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Shadow Telecinetelecine
ShadowShadow TelecineTelecine HighHigh performanceperformance SolidSolid StateState DigitalDigital FilmFilm ImagingImaging TechnologyTechnology Table of contents • Introduction • Simplicity • New Scanner Design • All Digital Platform • The Film Look • Graphical Control Panel • Film Handling • Main Features • Six Sector Color Processor • Cost of ownership • Summary SHADOWSHADOTelecine W Telecine Introduction The Film Transfer market is changing const- lantly. There are a host of new DTV formats required for the North American Market and a growing trend towards data scanning as opposed to video transfer for high end compositing work. Most content today will see some form of downstream compression, so quiet, stable images are still of paramount importance. With the demand growing there is a requirement for a reliable, cost effective solution to address these applications. The Shadow Telecine uses the signal proce- sing concept of the Spirit DataCine and leve- rages technology and feature of this flagship product. This is combined with a CCD scan- ner witch fulfils the requirements for both economical as well as picture fidelity. The The Film Transfer market is evolving rapidly. There are a result is a very high performance producthost allof new DTV formats required for the North American the features required for today’s digital Marketappli- and a growing trend towards data scanning as cation but at a greatly reduced cost. opposed to video transfer for high end compositing work. Most content today will see some form of downstream Unlike other Telecine solutions availablecompression, in so quiet, stable images are still of paramount importance. With the demand growing there is a this class, the Shadow Telecine is requirementnot a for a reliable, cost effective solution to re-manufactured older analog Telecine,address nor these applications. -
Flexibility for Alternative Content
ALTERNATIVE CONTENT DMS SCALERS More flexibility for Alternative Content Kinoton’s Markus Näther explains the technology behind the company’s DMS Scalers -Cinema projectors using Series analog component, composite, S-Video and why high-quality cinema scalers employ very II 2K DLP Cinema® technology VGA inputs for connecting PCs or laptops, DVD complex mathematical algorithms to achieve support not only true 2K content, players, satellite receivers, digital encoders, smooth transitions. Pixels to be added are but also different video formats. cable receivers and many other sources, up to interpolated from the interim values of their If it comes to alternative content, HDMI inputs for Blu-Ray players etc. Premium neighbouring pixels, and if pixels have to be D scalers even offer SDI and HD-SDI inputs for though, they quickly reach their limits – the deleted, the same principle is used to smooth range of different picture resolutions, video professional sources. the transitions between the residual pixels. rendering techniques, frame rates and refresh Perfect Image Adjustment How well a scaler accomplishes this demanding rates used on the video market is simply too The different video sources – like classic TV, task basically depends on its processing power. large. Professional media scalers can convert HDTV, DVD or Blu-Ray, just to name the most Kinoton’s premium scaler model DMS DC2 incompatible video signals into the ideal input common ones – work with different image PRO realises image format changes without signal for D-Cinema projectors, and in addition resolutions. The ideal screen resolution for any loss of sharpness, the base model HD DMS enhance the projector’s capabilities of connect- the projection of alternative content with 2K still provides an acceptable image quality for ing alternate content sources. -
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 .......................................................................................................................................................................... -
Avid DS - Your Future Is Now
DSWiki DSWiki Table Of Contents 1998 DS SALES BROCHURE ............................................. 4 2005 DS Wish List ..................................................... 8 2007 Unfiltered DS Wish List ............................................. 13 2007 Wish Lists ....................................................... 22 2007DSWishListFinalistsRound2 ........................................... 28 2010 Wish List ........................................................ 30 A ................................................................. 33 About .............................................................. 53 AchieveMoreWithThe3DDVE ............................................. 54 AmazonStore ......................................................... 55 antler .............................................................. 56 Arri Alexa ........................................................... 58 Avid DS - Your Future Is Now ............................................. 59 Avid DS for Colorists ................................................... 60 B ................................................................. 62 BetweenBlue&Green ................................................... 66 Blu-ray Copy ......................................................... 67 C ................................................................. 68 ColorItCorrected ...................................................... 79 Commercial Specifications ............................................... 80 Custom MC Color Surface Layouts ........................................ -
High-Speed Imaging in Fluids
Exp. Fluids manuscript No. (will be inserted by the editor) High-speed imaging in fluids Michel Versluis Version: November 22, 2012 Abstract High-speed imaging is in popular demand for a broad range of experiments in fluids. It allows for a detailed visualization of the event under study by acquiring a series of image frames captured at high temporal and spatial resolution. This review covers high-speed imaging basics, by defining criteria for high-speed imaging experiments in fluids and to give rule-of-thumbs for a series of cases. It also considers stroboscopic imaging, triggering and illumination, and scaling issues. It provides guidelines for testing and calibration. Ultra high-speed imaging at frame rates exceeding 1 million frames per second is reviewed, and the combination of conventional experiments in fluids techniques with high-speed imaging techniques are discussed. The review is concluded with a high-speed imaging chart, which summarizes criteria for temporal scale and spatial scale and which facilitates the selection of a high-speed imaging system for the application. Keywords flow visualization ultra high-speed imaging · PACS 42.79.Pw 42.65.Re · Michel Versluis Physics of Fluids Group, MESA+ Institute of Nanotechnology, MIRA Institute of Biomedical Technology and Technical Medicine, University of Twente P.O. Box 217, 7500 AE Enschede, The Netherlands Tel.: +31 53 489 8077, Fax: +31 53 489 8068 E-mail: [email protected] 1 Introduction The beauty of slow-motion movies captured with high-speed imaging has traditionally been described along the words ‘making the invisible visible’, ‘seeing is believing’, ‘seeing the unseen’, ‘making flow motion into slow mo- tion’, ‘science or art’, or ‘capturing the moment’. -
Improved Television Systems: NTSC and Beyond
• Improved Television Systems: NTSC and Beyond By William F. Schreiber After a discussion ofthe limits to received image quality in NTSC and a excellent results. Demonstrations review of various proposals for improvement, it is concluded that the have been made showing good motion current system is capable ofsignificant increase in spatial and temporal rendition with very few frames per resolution. and that most of these improvements can be made in a second,2 elimination of interline flick er by up-conversion, 3 and improved compatible manner. Newly designed systems,for the sake ofmaximum separation of luminance and chromi utilization of channel capacity. should use many of the techniques nance by means of comb tilters. ~ proposedfor improving NTSC. such as high-rate cameras and displays, No doubt the most important ele but should use the component. rather than composite, technique for ment in creating interest in this sub color multiplexing. A preference is expressed for noncompatible new ject was the demonstration of the Jap systems, both for increased design flexibility and on the basis oflikely anese high-definition television consumer behaL'ior. Some sample systems are described that achieve system in 1981, a development that very high quality in the present 6-MHz channels, full "HDTV" at the took more than ten years.5 Orches CCIR rate of 216 Mbits/sec, or "better-than-35mm" at about 500 trated by NHK, with contributions Mbits/sec. Possibilities for even higher efficiency using motion compen from many Japanese companies, im sation are described. ages have been produced that are comparable to 35mm theater quality. -
Film Printing
1 2 3 4 5 6 7 8 9 10 1 2 3 Film Technology in Post Production 4 5 6 7 8 9 20 1 2 3 4 5 6 7 8 9 30 1 2 3 4 5 6 7 8 9 40 1 2 3111 This Page Intentionally Left Blank 1 2 3 Film Technology 4 5 6 in Post Production 7 8 9 10 1 2 Second edition 3 4 5 6 7 8 9 20 1 Dominic Case 2 3 4 5 6 7 8 9 30 1 2 3 4 5 6 7 8 9 40 1 2 3111 4 5 6 7 8 Focal Press 9 OXFORD AUCKLAND BOSTON JOHANNESBURG MELBOURNE NEW DELHI 1 Focal Press An imprint of Butterworth-Heinemann Linacre House, Jordan Hill, Oxford OX2 8DP 225 Wildwood Avenue, Woburn, MA 01801-2041 A division of Reed Educational and Professional Publishing Ltd A member of the Reed Elsevier plc group First published 1997 Reprinted 1998, 1999 Second edition 2001 © Dominic Case 2001 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 0LP. 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 Cataloging in Publication Data A catalogue record -
Post Production 366 Non-Linear Video Editing
Post PRoduction 366 Non-linear Video Editing www.bhphotovideo.com Intensity, Intensity Pro Affordable HDMI Board Final Cut Express HD 4 Video Editing Software for Mac Intensity features the latest HDMI-in high Apple’s powerful movie-making package now supports the quality capture from connective cameras latest AVCHD cameras, features an open-format Timeline, and digital peripherals. Edit using big-screen Intensity provides iMovie ’08 compatibility, and offers sophisticated HDMI television and video projects or capture Intensity Pro effects and filters. uncompressed quality from HDV cameras. • Capture DV, HDV, or AVCHD from your camcorder Direct capture from your HD camera bypasses HDV compression • Export projects from iMovie ’08 for a final edit in FCE 4 for high-quality video. Mac and Windows compatible. • Sophisticated transitions, filters, effects, and FXPlug plug-ins Intensity Pro step-up features— • Create pro audio mixes with multiple tracks and filters • Creature dynamic animated text with LiveType • HDMI and analog component, NTSC, PAL, and S-video • 2-ch. RCA audio, 2-ch. SPDIF, 24-bit audio Final Cut Express HD 4 (#APFCE4) ....................................................................................... 140.99 Intensity (#BLI) ......................................CALL Intensity Pro (#BLIP) ...........................189.05 Final Cut Express HD 4 Upgrade (#APUFCEHD1235) ............................................................... 99.00 Premiere Elements 8 Studio HD Video Editing Software Video Editing Software Enhance your stories with professional style. InstantMovie automatically Make great movies easlly with Studio HD edits together your best clips with coordinated music, titles, over 300 video editing software. Use to edit video on most Windows machines, It effects, and transitions from the movie theme of your choice. Automati- supports HD video and offers a number of control parameters, including cally fix shaky footage and color and lighting problems, trim away all but montage themes, transitions, animations, and effects. -
Alchemist File - Understanding Cadence
GV File Understanding Cadence Alchemist File - Understanding Cadence Version History Date Version Release by Reason for changes 27/08/2015 1.0 J Metcalf Document originated (1st proposal) 09/09/2015 1.1 J Metcalf Rebranding to Alchemist File 19/01/2016 1.2 G Emerson Completion of rebrand 07/10/2016 1.3 J Metcalf Updated for additional cadence controls added in V2.2.3.2 12/10/2016 1.4 J Metcalf Added Table of Terminology 11/12/2018 1.5 J Metcalf Rebrand for GV and update for V4.*** 16/07/2019 1.6 J Metcalf Minor additions & corrections 05/03/2021 1.7 J Metcalf Rebrand 06/09/2021 1.8 J Metcalf Add User Case (case 9) Version Number: 1.8 © 2021 GV Page 2 of 53 Alchemist File - Understanding Cadence Table of Contents 1. Introduction ............................................................................................................................................... 6 2. Alchemist File Input Cadence controls ................................................................................................... 7 2.1 Input / Source Scan - Scan Type: ............................................................................................................ 7 2.1.1 Incorrect Metadata ............................................................................................................................ 8 2.1.2 Psf Video sources ............................................................................................................................. 9 2.2 Input / Source Scan - Field order .......................................................................................................... -
Cg Garage Podcast #284 Douglas Trumbull Director/Visual Effects Supervisor
CG GARAGE PODCAST #284 DOUGLAS TRUMBULL DIRECTOR/VISUAL EFFECTS SUPERVISOR Douglas Trumbull, the genius behind the visual effects of “2001,” “Close Encounters” and “Star Trek,” on his 50-year quest to understand and improve cinema. Over the past 50 years, Douglas Trumbull has pushed the boundaries of filmmaking via stunning effects in 2001: A Space Odyssey, Close Encounters of the Third Kind and Star Trek: The Motion Picture. Today, his intricate understanding of cameras and projects has resulted in the Magi format, which promises gorgeous high-framerate films without the soap-opera look. Contents Useful links 2001: A Space Odyssey Douglas Trumbull on IMDb Developing Showscan Trumbull Studios: The Magi Process on YouTube Brainstorm Construct and Magi 1 Chris: This has been a long time that I've been wanting to do a podcast with you, I've got to tell you! Doug: Well, this is great. I'm glad we've finally pulled it off. Chris: Yeah, me too. Chris: Obviously, when we first met, we were in the throes of doing that “Construct” project. And we were excited about thinking about doing the Magi system, which we will talk about; how we took one minute of video and rendered the equivalent of 40 minutes of video, to get it done for Magi. Doug: Right. Chris: Which was quite amazing, to do that. Chris: But I'm sure, based on my audience, that my audience is really going to want to learn a little bit more about you and your history. And obviously, you have so many incredible stories; every time I talk to you to tell me some awesome stories. -
ADOPTION of HIGH FRAME RATE LIVE-ACTION VIDEO CONTENT on SOCIAL MEDIA PLATFORMS by Vibhushan Soundrarajah a MRP Presented to Ry
ADOPTION OF HIGH FRAME RATE LIVE-ACTION VIDEO CONTENT ON SOCIAL MEDIA PLATFORMS by Vibhushan Soundrarajah A MRP presented to Ryerson University in partial fulfillment of the requirements for the degree of Master of Digital Media In the Program of Digital Media Toronto, Ontario, Canada, 2017 ©Vibhushan Soundrarajah, 2017 Author’s Declaration for Electronic Submission of a MRP I hereby declare that I am the sole author of this MRP. This is a true copy of the MRP, including any required final revisions. I authorize Ryerson University to lend this MRP to other institutions or individuals for the purpose of scholarly research. I further authorize Ryerson University to reproduce this MRP by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. I understand that my MRP may be made electronically available to the public. Vib Soundrarajah ii ADOPTION OF HIGH FRAME RATE LIVE-ACTION VIDEO CONTENT ON SOCIAL MEDIA PLATFORMS Ryerson University Vibhushan Soundrarajah Master of Digital Media, 2017 ABSTRACT New cinema technology has always been dictated by hollywood studios and theater exhibitions. With emergence of video streaming technology and smart display availability to the mass population, cinema technology no longer needs to overcome the approval made by studios and exhibitors. High frame rate is an emerging technology that has the ability to enhance realism and temporal resolution in the production process. This technology is supported by various social video streaming platforms and allows users to experience high frame video. Though this technology is available and accessible, this project assesses the value and adoption of 60 frames per second video content versus the standard 24 frames per second. -
Digital Art/Paint System Survey
Digital Art/Paint System Survey ROBERT RIVLIN . he most fundamental question to be three-dimensional letters, or complex addressed in this survey is, What computerized "mapping" designs, then is a digital art/paint system? output the results a frame at a time, Secondly,T thesurvey provides a basis for usually onto film, taking up to six minutes comparison among the different systems, to assemble each frame of a complex designed to show where they are similar, sequence. where they vary, and prompt you to The systems outlined here are designed directly contact those manufacturers to perform "down and dirty" whose systems you wish to evaluate artwork-artwork which is, in the words seriously . of Peter Black pf Xiphias, "short turn- It is clear, now that the dust from last around/short burst." In typical newsroom year's NAB show is beginning to settle, applications, the images will be created that we have seen, in the course of just the within minutes, then displayed, usually past year alone, the birth of a brand new compressed into a box wipe, for seconds. type of image creation product-the Though some of the systems possess the digital art/paint system. Its predecessors ability to perform 'limited animation"- pre-date it by several years, including the by having a finished picture build up from NEC Action Track/Digital Strobe Action scratch, for instance, unit or by having colors that uses extensive digital processing flash on and off simulating motion, these and a digital framestore to generate often systems are not designed to produce abstract images out of existing video animation effects.