superior sounding audio.
`
`Most analog video tape recorders use analog
`sound. Digital video tape records digital
`sound, for significantly better audio quality
`than analog video. The digital video standard
`includes Pulse Code Modulation (PCM) audio
`recording, with two recording modes, either
`16-bit stereo for highest quality, or two 12-bit
`stereo channels (total of four channels). Both
`modes deliver more than the normal, natural
`range of sound audible to human beings,
`ranging from quiet to the full output of a
`symphony orchestra, without distortion and
`without noise.
`4.4 Compatibility and Copying
`Digital video equipment is backward
`compatible, in that you can transfer a video
`from digital to analog equipment. That means
`that if you have a DVC recording you can copy
`it to a traditional VCR. All digital video
`equipment has analog video outputs (either S-
`video and/or composite video) found on
`current analog equipment, so you can play a
`digital video on a regular TV, or transfer a
`digital video onto an analog VCR. Most digital
`camcorders also have a digital output
`connector called IEEE 1394.
`
`A DV cassette of either standard or mini size
`will not fit into any non-DV format's equipment.
`Cassettes used in other formats will not fit in
`DV equipment.
`
`If you record using a digital video camcorder,
`you can then copy the video onto a VHS or
`Super-VHS VCR, 8 mm or Hi-8 camcorder, or
`any of the broadcast formats, such as 3/4-inch
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`Petitioners' Exhibit 1021
`Page 0005
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`

`

`or Betacam, if they have the appropriate input
`connectors. Keep in mind, though, that
`because the digital signal must be converted
`to an analog signal, and an analog signal
`cannot contain as much information as a
`digital signal, there will be some loss in signal
`quality in the newly-made analog copy. Any
`further copies made from this analog copy will
`show the same quality loss as with normal
`analog copying. This copy can be made using
`S-video connectors or RCA-type connectors
`(some new DVC camcorders use a mini plug
`instead of RCA connectors). No special
`connections are needed to make this kind of
`copy.
`
`Anyone who has copied an analog video tape
`(VHS or 8 mm, for example) will know that a
`copy (called second generation) made from
`the original will have worse picture quality than
`the original. Make a copy (called third
`generation) from the copy, and picture quality
`suffers even more. Each generation away
`from the original creates a progressively
`worse copy. Eventually, the image breaks up.
`How many generations away from the original
`this takes depends on the quality of the
`original and the equipment used.
`
`The digital video signal is a robust signal, free
`of the problems encountered by an analog
`signal when it is copied. Using digital
`connecting cables (IEEE 1394), you can dub
`multiple generations without signal or quality
`loss. If a digital video signal is being
`transferred, say from a DVC camcorder to a
`DVC VCR, the signal does not go through any
`conversion process, it flows directly from tape
`to tape as a digital signal. The appropriate
`comparison is with copying computer files,
`since the data storage is digital in both
`instances. The same applies if the signal is
`transferred from tape to computer; the signal
`does not go through any conversion process,
`therefore there is no signal loss.
`4.5 Copyright
`Digital video camcorders (at present) do not
`have an analog line in. That would let you
`record onto DVC from a VHS VCR or 8 mm
`camcorder. The reason is copyright. If you
`could copy to DVC, then you would be able to
`make any number of perfect digital copies
`from the copy, which has the potential for
`copyright violation.
`
`DVC VCRs with an analog line-in connection
`are being manufactured with a copy
`prevention system that interacts with the copy
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`Petitioners' Exhibit 1021
`Page 0006
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`

`guard systems in pre-recorded videos (such
`as those you can rent from your local movie
`shop). Videos you have made will not have
`this prevention system, so there will be no
`problems making copies from your home-
`made VHS or 8 mm movies onto DVC VCR.
`
`Pre-recorded DVC tapes also will have a
`copyright protection scheme to prevent
`unauthorized copying.
`4.6 Editing Overview
`The digital video standard specifies certain
`system requirements that make editing digital
`video much easier than editing analog video.
`For example, digital video recording
`equipment must record specific data on the
`tape, including a time code, an index of the
`start and stop points of each recording, the
`date and time, and photo print information.
`And, of course, DVC's greatest advantage in
`editing is that the DVC copies of DVC originals
`are exact copies with no loss.
`4.7 Computer Connection
`Perhaps the most intriguing aspect of digital
`video is the ability to transfer the signal to
`computer. Transferring an analog video signal
`to computer requires the translation of that
`signal into a digital form so it can be read by
`the computer. Depending on the quality of the
`equipment used, this leads to varying degrees
`of quality loss. When the digital data on the
`computer is sent back to the analog VCR for
`recording, it must be converted back into an
`analog signal, causing further signal loss and
`a further reduction in quality. The final analog
`tape contains a video signal that is
`significantly poorer in quality than the original
`analog video.
`
`This problem doesn't exist with digital video.
`Signal quality does not deteriorate regardless
`of how many times it is moved between tape
`and computer, even if the video is edited or
`manipulated (for example: special effects).
`Getting the digital video signal onto computer
`requires the use of the proper computer
`equipment and cables, designed specifically to
`handle digital video (IEEE 1394).
`
`If you transfer the digital video on your
`computer to digital video tape, there will be no
`quality loss, but if the transfer is to an analog
`VCR, there will be losses, simply because the
`analog tape cannot handle the large quantities
`of data held in the digital signal.
`
`Petitioners' Exhibit 1021
`Page 0007
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`

`

`5. The Physical Side of Digital Video
`5.1 Cassette Design (smaller is better)
`At the heart of the digital video format is a new
`cassette. In fact, there are two cassettes
`sizes. Currently, the first allows for recording
`up to four and a half hours (4h30min) of video,
`while the latter will hold a maximum of one
`hour of video. The cassette that is the main
`focus of our attention here is the second one,
`and it is called the mini-DV cassette (mini
`DVC). As its name implies, it is small -- 2.6 x
`1.9 x 0.5 inches (66 x 48 x 12.2 mm). In
`comparison, an 8 mm cassette is 3.7 x 2.5 x
`0.6 inches (95 x 62.5 x 15 mm). A VHS
`cassette is 7.4 x 4.1 x .98 inches (188 x 104 x
`25 mm). The mini-DV cassette takes up less
`than half the overall space (43.4%) of an 8
`mm cassette. The mini-DV cassette was
`designed for use in smaller, portable
`equipment such as camcorders, and the DV
`standard cassette for digital video VCRs and
`broadcast equipment.
`
`The tape inside the cassette for VHS is 1/2-
`inch (12.7 mm) wide, 8 mm tape, as its name
`implies, is 8 mm (or slightly less than 1/3-inch)
`wide, while DV tape is 6.35 mm (1/4-inch)
`wide.
`
`The tape cassette housing itself protects the
`tape until it is pulled into the record/play
`mechanism. The DV cassette uses a reel lock
`system to prevent tape sagging and other tape
`damage. The tape is therefore not only
`protected within a robust shell, but the tape
`also is wound neatly within the cassette for
`best alignment during both recording and
`playback. The locking tape door opens to
`expose the tape only when the cassette is in
`the machine, minimizing the entry of dust.
`5.2 Cassette Labeling
`The label on each cassette will identify it as a
`digital video tape, whether it is a mini or
`standard DVC tape, and show the recording
`time in minutes. So, a 60 minute mini-DV
`cassette will read: DV M 60. A two hour
`standard cassette will read: DV 120. This
`labeling is the same whether the tape is for
`NTSC or PAL recording.
`
`As with analog tapes, professional quality
`digital video tapes will carry a different label.
`Only use tapes recommended by the
`camcorder or VCR manufacturer.
`5.3 Record Prevention
`Like other video formats, the standard and
`mini-DV cassettes have record-prevention
`
`Petitioners' Exhibit 1021
`Page 0008
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`

`

`tabs. These tabs are similar to those found in
`the 8 mm and Hi-8 formats -- the tabs are
`movable -- unlike the break-off tabs of the
`VHS cassette. In contrast to an 8 mm
`cassette, however, a DV cassette shows an
`open hole to prevent recording, while a closed
`hole allows recording.
`5.4 ID Holes
`Just as an 8 mm cassette has certain
`identification holes on its bottom surface, a DV
`cassette also has ID holes on the cassette
`bottom. These holes indicate tape thickness,
`cassette grade, and tape grade. The camera
`or VCR, using this information, will adjust its
`circuits to obtain a near perfect match
`between the tape and the recording/playback
`system.
`5.5 MIC (Memory in Cassette)
`One unique feature of the DV cassette is that
`you can buy cassettes containing a memory
`chip. This feature is abbreviated to MIC
`(memory in cassette). Cassettes containing
`the chip are more expensive, but allow greater
`convenience. Whether a cassette contains a
`chip or has ID holes will depend on the
`individual tape manufacturers and their
`marketing strategies. Cassettes with a chip
`will be marked to indicate this. The chip can
`record information such as a table of contents,
`date search, and photo search. There also is
`some room for future expansion of
`capabilities. The chips in professional
`cassettes have more memory than those in
`consumer tapes.
`
`The data that will be written on the memory
`chip will depend on the equipment
`manufacturer, and may include information
`about the camcorder settings or lens settings,
`for example.
`5.6 The DV Tape Itself
`The digital video standard uses an entirely
`new tape structure and formulation. Although
`there are some similarities with certain Hi-8
`tapes, digital video tape is superior, made to
`last longer, and better able to stand up to
`repeated use without failure. Because of the
`way the internal mechanisms of digital video
`equipment work with the tape, digital video
`tape is stronger than Hi-8 tapes, and much
`stronger than VHS tapes.
`
`DVC tape is an advanced form of metal
`evaporated (ME) tape. While ME-type Hi-8
`tape is the best in that format, the ME tape
`used in digital video is superior. The magnetic
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`Petitioners' Exhibit 1021
`Page 0009
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`

`

`layer is double coated to give higher output
`and less noise. A hard layer of carbon is
`placed over the magnetic portion of the tape to
`give maximum protection and prevent the tape
`from wearing out over long periods of use. It's
`the same idea as applying black topping to a
`driveway; the black topping helps protect the
`underlying surface, helps prevent damage to
`it. As well, a new type of back coating is
`applied to the tape, reducing friction, providing
`more stable tape movement, and reducing
`jitter.
`
`Digital video could not work without DVC ME
`tape. It allows the recording of a large amount
`of data, with higher output and lower noise,
`and protects the data with a protective coating
`and friction reduction. Digital video would be
`impractical without this new tape formulation.
`
`Comparing tape widths: VHS tape is 1/2-inch
`(12.7 mm) wide, 8 mm tape is 8 mm (slightly
`less than 1/3-inch) wide, and DVC tape is 6.35
`mm (1/4-inch) wide.
`5.7 Handling precautions
`The precautions for handling digital video tape
`are not that much different from any tape
`product (video or audio). The main ones are:
`
`Day to day
`
`1. Do not touch the tape
`2. Always put the cassette in its case
`3. Do not subject the tape to shock or
`impact (dropping it)
`4. Do not expose the tape to strong
`magnetic fields
`5. Do not leave in a car (because of the
`heat, cold, vibration)
`6. Do not use the tape if it has gotten wet
`or has had anything spilled on it
`7. If the cassette is cold, let it warm up for
`at least 2 hours before using
`8. Do not store the cassette in hot, humid
`or dusty locations
`9. Do not leave the cassette in the DV
`recorder
`10. Never disassemble the cassette
`Long term storage
`
`Follow the Day to Day rules plus
`
`1. Always store the tape vertically, tape
`rewound, and the tape in its case
`2. If you are storing for a long time,
`occasionally fast forward and rewind the
`tape.
`
`Petitioners' Exhibit 1021
`Page 0010
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`

`

`6. Down to Digital Video Details
`Let's rev things up and give you the full
`picture, the secret of digital video recording.
`Yes, the people who figured out how to handle
`digital video brought a lot of brainpower to
`bear on the problem of getting the signal on
`the tape, combining the sciences of
`mathematics, engineering and physics to get it
`to work. The joy of it is, explaining it in
`ordinary terms is fairly easy, now that they've
`got it all figured out.
`
`Before we can begin our journey, some basics
`about video theory have to be covered.
`Remember that digital video is built on present
`day video technology. It will be easier to
`understand DVC if you understand how video
`works.
`6.1 Video Primer
`Research into creating what we now know as
`television began in the early years of this
`century, but it wasn't until the 1940s that
`competing and incompatible broadcast
`technologies were standardized, and TV's
`remarkable growth began. This is the basis for
`all video display systems, including computer
`monitors and consumer digital still cameras.
`
`There is an interesting similarity between the
`way television works and the way a movie is
`projected in a theater. When you watch a
`movie, you are actually seeing 24 separate
`pictures flash on the screen in front of you
`every second. But they appear so fast on the
`movie screen, your brain cannot process them
`as individual pictures. Instead, they come
`together as a single image, showing
`movement. If you have seen movies from the
`early days of the cinema, you will notice
`"flicker." The image on the screen flickers
`because movies were shot at 16 pictures per
`second, and your eye and brain can process
`these as just barely noticeable individual
`pictures shown on the screen.
`
`A television picture is made up of 30 complete
`pictures per second in North America, 25 per
`second in Europe. In both movies and
`television (video), each individual picture is
`called a frame.
`
`The picture you see on a television set is
`actually being projected on the back of the
`screen you're watching, but there isn't a movie
`projector inside your TV. An electronic device
`shoots an electron beam at the back of the TV
`screen, beginning at the top left corner (as you
`face the screen), continuing in a left-to-right
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`Petitioners' Exhibit 1021
`Page 0011
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`

`motion all the way down the screen. Let's use
`the analogy of a artist setting up a canvas and
`having a spray can of paint. Pointing the can
`at the top of the canvas and spraying from
`right to left (remember, we're painting the
`inside of the screen, so everything is
`backwards), the artist stops spraying at the
`end of the line (the edge of the canvas). The
`artist then moves the spray can back and
`sprays another line under the first one, doing
`this again and again until the entire canvas
`has been "painted" with paint, line by line.
`Basically, that's how television images get
`"painted" on the screen -- but at a speed much
`faster than possible with the spray can of
`paint.
`
`The TV's electron beam also varies in
`strength, depending on the brightness of the
`picture it is trying to "paint." The stronger the
`beam, the more light is seen on the screen. In
`essence, that's how a black and white TV
`works. A color TV uses three electron guns,
`one each for red, blue and green -- the
`primary colors. Each gun paints its own color.
`When all three guns paint the same area, you
`get white -- it's an additive color system.
`
`When the TV standards were being adopted
`many years ago, everyone had their own idea
`about which standard to adopt. Some
`countries decided they would establish their
`own individual television systems. For that
`reason, there are now three major TV
`standards in the world, with several variations
`of those. And they are incompatible. In North
`America, Japan and some other countries, the
`television paints 525 lines (called scan lines)
`for each picture. This standard is called NTSC
`(National Television Standards Committee).
`The system used in England and much of
`Europe & Asia is called PAL (Phase
`Alternating Line), with 625 scan lines and 25
`frames per second. France went its own way
`and developed SECAM (Se'quentiel Couleur
`'a Memorie), also used in some other
`countries.
`
`There is one important point that has to made
`here: In NTSC, of the 525 scan lines, only 480
`lines are picture information, and in PAL's 625
`scan lines, only 576 lines are picture
`information. The other lines are used for
`internal timing.
`
`The NTSC system is also called the 525/60
`system, PAL and SECAM are called a 625/50
`system, the first number from the number of
`scan lines, the second . . . well, read on.
`
`Petitioners' Exhibit 1021
`Page 0012
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`

`

`Remember the flicker of early movies? The
`same thing happened with television in its
`development days, but with TV, it was the top
`half of the picture that flickered. Even though
`the electron beam that was painting the
`picture did it very quickly, it just wasn't fast
`enough. By the time the beam was painting
`the bottom of the screen, the top half of the
`screen was starting to fade before it could be
`replaced by the next frame. The solution was
`to cut the picture in horizontal strips and
`number them (1 to 480 for NTSC and 1 to 576
`for PAL), projecting the odd numbered strips
`first, then projecting the even numbered ones,
`doing this for every frame. It happens so fast,
`we can't see it. Each half a frame is called a
`field, or, putting it another way, two fields are
`interleaved to make a frame. This system is
`called interlaced scanning, and is used in
`every television system in the world. In
`computer monitors, and in the future High
`Definition TV standard, there is also non-
`interlacing (which is what TV started out as),
`made possible by almost 80 years of
`advances in electronics.
`
`So, to get back to 525/60 and 625/50, the 60
`and 50 refers to the number of fields per
`second (two fields make a frame, and there
`are 30 frames per second in NTSC TV and 25
`frames per second in PAL and SECAM).
`6.2 Why will NTSC and PAL continue?
`There are just too many television sets and
`VCRs in use worldwide for NTSC and PAL to
`be abandoned. As a result, digital video
`camcorders will be made in both NTSC and
`PAL forms. SECAM camcorders are not
`usually made, since it is easy to convert PAL
`to SECAM. This should all change if the
`television sets come with a digital input (IEEE
`1394). The television set will do the
`conversion in a digital world. A good example
`of how this is happening, is being able to show
`computer information on a television set (web
`style television).
`
`Copyright © 1999, Canon U.S.A., Inc.
`
`
`
`Petitioners' Exhibit 1021
`Page 0013
`
`