DOCSLIB.ORG

Layered Compression Technologies for Digital Cinematography Anda Research Project Cross in the 6Th Media Conversion Framework of the European Community

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Layered Compression Technologies for Digital Cinematography Anda Research Project Cross in the 6Th Media Conversion Framework of the European Community Layered Compression Technologies for Digital Cinematography A Research Project in the 6th Framework of the European andCommunity Cross Media Conversion 15 Feb 07 1 Motivation • Optimized workflow for the complete production chain for Digital Cinema in 4k does not exist • DCI specification does not deal with production (only deals with the backend of the chain) • Digital Cinema is a chance for the European film industry • It requires an international consortium to solve the fundamental issues together A Research Project in the 6th Framework of the European Community 15 Feb 07 2 Project Overview WorldscreenTM • Objective: Investigation of the use of scalable video coding in digital cinema workflows • Duration: 09/2004 – 04/2007 • Partners: 6 + 2 advisory (ARRI, Warner Bros.) • Project Coordinator: • Budget: 6 Mio. €, Funding: 3 Mio. € • Funded by the European Community A Research Project in the 6th Framework of the European Community (6th Framework) • Website: http://www.worldscreen.org 15 Feb 07 3 Project Partners A Research Project in the 6th Framework of the European Community 15 Feb 07 4 Scalable Video Coding For acquisition, postproduction, distribution and archiving Encoding Scalable Bitstream SNR Spatial A Research Project in the 6th Framework of the European Community Scalability Scalability 15 Feb 07 5 Technical Workpackages WP2 WP3 Simulation WP4 Implementation WP5 and Tests and Integration User Assess- Requirements, ment Specifications and and Concepts WP3.1 Compression WP4.1 Evaluation for Data Acquisition Compression for Data Acquisition WP4.3 Integration and System Test WP3.3 Transmission, WP4.2 Distribution Transmission, Distribution WP3.2 Postproduction for Cross Media Distribution A Research Project in the 6th Framework of the European Community 15 Feb 07 6 Project Details Layered scheme data compression in Digital Cinema workflows User Requirements Business Models Acquisition Postproduction Distribution Exhibition JPEG2000- Use of Scalability JPEG2000/MXF JPEG2000 A Research Project in the 6th Encoder for processing / Standardisation Decoder Framework of the European Fieldrecorder for output to target Community Transmission Quality tests formats 15 Feb 07 7 Layered scheme data compression in Digital Cinema workflows Acquisition Postproduction Distribution Exhibition JPEG2000- Use of Scalability JPEG2000/MXF JPEG2000 A Research Project in the 6th Encoder for processing / Standardisation Decoder Framework of the European Fieldrecorder for output to target Community Transmission Quality tests formats 15 Feb 07 8 Layered scheme data compression in Digital Cinema workflows Acquisition Postproduction Distribution Exhibition A Research Project in the 6th Framework of the European Community 15 Feb 07 9 Project Achievements • Developed workflow and metadata models for the entire production chain with LSC • Developed a field recorder for providing a portable storage solution for future D-Cinema cameras including a JPEG2000 encoder • Developed postproduction and transcoding methods (e.g. for (HD-)DVD, TV, streaming formats) from LSC master • Developed scalable distribution and decoding systems (DCI compliant) • Developed a quality assessment methodology for Digital Cinema A Research Project in the 6th Framework of the European Community • Supported research and standardization of layered scheme data compression (both intra and inter) for D-Cinema 15 Feb 07 10 Layered Compression Technologies for Digital Cinematography andA Research Project Cross in the 6th Media Conversion Framework of the European Community 11 Goals – Methodology - Results • The investigation of the use of layered scheme data compression throughout the entire DC chain and for rich media archives required: – Identification of user requirements – Specification of workflows and metadata models (current & future) – Evaluation of business models • Methodology: – Interviews with 52 users and manufacturers – Structuring & Consolidation of market feedback •Results – Deliverables with specifications for workflows and metadata A Research Project in the 6th – Deliverables covering cost comparisons and business Framework of the European Community models for the value chain 12 Activity Diagrams Digital Intermediate Post Production LAB Telecine Scan roll get date rough cut EDL format "circled take" scene numbers numbers type generate pull list negative developing film scan pull list original selected film rolls develop clean negative takes negative digital scans telecine scan audio telecine & DAT sound synchronize tapes cc (P3) timing report video tape 444 10bit log DCI compliant DC files HD & SD deliverables encoding for projection review e.g. for rough cut A Research Project in the 6th Framework of the European UML activity diagrams were extracted from the information Community from the interviews – these formally describe the most typical workflows. 13 Acquisition with JPEG2000 (J2K) Camera Fieldrecorder Postproduction-SW & with J2K Encoder Plugins J2K-Import J2K-Export Uncompressed Fieldrecorder (Megacine) Display, Keyboad VTR-Control Dual HD-SDI J2K-Encoder Dual HD-SDI Dual J2K- I/O-Modul DVI/Audio HD-SDI Realtime Fibrechannel Encoder (future (near IEEE1394 10G) lossless) Storage- A Research Project in the 6th Framework of the European Modules Power Community (HDD or Flash) 14 JPEG2000 Workflow Postproduction Mastering/Validation DCP- DCP- Generator Analyser J2K-Export DCP/KDM- DCP- Generator Validator • Development of Softwaretools for JPEG2000 – Input/Output-Plugins for Digitalfusion – DCP/KDM Generation Tools – DCP/KDM Validation Tools • Concepts for Archives based on JPEG2000 (will be continued in EU-Project EDCINE) A Research Project in the 6th Framework of the European • Future Need: J2K-Hardwaresupport in Postproduction Community 15 What is Transcoding all about? • Conversion of theatrical content into entertainment video formats, e.g.: – SDTV (PAL, NTSC) – HDTV Additional Sources – Streaming video (internet, mobile) of Revenue –etc. A Research Project in the 6th Framework of the European Community Theatrical Content Entertainment Video 16 Transcoding Workflow – Example Universal 2K Master (e.g., 2048x1080 pel, R‘G‘B‘ 4:4:4, 12 bit) Transcoding A Research Project in the 6th Framework of the European Entertainment Video Master Community (1280x720 pel, YUV 4:2:0, 8 bit) 17 Digital Cinema Packages – DCI Model JPEG 2000 Encoded < 250 Mbps Both Projections + = from the same AES Encrypted < 400 GBytes for DCP + a 3 hour Movie MXF Packaged 2K Projection Hard disk, Satellite... DCP Theater Storage 4K Projection Decryption Keys sent in parallel A Research Project in the 6th Key delivery messages protected with RSA Framework of the European Community Only the target projection system is able to decode the messages 18 Digital Cinema Packages – DCI Model MXF Files Reel 1 Chunks Image of Data AssetMap PackingList to Composition MXF to reconstruct verify PlayList integrity to put the each Track Audio file of all needed reels together files MXF Theater Storage Reel 1 Reel 2 Reel 3 Show Playlist ... Advertisement schedules presentation Reel 1 Reel 2 Reel 3 ... Trailer A Research Project in the 6th Framework of the European Community Reel 1 Reel 2 Reel 3 Projection ... Movie 19 Deutsche Telekom @ WorldScreen T-Systems is a full service powered by: provider for Digital Cinema Digital Cinema Factory™: Reliable delivery of Digital Cinema Packages via satellite Digital Cinema Feature Film™: Server Solution for Multiplex Theatres A Research Project in the 6th Framework of the European Community 20 Deutsche Telekom @ WorldScreen Ingest-Archive Operational-Archive Ingest-ServerIngest-Server DelDel i very-Server i very-Server LAN Communication-Communication- Database-ServerDatabase-Server VPN Internet GatGat eway eway OperatiOperati on-Server on-Server Digital Cinema Factory™ A Research Project in the 6th Framework of the European Within the WorldScreen project, software components for 4K Community DCP delivery have been developed, co-funded by the EC and the Deutsche Telekom Laboratories 21 J2K Decoder Architecture Gigabit Ethernet Audio Connection Connector Input “2k Module Audio data Board” BUS PCI 32bits@66MHz JP2 JP2 JP2 JP2 Module Module Module Module #1 #3 #5 #7 JP2 JP2 JP2 JP2 Module Module Module Module #2 #4 #6 #8 Output Module HD-SDI/GbE Serial rapid IO or Projector This architecture must to be able to decode the 2K at A Research Project in the 6th Framework of the European 24fps, 2K at 48fps and 4K at 24fps profiles; for the 4K, Community or future higher profile, some parallel 2K-Boards will be necessary. 22 DSP-FPGA Coprocessor in the Decoder Chain • FPGA performs bit-oriented operation on Tier 1 (computationally expensive) and Inverse Quantization. • DSP completes the decoding chain, performing IDWT on large images. A Research Project in the 6th Framework of the European Community • FPGA acts as coprocessor for DSP, in a loosely coupled architecture. 23 Image Quality Assessment Kodak Digital Cinema stands for highest image quality, analog AND digital – Multi-format Cineserver JMN3000 with 3D support – Digital Processing / Delivery of over 40 full feature films – Comprehensive Theater Management System – Over 2100 pre-show advertising systems installed • Motion Quality Ruler (MQR) is a new method for assessing image quality of motion sequences – Can be used to judge wide quality range efficiently and precisely • MQR method was implemented and validated at a special Kodak test facility in Paris • MQRs were created for a wide range of scene content and A Research
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]
  • 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.
    [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]