DOCSLIB.ORG

Steganography Based Image Compression Rajandeep Kaur 1, Pooja 2

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Steganography Based Image Compression Rajandeep Kaur 1, Pooja 2 International Journal of Advanced Engineering, Management and Science (IJAEMS) [Vol-2, Issue-6, June- 2016] Infogain Publication ( Infogainpublication.com ) ISSN : 2454-1311 Steganography based image compression Rajandeep Kaur 1, Pooja 2 1Department of Computer Science, CTIEMT, IKG PTU, Jalandhar, Punjab, India 2Department of Computer Science, CTIEMT, Jalandhar, Punjab, India Abstract — The intention of image compression is to discard making utilize of its adjacent pixels. Depending upon the worthless data from image so as to shrink the quantity of data compactness technique used, the picture can be regenerated bits favored for image depiction, to lessen the storage space, with and with no visual failure. In lossless compactness broadcast bandwidth and time. Likewise, data hiding method, the regenerated picture after compactness is convenes scenarios by implanting the unfamiliar data into a numerically impossible to tell apart from the actual. While, in picture in invisibility manner. The review offers, a method of lossy compactness/compression method, the regenerated image compression approaches by using DWT transform picture comprised of poverty in deference to the actual, as employing steganography scheme together in combination of these methods source picture excellence deprivation in every SPIHT to compress an image. compactness/compression or decompression step. Keywords — DCT (Discrete Cosine Transform), DWT Consequently, every lossy methods used for picture (Discrete Wavelet Transform), CR (Compression Ratio), compactness/compression having great PSNR (Peak Signal-to-Noise Ratio). compactness/compression rate in comparison to lossless techniques i.e. fine class of compressed/compacted picture I. INTRODUCTION with a fewer quantity of compactness, whereas lossy- The main inspiration at the back image of compression is to compactness/compression methods [2] direct to data failure reduce the surplus and irrelevance data from the picture, to with elevated compactness/compression ratio. Lossy achieve the aim of placing it away and exchanged skillfully. compactness/compression methods comprise of predictive As a result, condensed picture is symbolized by smaller bits and transform coding. Transform coding method chiefly count in comparison to actual. Therefore, the compulsory concerns a Fourier transform; i.e. Discrete Cosine Transform storage space decreased; as a consequence huge quantity of and DWT Transforms [3]. In the presented study, a picture pictures can be stocked up into the same storage space and compression approach using a hybrid method of DWT and stimulated in faster way to standby the broadcast bandwidth, SPHIT in combination with steganography is employed. and time. In picture compactness/compression technique, for The rest paper is planned as track: Section 2 put in plain nearly all part supernatural and spatial extra data should be words Compression Fundamental Techniques; Section 3 reduced as a large amount as could realistically be predicted. elaborates data hiding concepts; Section 4 incorporated Picture compactness is utilized in many applications to proposed methodology and last Section 5 provides the efficiently enhance effectiveness and performance. conclusions. Due to this reason many compactness/compression techniques i.e. scalar or vector quantization, differential II. COMPRESSION FUNDAMENTAL encoding, predictive, and Transform picture coding have TECHNIQUES been shown. At small bit rate Transform coding is efficient The essential backdrop is offered here in this segment. among these methods. [1]. Transform coding relies on the Segment 2.1 and 2.2 momentarily elaborates the lossy JPEG regulation that pixel in a picture show an exact height of compactness/compression technique based on DWT and association with their neighboring pixels. Consequently, these DCT. associations can be oppressed for the judgment of a pixel 2.1 Joint Photographic Expert Group (JPEG) height from its appropriate adjacent pixel. An alteration in JPEG stands for joint photographic expert group and it is a this way shows to drawing of correlated (spatial) data into lossy compression based format and also known as ISO/ITO- uncorrelated (transformed) coefficients. Therefore, alteration T and created in 1980.The basic JPEG forms generally of the have to employ the means that the information of every pixel subsequent steps. The all three RGB layers of the novel color is generally extremely minute i.e., to a great degree picture are transformed to YC BCR. Then each layers of illustration fraction of a pixel be able to be considered by YC BCR is divided into chunk of dimension 8 X 8. The www.ijaems.com Page | 685 International Journal of Advanced Engineering, Management and Science (IJAEMS) [Vol-2, Issue-6, June- 2016] Infogain Publication ( Infogainpublication.com ) ISSN : 2454-1311 subsequent operations are applied on every chunk: DCT (DWT), quantization and entropy encoding are completed (discrete cosine transform), quantization, crisscross scan, separately on every strip. The strip may be as huge as the RLE (run length encoding) and Huffman coding. The whole picture dimension or lesser separations. The Discrete Discrete Cosine Transform draws the chunk of 8 X 8 pixels Wavelet Transform is processed by sorting every line and into a group of altered coefficients. Compression is achieved piece of the picture strip with a elevated pass and low pass through quantization, by dropping the quantity of bits used to filter. Daubechies filters and normally DB9/DB7 is used represent every coefficient. The coefficients are then encoded while applying wavelet transform. The yield from every filter in a crisscross manner from small frequency coefficient to is further down sampled by 2 so that the sample rate stays elevated frequency coefficients. The AC coefficients are steady. As a consequence of application of DWT, the strip is encoded by Huffman coding and RLE. The DC coefficient separated into four sub teams LL, HL, LH, and HH that holds generally has a importance to great extent than AC coefficients with completely different straight and coefficients, and there is a extremely close association perpendicular spacial frequency characteristics. JPEG 2000 between the DC coefficients of neighboring chunks. offers each lossless and lossy compression within the Consequently, JPEG technique encodes the distinction matching file flow, whereas JPEG typically solely uses lossy between the DC coefficients of adjacent chunks using DPCM compactness/compression. JPEG will contain a lossless (Differential pulse code modulation) encoding.jpeg compactness/compression locomotive; however it's broken compression helps to reduce the image size without free the lossy engine, and isn't used fairly often. Thus, once degrading the image quality of image. Whereas JPEG prime superiority could be a concern, JPEG 2000 proves to pictures can have bright, high-resolution picture information, be a far higher compression tool. JPEG 2000 guarantees the it is a lossy arrangement, which indicates few superiority is next quality final image, even once victimization lossy lost when the picture is compacted/compressed. If the picture compression. Since the JPEG 2000 format includes abundant is compacted/compressed to a great extent, the graphics turn richer content than existing JPEG files, rock bottom line into obviously "blocky" and a little of the feature is result is that the ability to deliver abundant smaller files that misplaced. Like GIFs format, JPEG formats are fractious also contains a similar level of detail because the larger platform, implicating the matching file will seem the same on original JPEG files. 256 channels of data can be handled by both PC and Mac. The entire cause after this JPEG the JPEG 2000 files in comparison to the JPEG standard, arrangement is to create lesser size workstation files. which, by motive of ordinary accomplishment, is restricted to Uncompressed pictures can be enormous information files. only red, green, and blue channels data. The Joint By stocking the pictorial information in the JPEG Photographic Experts Group 2000 (JPEG 2000) customary, arrangement it is probable to diminish the extent of completed in 2001, describes a new picture coding method information file. Here are two key features of JPEG that using high-tech compactness/compression scheme based on needs to be measured before storing a file using the wavelet skill. Its structural design is functional for a lot of arrangement. Both narrate to the "lossy" character of JPEG it varied functions, together with Internet picture sharing, really modify the picture and eliminates a quantity of the defense organizations, digital cinematography, and unique picture information. How this influence the picture is therapeutic imaging. JPEG 2000 is its skill to show pictures prohibited by two chief features: the picture type and at unusual declarations and dimensions from the similar compactness/compression amount. JPEG images has high picture file. With JPEG, a picture file was merely talented to quality and used for compression process. It supports to lossy be shown a sole method, with a convinced decision. As compression. The pixels resolution of JPEG images very high JPEG 2000 is supported on wavelets, the wavelet flow can be and clear to visual due to JPEG compression its pixels only incompletely decompressed if the consumer merely resolution destroy and harsh to visible and does’t support desires a small decree picture, whilst the complete decree clearly to logo based images.
Load more

Recommended publications
  • Digital Cinematography Camera F35 F23
    Digital Cinematography Camera F35 F23 www.sony.com/professional SONY54696_F-Series 1 9/26/08 12:08:42 PM ADVANCING THE ART OF DIGITAL IMAGING CineAlta – a name that proudly symbolizes the bond between cinematography and high-resolution digital imaging, distinguishes Sony’s family of 24P acquisition products and systems. The emergence of Sony’s CineAlta™ products marked the beginning of a new era in movie, commercial and television production applications. Since their introduction, CineAlta products – beginning with the groundbreaking HDW-F900, Sony’s first 24P-capable HDCAM™ camcorder, and the HDC-F950 full-bandwidth 4:4:4 (RGB) portable camera – have been globally accepted as a viable creative alternative to 24-frame film origination. Working closely with the creative community over time, Sony has created CineAlta acquisition systems designed specifically to meet the Cinematographer’s needs. This collaboration has lead to array of highly sophisticated digital acquisition systems that offer comprehensive feature sets and workflows specifically designed to maximize on-set efficiencies, flexibility and creative freedom. Consequently, the name CineAlta has come to define the industry standards for quality and flexibility in 24-frame digital cinematography. 2 2 SONY54696_F-Series 2 9/26/08 12:08:45 PM Expand Your Creative Possibilities With a Choice of Film-style Digital Cinematography Cameras Sony has proudly introduced two new powerful film-style Both the F35 and F23 provide an uncompromising design digital cinematography cameras to the CineAlta acquisition that allows direct docking with Sony’s SRW-1 portable lineup. The F35 and F23 cameras combine the proven HDCAM-SR™ recorder. It’s also possible to use the F23 or the technology used in previous CineAlta acquisition models F35 in combination, for even more creative freedom.
    [Show full text]
  • Optical Network Technologies for Future Digital Cinema
    Hindawi Publishing Corporation Advances in Optical Technologies Volume 2016, Article ID 8164308, 8 pages http://dx.doi.org/10.1155/2016/8164308 Review Article Optical Network Technologies for Future Digital Cinema Sajid Nazir1 and Mohammad Kaleem2 1 School of Engineering, London South Bank University, 103 Borough Road, London SE1 0AA, UK 2Department of Electrical Engineering, COMSATS, Institute of Information Technology, Islamabad, Pakistan Correspondence should be addressed to Sajid Nazir; [email protected] Received 9 May 2016; Revised 30 October 2016; Accepted 15 November 2016 Academic Editor: Giancarlo C. Righini Copyright © 2016 S. Nazir and M. Kaleem. This is an open access article distributed under the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. Digital technology has transformed the information flow and support infrastructure for numerous application domains, such as cellular communications. Cinematography, traditionally, a film based medium, has embraced digital technology leading to innovative transformations in its work flow. Digital cinema supports transmission of high resolution content enabled by the latest advancements in optical communications and video compression. In this paper we provide a survey of the optical network technologies for supporting this bandwidth intensive traffic class. We also highlight the significance and benefits of the state ofthe art in optical technologies that support the digital cinema work flow. 1. Introduction its real-time nature. The data generated by a single frame in ultrahigh definition (UHD) format is enormous and cannot The transformation to digital cinema is taking place through be supported over today’s Internet infrastructure.
    [Show full text]
  • IF HD IS COMING TOMORROW, WHY DO YOU NEED HDCAM TODAY? HDCAM 1080/60I: JUST LOOK at the FACTS
    IF HD IS COMING TOMORROW, WHY DO YOU NEED HDCAM TODAY? HDCAM 1080/60i: JUST LOOK AT THE FACTS. It’s a fact that Sony’s HDCAM® 1080/60i system has This enhanced SDTV programming will increase your established itself as the world’s first proven, practical, revenue today. You’ll have an HD master for additional standardized, and field-tested approach to high defini- revenue tomorrow. You’ll even have built-in legacy play- tion program origination for digital broadcasting. back of your entire BETACAM archive -- including analog It’s a fact that Sony HDCAM camcorders and decks have BETACAM®, BETACAM SP®, BETACAM SX®, DIGITAL BETACAM® been out in the field for nearly five years. Thousands and MPEG IMX™ 1/2" format recordings. have been deployed worldwide. They’ve handled hun- And you’ll have all the tools you need: a complete all- dreds of sophisticated, multi-camera productions -- and Sony system, or select Sony HDCAM components that created uncompromising masters to form the basis of a integrate seamlessly with other systems. valuable digital HD archive for the future. It’s a fact that Sony HDCAM equipment is built on the M OVING AHEAD, OR MISSING HDW-750 industry-leading 1/2" platform, with robust performance and plenty of headroom -- plus the crucially important AN OPPORTUNITY? ability to protect a 15-year legacy of 1/2" BETACAM® Budgets are tight for everyone -- broadcasters, produc- format recordings. ers, corporations, rental houses. Sony understands. So And it’s a fact that now, Sony’s HDCAM 1080/60i your 2nd-generation HDCAM 1080/60i system is specifi- approach is already in its 2nd generation.
    [Show full text]
  • Technologies Journal of Research Into New Media
    Convergence: The International Journal of Research into New Media Technologies http://con.sagepub.com/ HD Aesthetics Terry Flaxton Convergence 2011 17: 113 DOI: 10.1177/1354856510394884 The online version of this article can be found at: http://con.sagepub.com/content/17/2/113 Published by: http://www.sagepublications.com Additional services and information for Convergence: The International Journal of Research into New Media Technologies can be found at: Email Alerts: http://con.sagepub.com/cgi/alerts Subscriptions: http://con.sagepub.com/subscriptions Reprints: http://www.sagepub.com/journalsReprints.nav Permissions: http://www.sagepub.com/journalsPermissions.nav Citations: http://con.sagepub.com/content/17/2/113.refs.html >> Version of Record - May 19, 2011 What is This? Downloaded from con.sagepub.com by Tony Costa on October 24, 2013 Debate Convergence: The International Journal of Research into HD Aesthetics New Media Technologies 17(2) 113–123 ª The Author(s) 2011 Reprints and permission: sagepub.co.uk/journalsPermissions.nav DOI: 10.1177/1354856510394884 Terry Flaxton con.sagepub.com Bristol University, UK Abstract Professional expertise derived from developing and handling higher resolution technologies now challenges academic convention by seeking to reinscribe digital image making as a material process. In this article and an accompanying online resource, I propose to examine the technology behind High Definition (HD), identifying key areas of understanding to enable an enquiry into those aesthetics that might derive from the technical imperatives within the medium. (This article is accompanied by a series of online interviews entitled A Verbatim History of the Aesthetics, Technology and Techniques of Digital Cinematography.
    [Show full text]
  • Introduction to Cinematography
    FILM REFERENCE LIBRARY RESEARCH GUIDE: Intro to Cinematography, 1 Introduction to Cinematography This guide is designed to assist our patrons new to cinematography by providing key resources to use as a starting point in their research. Use this information to refine your search, and contact library staff with any follow-up questions or for further research assistance. Subject Headings A subject heading can help you refine your search, making it easier to find exactly what you are looking for. To find books on cinematography that are available in the Film Examples of subject headings related to Reference Library, use the following subject headings: cinematography: CINEMATOGRAPHY CINEMATOGRAPHY – HISTORY CINEMATOGRAPHY – LIGHTING CINEMATOGRAPHY – SPECIAL EFFECTS ANIMATION (CINEMATOGRAPHY) AUTEUR THEORY – MOTION PICTURES MOTION PICTURES – AESTHETICS Created February, 2020 FILM REFERENCE LIBRARY RESEARCH GUIDE: Intro to Cinematography, 2 Recommended Books Books provide a comprehensive overview of a larger topic, making them an excellent resource to start your research with. Chromatic cinema : a history of screen color by Richard Misek. Publisher: Wiley-Blackwell, 2010 Cinematography : theory and practice : imagemaking for cinematographers and directors by Blain Brown. Publisher: Routledge, 2016 Digital compositing for film and video : production workflows and techniques by Steve Wright. Publisher: Routledge, Taylor & Francis Group, 2018 Every frame a Rembrandt : art and practice of cinematography by Andrew Laszlo. Publisher: Focal Press, 2000 Hollywood Lighting from the Silent Era to Film Noir by Patrick Keating. Publisher: Columbia University Press, 2010 The aesthetics and psychology of the cinema by Jean Mitry. Publisher: Indiana State University Press, 1997 The art of the cinematographer : a survey and interviews with five masters by Leonard Martin.
    [Show full text]
  • Digital Cinematography Dedication
    Digital Cinematography Dedication To my wife Anne With all my love Digital Cinematography Paul Wheeler BSC FBKS Focal Press An imprint of Elsevier Science Linacre House, Jordan Hill, Oxford OX2 8DP 225 Wildwood Avenue, Woburn, MA 01801-2041 First published 2001 Reprinted 2002 Copyright © 2001, Paul Wheeler. All rights reserved. The right of Paul Wheeler to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 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 W1T 4LP. 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 51614 1 Printed and bound in Great Britain Contents Preface xi About the author xiii Acknowledgements xv Introduction xvii PART ONE Digital Cinematography 1 1 Why digital
    [Show full text]
  • Viper Filmstream Camera System
    product data sheet Viper FilmStream Camera System Uncompromised Digital Cinematography Grass Valley™ products from Thomson offer the industry’s most comprehensive set of multi-format, high-quality solutions for acquisition, production, and post production. Our focus is on creating the most varied and flexible range of tools possible for digital cinema acquisition and production professionals. We have a tradition of creating groundbreaking film-imaging technologies for directors, cinematographers, and post-production professionals. Today, whether you’re shooting in digital or film, our True Digital Cinematography broad line of products lets you work in the medium that perfectly suits The Viper FilmStream camera system gives you your requirements. the freedom to create a look that matches your To that end, our Viper FilmStream™ Camera System has no equal. artistic vision—and the confidence that it will While other manufacturers may claim to offer digital cinematography capture that vision faithfully and perfectly. Best cameras, the Viper FilmStream camera is the only one designed of all, the camera delivers these capabilities from the ground up to capture every detail you need for brilliant, without changing the way you work. uncompromised, uncompressed output. There is no need, for example, to delve into With three 9.2 million pixel Frame Transfer CCDs capturing video processing menus to create a particular 1920x1080 resolution, the Viper FilmStream camera system delivers look, using settings which may limit your an RGB 4:4:4 10-bit log output—uncompromised by electronic choices in post production. Simply set the camera signal processing—to a field recorder. There is no color sub- aperture and focus as you would using a film sampling, color-space conversion, irreversible video manipulation, or camera and let the wide latitude of the Viper compression.
    [Show full text]
  • Panavision Genesis User's Manual
    genesis user’s manual (version 1.3) Panavision Genesis Manual v1.3 – 2 Graphic Conventions Blue decimals indicate sections in format of: chapter.section 20.3 The S (selectable) ranges of speed = chapter 20 section 3 Green highlights indicate “how to” sections 14.7 To change fixed speed format Underlined words indicate actions Pull the latch outwards Magenta numbers refer to other sections or chapters see sections 4.2 and 16.2 see chapter 12 Red italics indicate cautions and warnings Do not use compressed air to clean Lens mount V39 Panavision Genesis Manual v1.3 – 3 Inspired by the past Focused on the future V39 Panavision Genesis Manual v1.3 – 4 V39 Panavision Genesis Manual v1.3 – 5 genesis user’s manual by benjamin b V39 Panavision Genesis Manual v1.3 – 6 Copyright Information Copyright © 2007 Panavision Inc. All rights reserved. This document is not permitted to be distributed by anyone other than the employees of Panavision or its distributors. No part of this publication may be reproduced, transmitted, transcribed, stored in a retrieval system, or translated into any language in any form by any means without the prior written consent of Panavision. Prior written approval from Panavision must be obtained for any and all derivative works or aggregate works incorporating any of the information in this document, except as provided for under normal copyright law. Disclaimer Information in this document is provided solely for the user’s information and, while thought to be accurate, is provided strictly “as is” and without warranty of any kind, including liability or warranties relating to fitness for a particular purpose, merchantability, or infringement of any patent, copyright or other intellectual property right.
    [Show full text]
  • Department of Film, Television and Digital Media
    DEPARTMENT OF FILM, TELEVISION, AND DIGITAL MEDIA FTVDM COURSE LIST Name: ___________________________________ UID: _______________________ Email: ___________________________________ Date: _______________________ Please note: No substitutions will be allowed. Courses taken outside of UCLA and TFT cannot be applied. Required Upper Division Courses (minimum 28 and maximum 32 units): Select ONE course from Film and Media History: Course # and Title FTV 106A: History of the American Motion Picture FTV 106B: History of the European Motion Picture FTV 106C: History of African, Asian, and Latin American Film FTV 110A: American Television History Select ONE course from Film and Media Aesthetics: Course # and Title FTV M50: Introduction to Visual Culture FTV 113: Film Authors FTV 114: Film Genres FTV 116: Film Criticism FTV 122J: Disney Feature: Then and Now (formerly 188J) FTV 122N: History of Animation (formerly 188N) Select ONE course from Film, Media, and Society: Course # and Title FTV 108: History of Documentary Film FTV M111: Women and Film FTV 112: Film and Social Change FTV M117: Chicanos in Film/Video Select TWO courses from Film and Media Practice: Course # and Title FTV 122B: Introduction to art and Technique of Filmmaking (formerly 188B) FTV 122D: Film Editing (formerly 188D) FTV 122E: Digital Cinematography (formerly 188E) FTV 122K: Visual Effects (formerly 188K) FTV 122M: Film and Television Directing (formerly 188M) FTV 132: Screenwriting Fundamentals or 133: In-Depth Introduction to Fundamentals of Screenwriting (formerly 130A
    [Show full text]
  • Digital Workflows
    NOTES ON DIGITAL WORKFLOWS – Version 2.1 Terry Flaxton, 19th November, 2011/Revised December 2013 These notes have several functions the bulk of information presented was a consultation document for Creative England but in the form you have before you it has been reformatted to accompany a set of online evaluative exercises, preceding and then following a workshop. These notes are not meant to be extensive. I’m setting them out for you to read after you’ve filled in the evaluation and before you take the workshop. The principle I’m working to is an old television principle: Tell them what you’re going to tell them, tell them it, then tell them again. So in this case it’s to tell you this information in this pdf, tell you again during the workshop, then have you re-read the information after the workshop. Plus – if you’re serious, everything I’m about to say you should challenge with further research yourself (then let me know if I’ve got it wrong). At a presentation in 2011 a Producer/Director put me on the spot with the question: ‘I’ve asked many a cameraperson what High Definition is, and no one’s been able to tell me to my satisfaction – so what is it?’ At this point I immediately remembered the title of the presentation I used to give on the subject titled ‘High Definition – No Mercy’. I called it that because the question, though simple, has a myriad and complex answer and if you really want to know the truth – you must engage with all of its complexity.
    [Show full text]
  • Prohd Digital Cinematography Brochure
    Digital Cinematography with GY-HD100U Camcorder You’re about to see HD Digital Cinematography in a brand new light. JVC’s ProHD GY-HD100U Progressive HD. The look and feel of film. JVC’s GY-HD100U HD camcorder uses progressive scan at 24 frames per second (24p) for one simple reason: From image The future of affordable, high-definition capture to display, 24p produces results that more closely resemble digital cinematography. Here today. the look of film than interlaced scanning. That’s why high-end digital cinema cameras have always used progressive scan. Creating high-definition productions with the look and feel of film requires a camera that captures images with exceptional quality, The three CCDs in the GY-HD100U capture square pixels with full gives the cinematographer extensive control over the most subtle HD 1280 x 720 resolution. The camera needs no interpolation or nuances of the shot, and offers the freedom to choose the best upscaling to achieve real HD quality because every frame contains lens for each situation. Until now, you had to sacrifice at least one a complete, high-definition progressive image, just as film cameras of these requirements unless cost was no object. JVC’s ProHD do.The GY-HD100U records images on HDV tape or hard disk and GY-HD100U camcorder changes all that, with true 24p sends them to the editing system exactly progressive scanning, the ability to use lenses ranging from as they were captured, in 1280 x 720 general-purpose to 35-mm primes, and the comprehensive resolution. The result is a rich, control and balance that serious HD cinematographers demand.
    [Show full text]
  • Program of Study Video Production for Video, Broadcast and Digital Cinematography A.A
    PROGRAM OF STUDY VIDEO PRODUCTION FOR VIDEO, BROADCAST AND DIGITAL CINEMATOGRAPHY A.A. Degree Laney College TOP Code: 0604.20 Program Control Number: 9024 Curriculum Committee Approval Date: 02/20/2015 The major in Video Production for Video, Broadcast and Digital Cinematography covers the entire range of digital video media production, from script development, hands-on professional 2K and 4K production equipment, current editing and other post-production applications, distribution, and media business management. Production of creative content for video, film, sports and broadcast TV, radio, cable, web, mobile technology, and other emerging communications utilizing video and audio. Career Opportunities in Video editor, camera operator, film/video producers, video effects artists, event videographer, sports videographer, audio/visual technician, live entertainment rentals and productions, corporate video/promotions, video for web sites, training video production, infomercial production, advertising video, web shopping videos, music videos Core Requirements Units MEDIA 104 Beginning Digital Video Production 3 and MEDIA 111 Basic Audio Production 3 and MEDIA 115 Media-based Computing: iLife and Mac OS X 3 and MEDIA 129 Portfolio Development 1 and MEDIA 460B AV Work Experience 1 Degree Major/Certificate Requirements: Units MEDIA 125 Scriptwriting for Video, Broadcast and Digital Cinematography 3 MEDIA 130 Final Cut Pro I: Nonlinear Editing for Video, Broadcast and Digital Cinematography 3 Select two courses from the following: Units MEDIA
    [Show full text]