DOCSLIB.ORG

Alchemist File - Understanding Cadence

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
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 ........................................................................................................... 10 2.3 Input / Source Cadence – Cadence ...................................................................................................... 11 3. Output / Cadence .................................................................................................................................... 15 4. Off-Speed feature .................................................................................................................................... 17 5. User Cases ............................................................................................................................................... 18 5.1 User Case 1 – Repair broken 2:3 .......................................................................................................... 18 5.2 User Case 2 – Broken 2:3 removal ....................................................................................................... 20 5.3 User Case 3 – 59i mixed cadence source, to 50i .................................................................................. 22 5.4 User Case 4 – Cadence correction ....................................................................................................... 24 5.5 User Case 5 – Unsupported cadence type ........................................................................................... 26 5.6 User Case 6 – Processing a bad cadence source ................................................................................ 28 5.7 User Case 7 – Cadence removal and off-speed ................................................................................... 30 5.8 User Case 8 – 25p to 59i by adding 2:2:3:2:3 cadence ........................................................................ 32 5.9 User Case 9 – 59i with unorthodox cadence, to 525/24p ..................................................................... 34 6. Glossary ................................................................................................................................................... 37 6.1 Cadence ................................................................................................................................................ 37 6.1.1 Video 1:1 ......................................................................................................................................... 37 6.1.2 Psf Cadence ................................................................................................................................... 37 6.1.3 Progressive ..................................................................................................................................... 38 6.1.4 Cadence 2:3 ................................................................................................................................... 39 6.1.5 Cadence 1:1:1:2 ............................................................................................................................. 40 6.1.6 Cadence 2:2:2:4 ............................................................................................................................. 40 6.1.7 Cadence 2:3:3:2 ............................................................................................................................. 41 6.1.8 Cadence 5:5 ................................................................................................................................... 41 6.1.9 Cadence 2:2:3:2:3 .......................................................................................................................... 42 Page 3 of 53 © 2021 GV Version Number: 1.8 Alchemist File - Understanding Cadence 6.1.10 Cadence 7:8 ................................................................................................................................. 42 6.1.11 Broken Cadence ........................................................................................................................... 43 6.2 Conversion - 24 fps to 25 fps ................................................................................................................. 44 6.2.1 Synchro frame repeat method ........................................................................................................ 44 6.2.2 Synchro field repeat method ........................................................................................................... 45 6.2.3 Conversion interpolation method .................................................................................................... 45 6.3 Off-speeding .......................................................................................................................................... 46 6.4 Mouse-teething ...................................................................................................................................... 47 6.5 TFF / BFF definition ............................................................................................................................... 48 6.6 Filmic field dominance ........................................................................................................................... 51 Appendix A. Output Cadence setting Auto ........................................................................................... 53 List of Tables Table 1: Table of Terminology ................................................................................................................... 5 Version Number: 1.8 © 2021 GV Page 4 of 53 Alchemist File - Understanding Cadence Table 1: Table of Terminology Term Definition BFF An acroynm for ‘Bottom Field First’. BFF describes the field structure of an interlaced video frame Cadence A method of carrying low frame rate content, in a high frame rate video transport, by employing a process of repeating field/frames in a predictable sequence. Film Content originally shot on celluloid, usually with a frame rate of 24Hz. Filmic Any video content that has a refresh rate of 30Hz, or less. Metadata In the context of a video file, is information that describes the video file, such as: frame rate, codec type, file-wrapper type, audio distribution, file bit-rate, etc. Metadata enables a file to be processed with either no, or very little, prior configuration. Mispaired frames A progressive video frame that is derived from an interlaced source frame that contains fields from different temporal samples, by a simplistic field pairing process. Often associated with PC applications that don’t employ quality de-interlacers. Mouse-teething A term describing the result of mispaired fields (see above). Native The frame rate and resolution that video content was originally captured, prior to any conversion, or cadence process. Off-Speeding A method of achieving a video frame rate conversion, by simply adjusting the running speed of the content. Historically this was a process associated with VTRs, where the speed of the tape was adjusted to the required playout frame-rate. However, this process can now be done in a software application such as GV File. Also referred to as Verispeed. Orphan field An orphan field is a field within a cadence process, where the video content does not pair with a sister field to create a complete frame. Reverse-telecine A term applied to the process of cadence removal, so recovering the native frame rate of the content. Synchronise In the context of GV File, a Synchronise process (often referred to a ‘Synchro’) is a process process of performing a frame rate change by simply repeating, or discarding, source frames. No picture building, or frame blending processes are taking place, hence the output only contains clean unblended frames. Can create a hoppy appearance at the output. Telecine A process of transferring motion picture film into video. TFF An acronym for ‘Top Field First’. TFF describes the field structure of an interlaced video frame. Video 1:1 A term describing video that refreshes every field in an interlaced
Load more

Recommended publications
  • Sony Recognises That Your Needs As a Programme Maker Will Vary Depending Upon the Type of Pro- HDCAM Uses Intra-Frame DCT Compression Using a Gramme Being Made
    HDW-M2000P/20 HDCAM video tape recorder with CineAlta record feature and multi-format playback A high definition VTR for prestige and mainstream Features programme production HDCAM recording and playback Sony recognises that your needs as a programme maker will vary depending upon the type of pro- HDCAM uses intra-frame DCT compression using a gramme being made. This has driven the develop- compression ratio of about 7:1. There are four chan- ment of a multi-format high definition product offer- nels of 48kHz digital audio at 20-bit resolution. ing, including HDV for entry-level high definition oper- ation, HDCAM for mainstream and prestige produc- Selectable frame rates tions, CineAlta for 24P applications, and HDCAM SR The HDW-M2000P/20 can record and replay at 1080/ for productions where only the ultimate quality will 50i, 1080/59.94i, 1080/25P, 1080/29.97P, 1080/ suffice. 23.98P and 1080/24P. HDCAM has long been associated with the production Compatible replay of standard definition cassettes of the most prestigious movies, commercials and tele- Betacam, Betacam SP, Betacam SX, MPEG IMX and vision programmes. The recent expansion of the Digital Betacam cassettes can be replayed. The HDW- HDCAM product line up has transformed the econom- M2000P/20 is optimised for analogue 625/50 Betacam ics of HD for mainstream television production, with and Betacam SP playback, but can replay 525/60 new models such as the HDW-730S camcorder mak- Betacam and Betacam SP tapes and provide a monit- ing HD acquistion accessible to those working on oring quality output.
    [Show full text]
  • 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.
    [Show full text]
  • Problems on Video Coding
    Problems on Video Coding Guan-Ju Peng Graduate Institute of Electronics Engineering, National Taiwan University 1 Problem 1 How to display digital video designed for TV industry on a computer screen with best quality? .. Hint: computer display is 4:3, 1280x1024, 72 Hz, pro- gressive. Supposing the digital TV display is 4:3 640x480, 30Hz, Interlaced. The problem becomes how to convert the video signal from 4:3 640x480, 60Hz, Interlaced to 4:3, 1280x1024, 72 Hz, progressive. First, we convert the video stream from interlaced video to progressive signal by a suitable de-interlacing algorithm. Thus, we introduce the de-interlacing algorithms ¯rst in the following. 1.1 De-Interlacing Generally speaking, there are three kinds of methods to perform de-interlacing. 1.1.1 Field Combination Deinterlacing ² Weaving is done by adding consecutive ¯elds together. This is ¯ne when the image hasn't changed between ¯elds, but any change will result in artifacts known as "combing", when the pixels in one frame do not line up with the pixels in the other, forming a jagged edge. This technique retains full vertical resolution at the expense of half the temporal resolution. ² Blending is done by blending, or averaging consecutive ¯elds to be displayed as one frame. Combing is avoided because both of the images are on top of each other. This instead leaves an artifact known as ghosting. The image loses vertical resolution and 1 temporal resolution. This is often combined with a vertical resize so that the output has no numerical loss in vertical resolution. The problem with this is that there is a quality loss, because the image has been downsized then upsized.
    [Show full text]
  • Cathode-Ray Tube Displays for Medical Imaging
    DIGITAL IMAGING BASICS Cathode-Ray Tube Displays for Medical Imaging Peter A. Keller This paper will discuss the principles of cathode-ray crease the velocity of the electron beam for tube displays in medical imaging and the parameters increased light output from the screen; essential to the selection of displays for specific 4. a focusing section to bring the electron requirements. A discussion of cathode-ray tube fun- beam to a sharp focus at the screen; damentals and medical requirements is included. 9 1990bu W.B. Saunders Company. 5. a deflection system to position the electron beam to a desired location on the screen or KEY WORDS: displays, cathode ray tube, medical scan the beam in a repetitive pattern; and irnaging, high resolution. 6. a phosphor screen to convert the invisible electron beam to visible light. he cathode-ray tube (CRT) is the heart of The assembly of electrodes or elements mounted T almost every medical display and its single within the neck of the CRT is commonly known most costly component. Brightness, resolution, as the "electron gun" (Fig 2). This is a good color, contrast, life, cost, and viewer comfort are analogy, because it is the function of the electron gun to "shoot" a beam of electrons toward the all strongly influenced by the selection of a screen or target. The velocity of the electron particular CRT by the display designer. These beam is a function of the overall accelerating factors are especially important for displays used voltage applied to the tube. For a CRT operating for medical diagnosis in which patient safety and at an accelerating voltage of 20,000 V, the comfort hinge on the ability of the display to electron velocity at the screen is about present easily readable, high-resolution images 250,000,000 mph, or about 37% of the velocity of accurately and rapidly.
    [Show full text]
  • LENOVO LEGION Y27gq-20 the MIGHTY GAME CHANGER
    LENOVO LEGION Y27gq-20 THE MIGHTY GAME CHANGER The Lenovo Legion Y27gq-20 is an ultra-responsive gaming monitor STEP UP YOUR GAME with impressive features to add maximum thrill to your gameplay. Designed to meet the unique requirements of avid gamers, Seamless Gaming this 27-inch monitor with NVIDIA® G-SYNC™ technology, Experience 165 Hz refresh rate, and 1ms response time delivers superior No Ghosting performance every time. The NearEdgeless QHD, or Motion Blur anti-glare display, and optional monitor USB speaker with sound by Harman Kardon provide stunning Brilliant Ergonomic audio-visual quality for an optimized Design gaming experience. INSTANTANEOUS RESPONSE FOR THE ULTIMATE GAMING EXPERIENCE For time-critical games where every millisecond Technology: counts, the winning combination of the 165 Hz NVIDIA® G-SYNC™ refresh rate and 1ms extreme response time eliminates streaking, ghosting, and motion blur to give you Refresh Rate: a competitive edge. The NVIDIA® G-SYNC™ technology* 165 Hz on the Lenovo Legion Y27gq-20 dynamically matches the Response Time: refresh rate of the display to the frame rate output of the GPU. 1ms This helps eliminate screen tearing, prevent display stutter, and minimize input lag, allowing you to enjoy ultra-responsive and distraction-free gaming. *NVIDIA® G-SYNC™ can only work with NVIDIA® GeForce™ series graphics card. Users need to enable the G-SYNC™ function in NVIDIA® Control panel. SUPERIOR AUDIO-VISUAL QUALITY FOR IMMERSIVE GAMING The Y27gq-20 gaming-focused monitor, featuring a NearEdgeless QHD, anti-glare display with 2560 x 1440 resolution produces outstanding Display: visuals with vivid clarity to boost your gaming sessions.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • A R R I T E C H N I C a L N O T E
    A R R I T E C H N I C A L N O T E P - 1013 USA TV Ground Glass Markings Summary This note describes the frame outlines relevant to shooting film for television in the USA. The Important Frame Outlines to Know Both the markings on the ground glass and telecine calibration films are based on international standards that assure that an object framed in a given spot through the viewfinder will appear on that same spot in telecine. When shooting for television, one should be familiar with the following frame lines: Camera Aperture TV Transmission TV Safe Action TV Safe Title (not shown on most ground glasses) Please note that the frame outlines pictured above are for a Super 35 ground glass, and will be slightly different for other formats. Also note that TV Safe Title is usually not shown on most ground glasses. Full Aperture Corresponds to the full amount of negative film exposed. Caution: most ground glasses will permit viewing outside of this area, but anything outside of this area will not be recorded on film. This outline is usually found on ground glasses, but not in telecine. TV Transmission The full video image that is transmitted over the air. Sometimes also called “TV Scanned”. TV Safe Action Since most TV sets crop part of the TV Transmission image, a marking inside of TV Transmission has been defined. Objects that are within the TV Safe Action lines will be visible on most TV sets. This marking is sometimes referred to as “The Pumpkin”.
    [Show full text]
  • 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 ..........................................................................................................................................................................
    [Show full text]
  • Lc-60Le650u 60" Class 1080P Led Smart Tv
    LC-60LE650U 60" CLASS 1080P LED SMART TV 6 SERIES LED SMART TV AQUOS 1080P LED DISPLAY Breathtaking HD images, greater brightness and contrast SMART TV With Dual-Core Processor and built-in Wi-Fi 120Hz REFRESH RATE Precision clarity during fast-motion scenes SLIM DESIGN Ultra Slim Design POWERFUL 20W AUDIO High fidelity with clear voice Big, bold and brainy - the LC-60LE650U is an LED Smart TV that delivers legendary AQUOS picture quality and unlimited content choices, seamless control, and instant connectivity through SmartCentral™. The AQUOS 1080p LED Display dazzles with advanced pixel structure for the most breathtaking HD images, a 4 million: 1 dynamic contrast ratio, and a 120Hz refresh rate for precision clarity during fast-motion scenes. A Smart TV with Dual-Core processor and built in WiFi, the LC-60LE650U lets you quickly access apps streaming movies, music, games, and websites. Using photo-alignment technology that’s precision Unlimited content, control, and instant See sharper, more electrifying action with the most crafted to let more light through in bright scenes and connectivity. AQUOS® TVs with advanced panel refresh rates available today. The shut more light out in dark scenes, the AQUOS SmartCentral™ give you more of what you 120Hz technology delivers crystal-clear images 1080p LED Display with a 4 million: 1 contrast ratio crave. From the best streaming apps, to the even during fast-motion scenes. creates a picture so real you can see the difference. easiest way to channel surf and connect your devices, it’s that easy.
    [Show full text]
  • AJ- Variable Frame-Rate HD Camera-Recorder
    AJ- Variable Frame-Rate HD Camera-Recorder A variable frame-rate camera for an HD multi-media world. High Definition The HD Story The freedom to realize your vision. new world of creative possibilities is emerging on the multi-media horizon. As technology evolves, Panasonic continues to bridge the gap between the artist and their vision Since the introduction of our DVCPRO family of digital through breathtaking advances in high-definition products, we've placed hundreds of thousands of digital imaging. By empowering storytellers with recorders in the world's news, production and post a dazzling array of production-oriented technology, production communities. Already acknowledged as at significant economies, an exciting one of the most reliable and economical Whether episodic television, independent films, music videos, commercials or new media projects, Panasonic is ushering in a new era of high definition. video systems, DVCPRO HD is now building on this directors and digital artists with exciting new creative history with our HD Cinema cameras and related options. From infusing documentaries with a lush, digital VTRs. cinematic quality to creating stunning new visual effects for music videos, the AJ-HDC27F gives unprecedented Whether episodic television, independent films, music freedom for storytellers to realize their vision. videos, commercials or new media projects, Panasonic is ushering in a new era of high definition, digital Open systems. Open minds. production, finishing and distribution. By bringing An important component of the AJ-HDC27F is its together the worlds of cinematography, digital recording compatibility with other international formats. and computer-augmented post production, Panasonic DVCPRO HD VTRs playback DVCPRO 25/50/50P and has defined itself as the premier name for technology DV recordings, and 1080i and 720p images from that fuels artistic freedom worldwide.
    [Show full text]
  • A Review and Comparison on Different Video Deinterlacing
    International Journal of Research ISSN NO:2236-6124 A Review and Comparison on Different Video Deinterlacing Methodologies 1Boyapati Bharathidevi,2Kurangi Mary Sujana,3Ashok kumar Balijepalli 1,2,3 Asst.Professor,Universal College of Engg & Technology,Perecherla,Guntur,AP,India-522438 [email protected],[email protected],[email protected] Abstract— Video deinterlacing is a key technique in Interlaced videos are generally preferred in video broadcast digital video processing, particularly with the widespread and transmission systems as they reduce the amount of data to usage of LCD and plasma TVs. Interlacing is a widely used be broadcast. Transmission of interlaced videos was widely technique, for television broadcast and video recording, to popular in various television broadcasting systems such as double the perceived frame rate without increasing the NTSC [2], PAL [3], SECAM. Many broadcasting agencies bandwidth. But it presents annoying visual artifacts, such as made huge profits with interlaced videos. Video acquiring flickering and silhouette "serration," during the playback. systems on many occasions naturally acquire interlaced video Existing state-of-the-art deinterlacing methods either ignore and since this also proved be an efficient way, the popularity the temporal information to provide real-time performance of interlaced videos escalated. but lower visual quality, or estimate the motion for better deinterlacing but with a trade-off of higher computational cost. The question `to interlace or not to interlace' divides the TV and the PC communities. A proper answer requires a common understanding of what is possible nowadays in deinterlacing video signals. This paper outlines the most relevant methods, and provides a relative comparison.
    [Show full text]