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Viz Verdi Switcher Guide
. Viz Verdi Switcher Guide Version 1.0 Copyright © 2020 Vizrt. All rights reserved. No part of this software, documentation or publication may be reproduced, transcribed, stored in a retrieval system, translated into any language, computer language, or transmitted in any form or by any means, electronically, mechanically, magnetically, optically, chemically, photocopied, manually, or otherwise, without prior written permission from Vizrt. Vizrt specifically retains title to all Vizrt software. This software is supplied under a license agreement and may only be installed, used or copied in accordance to that agreement. Disclaimer Vizrt provides this publication “as is” without warranty of any kind, either expressed or implied. This publication may contain technical inaccuracies or typographical errors. While every precaution has been taken in the preparation of this document to ensure that it contains accurate and up-to-date information, the publisher and author assume no responsibility for errors or omissions. Nor is any liability assumed for damages resulting from the use of the information contained in this document. Vizrt’s policy is one of continual development, so the content of this document is periodically subject to be modified without notice. These changes will be incorporated in new editions of the publication. Vizrt may make improvements and/or changes in the product(s) and/or the program(s) described in this publication at any time. Vizrt may have patents or pending patent applications covering subject matters in this document. The furnishing of this document does not give you any license to these patents. Technical Support For technical support and the latest news of upgrades, documentation, and related products, visit the Vizrt web site at www.vizrt.com. -
Volunteer Handbook FINAL
Contents Contents .......................................................................................................... 1 Introduction ..................................................................................................... 2 HTB Vision ....................................................................................................... 4 Production Values ............................................................................................ 5 Team Expectations – Spiritual ........................................................................... 7 Team Expectations - Practical ............................................................................ 8 Venue Call Times ........................................................................................... 10 Staff & Volunteer Structure ............................................................................. 13 Job Positions Summary ................................................................................... 14 Training Process ............................................................................................ 18 Most Common Live Production Terms .............................................................. 21 Production Volunteer Handbook 1 Introduction Welcome to HTB Production! We’re so excited to have you reading this handbook to learn more about our team and what being a part of it is like. We believe that production lies at the beating heart of the church, and we exist to help everyone see what God is ‘doing in the room’. We -
S Guide to VECTORBOX 6000
VECTORBOX 6000 Quick User’s Guide Introduction VECTORBOX is a highly flexible broadcast system designed to cover every playout need in today's broadcast facility. The system provides master control room automation with a built-in video server and character generator and handles playout and ingest of content from video server as well as satellite, VTR and studio. VECTORBOX is the ideal solution for all kinds of broadcasters including local, cable, satellite, music, news and barker channels. Like other Vector 3 products, VECTORBOX is constantly undergoing development according to the changing needs of over 500 existing VECTORBOX clients and an ever more demanding broadcast industry. Configurations VECTORBOX systems are available in a variety of configurations for different applications and formats. VECTORBOX 8000 is a high definition SDI playout system with a maximum of one recorder channel and one playout channel per chassis. VECTORBOX 6000 is SDI only and is available as a recorder with a minimum configuration of 2 ingest channels and as a playout with up to four playout channels per chassis. V-BOX News is an SDI manual playout for live and news environments with the ability work in A/B roll with or without an external vision mixer as the system includes a range of transitions. Other features include journalist assignment, text field exportation to a prompter with read rate calculator, group event management and status colour coding of all events. VECTORBOX systems are multi-codec and handle a wide range of compression formats including: DVCAM, DVCPRO, DVPRO50, DVCPRO & uncompressed as well as MPEG-2 IBP and I-frame. -
CHARTS Best Practice Guide to Live Streaming Culture, Heritage and Arts Activities Page 1 of 36
CHARTS Best Practice Guide To Live Streaming Culture, Heritage and Arts Activities Page 1 of 36 CHARTS Best Practice Guide To Live Streaming Culture, Heritage and Arts Activities This report has been researched and written by Dougal Perman and Katie McGeary from live streaming specialist company Inner Ear for the benefit of CHARTS members. It draws on almost twenty years of experience in live streaming culture, heritage and arts activities from creative people who have an innate understanding of the process and technology. Advice, tips, techniques and recommendations are offered on how to get the most out of your live streaming experience. CHARTS Best Practice Guide To Live Streaming Culture, Heritage and Arts Activities Page 2 of 36 Introduction Examples Highland Dancing at Cowal Highland Gathering Glenfiddich Piping Championship Scottish Ballet’s Digital Season 2019 – Work In A Week Granite Noir 2019 Crime Writing Festival Scottish Opera Highlights from Bowmore, Islay CHARTS Showcase Event, Oban CHARTS Live Link Up Between Jura and Oban CHARTS Live Lab Tour of Dunoon Burgh Hall Ruddington Village Museum Tour Beat The Retreat Objectives What Works Well What Do You Want To Achieve? Why stream live? Engagement Content Ranking Cost Growth Why not? Planning What goes into a live stream? Live Programme Making Framework Crew and Roles Approach Multi-Camera Workflow Smartphone Stream Workflow Live Programme Making Recording Practical Production Tips Rehearsal Vision Mixing Cameras Sound Lighting The Action CHARTS Best Practice Guide To Live -
Operating Instructions
Operating Instructions <Operations and Settings> Live Switcher Model No. AV-HS410N How the Operating Instructions are configured <Basics>: The <Basics> describes the procedure for connection with the required equipment and for installation. Before installing this unit, be sure to take the time to read through <Basics> to ensure that the unit will be installed correctly. <Operations and Settings> (this manual): This <Operations and Settings> describes how to operate the unit and how to establish its settings. For details on how to perform the basic menu operations, refer to“2-2. Basic menu operations” in the <Basics>. ENGLISH M1111TY0 -FJ VQT3U71A(E) p Information on software for this product 1. Included with this product is software licensed under the GNU General Public License (GPL) and GNU Lesser General Public License (LGPL), and users are hereby informed that they have the right to obtain, change and redistribute the source codes of this software. To obtain the source codes, go to the following home page: http://pro-av.panasonic.net/ The manufacturer asks users to refrain from directing inquiries concerning the source codes they have obtained and other details to its representatives. 2. Included with this product is software which is licensed under MIT-License. Details on the above software can be found on the CD provided with the unit. Refer to the folder called “LDOC”. (Details are given in the original (English language) text.) Trademarks and registered trademarks Abbreviations p Microsoft®, Windows® XP, Windows Vista®, Windows® 7 The following abbreviations are used in this manual. and Internet Explorer® are either registered trademarks or p Microsoft® Windows® 7 Professional SP1 32/64-bit is trademarks of Microsoft Corporation in the United States abbreviated to “Windows 7”. -
|FREE| Film Genre for the Screenwriter
FILM GENRE FOR THE SCREENWRITER EBOOK Author: Jule Selbo Number of Pages: 339 pages Published Date: 07 Aug 2014 Publisher: Taylor & Francis Ltd Publication Country: London, United Kingdom Language: English ISBN: 9781138020832 Download Link: CLICK HERE Film Genre For The Screenwriter Online Read Please Film Genre for the Screenwriter it by verifying the claims made and adding inline citations. Writers Store. Film genres may appear to be readily categorizable from the setting of the film. A screenwriter becomes credible by having work that is recognized, which gives the writer the opportunity to earn a higher income. Should they be prepared to be scared? Are genres culture-bound or trans-cultural? An example would be writing a horror film where a young woman is getting chased by a stranger down a dark alley and finally gets cornered by him. Wikimedia Commons. Subscription or UK public library membership required. New York: Focal Press. Be amazed? When word is put out about a project a film studioproduction companyor producer wants done, they are Film Genre for the Screenwriter to as "open" assignments. So when watching and analyzing film genres we must remember to remember its true intentions aside from its entertainment value. Lists of films by genre and themes. Reviews Film Genre For The Screenwriter Central apparatus room Changing room Master control room Network operations center Production control room Stage theatre Transmission control room. Maybe Stage 32 just kept you in the game?! Format refers to the way the film was shot e. For example, while both The Battle of Midway and All Film Genre for the Screenwriter on the Film Genre for the Screenwriter Front are set in a wartime context and might be classified as belonging to the war film genre, the first examines the themes of honor, sacrifice, and valour, and the second is an anti-war film which emphasizes the pain and horror of war. -
Video Production Handbook, Fourth Edition
Video Production Handbook Fourth Edition This page is intentionally left Blank Video Production Handbook Fourth Edition Gerald Millerson Jim Owens, Asbury College AMSTERDAM • BOSTON • HEIDELBERG • LONDON • NEW YORK • OXFORD PARIS • SAN DIEGO • SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier Focal Press is an imprint of Elsevier 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA Linacre House, Jordan Hill, Oxford OX2 8DP, UK Copyright © 2008, Elsevier Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Permissions may be sought directly from Elsevier’s Science & Technology Rights Department in Oxford, UK: phone: (+44) 1865 843830, fax: (+44) 1865 853333, E-mail: [email protected]. You may also complete your request on-line via the Elsevier homepage (http://elsevier.com), by selecting “Support & Contact” then “Copyright and Permission” and then “Obtaining Permissions.” Recognizing the importance of preserving what has been written, Elsevier prints its books on acid-free paper whenever possible. Library of Congress Cataloging-in-Publication Data Millerson, Gerald. Video production handbook / Gerald Millerson, Jim Owens. — 4th ed. p. cm. Includes index. ISBN 978-0-240-52080-3 (pbk. : alk. paper) 1. Video recording. 2. Video recordings—Production and direction. I. Owens, Jim, 1957- II. -
The Achievement of Television: the Quality and Features of John
Investigations into the Emergence of British Television 1926-1936 1 Investigations into the Emergence of British Television 1926-1936 November 2017 A Critical Review submitted to Aberystwyth University in partial fulfilment of the degree of Doctor of Philosophy (PhD by Published Work) in the Department of Theatre, Film and Television Studies Donald F McLean Aberystwyth University Investigations into the Emergence of British Television 1926-1936 2 Abstract This Critical Review discusses the significance of the author’s published works and their impact on the history of the emergence of British television between 1926 and 1936. Although events in television within this period have since been well- documented, the related debates have tended to be specialist in scope and restricted to technology-centric or institution-centric viewpoints. Within this period of complex, rapid technological change, the author’s published works introduce the principle of embracing multiple disciplines for comparative analysis. The author’s application of that principle opens up long- established views for further debate and provides a re-assessment of early British television within a broader context. The rewards of this approach are a view of events that not only avoids nationalistic bias and restrictions of a single institutional viewpoint, but also tackles the complex interdependencies of technology, of service provision and of content creation. These published works draw attention to the revolutionary improvements that enabled the BBC’s 1936 service and the re-definition of television, yet also emphasise the significance of the previous television broadcast services. The most important innovation within these works has been the author’s discovery and in-depth study of artefacts from that earlier period. -
Ashpan Number 114 Number 114 Summer 2017
111144 Ickenham and District Society of Model Engineers Summer 2017 Ashpan Number 114 Number 114 Summer 2017 114 Contents: 2 Cover Story 3 Ashpan Notebook 4 Airlander 10 - Hybrid Air Vehicle 8 Chairman's Chat 9 The Rise and Fall of Television Centre Ickenham & District Society of Model Engineers was founded on 8th October 1948. Ickenham and District Society of Model Engineers, a company limited by guarantee, was incorporated on 10th September 1999. Registered in England No: 3839364. Website: WWW.IDSME.CO.UK IDSME Members Message Board: http://idsme001.proboards.com Hon. Secretary and Registered Office: David Sexton, 25 Copthall Road East, Ickenham, Uxbridge, Middlesex, UB10 8SD. Ashpan is produced for members of Ickenham and District Society of Model Engineers by Patrick Rollin, 84 Lawrence Drive, Ickenham, Uxbridge, Middlesex, UB10 8RW Email: [email protected] Summer 2017 1 Cover Story Happenings at IDSME By the time you read this the 2017 running season will be almost two- thirds done. The cover photograph shows one of many passenger trains that we have run during the year so far. Mike Werrell is seen at the controls of club locomotive Lady Patricia on the June running day. This locomotive has been a regular performer on running days this year, following a lot of hard work to get it into a serviceable condition, and this was one of the few occasions that somebody managed to prise Harry Wilcox away from the controls of this locomotive. On the same day Michael Proudfoot (inside front cover top) passes the junction signal while driving Mark Hamlin’s R1 single-handed, the other hand being engaged in the rather more important activity of carrying a cup of tea. -
Studio Production
The Further Education and Training Awards Council (FETAC) was set up as a statutory body on 11 June 2001 by the Minister for Education and Science. Under the Qualifications (Education & Training) Act, 1999, FETAC now has responsibility for making awards previously made by NCVA . Module Descriptor Television & Video – Studio Production Level 6 N32758 www.fetac.ie 1 1 Title Television & Video – Studio Production 2 Code N32758 3 Level 6 4 Value 1 5 Purpose A practical based module designed to give the student the range of skills required to work within the Audio Visual industries. The mode of teaching and delivery to encourage the students to manage and produce audio visual products to a high standard in a simulated work place environment. Students must demonstrate a high level of Production Management and organisational skills. To provide the learner with the skills required to manage and produce television and video programmes to a high standard. This will be achieved through a work practice mode. Work Practice mode enables the learners fulfil the requirements of the module through becoming involved in a realistic work programme set up by course providers which gives substantial ‘hands on ‘ experience of the vocational area. The work practice must be carefully planned, structured and monitored by course providers. 6 Preferred Entry FETAC Level 5 or equivalent Level 7 Special Basic TV & Video 2 camera Studio, Non Linear Edit Requirements packages 8 Aims This module aims to enable the learner to: 8.1 take responsibility for creative output 8.2 develop a critical viewpoint and awareness 8.3 become familiar with the process, craft and technology of production in TV & video studios 8.4 integrate theoretical knowledge with practical processes 2 8.5 gain confidence in a new role, working independently or with others to formulate a range of viable practical or creative solutions to course learning problem 8.6 develop creativity 8.7 develop good work practices in areas such as time keeping, meeting deadlines, care of equipment and personal safety. -
SE-500 Instruction Manual
Table of Contents WARNINGS AND PRECAUTIONS ........................................................................................ 3 WARRANTY ............................................................................................................................ 4 STANDARD WARRANTY ........................................................................................................................... 4 TWO YEAR WARRANTY ........................................................................................................................... 4 DISPOSAL ............................................................................................................................................. 4 RADIO AND TELEVISION INTERFERENCE ........................................................................ 5 1. INTRODUCTION.................................................................................................................. 6 1.1 PRODUCT OVERVIEW .................................................................................................................... 6 1.2 FEATURES ................................................................................................................................... 6 1.3 WHAT IS A SWITCHER? .................................................................................................................. 7 1.4 WHAT IS A FRAME SYNCHRONIZER? ................................................................................................. 7 1.5 POSSIBLE APPLICATIONS ............................................................................................................... -
Managing Audio Delays and Lip-Sync for HDTV
HD PRODUCTION Managing Audio Delays and Lip-Sync for HDTV Rowan De Pomerai BBC Future Media & Technology Viewers who have invested in high-quality HD receiving equipment have problems with audio-video synchronization in the home – due to the processing delays introduced by modern LCD and plasma displays. Set-top boxes often provide controls to manage this, but viewers have no way of calibrating the settings easily. Consequently, the BBC set out to help them by broadcasting a synchronization test signal, as well as undertaking a full review of multi-channel audio in the production and broadcast signal chains. High-Definition (HD) television is becoming increasingly popular around the world and, to augment its higher resolution pictures, it often comes with multichannel audio or surround sound. The BBC launched a trial HD channel in May 2006, which became a full service in December 2007. BBC HD, in common with all current HD services in the UK (Sky and Freesat on satellite, and Virgin Media on cable), uses Dolby Digital as the primary emission audio codec – both for stereo programmes and, where available, 5.1 surround sound. Dolby E is used by the BBC for delivering audio through the production and distribution signal chains – for transporting the larger number of audio channels and metadata which are required for Dolby Digital transmission. Some months after the start of the broadcasts, however, the technology was still proving temperamental in use; while, generally, we were broadcasting without major prob- lems, small troubles such as audible artefacts at junctions and audio-video synchronization issues were cropping up and, occasionally, larger problems caused more high-profile on-air difficulties.