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The HighDef Glossary of Terms
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1000/1001
When the NTSC color television
system was being developed, the designers wanted to make it compatible with
all of the old black and white systems that were already in people’s homes.
To do this, they had to make some compromises. The thing that has probably
caused the most problems for our industry over the years is that the field
rate was changed by 1/1.001 from 60 to 59.94 per second. This was a small
enough change that the older TV’s would still receive the new color
broadcast and allowed for the new color information to be encoded into the
broadcasted signal. This offset gives rise to “niceties” such as
drop-frame timecode and audio that also has to run at the right rate. Although
having analog origins, it has also been extended into the digital and HD world
where 24, 30, and 60 frames/fields per second becomes 23.98, 29.97, and 59.94
to be compatible with existing NTSC formats and
workflows.
1080/24P
Refers to an internationally
standardized High Definition production format (ITU BT 709) having a digital
sampling structure of 1920 (H) x 1080 (V) and operating at 24-frames per
second progressively scanned. Often used to loosely describe a system that
operates at 23.976P as well.
1080/60i
Refers to a standardized High
Definition production format (SMPTE 274M and ITU 709) having a digital
sampling structure of 1920 (H) x 1080 (V) and operating in interlaced scan
mode at 60 fields per second. Often used to loosely describe a system that
operates at 59.94i as well.
1280x720
Refers to a high definition digital sampling
structure of 1280 horizontally and 720 vertically. All 1280x720 images are
progressively scanned (720P).
16x9
The standardized aspect ratio of
HDTV and Widescreen SDTV – having a width of 16 units and a height of 9
units. Also see Aspect Ratio- Picture, 1.78
1.78
The ratio of the horizontal size
of a screen to its vertical size as 1.78 units wide to 1.0 units high. This
ratio is the most standardized aspect ratio of HDTV and Widescreen SDTV. Also
known as 16x9. Also see Aspect Ratio- Picture
1.85
The ratio of the horizontal size
of a screen to its vertical size as 1.85 units wide to 1.0 units high. This
ratio is the most common screen ratio for motion pictures. Also see Aspect
Ratio- Picture
1920x1080
Refers to a digital sampling
structure of 1920 horizontally and 1080 vertically. 1920x1080 images can be
scanned either interlaced (1080i) or progressively (1080P).
2k
Resolution defined as 2,048 pixels wide by 1,556 high. Also
the name of a color enhancement system made by DaVinci Systems ( www.davsys.com)
that processes Standard Definition, High Definition, and high resolution
images. Resolution defined as 2,048 pixels wide by 1,556 high. Also
the name of a color enhancement system made by DaVinci Systems (www.davsys.com)
that processes Standard Definition, High Definition, and high resolution
images.
22:11:11
Defines high definition video signals, where
the luminance (Y) is sampled at 74.25 MHz and the color difference samples
(R-Y,B-Y) channels are each sampled at 37.125 MHz. Note that it has become
commonplace to denote HDTV Y,R-Y,B-Y also as 4:2:2. While technically
incorrect, it is popularly used in a great deal of published literature.
22:22:22
Denotes a high definition system where all
signals (R,G,B) are sampled at 74.25 MHz. Note that it has become
commonplace to denote HDTV RGB also as 4:4:4. While technically incorrect,
it is popularly used in a great deal of published literature.
2.35
A highly popular widescreen
motion picture film format of 2.35 units wide by 1 unit high. Also see Aspect
Ratio- Picture
23.98 or 23.976
Refers to a video image rate of
23.976 (truncated to 23.98) frames per second – which is deliberately offset
from 24 frames so that a simple 3:2 process will produce the standard 59.94
fields per second interlaced video. Also see 1000/1001,
24P.
24P
Terminology for 24 full frames per second
digital video progressively captured. In most cases it refers to the HD
picture format of 1920x1080, though it is also used with 1280x720 images as
well. Often used to loosely describe a capture system that operates at
23.976P as well. Also see 1000/1001.
24PsF
Term used to describe a 24 (or in common usage 23.98) frame progressive
video that divides the video in segments of even and odd lines for
transmission and storage (and often display). Though transmitted similarly as
an interlaced signal, if treated as a progressive signal, does not cause the
same harmful artifacts that interlace scanning causes. Also see PsF Imaging.
29.97P
Terminology for 29.97 full frames per second
digital video progressively captured.
30P
Terminology for 30 full frames per second
digital video progressively captured. Often used to loosely describe a
capture system that operates at 29.97P.
3:2 Pulldown
The process used to convert 24 frame per second film or 24P video into 59.94i
video. The term originates from the mechanical action of the pulldown gate in a
telecine which pulled each film frame into the imaging area. Technically the
3:2 pulldown process consists of two parts: the slowing of the frame rate by a
factor of 1000/1001 from 24.000 fps to 23.976 fps and the creation of a "3:2" field
cadence. The 3:2 cadence itself is created by taking one frame of the 24 frame
source and filling 3 of the 59.94 fields. The next frame of the 24 frame source
will only fill 2 of the 59.94 fields, the next frame 3 fields, the next frame
2 fields, etc. This sequence causes 4 of the 24 frame per second acquired material
to fit into 5 frames of the destination 59.94i video. The term "pulldown" is now
commonly used to describe any combination of a 1000/1001 speed change and/or
3:2 cadence creation. Also see 1000/1001.
4:1:1
This terminology has come into
common usage to describe both high definition and standard definition systems
where the ratio between luminance and chrominance samples is 4 to 1 (1 set of
color difference samples (R-Y,B-Y) for every 4 luminance samples (Y)). In its
original application in standard definition video signals, it represents a
system where the luminance (Y) is sampled at 13.5 MHz and the R-Y,B-Y channels
are each sampled at 3.75 MHz.
4:2:2
Defines standard definition
video signals, where the luminance (Y) is sampled at 13.5 MHz and the color
difference samples (R-Y,B-Y) channels are each sampled at 6.75 MHz. This
terminology has come into common usage to describe both high definition and
standard definition systems where the ratio between luminance and chrominance
samples is 2 to 1 (i.e. 2 sets of color difference samples (R-Y,B-Y) for every
4 luminance samples (Y)). Also see 22:11:11
4:4:4
Defines standard definition
video signals, where all signals (usually R,G,B but also Y, R-Y,B-Y) are
sampled at 13.5 MHz. This terminology has come into common usage to describe
both high definition and standard definition systems where sampling is done on
the RGB components of a video signal. Also see 22:22:22
48PsF
Term often used incorrectly to describe a 24 frame progressive
segmented frame video. In actual terms, 48PsF would describe an image
captured progressively at 48 frames per second and transmitted as a
segmented frame. Incorrect usage stems from having each segment of a
24PsF frame arrive at twice the captured rate (48 times a second). See
PsF Imaging.
4k
Resolution defined as 4,096 pixels wide by 3,112 deep.
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5.1
Denotes an audio system that has 5 full range
channels (Left, Center, Right, Left-Rear, Right-Rear) and one Low Frequency
Effects (LFE) channel.
59.94i
Describes an interlaced video
signal where 1/2 of the total lines of the picture are captured and displayed
every 1/59.94th of a second. See also Interlaced Imaging,
Progressive Imaging and PsF Imaging.
59.94P
Describes a progressive video
signal where all lines of the picture are captured and displayed every 1/59.94th
of a second. See also Interlaced Imaging, Progressive Imaging and PsF Imaging.
60i
Describes a interlaced video
signal where 1/2 of the total lines of the picture are captured and displayed
every 1/60th of a second. Often used to loosely describe a capture
system that operates at 59.94i. See also Interlaced Imaging, Progressive
Imaging and PsF Imaging, 1000/1001.
60P
Describes a progressive video
signal where all of the total lines of the picture are captured and displayed
every 1/60th of a second. Often used to loosely describe a capture
system that operates at 59.94P. See also Interlaced Imaging, Progressive
Imaging and PsF Imaging, 1000/1001.
720/60P
Refers to a High Definition
production format (SMPTE 296M) having a digital sampling structure of 1280 (H)
x 720 (V) and operating at 60-frames per second progressively scanned. Often
used to loosely describe a capture system that operates at 59.94P as well.
8:8:8
Defines standard definition
video signals, where all signals (usually R,G,B but also Y, R-Y,B-Y) are
sampled at 27 MHz. Also
the name of a color enhancement system made by DaVinci Systems
( www.davsys.com)
that processes standard definition video.
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A/D, ADC
Analog to Digital Conversion.
AAF
The Advanced Authoring Format – Designed as
the next generation EDL, AAF is an industry initiative to create a file
interchange standard for the easy sharing of media data and metadata among
digital production tools and content creation applications, regardless of
platform. It includes EBU/SMPTE metadata and management of pluggable effects
and codecs. It allows open connections between equipment where not only
video and audio are transferred but also metadata including information on
how the content is composed, where it came from, etc. It can fulfil the role
of an all-embracing EDL or offer the basis for a media archive that any AAF-enabled
system can use.
Acquisition
The gathering of data, whether it be
photographic, audio, or for some other purpose.
AES
Audio Engineering Society, a worldwide organization.
http://www.aes.org/.
Also see AES/EBU.
AES/EBU
Colloquial for the two-channel
digital audio interface, defined by AES and EBU. Self-clocking transmission of
2 channels with an audio word length of up to 24 bits at a variety of sampling
frequencies.
Afterburner
Usually refers to the HD9150
series of products by Evertz ( www.evertz.com).
The HD9150 “Afterburner” series downconverts HDTV input video to digital
and analog standard definition video with and without burnt in timecode/data
windows.
Aliasing
Defects or distortion in a television picture
due to sampling limitations. Defects are commonly seen as jagged edges on
diagonal lines and twinkling or brightening (beating) in picture detail.
Analog
Describes a continuously variable signal of
some sort. Commonly used to describe equipment or methods that do not
involve the electronic digitization of a signal into data. Examples are can
be found in Audio Recording (Vinyl Records, Cassette tapes), Video Recording
(BetacamSP, VHS), and Broadcasting (AM, FM, Conventional TV).
Anamorphic
A term used to denote a difference in
magnification along mutually perpendicular meridians. Anamorphic systems are
basically image-distorting systems. A wide formatted image will be
compressed horizontally creating a “squished” looking picture to fit
into a narrow medium (film or video). For proper viewing, the image must be
expanded back to its original wide format.
Anti-Aliasing
The smoothing and removing of
aliasing effects by filtering and other techniques. Edges on character
generators and DVEs contain anti-aliasing facilities.
Arri D-20
Next Generation cinematography camera project by Arri (www.arri.com) that is promising high resolution
digital motion picture capture using traditional 35mm lenses.
ASC
American Society of
Cinematographers http://www.theasc.com
Aspect Ratio (Picture)
The ratio of screen width to screen height. Can
be expressed as Width by Height (Example: 16x9, 4x3) or as calculated ratio
(1.33:1, 1.78:1)
Some common aspect ratios:
1.33 (4x3) Standard
Television or Academy Standard
1.78 (16x9) HDTV
1.85 Academy Flat
2.35 Cinemascope
Aspect Ratio (Pixel)
The ratio of pixel width to pixel height.
Standard NTSC (ITU-R 601) digital video has rectangular pixels. Computers
and HDTV have square pixels.
ATSC
Acronym for Advanced Television
System Committee. Formed to establish technical standards for advanced
television systems, including high definition television. (HDTV) http://www.atsc.org
Avid DS Nitris
A nonlinear production system
made by Avid ( www.avid.com) for conforming
and finishing of projects at multiple non-compressed HDTV and SDTV formats. Nitris
is part of the Avid DNA (Digital Non-linear Accelerator) line that features custom built
hardware acceleration and breakout boxes.
Includes a complete range of seamlessly integrated picture and audio editing,
compositing, paint, animation, character generation and media management
tools. Also available as Avid DS Nitris Editor (without compositing functionality)
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Bandwidth
The amount of information that
can be transmitted in a given period of time. For video information, a large
amount of bandwidth can be generally associated with better quality of the
picture. Digital video in particular requires large amounts of bandwidth.
Often, compression techniques are used to reduce the bandwidth needs
especially for transmission and storage.
Also refers to
the spectrum available to each broadcast station. For digital television
conversion, each station is allocated 6 MHz of the broadcast spectrum. In this
spectrum, one HDTV signal or up to four multicast standard definition digital
signals can be broadcast.
BCD
Binary Coded Decimal. A coding system in which
each decimal digit from 0 to 9 is represented by four binary digits (0 or
1).
Bit
Short for Binary Digit. The smallest piece of
binary digital data and is represented by either a 1 or a 0. Often the
number of bits is used to describe the attributes of a pixel are used in
digital video as a representation of signal quality (i.e. an 8 bit signal
can have 256 levels from black to white while a 10 bit signal can have 1024
levels). See Byte, Kilobyte, Megabyte, Gigabyte, Terabyte, Petabyte
BOXX
Short for Boxx Technologies, a
manufacturer of high end computer systems for the graphics and production
environments. http://www.boxxtech.com
Byte
A byte consists of 8 bits or 10 bits. Also see
Bit, Kilobyte, Megabyte, Gigabyte, Terabyte, Petabyte.
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Camera Utility
Crew member as designated by Local 600, IATSE.
Assists the Video Controller in the setup of the cameras, pulls cables
during rehearsals and takes, assists the camera operator during complex
pedestal moves (does not focus), setup and maintenance of quad split
monitors, cables and all other camera accessories.
Capture Rate
Used to describe the number of
times per second that a picture is taken or captured in an imaging system. In
a progressive system the capture rate is equal to the frame rate. In an
interlaced system, the capture rate is double the frame rate because at each
capture interval, only one field (a half resolution image) is acquired. It
takes two fields to make a complete frame. It is standard practice to refer to
the capture rate of an image as well as how it is captured when describing it
instead of the frame rate (i.e. 60i (60 captures, 30 frames per second), 30P
(30 captures, 30 frames per second) and 60P (60 captures, 60 frames per
second)) Also see Frame Rate, Interlace Imaging, Progressive Imaging.
CCD
Charge Coupled Device. The
imaging device used in most modern electronic cameras.
CIE
International Commission on Illumination - abbreviated as CIE from its
French title "Commission Internationale de l'Eclairage" - is an
organization devoted to international cooperation and exchange of information
on all matters relating to the science and art of lighting and color.
CineAlta
Name for a line of products by Sony that are
developed for the film market.
CineSpeedCAM
High Speed HD camera from BandPro (www.bandpro.com). Can operate at
1536x1024 pixels at up to 1000fps, 1024x768 pixels at up to 2000fps, or 768x512 pixels upto 4000fps.
Color Correction / Color Enhancement
The step in the post production process where
the images are adjusted to both match subtle differences in shots and to
create an overall look.
Color Space
Color spaces are mathematical models used to specify, create and visualize
color. Different models will represent the same color in different ways. As
human's, we may define a color by its attributes of brightness, hue and
colorfulness. A printing press defines a color in terms of the reflectance and
absorbance of cyan, magenta, yellow and black inks on the paper. In computer
and video production we define a color in terms of the excitations of red,
green and blue phosphors on the CRT faceplate or pickup on a camera's imager.
Often in video, values are converted from the RGB color space to either the Y,
R-Y, B-Y color space or composite color space for transmission, processing and
storage.
Within each of these broader models are more specific
color space definitions that specify exact transfer characteristics (Linear,
Log, or Gamma), white point, resolution (number of bits), and chromaticity
coordinates in relation to standardized CIE values. Some of these models used
in video and film production are SMPTE-C, SMPTE-240M, Rec-601-1, Rec-709, and
Cineon. To accurately produce a Rec-709 color space signal on a SMPTE-C
monitor, a color space conversion must occur. One way that color space
conversions can be done is through the use of LUT's (Look Up Tables) in which
the value from one color space can be translated into another. See Gamut,
Legal Gamut, Valid Gamut.
Colorist
An individual artist who
understands color and can interface between a production’s need for color
treatment of images and the equipment necessary to accomplish that treatment.
Colorists have traditionally worked with telecine film output, and now also
work in tape to tape applications in SD and HD.
Composite Video
A video signal where luminance and chrominance
signals have been combined together. This process results in restricted
detail especially with color components. Most commonly used to describe NTSC
or PAL video where the luminance, chrominance, and horizontal and vertical
synchronizing information have been combined into one analog signal.
Component Video
A video signal where luminance
and chrominance signals are kept as separate components. This allows signals
to retain detail components and eliminates encoding/decoding artifacts
commonly found in composite video.
Compositing
The process of layering multiple video clips.
Often includes painting, rotoscoping, keying, color correction, matting, etc
as tools to create the multi-layered image.
Compression
The process of reducing the bandwidth or data
rate in a video or audio signal. Often used with audio and video to reduce
storage and transmission costs. Compression techniques common in digital
imaging rely on removing both redundant data and data that is deemed less
critical or imperceptible to the viewer. This can be done either within a
frame (intra-frame compression) or across multiple frames (inter-frame
compression). Compression systems are developed to reduce perceptible
losses, however most compression systems in use today will exhibit some
level of distortion.
Compression Ratio
The difference between the original amount of
data and the amount of data after the bandwidth has been reduced through
compression, or the degree to which the data set has been reduced
numerically. Usually expressed as a ratio such as 5:1 (5 to 1).
Conform
Cutting together recorded material according to
a prepared scheme such as a rough cut or EDL. EDLs can be used to directly
control conforming in an online edit suite (autoconforming).
CTL
Short for Control Track. A signal recorded on
videotape to facilitate proper head positioning for reading the video
signal. Often connected to a counter that will increment on every frame of
video.
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D-20
See Arri D-20
D-5HD
A High Definition videotape format developed by
Panasonic based on the highly successful D-5 platform for standard
definition. It uses 1/2" wide tape stock and records 22:11:11 10 bit HD
Video. It uses compression that that reduces the data rate approximately 4:1
to 210Mb/s. The tape format supports 1920x1080 at 23.98P,24P,25P,29.97P,
30P, 50i, 59.94i, and 60i and 1280x720 at 59.94P and 60P.
The format became the preferred mastering format for telecine transfers when HD
was introduced. D-5HD VTR's are now also capable of 525 or 625 line standard
definition, a move towards creating HD equipment that responds to a more universal
approach where equipment can be used in both the HD and SD environments
D/A, DAC
Digital to Analog conversion
DA
Distribution Amplifier. Device that takes a
signal in and provides multiple outputs of that signal.
DAT
Digital Audio Tape. An audio cassette tape
format that typically records 2 channels of 16-bit 48kHz or 44.1kHz digital
audio on a 3.8mm wide magnetic tape.
dB
See Decibel
D-Cinema
Digital Cinema. Digital
distribution and projection of cinematic material. Advances in digital video
technology, digital video projectors, and new methods of duplication and
distribution are coming together to offer a new distribution model that
doesn’t involve film prints.
Dalsa Origin
Next generation digital cinematography camera by Dalsa (www.dalsa.com) that
uses a unique single sensor design to capture motion picture data at up to 4k (4046x2048) resolution.
It features an optical viewfinder and can use existing 35mm PL mount lenses
Decibel (dB)
A unit of measurement expressing
ratios using logarithmic scales. Usually used as a measurement of audio volume
level.
Depth of Field
Depth of field is a term which
refers to the areas of a picture both in front and behind the main focus point
which remain "sharp" (in focus). Depth of field is affected by the
aperture, subject distance, imager or negative size, and focal length.
DI
See Digital Intermediate
Digital
Describes a signal that is
represented by discrete units. Commonly used to describe equipment or methods
that involve processing, storage, and distribution of a signal as binary data.
Digital Intermediate (DI)
A Digital Intermediate is the
result of the process of shooting Highdef, or shooting on film followed by
scanning to film quality data files, editing the project in High Definition,
and applying the creative process of color correction and color treatment to
the completed master. This Digital Intermediate then becomes the master for
video, DVD or for theatrical output by transferring this data master back to
film. The big advantage over the conventional method is in the creative
process. Once you have scanned your feature to a data master you have the same
creative ability and freedom that is available when mastering a television
movie or high end television commercial. Creative decisions on effects like
speed ramps, freeze frames, dissolves, dips to color, wipes, multi layers and
re-use of material are all very simple. Most "optical" effects are
part of the automatic conforming process in online editing. Trailers can be
cut from actual film footage because the original film now exists in an HD
digital format.
Digital Television (DTV)
Refers to transmitting a
broadcast signal that consists of digital data. The ATSC has allowed for both
standard definition and high definition programs transmitted in a digital form
to be considered DTV.
Digital Utility
Crew member as designated by
Local 600, IATSE. Additional hire: cable wrangling of cables connected to the
camera, under supervision of the DIT, first or second camera assistant or
camera utility.
Direct Broadcasting via Satellite (DBS)
Consumers receive programs
directly from a satellite source. Typically, a DBS home systems consists of a
pizza-sized dish that is locked onto one satellite source, and a “set-top
box” that decodes the compressed satellite signal for display on a standard
television.
Director’s Friend
A company that manufactures computer-based HDTV
interface (www.directorsfriend.com). Often synonymous with one of their
products the “df-cineHD” which provides mobile digital cinema capture,
color correction, and edit suite capabilities.
DIT
A Digital Imaging Technician. A designation of
Local 600, IATSE, the cinematographer’s guild. Advanced coloring
(controller duties); setup, operation, troubleshooting and maintenance of
digital cameras (oversight of camera utilities), waveform monitors,
downconverters (Highdef to other formats), monitors, cables, digital
recording devices, terminal equipment, driver software and other related
equipment. Complete understanding of digital audio acquisition and timecode
process and how they are integrated into digital acquisition format and post
production environments. Also responsible for in-camera recording.
Supervisory responsibility for technical acceptability of the image.
D-ILAä
Digital Image Light Amplifier. JVC’s
proprietary projection display technology which uses a reflective-mode
active matrix liquid crystal display to control the light output. D-ILA
technology has produced digital projectors with 2k resolutions at high
brightness and contrast ratios.
DLPä
Texas Instruments Inc (www.dlp.com)
Digital Light Processing technology, the projection and display technology
which uses Digital Micromirror Devices (DMD’s) to control the light
output. DLP technology enables very compact, high brightness,
high-resolution digital projectors.
Dolby AC-3
A digital audio compression
technique designed for delivery of discreete multichannel digital surround
sound. AC-3 supports from 1 to 6 audio channels (5.1 surround) at various
bitrates. Designed as a distribution format, it is not directly editable.
Chosen as the audio standard for DTV broadcasting.
Dolby E
A digital audio compression
technique designed for the production of discreete multichannel digital
surround sound and metadata. Dolby E supports up to 8 channels in any
combination including 8 Mono, 4 Stereo, and 5.1 plus stereo. Designed as a
production format, it is editable on frame boundaries and maintains quality
through multiple decode/encode cycles.
Dolby Pro-Logic
More advanced form of Dolby Surround that not
only recovers the surround information from the encoded program material,
but also adds a center channel to keep dialogue and center effects firmly
positioned. Provides a wider listening/viewing area and provides better
channel separation.
Dolby Surround
First generation home theater format that
recovers surround information from encoded program material and feeds it to
a pair of surround speakers placed up on the side walls adjacent to the
listening area. Outputs three channels: left, right, and surround (usually
split into 2 rear speakers).
Downconversion
The process of converting high resolution video
to lower resolution video. Often done to high definition camera reels so
that programs can be offlined on inexpensive standard definition editing
systems before being conformed in High Definition. Also done to finished HD
programs for delivery to non-HD clients.
DP
Director of Photography
DPX
Digital Moving-Picture Exchange.
A file format specified by SMPTE that contains information about an image as
well as the image itself.
Drop-Frame
Alteration of timecode to match
the framerate of NTSC video to a time of day clock. NTSC video actually runs
at 29.97 frames per second (30/1.001). To keep the timecode on an NTSC
videotape synchronous with a time of day clock, it needs to make up 1 in 1001
frames. It does this by changing the count by two frames on nine out of every
ten minutes. So the frame following 10:35:59:29 would be numbered as
10:36:00:02. 30 frame HD formats are often run at 29.97 to allow conversion
and synchronization to NTSC video. These formats support Drop-Frame timecode.
Note that there is no drop frame format for native 24-frame video formats.
Also see Non-Drop-Frame, Timecode.
DV
Refers to a video tape format
primarily designed for the consumer market that records a 4:1:1 standard
definition signal with a 5:1 compression ratio for a total bitrate of 25Mb/s.
DV cassettes come in 2 sizes Standard and Mini. Audio can be either 48khz 16
bit stereo or 32kHz 12 bit 4 channel.
DVCProHD / DVCProHD-EX
A High Definition videotape format developed by
Panasonic. It uses 1/4" wide tape stock and records 22:11:11 8 bit HD
Video. It uses an extension of the DV compression and recording system to
reduce the data rate to 100Mb/s. The tape format supports 1920x1080 at
59.94i, and 60i and 1280x720 at 59.94P and 60P. The Panasonic’s Varicam
format uses the 1280x720 DVCProHD format to carry variable framerate
information. DVCProHD-EX is an extension of the DVCProHD format and is
able to record and playback upto 126 minutes of HD video on a single cassette
DVD
Digital Versatile Disk, Disk of
the size of a CD, but with a storage capacity of up to 17 Gbyte. The single
layer one side DVD stores up to 4.7 Gbyte, more then eight time as much as on
a CD. It is an ideal media for video and multi channel audio applications. The
term DVD has become synonymous with DVD-Video, which holds MPEG-2 compressed
video, multichannel audio, subtitles, menus, and other features onto a DVD
disk for playback in industry standard players.
DVHS
A digital tape format developed by JVC based on the VHS tape transport. Most commonly
used for HD delivery, it supports MPEG2 encoded video at rates up to 25Mb/s. There are
currently 3 different types of DVHS tapes. D-Theater DVHS tapes are recorded with a
special copy protection system for wide release of high definition content. Pro-HD DVHS
offers the ability to record and playback in a password-protected mode for playback on Pro-HD DVHS equipment,
giving content providers the ability to protect their material (this feature is often used for "Digital Dailies"). Pro-HD equipment will also playback D-Theater and
Consumer DVHS tapes. Consumer DVHS offers recording and playback of non-copy-protected and off-the-air material and playback of
D-Theater titles.
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Edge crop
A technique of showing just the center portions
of a wider aspect ratio format. The resulting effect of edge cropping is the
loss of the outer edges of the picture.
EDL
Edit Decision List. A list that describes with
tape names and timecode numbers how to assemble a program from the original
tapes. Includes timecode numbers representing the IN and OUT points,
(Beginnings and Ends) of every shot of a complete program.
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Film Scanner
Usually refers to a high
resolution Film to Data device that does not operate at “real time” (ie at
least 24 frames per second). Also see Telecine.
Film Out
Term describing a “Tape to
Film” transfer.
Final Cut Pro HD
Version 4.5 of Apple’s Final
Cut Pro (www.apple.com/finalcutpro) software
with High Def and Standard Def editing capability. Final Cut Pro HD
features built in support for Panasonic's DVCProHD codec. Native
DVCProHD coded material (100Mb/s) can be captured via Firewire (from a
Firewire enabled deck), and uncompressed HD I/O is achieved using a number of other hardware manufacturers HD capture
cards.
Frame Rate
Used to describe the number of
times per second that a complete picture is updated in an imaging system. In a
progressive system the frame rate equals the capture rate. In an interlaced
system, the frame rate is one half of the capture rate. Also see Capture Rate,
Interlace Imaging, Progressive Imaging.
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Gamut
A color gamut is the boundary of a color space. Colors outside the gamut of
a specific color space are considered "illegal" for that color space
even though they may be well within the gamut of a different color space. See
Color Space, Legal Gamut, Valid Gamut.
Genesis
see Panavision Genesis
Gigabyte
One Billion Bytes. (~1,000,000,000) bytes. Also
see Bit, Byte, Kilobyte, Megabyte, Terabyte, Petabyte
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HD
Short for High Definition.
HDCAM Format
A High Definition videotape format developed by
Sony. It uses 1/2" wide tape stock and records 22:11:11 8 bit HD Video.
It uses prefiltering and compression that together reduce the data rate
approximately 7:1 to 140Mb/s. The tape format supports 1920x1080 at
23.98P,24P,25P,29.97P, 30P, 50i, 59.94i, and 60i.
HDCAM SR Format
A next generation High Definition videotape
format developed by Sony. It uses a 1/2" wide tape stock and can record
either 22:22:22 10bit HD video, 22:11:11 10bit HD Video, or a special double
speed mode for 2 channels of 22:11:11 10 bit HD Video. It uses a light
compression scheme to reduce the data rate 2.7:1 (for 22:11:11) to
approximately 440Mb/s.
HDTV
Short for High Definition
Television
HDV
A format
which uses DV cassette tapes for recording and playback of high-definition video. The HDV format includes 720p (progressive) and 1080i
(interlace) specifications. The HDV format specifies the data recording of
MPEG2 inter-frame compressed high-definition signals at either 19Mb/s or
25Mb/s.
High Definition
Usually refers to a video format consisting of
either 720 active lines of progressive video or 1080 active lines of either
progressive or interlaced video.
High Definition Television (HDTV)
A digital television system in
which the quality is much better than that of existing NTSC (or PAL) systems.
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IEEE
Acronym for the Institute of
Electrical and Electronic Engineers. Organization responsible for defining
standards and specifications. www.ieee.org
IMAX
An entertainment technology
company, with particular emphasis on film and digital imaging technologies.
IMAX is involved in the design, leasing, marketing, maintenance, and operation
of IMAX® theatre systems to film development, production, post-production and
distribution of large-format films. Experimentation in HD as an acquisition
format for IMAX is ongoing, along with Digital Cinema electronic projection
systems. www.imax.com
Interlace Imaging
Imaging technique where all the
odd lines of a picture are captured in one moment and the even lines are
captured in the next moment. When you put two of these “fields” together,
you get a “frame” (all of the lines). Notice however that a frame
represents two moments in time. If there was movement between the capturing of
these two fields, there will be a blurry look if the image is stopped on a
frame. This is not a problem when the program is played back at normal speeds
because the eye will merge the images into smooth motion. See Progressive
Imaging, PsF Imaging, Frame Rate, Capture Rate
IRE
Acronym for Institute of Radio
Engineers. The Institute of Radio Engineers was founded in 1912 – the second
organization that would eventually merge to found the IEEE in 1963. IRE units
are a linear scale for measuring the relative amplitude of the component of a
television signal with a zero reference at the blanking level.
ITVA
Independent Television
Association. Now known as MCA-I (Media Communications Association-
International www.mca-i.org).
iQ
See Quantel iQ and eQ
kHz
Kilohertz or 1,000 Hertz. A
measurement of frequency.
Kinetta
Next generation digital cinematography camera project (www.kinetta.com
that is promising a compact HD camera utilizing harddrive cartridge recording, upgradeable sensor section,
and a hand-crank attachment.
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Kilobyte
One thousand (~1,000) bytes. Also see Bit,
Byte, Megabyte, Gigabyte, Terabyte, Petabyte
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LAN
Local Area Network
Laser Film Recorder
A machine for printing on
photographic film. Three lasers scan across the film area to produce the
image.
LCRS
Denotes an audio system that has 4 full range
channels (Left, Center, Right, Surround). This signal is often encoded in
Dolby Pro-Logic for distribution
Legal Gamut
Describes a video signal where all colors are within the gamut of the color
space that it currently defined by. See Valid Gamut, Gamut, Color Space.
Letterbox format
A technique for showing a wider
aspect ratio format on narrower aspect ratio screen displayed in its original
aspect ratio. The resulting effect of letter boxing in a video system is black
bars at the top and bottom of the picture.
LTC
Longitudinal Time Code. Pronounced LIT-see.
Timecode information that is encoded on a linear track of a videotape. It is
primarily used to allow a time code reference to be read when a videotape
moving at play speeds or faster. See Timecode, VITC.
LUT
Look Up Table. Often describing a table that allows the translation
from one color space to another.
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MADI
Multichannel Audio Digital
Interface, also known as AES-10 standard. Allows interconnection of two
devices to transmit up to 56 channels of digital audio (max. word length 24
bits) with a single coaxial cable or via optical link. Standard interface to
digital multitrack machines and mixing consoles.
Megabyte
One million bytes. (~1,000,000) bytes. Also see
Bit, Byte, Kilobyte, Gigabyte, Terabyte, Petabyte
Memory Stick
A removable digital media card
that is used in many applications. Often used to transfer camera setups and
scene files between Sony HDW-F900 Camcorders or HDC-F950 Cameras.
Mbps, Mb/s
Megabits per second. A measure
of data transfer speed. 1 Mbps represents 1,000,000 bits being transmitted in
one second.
MHz
Megahertz or 1,000,000 Hertz. A
measurement of frequency.
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Non-Drop-Frame
Timecode counting scheme that
always counts 30 frames in a second. Because NTSC video operates at 29.97
frames per second, the counting timecode will not match the time of day. Since
there is no drop frame format for native 24P, it is not necessary to specify
drop or non-drop frame for these formats. Also see Drop-Frame, Timecode.
NTSC
National Television Systems
Committee. Also the name for the 525 line, 30 frame per second color TV
standard mainly used in North, Middle and South America and Japan.
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Offline Editing
Editing that is done using less expensive
standard definition equipment to produce an Edit Decision List (EDL) which
will be used later for assembling a high definition program using more
expensive High Definition equipment. Offline editing involves shot selection
and the defining of basic transitions such as cuts and dissolves which can
be carried by EDLs. AAF promises to be an open standard for transporting a
much wider range of decisions, including DVE, colour corrections, as well as
other metadata, Offline and Online systems
OMF
Open Media Framework. A file type for post
production interchange of digital media. It supports video, audio, graphics,
animation and effects as well as edit decision information.
Online Editing
Editing that is done using more
expensive high definition equipment to produce a completed high definition
master. Using an Edit Decision List (EDL) from an offline edit can save money
in online by allowing all the cuts to be assembled in the proper order
automatically (conformed) and ready for finishing touches to be added. AAF
promises to be an open standard for transporting a much wider range of
decisions, including DVE, colour corrections, as well as other metadata,
Offline and Online systems for even more time savings.
Origin
See Dalsa Origin
Overcranking
A process based on the film
camera technique of recording frames faster than the anticipated playback rate
to create “slow-motion”. This process provides unique control of motion
images in the camera where motion-blur and other techniques can be
incorporated in the process. Panasonic has developed an electronic recording
system capable of over/undercrank recording using a process that produces
results very much like the film technique. This Panasonic system is known as
“VariCam.” Sony has utilized a system where interlaced frames can be
interpolated to create progressive frames, creating a look of overcranking.
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PAL
Phase Alternation Line. This is
the 625 line, 25frame per second color television system in use today in the
United Kingdom and much of Europe.
Pan and Scan
A technique for changing the
field of view of a motion picture or down converted HDTV images so that only a
portion of the wider image is shown on a narrower standard definition screen.
The image is adjusted side to side to adjust framing for the narrower screen.
Panavision Genesis
Next Generation digital cinematography camcorder by Panavision (
www.panavision.com). Features 12.4 Megapixel sensor that is the same size as a 35mm film target allowing
for all existing Panavision 35mm lenses. An HDCamSR recorder can be mounted on the top or back of the
camera unit for on-board recording.
Petabyte
One quadrillion bytes. (~1,000,000,000,000,000)
bytes. Also see Bit, Byte, Kilobyte, Megabyte, Gigabyte, Terabyte
Pixel
A word derived from Picture
Elements. This is the smallest unique point of a digital video image. In a
Digital Video, a picture is divided up into thousands of pixels, each
specified by Luminance, Chrominance, and position information.
Progressive Imaging
All lines (whole frame) are
captured at the same instant. Each frame represents a single moment in time.
See Interlace Imaging, PsF Imaging
, Frame Rate, Capture Rate
PsF Imaging
Progressive-Segmented Frame
Imaging. All lines (whole frame) are captured at the same instant. Each frame
represents a single moment in time. After the frame is captured, it is then
separated (Segmented) into two halves. One half is the odd lines and the other
is the even lines. (Now this may sound like interlace, but each frame
represents only one moment in time, not two). Though transmitted similarly
as an interlaced signal, if treated as a progressive signal, does not cause
the same harmful artifacts that interlace scanning causes. Often image can be processed
with much of the same transmission hardware that was designed for interlace.
Processing hardware can also be designed to handle both Interlace and PsF (ie Switchable). See
Interlace Imaging, Progressive Imaging
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Quantel iQ and eQ
Nonlinear production systems by
Quantel (www.quantel.com). They feature
the ability to combine multiple framerates and resolutions on the same
timeline and then to output a completed project at various framerates and
resolutions. Includes a picture and audio editing, compositing, color
correction, paint, titling, media management tools, and AAF support.
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RAM
Random Access Memory, a temporary memory into
which data is stored.
Resolution
How much information defines an
image. There are two types of resolution, spatial and temporal. Spatial
defines how many pixels are used to make up a single image. Common spatial
resolutions for HD are 1920x1080 and 1280x720. Temporal defines how many
images per second are displayed. Common temporal resolutions for HD are 24,
25, 30, 50, and 60 frames per second.
RGB
Short for Red, Green, Blue, the
colors used to create all color television and video. Often, the Red, Green
and Blue components are only directly present at the image capture stage (in
the camera) and on display (on the monitor). At other times they are converted
to other forms such as Y, R-Y, B-Y for transportation, storage, and
processing. See Y, R-Y, B-Y
ROM
Read Only Memory, a permanent
memory from which data can be read. This information can’t be deleted nor
altered.
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SECAM
Systeme Electronique Couleur
Avec Memoire. This is the 625 line, 25frame per second color television system
in use today in France and the Middle East.
Segmented Frame
See PsF Imaging
SMPTE
Society of Motion Picture and Television
Engineers, Organization responsible for defining standards and
specifications for the motion picture and broadcast industry including:
SMPTE Time Code, NTSC, HDTV, etc. www.smpte.org
Standard Definition (SD)
Usually refers to an NTSC (or PAL) compatible
video format consisting of 480 (576 for PAL) active lines of interlaced
video.
Standard Definition Television (SDTV)
A digital television system in
which the quality is approximately equivalent to that of existing NTSC (or
PAL) systems.
SXRD
(Silicon X-tal Reflective Display) Digital display technology introduced by Sony. If
offers high pixel resolutions and contrast ratios. Digital Cinema projectors have been announced
with brightness of up to 10,000 lumens and 4k (4096x2160) image resolution
1 5 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Tape to Film Transfer
The process of printing high definition or
computer graphics footage to film.
Telecine
Usually refers to a Film to
Video device that operates at “real time” (ie at least 24 frames per
second). Often used to describe the color correction/enhancement step in a
production workflow. Also see Film Scanner.
Terabyte
One trillion bytes. (~1,000,000,000,000) bytes.
Also see Bit, Byte, Kilobyte, Megabyte, Gigabyte, Petabyte
Timecode (TC)
Standard format for recording time information
on videotape. Each frame is given a unique number that is represented in the
form of: Hours:Minutes:Seconds:Frames. When used correctly, a specific frame
of video can be located on a videotape by using its timecode number. When
doing offline editing, proper timecode handling is critical because the
timecode is what is used to reference the master tapes in the final assembly
process. See LTC, VITC
Title Safe
The area of a screen where it is possible to
place a title where there is no chance that it will not be displayed in
it’s entirety. In high definition production it is often combined with
what downconversion format is used. For example “4x3 title safe” would
mean that all titles are positioned such that when the HD program is
downconverted edge-cropped that none of the titles would be cut off.
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Undercranking
A process based on the film
camera technique of recording frames slower than the anticipated playback rate
to create “fast-motion”. This process provides unique control of motion
images in the camera where motion-blur and other techniques can be
incorporated in the process. Panasonic has developed an electronic recording
system capable of over/undercrank recording using a process that produces
results very much like the film technique, this Panasonic system is known as
“VariCam.” Sony has utilized a system where interlaced frames can be
interpolated to create progressive frames, creating a look of undercranking.
Upconversion
The process of converting lower
resolution video to higher resolution video.
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Valid Gamut
Describes a video signal where all colors are within the gamut of all the
different color spaces that it is expected to be translated into. If a signal
contains colors that are within the gamut of its native color space (is
legal), but outside the gamut of a color space to which it is being converted
to (for example a Y, R-Y, B-Y signal being converted to RGB for display on a
monitor), the video may be distorted, folded, clipped or passed depending on
how the particular device handles that particular out-of-gamut condition. See
Legal Gamut, Gamut, Color Space
VariCam Format
A Panasonic camcorder system that provides
electronic over and under-crank recording of high definition video. The
system records 720-progressive video at 60-frames per second. Using a system
of frame markers in the Timecode User Bits, Varicam can provide variable
frame rate recording so that in-camera motion control is possible in an
electronic camcorder. Film camera systems have been able to accomplish
over/under crank recording for many years, and is a staple of film
cinematography.
Venom FlashPack
A dockable solid-state digital recorder for use with the Thompson Viper and LDK-6000mkII Worldcam cameras
Each Flashpack can hold up to 10 minutes of 4:4:4 or "Filmstream" data or 18 minutes of 4:2:2 HD Data.
Video Controller
Crew member as designated by Local 600, IATSE.
Responsible for color timing including but not limited to; adjusting,
balancing, registering and setting timing, matching electronic contrast,
brightness, quality and edge definition. Matching of cameras, color
consistency (RGB), exposure (iris), density (master black), electronic color
balance (chroma, hue and saturation), of each camera and its monitor and
totally matching camera inputs to the VCU and checking the waveform monitor
and the vectorscope. Generally limited to operating within an already
functioning, fully operational system. Supervised by the DIT.
Viper Filmstream
A camera system developed by
Thomson that allows for the capture of RGB 22:22:22 10-bit log data directly
from the CCD’s. The Viper also features multiple aspect ratios and frame
sizes, a mechanical shutter, and multiple frame rate support. The dual link
22:22:22 10-bit log data is transferred over a dual link HD-SDI without any
electronic manipulation within the camera. This allows for external recording
and full control of the coloring of the raw data at a later time.
VITC
Vertical Interval Timecode. Pronouced VIT-see.
Timecode information that is encoded in the vertical blanking of a video
signal. It is primarily used to allow a time code reference to be read when
a videotape is slow jog/shuttle or pause mode. See Timecode, LTC
WVHS
An analog High Definition tape format developed by JVC based on the VHS tape transport.
WVHS records/plays a 1035/1080i analog high definition signal.
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Y, R-Y, B-Y
Terminology to describe the luminance (Y) and
color difference signals (R-Y) and (B-Y) of component video. Y is luminance
information and the R-Y and B-Y signals together provide the color
information. These signals, derived from the original RGB source, are used
in most video systems as a bandwidth reduction technique.
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