13A Computer Video (1022-1143)

Total Page:16

File Type:pdf, Size:1020Kb

13A Computer Video (1022-1143) Section13a COMPUTER VIDEO 12 Inch Design ............................1024-1027 Adobe ...........................................1028-1043 AJA ................................................1044-1063 Apple.............................................1064-1079 Avid ...............................................1080-1083 Automatic Duck..........................1084-1085 BlackMagic Design ....................1086-1099 Boris FX .........................................1100-1109 Video Cineform ........................................1110-1111 DigiEffects .....................................1112-1113 Contour Design......................................1114 Grass Valley ...................................1115-1119 Intel..........................................................1120 JL Cooper ......................................1122-1123 Matrox ...........................................1124-1127 MOTU .............................................1128-1129 SourceBook Newtek ..........................................1130-1133 Red Giant ......................................1134-1139 Sony ...............................................1140-1143 Sorenson.................................................1144 Tiffen........................................................1145 Obtaining information and ordering from B&H is quick and The easy. When you call us, just punch in the corresponding Quick Dial number anytime during our welcome message. The Quick Dial code then directs you to the specific professional sales associates in our order department. Professional For Section13a, Computer Video use Quick Dial #: 831 COMPUTER VIDEO 1024 12 INCH DESIGN PRODUCTIONBLOX Royalty Free Library of Motion Graphics ProductionBlox is a royalty free library of motion graphics (animated back- grounds, matching elements and more) for use by any video or post-produc- tion professional. Each volume in the library is called a Unit. There are eight individual Units, and each contains 35 sets of elements: full-screen animated backgrounds with matching static left, right and lower thirds. The static ele- ments are provided in five variations (clean, blurred, drop shadow, blurred drop shadow and gradiated transparency), all with alpha channel. Each set of elements is called a Blox. In addition to 35 Blox, each Unit also contains 5 CustoMattes and the unique ProductionBlox Catalog System. CustoMattes are full-screen, general purpose, animated mattes that can be combined with any other Blox elements to create unique custom animated elements, such as animated lower thirds. The ProductionBlox Catalog System is a client and facility friendly catalog system that allows quick and easy previewing of the contents of each Unit. Each Unit also includes a DVD-video catalog viewable with any DVD player, a web browser based preview and printable catalogs in Word and Acrobat formats. Available in SD (Standard Definition), HDV and HD formats, each ProductionBlox Unit comes with one single-sided Catalog Disc and two double-sided Data Discs, in NTSC and PAL formats. All animated elements are provided in QuickTime 6 format. Static elements come in uncompressed TIFF, TARGA and Photoshop 6 formats. FEATURES ◆ All standard definition video elements Sample ProductionBlox conform to industry standards for resolution, pixel aspect ratio, luma and chroma values as set forth by ITU-R BT.601(720 x 486 30p for NTSC D1 and 720 x 576 25p for PAL D1). ◆ All HD video elements conform to ATSC standards for resolution, pixel aspect ratio, luma and chroma values. ◆ All animated elements are supplied in Quick- Time 6 format. The video clips are losslessly compressed using maximum quality PNG compression. ◆ NTSC material is 720 x 486 30p with a 4:3 aspect ratio. PAL material is 720 x 576 25p with a 4:3 aspect ratio. ◆ HDV material is1440 x1080 with a 16:9 What makes12 INCH Design’s royalty free video backgrounds collections different? aspect ratio. Their video backgrounds are created by designers with real-world, professional video experience working with professional video editors and producers. They work with the biggest names in the ◆ HD material is1920 x1080 with a 16:9 aspect ratio. business and chances are that you’ve seen their designers’ work on network television shows and commercials. They know what works, what’s cool, and what gives a video a professional look. ◆ All animated backgrounds are provided in They also know that production budgets are tight, so they give you more for less money! 24-bit RGB color. All video backgrounds and animated lower thirds are provided in a lossless PNG format which ◆ CustoMattes and other matte/alpha objects means virtually no compression. You get the same video backgrounds in the HD units that you get include an 8-bit grayscale alpha channel. in the SD units, albeit rendered in jaw-dropping HD1920 x1080 resolution! The same goes for HDV ◆ All static thirds are provided as 32-bit files - video backgrounds collections which are rendered at1440 x1080 resolution. All HD and HDV video 24 bit color and an 8-bit alpha channel. backgrounds collections come on multiple DVD-ROMs. www.bhphotovideo.com COMPUTER VIDEO 1025 12 INCH DESIGN THEMEBLOX ProductionBlox SD (Standard Definition) NTSC/PAL ProductionBlox SD Unit 01-08 (Mfr # COMBO-PRO8-NTSC • B&H #12PBCS)..........................................................................................................................................................179.95 ProductionBlox SD Unit 01 (Mfr # 01PRO-NTSC • B&H #12PB1) ..................................................................................................................................................................................99.00 ProductionBlox SD Unit 02 (Mfr # 02PRO-NTSC • B&H #12PB2).................................................................................................................................................................................99.00 ProductionBlox SD Unit 03 (Mfr # 03PRO-NTSC • B&H #12PB3).................................................................................................................................................................................99.00 ProductionBlox SD Unit 04 (Mfr # 04PRO-NTSC • B&H #12PB4) ................................................................................................................................................................................99.00 ProductionBlox SD Unit 05 (Mfr # 05PRO-NTSC • B&H #12PB5).................................................................................................................................................................................99.00 ProductionBlox SD Unit 06 (Mfr # 06PRO-NTSC • B&H #12PB6).................................................................................................................................................................................99.00 ProductionBlox SD Unit 07 (Mfr # 07PRO-NTSC • B&H #12PB7).................................................................................................................................................................................99.00 ProductionBlox SD Unit 08 (Mfr # 08PRO-NTSC • B&H #12PB8).................................................................................................................................................................................99.00 ProductionBlox HDV (1440 x1080, 29.97p) ProductionBlox HDV Units 01-08 (Mfr # COMBO-PRO8-HDV • B&H #12PBHDVS18).............................................................................................................................................249.00 ProductionBlox HDV Unit 01 (Mfr # 01PRO-HDV • B&H #12PBHDV1)......................................................................................................................................................................124.95 ProductionBlox HDV Unit 02 (Mfr # 02PRO-HDV • B&H #12PBHDV2).....................................................................................................................................................................124.95 ProductionBlox HDV Unit 03 (Mfr # 03PRO-HDV • B&H #12PBHDV3).....................................................................................................................................................................124.95 ProductionBlox HDV Unit 04 ( Mfr # 04PRO-HDV • B&H #12PBHDV4).....................................................................................................................................................................124.95 ProductionBlox HDV Unit 05 (Mfr # 05PRO-HDV • B&H #12PBHDV5).....................................................................................................................................................................124.95 ProductionBlox HDV Unit 06 ( Mfr # 06PRO-HDV • B&H #12PBHDV6)....................................................................................................................................................................124.95 ProductionBlox HDV Unit 07 (Mfr # 07PRO-HDV • B&H #12PBHDV7).....................................................................................................................................................................124.95 ProductionBlox HDV Unit 08 (Mfr # 08PRO-HDV • B&H #12PBHDV8).....................................................................................................................................................................124.95 ProductionBlox HD (1920 x1080, 24p) ProductionBlox HD Units 01-08 (Mfr # COMBO-PRO8-HD
Recommended publications
  • Designing a Cinema Auditorium
    ROLV GJESTLAND HOW TO DESIGN A CINEMA AUDITORIUM Practical guidelines for architects, cinema owners and others involved in planning and building cinemas HOW TO USE THIS BOOK This book can be read from beginning to end, to learn more about the elements that need to be taken into consideration when designing a cinema auditorium. But it may also be used as a reference in the design process, as the different parts of the auditorium are planned. Just be aware that making a change in one element might affect others. Designing a cinema auditorium is quite easy if you follow the rules. Although, if everyone follows all the rules, all auditoriums would look the same. Go beyond the rules, but always keep in mind that the main purpose of a cinema auditorium is to give the audience the best film experience. In addition, there are many other rooms in a cinema complex where you can use your creativity to create great experiences for patrons and make them want to come back. FEEDBACK This is the first edition of the book, and I am sure someone will miss something, someone will disagree with something and something will be incomplete or difficult to understand. Please do not hesitate to share your opinions, so the next edition can be better and the next one after that… Please use the contact info below. ABOUT THE AUTHOR Rolv Gjestland has a master's degree in metallurgy from the Norwegian University of Science and Technology. He is now advisor in cinema concepts, design, logistics and technology for Film&Kino, the nonprofit trade organisation for Norwegian cinemas.
    [Show full text]
  • Dtavhal Programmers Interface Table of Contents
    DTAvHAL Programmers Interface Revision 0.1 Copyright (c) 2004-2012 Drastic Technologies Ltd. All Rights Reserved www.drastic.tv Table of Contents DTAvHAL Programmers Interface......................................................................................1 Introduction.....................................................................................................................3 Direct Link Usage...........................................................................................................3 Windows 32 OS – using 32 bit..............................................................................3 Windows 64 – using 32 bit....................................................................................3 Windows 64 – using 64 bit....................................................................................3 Mac OS-X..............................................................................................................3 Linux 64.................................................................................................................3 Functions.........................................................................................................................5 avOpen...................................................................................................................5 avClose..................................................................................................................5 avChannels.............................................................................................................5
    [Show full text]
  • Eidr 2.6 Data Fields Reference
    EIDR 2.6 DATA FIELDS REFERENCE Table of Contents 1 INTRODUCTION ............................................................................................................................................... 5 1.1 Introduction to Content ................................................................................................................................ 5 1.2 Composite Details ......................................................................................................................................... 5 1.3 How to read the Tables ................................................................................................................................. 6 1.4 EIDR IDs ........................................................................................................................................................ 7 2 BASE OBJECT TYPE ......................................................................................................................................... 9 2.1 Summary ...................................................................................................................................................... 9 2.2 Referent Type Details ................................................................................................................................. 25 2.3 Title Details ................................................................................................................................................ 26 2.4 Language Code Details ...............................................................................................................................
    [Show full text]
  • Modern Post: Workflows and Techniques for Digital Filmmakers
    Modern Post Workflows and Techniques for Digital Filmmakers This page intentionally left blank Modern Post Workflows and Techniques for Digital Filmmakers Scott Arundale and Tashi Trieu First published 2015 by Focal Press 70 Blanchard Road, Suite 402, Burlington, MA 01803 and by Focal Press 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Focal Press is an imprint of the Taylor & Francis Group, an informa business © 2015 Taylor & Francis The right of Scott Arundale and Tashi Trieu to be identified as author of this work has been asserted by them in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Notices Knowledge and best practice in this field are constantly changing. As new research and experience broaden our understanding, changes in research methods, professional practices, or medical treatment may become necessary. Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds, or experiments described herein. In using such information or methods they should be mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility. Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe.
    [Show full text]
  • 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
    [Show full text]
  • Preparing for the Broadcast Analog Television Turn-Off: How to Keep Cable Subscribers’ Tvs from Going Dark
    White Paper Preparing for the Broadcast Analog Television Turn-Off: How to Keep Cable Subscribers’ TVs from Going Dark Learn about the NTSC-to-ATSC converter/ receiver and how TANDBERG Television’s RX8320 ATSC Broadcast Receiver solves the Analog Turn-Off issues discussed in this paper Matthew Goldman Vice President of Technology TANDBERG Television, part of the Ericsson Group First presented at SCTE Cable-Tec Expo® 2008 in Philadelphia, Pennsylvania © TANDBERG Television 2008. All rights reserved. Table of Contents 1. The “Great Analog Television Turn-Off” ..............................................................................................3 1.1 Receiving Over-the-Air TV Transmissions ..............................................................................3 1.2 ATSC DTV to NTSC Analog Conversion ...................................................................................5 2. Video Down-Conversion .........................................................................................................................5 2.1 Active Format Description ..........................................................................................................8 2.2 Bar Data .............................................................................................................................................9 2.3 Color Space Correction ................................................................................................................9 3. Audio Processing .......................................................................................................................................9
    [Show full text]
  • (19) United States Pillarbox
    US 20120013798A1 (19) United States (12) Patent Application Publication (10) Pub. No.: US 2012/0013798 A1 Arora et al. (43) Pub. Date: Jan. 19, 2012 (54) METHOD AND SYSTEM FOR ACHIEVING (52) US. Cl. ............................... .. 348/445; 348/E07.003 BETTER PICTURE QUALITY IN VARIOUS ZOOM MODES (57) ABSTRACT (76) Inventors: Gaurav Arora, Northborough, MA (US); Adil Jagmag, Hollis, NH A method and system are provided in Which a video image may be scaled from a ?rst to a second video format. The (Us) scaling may be a non-uniform scaling such as an anamorphic (21) Appl. No.: 13/013,307 scaling. When panning associated With the scaled video image is detected, one or more end portions of a current frame (22) Filed: Jan. 25, 2011 of the scaled video image may be adjusted, the adjustment being based on one or more frames of the scaled video image Related US. Application Data that are previous to the current frame. The adjustment may result from combining information from the corresponding (60) Provisional application No. 61/364,628, ?led on Jul. end portion of previous frames With the information of the 15, 2010. current frame. One or more end portions that are opposite to the ones adjusted may also be adjusted based on one or more Publication Classi?cation frames of the scaled video image that are subsequent to the (51) Int. Cl. current frame. The panning detected may be horizontal, ver H04N 7/01 (2006.01) tical, or a combination thereof. pillarbox 4:3 530a / 520 53Gb pillarbox Patent Application Publication Jan.
    [Show full text]
  • Information on DW-TV 16:9 Widescreen Broadcasting
    Information on DW-TV 16:9 widescreen broadcasting Why is transmission being changed to 16:9 widescreen format? What is anamorphic distortion of a television picture? Why are anamorphically distorted television pictures broadcast? What does letterboxing mean? What does Pan & Scan mean? How is the screen format identified when transmitted via satellite? What does WSS stand for? How is the screen format identified when using a SCART connector? FAQs How do I set my appliance to enable automatic screen size adjustment? Viewer’s Information - TV with 4:3 screen format The program is broadcast in 16:9 format; the picture on my 4:3 screen is vertically distorted. How can I solve the problem? My television has a 4:3 screen format; when the program is broadcast in 16:9 format some picture content is cut off on both sides. How can I solve the problem? My television has a 4:3 screen format; I would like to watch 16:9 screen broadcasts in letterbox format. How can I solve the problem? Viewer’s information - TV with 16:9 screen format The program is broadcast in 16:9 widescreen format; even though I have a 16:9 flat screen television, my picture is vertically distorted and has black bars on both sides. How can I solve the problem? A program broadcast in 4:3 format is horizontally distorted on my 16:9 flat screen television. How can I solve the problem? My television has a 16:9 widescreen format; if the program is broadcast in 4:3 format, some picture content is cut off at the top and bottom? How can I solve the problem? I receive DW programs via satellite or via cable; even though I have a 16:9 flat screen television, the broadcast in 16:9 format has black bars surrounding the picture.
    [Show full text]
  • Mbox®Media Server User Manual
    SOFTWARE VERSION v4.3.2 WWW.PRG.COM ® MBOX MEDIA SERVER USER MANUAL (rev. H) AutoPar®, Bad Boy®, Best Boy®, Followspot Controller™, Mbox®, Mini Node™, Nocturne®, Series 400®, ReNEW®, Super Node™, UV Bullet™, V476®, V676®, Virtuoso®, and White Light Bullet™, are trademarks of Production Resource Group, LLC, registered in the U.S. and other countries. Mac®, QuickTime® and FireWire® are registered trademarks of Apple Computer, Inc. NDI® is a registered trademark of NewTek, Inc. All other brand names which may be mentioned in this manual are trademarks or registered trademarks of their respective companies. This manual is for informational use only and is subject to change without notice. Please check www.prg.com for the latest version. PRG assumes no responsibility or liability for any claims resulting from errors or inaccuracies that may appear in this manual. Mbox® Media Server v4.3.2 User Manual Version as of: November 30, 2018 rev H PRG part number: 02.9800.0001.432 Production Resource Group Dallas Office 8617 Ambassador Row, Suite 120 Dallas, Texas 75247 www.prg.com Mbox® Media Server User Manual ©2018 Production Resource Group, LLC. All Rights Reserved. TABLE OF CONTENTS Chapter 1. Overview General Overview Features ........................................................................................................................................................................ 4 Concepts of Operation ................................................................................................................................................
    [Show full text]
  • Anamorphic Aspect Ratio Advanced Authoring Format (AAF) Alpha
    POST-PRODUCTION GLOSSARY Anamorphic The process of optically squeezing images into a smaller area and then optically un- squeezing it to create a wider field of view than capable by the original recording medium by using non-square pixels. Commonly used to achieve wider than 16:9 imagery. Aspect ratio The ratio of image width to height. 4:3 refers to standard definition television, whereas 16:9 commonly refers to widescreen. It can also be expressed in decimal form such as 2.35:1 or 1.78:1. Advanced Authoring Format (AAF) File interchange format designed to allow easy transport of multimedia data between software through open standards. Expands upon limitations in the Open Media Framework Interchange (OMF) by allowing larger files to be contained. Alpha channel A channel in an image or movie clip that controls the opacity regions of the image. Bit Rate Determines the amount of data being used per unit of time. Usually expressed as kbps (kilobits per second) or Mbits (megabits per second). This number determines the overall size of a file. Codec A piece of software designed to encode and/or decode video data into a form readable by a computer or display system. A codec is usually wrapped in a container file. Common video codecs can include Apple ProRes, Avid DNX, and H.264. Audio Codecs can include LPCM, AAC, or MP3. However, a codec might need to be installed on a computer to enable playback. The open source VLC project is a useful tool to playback files of different codec types. POST-PRODUCTION GLOSSARY Container The actual file format of a video file for playback.
    [Show full text]
  • Avid High Resolution Workflows Guide
    Avid® High-Resolution Workflows Guide Legal Notices Product specifications are subject to change without notice and do not represent a commitment on the part of Avid Technology, Inc. This product is subject to the terms and conditions of a software license agreement provided with the software. The product may only be used in accordance with the license agreement. This product may be protected by one or more U.S. and non-U.S patents. Details are available at www.avid.com/patents. The Avid DS application uses JScript and Visual Basic Scripting Edition from Microsoft Corporation. Part of the software embedded in this product is gSOAP software. Portions created by gSOAP are Copyright (C) 2001-2004 Robert A. van Engelen, Genivia inc. All Rights Reserved. THE SOFTWARE IN THIS PRODUCT WAS IN PART PROVIDED BY GENIVIA INC AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE AUTHOR BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE. The following disclaimer is required by Apple Computer, Inc.: APPLE COMPUTER, INC. MAKES NO WARRANTIES WHATSOEVER, EITHER EXPRESS OR IMPLIED, REGARDING THIS PRODUCT, INCLUDING WARRANTIES WITH RESPECT TO ITS MERCHANTABILITY OR ITS FITNESS FOR ANY PARTICULAR PURPOSE.
    [Show full text]
  • AFD STANDARDIZED INTEROPERABLE SOLUTIONS Paul Briscoe TWO TOPICS, TWO SMPTE STANDARDS  Lipsync and Aspect Ratio Management • Legacy Problems • Worse Today Than Ever
    1 DISCLAIMER Harris Broadcast is a global supplier of hardware and software that creates, manages, transmits, distributes and monetizes video content. Headquartered in Denver, Colorado, the company is widely recognized as the preeminent brand in the broadcast communications equipment industry. Harris Broadcast’s uniquely integrated digital media solutions streamline the entire content workflow from live production to transmission. With a presence in key locations around the world, Harris Broadcast supports media customers in more than 130 countries. On February 4, 2013, The Gores Group, a Los Angeles based investment firm that acquires controlling interests in mature and growing businesses, completed the acquisition of Harris Broadcast Communications from Harris Corporation. Harris Broadcast is working with The Gores Group to drive innovation, streamline operations and enhance customer service. Harris Broadcast is an independent company not affiliated with Harris Corporation. This presentation and its contents may contain Harris Broadcast proprietary and confidential information. Any review, reliance, distribution, disclosure, or forwarding without expressed permission is prohibited. Copyright ©2013 Harris Broadcast. All Rights Reserved. LIPSYNC AND AFD STANDARDIZED INTEROPERABLE SOLUTIONS Paul Briscoe TWO TOPICS, TWO SMPTE STANDARDS Lipsync and Aspect Ratio Management • Legacy problems • Worse today than ever Lipsync – future standard Aspect Ratio – existing standard NOT THIS KIND OF LIPSYNC Ashlee Simpson Lindsay Lohan Mariah Carey
    [Show full text]