Camera Basics, Principles and Techniques –MCD 401 VU Topic No
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ASPECT RATIO Aspect Ratios Are One of the More Confusing Parts of Video
ASPECT RATIO Aspect ratios are one of the more confusing parts of video, although they used to be simple. That's because television and movie content was all about the same size, 4:3 (also known as 1.33:1, meaning that the picture is 1.33 times as long as it is high). The Academy Standard before 1952 was 1.37:1, so there was virtually no problem showing movies on TV. However, as TV began to cut into Hollywood's take at the theater, the quest was on to differentiate theater offerings in ways that could not be seen on TV. Thus, innovations such as widescreen film, Technicolor, and even 3-D were born. Widescreen film was one of the innovations that survived and has since dominated the cinema. Today, you tend to find films in one of two widescreen aspect ratios: 1. Academy Standard (or "Flat"), which has an aspect ratio of 1.85:1 2. Anamorphic Scope (or "Scope"), which has an aspect ratio of 2.35:1. Scope is also called Panavision or CinemaScope. HDTV is specified at a 16:9, or 1.78:1, aspect ratio.If your television isn't widescreen and you want to watch a widescreen film, you have a problem. The most common approach in the past has been what's called Pan and Scan. For each frame o a film, a decision is made as to what constitutes the action area. That part of the film frame is retained, and the rest is lost.. This can often leave out the best parts of a picture. -
24P and Panasonic AG-DVX100 and AJ-SDX900 Camcorder Support in Vegas and DVD Architect Software
® 24p and Panasonic AG-DVX100 and AJ-SDX900 camcorder support in Vegas and DVD Architect Software Revision 3, Updated 05.27.04 The information contained in this document is subject to change without notice and does not represent a commitment on the part of Sony Pictures Digital Media Software and Services. The software described in this manual is provided under the terms of a license agreement or nondisclosure agreement. The software license agreement specifies the terms and conditions for its lawful use. Sound Forge, ACID, Vegas, DVD Architect, Vegas+DVD, Acoustic Mirror, Wave Hammer, XFX, and Perfect Clarity Audio are trademarks or registered trademarks of Sony Pictures Digital Inc. or its affiliates in the United States and other countries. All other trademarks or registered trademarks are the property of their respective owners in the United States and other countries. Copyright © 2004 Sony Pictures Digital Inc. This document can be reproduced for noncommercial reference or personal/private use only and may not be resold. Any reproduction in excess of 15 copies or electronic transmission requires the written permission of Sony Pictures Digital Inc. Table of Contents What is covered in this document? Background ................................................................................................................................................................. 3 Vegas .......................................................................................................................................................................... -
Cinematography
CINEMATOGRAPHY ESSENTIAL CONCEPTS • The filmmaker controls the cinematographic qualities of the shot – not only what is filmed but also how it is filmed • Cinematographic qualities involve three factors: 1. the photographic aspects of the shot 2. the framing of the shot 3. the duration of the shot In other words, cinematography is affected by choices in: 1. Photographic aspects of the shot 2. Framing 3. Duration of the shot 1. Photographic image • The study of the photographic image includes: A. Range of tonalities B. Speed of motion C. Perspective 1.A: Tonalities of the photographic image The range of tonalities include: I. Contrast – black & white; color It can be controlled with lighting, filters, film stock, laboratory processing, postproduction II. Exposure – how much light passes through the camera lens Image too dark, underexposed; or too bright, overexposed Exposure can be controlled with filters 1.A. Tonality - cont Tonality can be changed after filming: Tinting – dipping developed film in dye Dark areas remain black & gray; light areas pick up color Toning - dipping during developing of positive print Dark areas colored light area; white/faintly colored 1.A. Tonality - cont • Photochemically – based filmmaking can have the tonality fixed. Done by color timer or grader in the laboratory • Digital grading used today. A scanner converts film to digital files, creating a digital intermediate (DI). DI is adjusted with software and scanned back onto negative 1.B.: Speed of motion • Depends on the relation between the rate at which -
Glossary of Digital Video Terms
Glossary of Digital Video Terms 24P: 24 frame per second, progressive scan. This has been the frame rate of motion picture film since talkies arrived. It is also one of the rates allowed for transmission in the DVB and ATSC television standards – so they can handle film without needing any frame-rate change (3:2 pull-down for 60 fields-per-second systems or running film at 25fps for 50 Hz systems). It is now accepted as a part of television production formats – usually associated with high definition 1080 lines, progressive scan. A major attraction is a relatively easy path from this to all major television formats as well as offering direct electronic support for motion picture film and D-cinema. 24Psf: 24 frame per second, progressive segmented frame. A 24P system in which each frame is segmented – recorded as odd lines followed by even lines. Unlike normal television, the odd and even lines are from the same snapshot in time – exactly as film is shown today on 625/50 TV systems. This way the signal is more compatible (than normal progressive) for use with video systems, e.g. VTRs, SDTI or HD-SDI connections, mixers/switchers etc., which may also handle interlaced scans. It can also easily be viewed without the need to process the pictures to reduce 24-frame flicker. 3:2 pull-down: Method used to map the 24 fps of film onto the 30 fps (60 fields) of 525-line TV, so that one film frame occupies three TV fields, the next two, etc. It means the two fields of every other TV frame come from different film frames making operations such as rotoscoping impossible, and requiring care in editing. -
IQMCC30 3G/HD/SD-SDI Motion Compensated Frame Rate Converter and Motion Adaptive Up, Down, Cross Converter
User Instruction Manual IQMCC30 3G/HD/SD-SDI Motion Compensated Frame Rate Converter and Motion Adaptive Up, Down, Cross Converter www.s-a-m.com IQMCC30 Information and Notices Information and Notices Copyright and Disclaimer Copyright protection claimed includes all forms and matters of copyrightable material and information now allowed by statutory or judicial law or hereinafter granted, including without limitation, material generated from the software programs which are displayed on the screen such as icons, screen display looks etc. Information in this manual and software are subject to change without notice and does not represent a commitment on the part of SAM. The software described in this manual is furnished under a license agreement and can not be reproduced or copied in any manner without prior agreement with SAM, or their authorized agents. Reproduction or disassembly of embedded computer programs or algorithms prohibited. No part of this publication can be transmitted or reproduced in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without permission being granted, in writing, by the publishers or their authorized agents. SAM operates a policy of continuous improvement and development. SAM reserves the right to make changes and improvements to any of the products described in this document without prior notice. Contact Details Customer Support For details of our Regional Customer Support Offices, please visit the SAM website and navigate to Support/Customer Support Contacts. www.s-a-m.com/support/contact-support/ Customers with a support contract should call their personalized number, which can be found in their contract, and be ready to provide their contract number and details. -
Standard 3:2 Pulldown, Explained by Arri
A R R I T E C H N I C A L N O T E P - 1008 What is 3:2 Pulldown? July 20, 2000 Summary This note describes the 3:2 Pulldown process used in US Telecines to transfer 24 fps film to 29.97 fps video. Overview The 3:2 Pulldown process is a method to map the 24 frames per second (fps) that are captured during film production onto the 29.97 fps of a 525 line TV system, like the one used in the United States. This note concerns itself only with the 3:2 Pulldown process as used in the United States. Why 24 fps Film? Even though in the early days of film production many different fps rates were experimented with, most footage was captured at 18 fps as a compromise between flicker and raw stock cost. This changed when sound was introduced: To achieve reasonable sound quality the magnetic audio recorder had to move faster than 18 fps. 24 fps was adopted for the audio recorder and for the film camera. This has remained the speed of choice in the United States. Why 29.97 fps Video? The fps of video playback in the US was originally 30 fps. This speed was chosen to make a possible hum bar stationary in the picture, thus making it less objectionable. When color was introduced, the color information was superimposed over the B/W signal to ensure that the television broadcast could still be viewed on the old B/W sets. To make this work, the playback frequency had to be changed from 30 fps to 29.97 fps. -
WFM7200 Multiformat Multistandard Waveform Monitor
Multiformat, multistandard waveform monitor WFM7200 Datasheet Comprehensive audio monitoring (Option AD or DPE) Up to 16-channel audio monitoring for embedded audio Multichannel Surround Sound 1 display and flexible Lissajous display with audio level readouts Audio Loudness monitoring to ITU-R BS.1770-3 with audio trigger start/stop functions via GPI (Option AD or DPE) Support for analog, digital, and embedded audio (Option AD) Dolby Digital (AC-3), Dolby Digital Plus, and Dolby E (Option DPE) Comprehensive Dolby metadata decode and display (Option DPE) Dolby E Guard Band meter with user-defined limits (Option DPE) Unmatched display versatility FlexVu™, the most flexible four-tile display, suited for various application needs to increase productivity Patented Diamond and Arrowhead displays for gamut This video/audio/data monitor and analyzer all-in-one platform provides monitoring flexible options and field installable upgrades to monitor a diverse variety of Patented Timing and Lightning displays video and audio formats. Support for video formats includes 3G-SDI, Dual New patented Spearhead display and Luma Qualified Vector Link, HD-SDI and composite analog. Support for audio formats includes (LQV™) display facilitate precise color adjustment for post- Dolby E, Dolby Digital Plus, Dolby Digital, AES/EBU, embedded audio and production applications (Option PROD) analog audio. Stereoscopic 3D video displays for camera alignment and production/ Option GEN provides a simple test signal generator output that creates post-production applications -
Computational Complexity Optimization on H.264 Scalable/Multiview Video Coding
Computational Complexity Optimization on H.264 Scalable/Multiview Video Coding By Guangyao Zhang A thesis submitted in partial fulfilment for the requirements for the degree of PhD, at the University of Central Lancashire April 2014 Student Declaration Concurrent registration for two or more academic awards I declare that while registered as a candidate for the research degree, I have not been a registered candidate or enrolled student for another award of the University or other academic or professional institution. Material submitted for another award I declare that no material contained in the thesis has been used in any other submission for an academic award and is solely my own work. Collaboration This work presented in this thesis was carried out at the ADSIP (Applied Digital Signal and Image Processing) Research Centre, University of Central Lancashire. The work described in the thesis is entirely the candidate’s own work. Signature of Candidate ________________________________________ Type of Award Doctor of Philosophy School School of Computing, Engineering and Physical Sciences Abstract Abstract The H.264/MPEG-4 Advanced Video Coding (AVC) standard is a high efficiency and flexible video coding standard compared to previous standards. The high efficiency is achieved by utilizing a comprehensive full search motion estimation method. Although the H.264 standard improves the visual quality at low bitrates, it enormously increases the computational complexity. The research described in this thesis focuses on optimization of the computational complexity on H.264 scalable and multiview video coding. Nowadays, video application areas range from multimedia messaging and mobile to high definition television, and they use different type of transmission systems. -
Installation and Operation Manual Decklink, Ultrastudio, Intensity
Installation and Operation Manual Desktop Video DeckLink, UltraStudio, Intensity January 2020 English, 日本語, Français, Deutsch, Español, 中文, 한국어, Русский, Italiano, Português and Türkçe. English Welcome We hope you share our dream for the television industry to become a truly creative industry by allowing anyone to have access to the highest quality video. Previously, high end television and post production required investment in millions of dollars of hardware, however with Blackmagic Design video hardware, even Ultra HD 60p is now easily affordable. We hope you get years of use from your new UltraStudio, DeckLink or Intensity and have fun working with some of the world’s hottest television and design software! This instruction manual should contain all the information you’ll need on installing your Blackmagic Design video hardware. If you’re installing a PCI Express card, it’s always a good idea to ask a technical assistant for help if you have not installed hardware cards into computers before. As Blackmagic Design video hardware uses uncompressed video and the data rates are quite high, you’ll need fast disk storage and a high end computer. We think it should take you approximately 10 minutes to complete installation. Before you install Blackmagic Design video hardware, please check our website at www.blackmagicdesign.com and click the support page to download the latest updates to this manual and Desktop Video driver software. Lastly, please register your Blackmagic Design video hardware when downloading software updates. We would love to keep you updated on new software updates and new features. Perhaps you can even send us your latest show reel of work completed on your Blackmagic Design video hardware and any suggestions for improvements to the software. -
3. Visual Attention
Brunel UNIVERSITY WEST LONDON INTELLIGENT IMAGE CROPPING AND SCALING A thesis submitted for the degree of Doctor of Philosophy by Joerg Deigmoeller School of Engineering and Design th 24 January 2011 1 Abstract Nowadays, there exist a huge number of end devices with different screen properties for watching television content, which is either broadcasted or transmitted over the internet. To allow best viewing conditions on each of these devices, different image formats have to be provided by the broadcaster. Producing content for every single format is, however, not applicable by the broadcaster as it is much too laborious and costly. The most obvious solution for providing multiple image formats is to produce one high- resolution format and prepare formats of lower resolution from this. One possibility to do this is to simply scale video images to the resolution of the target image format. Two significant drawbacks are the loss of image details through downscaling and possibly unused image areas due to letter- or pillarboxes. A preferable solution is to find the contextual most important region in the high-resolution format at first and crop this area with an aspect ratio of the target image format afterwards. On the other hand, defining the contextual most important region manually is very time consuming. Trying to apply that to live productions would be nearly impossible. Therefore, some approaches exist that automatically define cropping areas. To do so, they extract visual features, like moving areas in a video, and define regions of interest (ROIs) based on those. ROIs are finally used to define an enclosing cropping area. -
The Art of Sound Reproduction the Art of Sound Reproduction
The Art of Sound Reproduction The Art of Sound Reproduction John Watkinson Focal Press An imprint of Butterworth-Heinemann Ltd 225 Wildwood Avenue, Woburn, MA 01801-2041 Linacre House, Jordan Hill, Oxford OX2 8DP A member of the Reed Elsevier plc group OXFORD JOHANNESBURG BOSTON MELBOURNE NEW DELHI SINGAPORE First published 1998 John Watkinson 1998 All rights reserved. No part of this publication may be reproduced in any material form (including photocopying or storing in any medium by electronic means and whether or not transiently or incidentally to some other use of this publication) without the written permission of the copyright holder except in accordance with the provisions of the Copyright, Designs and Patents Act 1988 or under the terms of a licence issued by the Copyright Licensing Agency Ltd, 90 Tottenham Court Road, London, England W1P 9HE. Applications for the copyright holder’s written permission to reproduce any part of this publication should be addressed to the publishers British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication Data A catalogue record for this book is available from the Library of Congress ISBN 0 240 51512 9 Typeset by Laser Words, Madras, India Printed and bound in Great Britain Contents Preface xiii Chapter 1 Introduction 1 1.1 A short history 1 1.2 Types of reproduction 8 1.3 Sound systems 12 1.4 Portable consumer equipment 14 1.5 Fixed consumer equipment 14 1.6 High-end hi-fi 16 1.7 Public address -
State-Of-The Art Motion Estimation in the Context of 3D TV
State-of-the Art Motion Estimation in the Context of 3D TV ABSTRACT Progress in image sensors and computation power has fueled studies to improve acquisition, processing, and analysis of 3D streams along with 3D scenes/objects reconstruction. The role of motion compensation/motion estimation (MCME) in 3D TV from end-to-end user is investigated in this chapter. Motion vectors (MVs) are closely related to the concept of disparities and they can help improving dynamic scene acquisition, content creation, 2D to 3D conversion, compression coding, decompression/decoding, scene rendering, error concealment, virtual/augmented reality handling, intelligent content retrieval and displaying. Although there are different 3D shape extraction methods, this text focuses mostly on shape-from-motion (SfM) techniques due to their relevance to 3D TV. SfM extraction can restore 3D shape information from a single camera data. A.1 INTRODUCTION Technological convergence has been prompting changes in 3D image rendering together with communication paradigms. It implies interaction with other areas, such as games, that are designed for both TV and the Internet. Obtaining and creating perspective time varying scenes are essential for 3D TV growth and involve knowledge from multidisciplinary areas such as image processing, computer graphics (CG), physics, computer vision, game design, and behavioral sciences (Javidi & Okano, 2002). 3D video refers to previously recorded sequences. 3D TV, on the other hand, comprises acquirement, coding, transmission, reception, decoding, error concealment (EC), and reproduction of streaming video. This chapter sheds some light on the importance of motion compensation and motion estimation (MCME) for an end-to-end 3D TV system, since motion information can help dealing with the huge amount of data involved in acquiring, handing out, exploring, modifying, and reconstructing 3D entities present in video streams.