Television Production Techniques and Performance Standards for Kansas
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He KMBC-ÍM Radio TEAM
l\NUARY 3, 1955 35c PER COPY stu. esen 3o.loe -qv TTaMxg4i431 BItOADi S SSaeb: iiSZ£ (009'I0) 01 Ff : t?t /?I 9b£S IIJUY.a¡:, SUUl.; l: Ii-i od 301 :1 uoTloas steTaa Rae.zgtZ IS-SN AlTs.aantur: aTe AVSí1 T E IdEC. 211111 111111ip. he KMBC-ÍM Radio TEAM IN THIS ISSUE: St `7i ,ytLICOTNE OSE YN in the 'Mont Network Plans AICNISON ` MAISHAIS N CITY ive -Film Innovation .TOrEKA KANSAS Heart of Americ ENE. SEDALIA. Page 27 S CLINEON WARSAW EMROEIA RUTILE KMBC of Kansas City serves 83 coun- 'eer -Wine Air Time ties in western Missouri and eastern. Kansas. Four counties (Jackson and surveyed by NARTB Clay In Missouri, Johnson and Wyan- dotte in Kansas) comprise the greater Kansas City metropolitan trading Page 28 Half- millivolt area, ranked 15th nationally in retail sales. A bonus to KMBC, KFRM, serv- daytime ing the state of Kansas, puts your selling message into the high -income contours homes of Kansas, sixth richest agri- Jdio's Impact Cited cultural state. New Presentation Whether you judge radio effectiveness by coverage pattern, Page 30 audience rating or actual cash register results, you'll find that FREE & the Team leads the parade in every category. PETERS, ñtvC. Two Major Probes \Exclusive National It pays to go first -class when you go into the great Heart of Face New Senate Representatives America market. Get with the KMBC -KFRM Radio Team Page 44 and get real pulling power! See your Free & Peters Colonel for choice availabilities. st SATURE SECTION The KMBC - KFRM Radio TEAM -1 in the ;Begins on Page 35 of KANSAS fir the STATE CITY of KANSAS Heart of America Basic CBS Radio DON DAVIS Vice President JOHN SCHILLING Vice President and General Manager GEORGE HIGGINS Year Vice President and Sally Manager EWSWEEKLY Ir and for tels s )F RADIO AND TV KMBC -TV, the BIG TOP TV JIj,i, Station in the Heart of America sú,\.rw. -
From Film to DIGITAL
from film TO DIGITAL CTM DEBRIE CATALOGUE CTM Debrie 125, avenue Louis Roche 92230 Gennevilliers France T. +33 1 40 85 82 82 F. +33 1 40 85 82 63 E. [email protected] www.ctmdebrie.com sommaire a word from theCEO 04 About CTM Debrie 06 Experts across the complete Film chain 08 About CTM Solutions Over the course of 100 years, Debrie has acquired an international 10 Experts across Post Production tools reputation as the leading manufacturers of film laboratory equipment. 12 Engineering – R&D The 1992 merger with CTM, a forward-looking company in the post- 13 Turn Key Projects – CTM Group production equipment, broadened Debrie’s product line, thus allowing 14 Production & Front end laboratory chain the newly formed corporation, CTM Debrie, to supply clients with a 15 D / I & DVD chain wide range of machines for the motion pictures industry, for the 16 Restoration chain preservation of and the restoration of moving images. 17 Film processing machine – UNIPLEX III & VARIPLEX 21 Auxiliary equipment for UNIPLEX & VARIPLEX In the nineties, we also developed a parallel organization 23 Wet & dry Contact Printer – MOVIECLONE Series under the name of CTM Solutions, acting as a seller and integrator of 25 Optical printer – MAGIC Series professional audio and video solutions. Specializing in the integration 27 Auxiliary equipment for printers of editing and filming studios, as well as dubbing studios, our goal was 29 Loop cabinet – LOOPER to be able to fully provide and service the post-production chain, from 31 Film splicing table – ECLIPSE the engineering to the training of users. -
Introduction
CINEMATOGRAPHY Mailing List the first 5 years Introduction This book consists of edited conversations between DP’s, Gaffer’s, their crew and equipment suppliers. As such it doesn’t have the same structure as a “normal” film reference book. Our aim is to promote the free exchange of ideas among fellow professionals, the cinematographer, their camera crew, manufacturer's, rental houses and related businesses. Kodak, Arri, Aaton, Panavision, Otto Nemenz, Clairmont, Optex, VFG, Schneider, Tiffen, Fuji, Panasonic, Thomson, K5600, BandPro, Lighttools, Cooke, Plus8, SLF, Atlab and Fujinon are among the companies represented. As we have grown, we have added lists for HD, AC's, Lighting, Post etc. expanding on the original professional cinematography list started in 1996. We started with one list and 70 members in 1996, we now have, In addition to the original list aimed soley at professional cameramen, lists for assistant cameramen, docco’s, indies, video and basic cinematography. These have memberships varying from around 1,200 to over 2,500 each. These pages cover the period November 1996 to November 2001. Join us and help expand the shared knowledge:- www.cinematography.net CML – The first 5 Years…………………………. Page 1 CINEMATOGRAPHY Mailing List the first 5 years Page 2 CINEMATOGRAPHY Mailing List the first 5 years Introduction................................................................ 1 Shooting at 25FPS in a 60Hz Environment.............. 7 Shooting at 30 FPS................................................... 17 3D Moving Stills...................................................... -
185 for Presentation July 8, 1971, NATIONAL CABLE TELEVISION
185 For presentation July 8, 1971, NATIONAL CABLE TELEVISION ASSOCIATION, Washington, D. C. TELECINE SYSTEMS FOR THE CATV ORIGINATION CENTER by Kenneth K. Kaylor Phil ips Broadcast Equipment Corp. Although 11 1 ive'' programming is considered a necessary part of the program origination services of a community-oriented CATV system, tele- cine facilities will hold the key to success or failure of such an operation from an economic standpoint. The word 11 tele-cine11 was developed during the early days of television broadcasting to define those facil i- ties devoted to the video reproduction of the various film media. Since the original commercial telecine television camera was an 11 iconoscope11 camera which had a very large sensitive surface (about 11 11 3 x 4 ), a film projector was focused onto the sensor by using a standard projection lens as shown in Fig. 1. This technique was quite simple and optical alignment was very easy. E1 im i nat i ng the 11 Shutte r Bar" effect In the case of motion picture film, the theatre projector had to be modified in order to prevent a "shutter bar" effect caused by the 186 difference in frame rates between television and motion picture stan dards. Standard sound motion picture film operates at 24 frames per second while the U. S. standard for television scanning is 30 frames per second. The intermittent mechanism had to be modified so that the 1ength of time between "pu 11 -downs" a 1 te rnates between 1/20 and 1/30 second. The average of these two fractions is 1/24 second, or the time demanded by the standard 24-frame-per-second motion picture projection rate. -
Federal Register / Vol. 62, No. 97 / Tuesday, May 20, 1997 / Notices
27662 Federal Register / Vol. 62, No. 97 / Tuesday, May 20, 1997 / Notices DEPARTMENT OF COMMERCE applicant. Comments must be sent to Ch. 7, Anchorage, AK, and provides the PTFP at the following address: NTIA/ only public television service to over National Telecommunications and PTFP, Room 4625, 1401 Constitution 300,000 residents of south central Information Administration Ave., N.W., Washington, D.C. 20230. Alaska. The purchase of a new earth [Docket Number: 960205021±7110±04] The Agency will incorporate all station has been necessitated by the comments from the public and any failure of the Telstar 401 satellite and RIN 0660±ZA01 replies from the applicant in the the subsequent move of Public applicant's official file. Broadcasting Service programming Public Telecommunications Facilities Alaska distribution to the Telstar 402R satellite. Program (PTFP) Because of topographical File No. 97001CRB Silakkuagvik AGENCY: National Telecommunications considerations, the latter satellite cannot Communications, Inc., KBRW±AM Post and Information Administration, be viewed from the site of Station's Office Box 109 1696 Okpik Street Commerce. KAKM±TV's present earth station. Thus, Barrow, AK 99723. Contact: Mr. a new receive site must be installed ACTION: Notice of applications received. Donovan J. Rinker, VP & General away from the station's studio location SUMMARY: The National Manager. Funds Requested: $78,262. in order for full PBS service to be Telecommunications and Information Total Project Cost: $104,500. On an restored. Administration (NTIA) previously emergency basis, to replace a transmitter File No. 97205CRB Kotzebue announced the solicitation of grant and a transmitter-return-link and to Broadcasting Inc., 396 Lagoon Drive applications for the Public purchase an automated fire suppression P.O. -
Educational Television
DOCUEEIT RESUME ED 14111 300 .)" IN 004 735 .AUTHOR. Katzman, Ratan TITLE Program Decisions tn Public lelevisibn. 4 Report for the CPB/NCES Programming .Project. INSTITUTION National'AiSociation of Educational Broadcasters, Washington, D.C. ; SPON6.AGENCY National .Center for.Education Statistics (DHEV), Washington, D.C. PUB,DITE Itig 76, NOTE 81p. EDRS PRICE' HF-$0.83 BC-44.67 Plus Postage. DESCRIPTORS *Decision Making; *Educational Television;.*Financial Needi; *Einancial'-Support; *Programing Oroadcasty; Public Relations; -Public Support; Television Research , IDENTIFIERS,7 dhildrens Television Workshop; Corporation for Pubiic Broadtasting; Public Broadcasting System .ABSTRACT This report examines public television from the perspectives of the National System, Local Public'Television, and AFhool Programing. It provides a history of the development of Public Broaasking nationally, and includes thegpoints of controversy; between- the- kublic Broadcasting System (PBS) and the Corporation for Piblic Broadca54ngACPB1. A dominant theme is the role which finances play in the_decision making process, and major'sources of funding for national pUblic television,are describea. The general Situation of local public television is examined in terms of the limitations imposed by budget,' the, programing' available from pRs, and the preferences and attitudes of station managers. The role of .the board'of directors and the pelationship'between local stations and the community are considered. In terms of school programing, the report indicates.the impact -
Santa Claus Coming on Thursday
& Bird City Times $125 8 Pages Thursday, December 10, 2020 136th Year, Number 50 Santa Claus coming on Thursday Santa and his elves have been ished delivering Christmas kiddie busy, but they are still making bags and totes. time to stop by St. Francis this A few notes: Thursday! Everyone is invited to The kiddie bags may have a park on Main Street (Washington ticket for a special prize. Kiddie Street) to welcome Santa Claus prizes will be set up in the park- and his crew at 6:30 p.m. - So get ing lot of Western State Bank there early. from 7-8 p.m. Santa will cruise from east to The vehicle totes will each west on Washington Street a few have Christmas goodies and times, giving time for his elves greeting. Some will have gift to deliver Christmas kiddie bags certificates and tickets for a prize to children and a Christmas tote (see instructions). Please check to each vehicle. Please remain in totes carefully! CHEYLIN’S Nellie Hespe, Junior, extends up in hopes of a re- Pablo Bermudez (#4) Freshman, extends an arm your vehicles for the elves to do If you have questions or would their work! like to give for the children’s priz- bound; teammates positioned around the basket include #10 out to fight for possession of a rebound. To add to the Christmas Spirit, es or vehicle totes, please contact Photos by Darci Shields Alondra Perez and #32 Brooke Porubsky. Santa would like you to deco- Dara at 332-3333, Ericka at 332- rate your vehicles. -
Aspects of Television Temporality
Aspects of Television Temporality By Andrzej Gwóźdź Fall 1999 Issue of KINEMA ON SOME ASPECTS OF TELEVISION TEMPORALITY If there is a film that makes the way of existence of its images the object of its discourse, then Cinema Paradiso (Nuovo Cinema Paradiso, by Giuseppe Tornatore, France/Italy, 1989) undoubtedly is that film. It is just here that in an almost demonstrative way the duality of a film iconosphere is shown: a pictorial passage on a film reel on the one hand, and immateriality of die luminous screen phantom on the other, a”film-reel” and a ”film-projection.”(1) It is here that the cinema shows its ontology as a mechanism of difference between materiality of a fundamental cinematographic apparatus and immateriality of a cinematic mechanism that actually results in the source of the cinema. If we were to look for a similar justification for the ontology of television, we would surely have to locate it within the ”time of expression,” that is, temporality immanent to a television image on which the ”time of contents” (2) of a programme structure of television is founded. Since theoreticians of the media agree that it is just time that is ”the major category of television,” that ”time is television’s basis, its principle of strutcturation, as well as its persistent reference”(3); that ”the attitude towards television should be basically derived from temporality”(4); that, finally, ”the essence of the [television] screen is [...] its permanent readiness to experience time.(5)” No matter what stratification of the time of television (television time) is suggested by particular writers, they usually agree on the fundamental ontological premise of television temporality. -
Avid Media Composer and Film Composer Input and Output Guide • Part 0130-04531-01 Rev
Avid® Media Composer® and Film Composer® Input and Output Guide a tools for storytellers® © 2000 Avid Technology, Inc. All rights reserved. Avid Media Composer and Film Composer Input and Output Guide • Part 0130-04531-01 Rev. A • August 2000 2 Contents Chapter 1 Planning a Project Working with Multiple Formats . 16 About 24p Media . 17 About 25p Media . 18 Types of Projects. 19 Planning a Video Project. 20 Planning a 24p or 25p Project. 23 NTSC and PAL Image Sizes . 23 24-fps Film Source, SDTV Transfer, Multiformat Output . 24 24-fps Film or HD Video Source, SDTV Downconversion, Multiformat Output . 27 25-fps Film or HD Video Source, SDTV Downconversion, Multiformat Output . 30 Alternative Audio Paths . 33 Audio Transfer Options for 24p PAL Projects . 38 Film Project Considerations. 39 Film Shoot Specifications . 39 Viewing Dailies . 40 Chapter 2 Film-to-Tape Transfer Methods About the Transfer Process. 45 Transferring 24-fps Film to NTSC Video. 45 Stage 1: Transferring Film to Video . 46 Frames Versus Fields. 46 3 Part 1: Using a 2:3 Pulldown to Translate 24-fps Film to 30-fps Video . 46 Part 2: Slowing the Film Speed to 23.976 fps . 48 Maintaining Synchronized Sound . 49 Stage 2: Digitizing at 24 fps. 50 Transferring 24-fps Film to PAL Video. 51 PAL Method 1. 52 Stage 1: Transferring Sound and Picture to Videotape. 52 Stage 2: Digitizing at 24 fps . 52 PAL Method 2. 53 Stage 1: Transferring Picture to Videotape . 53 Stage 2: Digitizing at 24 fps . 54 How the Avid System Stores and Displays 24p and 25p Media . -
Broadcastingaor9 ? Ci5j DETR 4, Eqgzy C ^:Y Reach the 'Thp of the World with Fitness News
The Fifth Estate R A D I O T E L E V I S I O N C A B L E S A T E L L I T E BroadcastingAor9 ? ci5j DETR 4, EqGzY C ^:y Reach The 'Thp Of The World With fitness News. Nothing delivers Minnesota like Eyewitness News. Five stations of powerful news programming reaching 90% of the state. When you're looking for the top of the world, remember Eyewitness News. Represented nationally by Petry. Hubbard Broadcasting's Minnesota Network: KSTP-TV KSAX TV KRWF-TV WDIO -TV WIRT-TV APR. 1 1 1990 111 Lì,rJ_ ' -- . , ,. .n ..... -... ---_- -- -- ,--. Seattle KSTW Honolulu KGMB A BIGGER PAYOFF IS COMING This FALL! Anyone can say they have the "show of the '90s". But THE JOKER'S WILD is the one showing you clearances week after week. NOW 10 OF THE TOP 10! With a promotional package second to none, THE JOKER'S WILD is playing to win this Fall! PRODUCTION STARTS MAY 20th AT CBS TELEVISION CITY! JVummUNIUMI iun; Production A CAROLCO PICTURES COMPANY NEW YORK LOS ANGELES CHICAGO (212) 685 -6699 (213) 289 -7180 (312) 346-6333 Vol. 118 No. 15 Broadcasting ii Apr 9 Subcommittee Chairman 95/ PIONEER ENGINEER Daniel Inouye says that based Hilmer Swanson, senior staff 35/ NAB '90: highlights on views of committee members, telephone company scientist for Harris Corp.'s broadcast division, has from Atlanta entry "may be close call." NAB's annual convention in Atlanta provides forum for discussing competitive challenges facing 66/ TELCO BAN GOES broadcasters from cable, DBS and telcos; BACK TO GREENE "interference consequences" of TV Marti (page 43); U.S. -
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 -
Simulation of Film Media in Motion Picture Production
Simulation of film media in motion picture production using a digital still camera Arne M. Bakke, Jon Y. Hardeberg and Steffen Paul Gjøvik University College, P.O. Box 191, N-2802 Gjøvik, Norway ABSTRACT The introduction of digital intermediate workflow in movie production has made visualization of the final image on the film set increasingly important. Images that have been color corrected on the set can also serve as a basis for color grading in the laboratory. In this paper we suggest and evaluate an approach that has been used to simulate the appearance of different film stocks. The GretagMacbeth Digital ColorChecker was captured using both a Canon EOS 20D camera as well as an analog film camera. The film was scanned using an Arri film scanner. The images of the color chart were then used to perform a colorimetric characterization of these devices using models based on polynomial regression. By using the reverse model of the digital camera and the forward model of the analog film chain, the output of the film scanner was simulated. We also constructed a direct transformation using regression on the RGB values of the two devices. A different color chart was then used as a test set to evaluate the accuracy of the transformations, where the indirect model was found to provide the required performance for our purpose without compromising the flexibility of having an independent profile for each device. 1. INTRODUCTION AND BACKGROUND The post-production work on a movie is typically carried out on digital representations of the movie frames. The use of digital technology has brought unique possibilities in all aspects of the post-production of a movie (editing, color grading, visual effects) to the creative community of filmmakers.