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PROFESSIONAL VIDEO 315 800-947-1175 | 212-444-6675 Blackmagic • Canon
PROFESSIONAL VIDEO 315 800-947-1175 | 212-444-6675 Blackmagic • Canon VIDEO TAPE Fuji Film PRO-T120 VHS Video Cassette (FUPROT120)............................3.29 XA10 Professional HD Camcorder DVC-60 Mini DV Cassette (FUDVC60) .......................................3.35 Pocket Cinema Camera Ultra-compact, the XA10 DVC-80 Mini DV Cassette (FUDVC80)........................................7.99 shares nearly all the Pocket Cinema Camera is a HDV Cassette, 63 Minute (FUHDVDVM63) .................................6.99 functionality of the XF100, true Super 16 digital film DV141HD63S HDV (FUDV14163S) ............................................7.95 but in an even smaller, camera that’s small enough run-and-gun form factor. to keep with you at all times. Maxell 64GB internal flash drive Remarkably compact (5 x 2.6 DV-60 Mini DV Cassette (MADVM60SE) .................................3.99 and two SDXC-compatible x 1.5”) and lightweight (12.5 M-DV63PRO Mini DV Cassette (MADVM63PRO)......................5.50 card slots allow non-stop oz) with a magnesium alloy chassis, it features 13 stops of T-120 VHS Cassette (MAGXT120) ..........................................2.39 recording. Able to capture dynamic range, Super 16 sensor size, and and records 1080HD STD-160 VHS Cassette (MAGXT160).....................................2.69 AVCHD video at bitrates up to lossless CinemaDNG RAW and Apple ProRes 422 (HQ) files to fast STD-180 VHS Cassette (MAGXT180)......................................3.09 24Mbps, the camcorder’s native 1920 x1080 CMOS sensor also SDXC cards, so you can immediately edit or color correct your HG-T120 VHS Cassette (MAHGT120) .....................................1.99 lets you choose 60i, 24p, PF30, and PF24 frame rates for media on your laptop. Active Micro Four Thirds lens mount can HG-T160 VHS Video Cassette (MAHGT160) ............................2.59 customizing the look of your footage. -
Digital Television: an Overview
Order Code RL31260 CRS Report for Congress Received through the CRS Web Digital Television: An Overview Updated June 22, 2005 Lennard G. Kruger Specialist in Science and Technology Resources, Science, and Industry Division Congressional Research Service ˜ The Library of Congress Digital Television: An Overview Summary Digital television (DTV) is a new television service representing the most significant development in television technology since the advent of color television in the 1950s. DTV can provide sharper pictures, a wider screen, CD-quality sound, better color rendition, and other new services currently being developed. The nationwide deployment of digital television is a complex and multifaceted enterprise. A successful deployment requires: the development by content providers of compelling digital programming; the delivery of digital signals to consumers by broadcast television stations, as well as cable and satellite television systems; and the widespread purchase and adoption by consumers of digital television equipment. The Telecommunications Act of 1996 (P.L. 104-104) provided that initial eligibility for any DTV licenses issued by the Federal Communications Commission (FCC) should be limited to existing broadcasters. Because DTV signals cannot be received through the existing analog television broadcasting system, the FCC decided to phase in DTV over a period of years, so that consumers would not have to immediately purchase new digital television sets or converters. Thus, broadcasters were given new spectrum for digital signals, while retaining their existing spectrum for analog transmission so that they can simultaneously transmit analog and digital signals to their broadcasting market areas. Congress and the FCC set a target date of December 31, 2006 for broadcasters to cease broadcasting their analog signals and return their existing analog television spectrum to be auctioned for commercial services (such as broadband) or used for public safety communications. -
" Video Q & A" a N S Wers to Frequently Asked Questions On
AMIA the association of moving image archivists "V ideo Q & A" An s w ers to Frequently Asked Questions on Video For mats and Pres e r vat i o n Int ro d u c t i o n AI n the tradition of history's famous sparring partners - Lincoln and Douglas, Siskel and Ebert, Calvin and Hobbes - AMIA's own Jim Lindner and Jim Wheeler collaborate on a regular AM I A Newsletter feature in which they debate video pres e r v ation ques- tions and issues raised over the years by AM I A members. The first "Video Q & A" column appeared in the October 1994 issue of the AM I A News l e t t e r . About the Aut h o r s Jim Lindner is the President of Vid i P ax (New Yor k) and has res t o r ed hundreds of old videotapes. He has done many special pr ojects for 60 Minutes, NBC News Arc h i v e, President Clinton, etc., and probably has seen every tape problem there is. Jim Wheeler is President of Tape Arc h i v al & Restoration Services (Belmont, California) and has 32 years experience at Ampex as a tape engineer. He was a design engineer on most of the Ampex videotape rec o r ders and responsible for tape handling and lo n g e v i t y . Jim also tested all types of tapes on all of the Ampex videotape rec o r ders in all types of abuse and environ m e n t s . -
A Digital Video Primer: an Introduction to DV Production, Post-Production, and Delivery
PRIMER A Digital Video Primer: An Introduction to DV Production, Post-Production, and Delivery TABLE OF CONTENTS Introduction 1 Introduction The world of digital video (DV) encompasses a large amount of technology. There are 1 Video basics entire industries focused on the nuances of professional video, including cameras, storage, 12 Digital video formats and camcorders and transmission. But you don’t need to feel intimidated. As DV technology has evolved, 16 Configuring your system it has become increasingly easier to produce high-quality work with a minimum of 19 The creative process: an overview underlying technical know-how. of movie-making This primer is for anyone getting started in DV production. The first part of the primer 21 Acquiring source material provides the basics of DV technology; and the second part, starting with the sec- 24 Nonlinear editing tion titled “The creative process,” shows you how DV technology and the applications 31 Correcting the color contained in Adobe® Production Studio, a member of the Adobe Creative Suite family, 33 Digital audio for video come together to help you produce great video. 36 Visual effects and motion graphics 42 Getting video out of your computer Video basics 44 Conclusion One of the first things you should understand when talking about video or audio is the 44 How to purchase Adobe software products difference between analog and digital. 44 For more information An analog signal is a continuously varying voltage that appears as a waveform when 50 Glossary plotted over time. Each vertical line in Figures 1a and 1b, for example, could represent 1/10,000 of a second. -
Dictionary of Video and Television Technology Newnes Is an Imprint of Elsevier Science
Dictionary of Video and Television Technology Newnes is an imprint of Elsevier Science. Copyright © 2002, Elsevier Science (USA). All rights reserved. [This page intentionally left blank.] 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. Recognizing the importance of preserving what has been written, Elsevier Science prints its books on acid-free paper whenever possible. Library of Congress Cataloging-in-Publication Data ISBN: 1-878707-99-X British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. The publisher offers special discounts on bulk orders of this book. For information, please contact: Manager of Special Sales Elsevier Science 225 Wildwood Avenue Woburn, MA 01801-2041 Tel: 781-904-2500 Fax: 781-904-2620 For information on all Newnes publications available, contact our World Wide Web home page at: http://www.newnespress.com 10 9 8 7 6 5 4 3 2 1 Printed in the United States of America Dictionary of Video and Television Technology Keith Jack Vladimir Tsatsulin An imprint of Elsevier Science Amsterdam Boston London New York Oxford Paris San Diego San Francisco Singapore Sydney Tokyo [This is a blank page.] CONTENTS Preface ............................................................................................................. vii About the Authors ..................................................................................... -
VIDEOTAPE FORMATS Courtesy of Videolson This Is a List of More Than 60 Videotape Formats Dating Back to 1956
VIDEOTAPE FORMATS Courtesy of Videolson This is a list of more than 60 videotape formats dating back to 1956. Some of these formats were suggestions made by some of my visitors. If you know of a videotape format I could add to this list, email me at [email protected] with as much information about the format that you can possibly gather. FORMATS USING 2" DEVELOPER YEAR INFORMATION TAPE The 2� Quad was the first successful videotape format. The name comes Quadruplex Ampex 1956 from its four-head wheel which rotated 240 times a second. It was still widely used in the industry in the 1980s. Octaplex RCA Developed for the military. VR 1500/600 Ampex 1963 May be the first consumer VTR. Two-head system that was marketed for industrial, educational, and Helical SV-201 Sony 1962 medical applications. ACR 25 Ampex 1970 Automated recording and playback of televesion commercials. IVC 9000 IVC 1973 helical scan These small videotapes allowed broadcasters to access commercials TCR 100 "Quad" RCA 1969 without physically splicing them into the broadcasting program. FORMATS USING 1� DEVELOPER YEAR INFORMATION TAPE One of the first commercial 1-inch helical scan videotape recorders in the MVC-10 Machtronics 1962 US. Identical to the PI-3V by Precision Instruments. Precision PI-3V 1963 Two-head helical scan recorder. Identical to the MVC-10 by Machtronics. Instruments EV-200 Sony 1964 The first �portable� VTR Sony offered for general use. EL-3400 Philips 1965 Designed for the industrial/educational markets. IVC 700/800/900 IVC 1967 Used by TV stations and the military. -
Guidelines for the Preservation of Video Recordings IASA-TC 06
Technical Committee Standards, Recommended Practices, and Strategies Guidelines for the Preservation of Video Recordings IASA-TC 06 Part D. Planning, Setup, and Workflows for Video Digitisation x From IASA-TC 06, Edition 1 Version for comment, 2018 D-1 Version for comment, March 2018 Guidelines for the Preservation of Video Recordings Table of Contents D.1 Planning, Setup, and Workflows for Video Digitisation D-8 D.1.1 Introduction D-8 D.1.1.1 Applicability to in-house and outsourced operations D-8 D.1.1.2 Artisanal and high volume “factory” operations D-8 D.1.1.3 Digitising in terms of three zones D-8 D.1.1.4 Quality assurance, control, and critical control points D-10 D.1.1.4.1 Quality assurance and quality control D-10 D.1.1.4.2 Critical control points and quality control D-11 D.1.1.5 Quality control: how much science, how much art? D-11 D.1.1.6 Broadcast community quality control initiatives for file-based video D-12 D.1.1.6.1 The EBU quality control activity: insight into QC dimensions D-12 D.1.1.6.2 The DPP and digital-format program interchange D-13 D.1.2 Planning, preparing collection materials for digitisation, and related logistics D-14 D.1.2.1 Description and background for planning, collection preparation, and related logistics D-14 D.1.2.1.1 Project planning and the selection of materials for digitisation D-14 D.1.2.1.2 Assessing condition and preparing source materials for digitisation D-15 D.1.2.1.3 Barcodes and management systems D-15 D.1.2.1.4 Shipping logistics when digitising is outsourced D-16 D.1.2.1.5 Manifests to -
Understanding Digital Terres Trial Broadcasting
Understanding Digital Terrestrial Broadcasting Understanding Digital Terrestrial Broadcasting Seamus OLeary Artech House Boston London www.artechhouse.com Library of Congress Cataloging-in-Publication Data OLeary, Seamus. Understanding digital terrestrial broadcasting / Seamus OLeary. p. cm. (Artech House digital audio and video library) Includes bibliographical references and index. ISBN 1-58053-063-X (alk. paper) 1. Digital communications. 2. Television broadcasting. 3. Digital audio broadcasting. I. Title. II. Series. TK5103.7.O49 2000 621.384dc21 00-040624 CIP British Library Cataloguing in Publication Data OLeary, Seamus Understanding digital terrestrial broadcasting. (Artech House digital audio and video library) 1. Digital television 2. Digital audio broadcasting I. Title 621.388 ISBN1-58053-462-7 Cover and text design by Darrell Judd © 2000 ARTECH HOUSE, INC. 685 Canton Street Norwood, MA 02062 All rights reserved. Printed and bound in the United States of America. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechani- cal, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the publisher. All terms mentioned in this book that are known to be trademarks or service marks have been appropriately capitalized. Artech House cannot attest to the accuracy of this information. Use of a term in this book should not be regarded as affecting the validity of any trademark or service mark. International Standard Book Number: 1-58053-063-X Library of Congress Catalog Card Number: 00-040624 10987654321 This book is dedicated to the memory of Una and Denis McLoughlin, Go raibh leaba i measc na naoimh agaibh i gcónaí. -
Introduction to Broadcast Media
Introduction to Broadcast Media Tutorial Cutting to the chase: Broadcast media is radio and television. Even amidst the pop culture dominance of the internet, broadcast media still commands the largest share of the advertising pie nationwide. Put the audio and visual media to work for you as your company earns larger market share, stronger branding, and increased sales. If you are looking for cost-efficient lead generation, you need to be looking at radio and television advertising. Not only are radio and television the main media for advertising today, they are continually developing new ways to reach their audience. The SyFy cable network launched a show (“Defiance”) that combines interactions on a video game with the plot of a series show. Radio stations are supplementing on-air campaigns with digital media to provide on-air and on-screen promotions to those who stream the station through their computer. Multiple studies have shown that combining radio and television can help advertisers reach audiences not achievable with only one medium or the other. Broadcast Media Broadcast television Cable television On-demand television TV/web integration Local, network, and national radio On-air endorsements Long-form programming Multi-language programming The Power of Radio Radio reaches more Americans than any other advertising media. As an example, let’s look at Los Angeles, CA. It is the #1 radio revenue market in the world and generates more than $1 billion dollars in sales each year. In that market alone, more than 9 million people listen to radio each week. People are loyal to radio and love listening to their favorite DJ or talk show host. -
Handbook on Digital Terrestrial Television Broadcasting Networks and Systems Implementation
ITU-R 2016 Internati onal Telecommunicati on Handbook on Digital Terrestrial Union Place des Nati ons 1211 Geneva 20 Television Broadcasti ng Networks and Switzerland Systems Implementati on ISBN 978-92-61-23481-2 SAP id 4 1 2 5 5 Editi on of 2016 9 7 8 9 2 6 1 2 3 4 8 1 2 Printed in Switzerland REGU IO LA D T A I R O Geneva, 2016 N U S T Photo credits: Shutt erstock I A 1 9 0 1 6 N 6 - 2 0 Y N R I V E R S A Handbook on Digital Terrestrial Television Broadcasti ng Networks and Systems Implementati on Implementati Systems and ngNetworks Broadcasti Television Terrestrial Handbook on Digital Handbook on Digital Terrestrial Television Broadcasting Networks and Systems Implementation Edition of 2016 ITU-R ITU 2016 (Revised version) All rights reserved. No part of this publication may be reproduced, by any means whatsoever, without the prior written permission of ITU. Handbook on Digital Terrestrial Television Broadcasting Networks and Systems Implementation iii Editors’ Foreword In 2002, ITU published its first Handbook on digital terrestrial television under the title Digital terrestrial television broadcasting in the VHF/UHF bands1 as guidance to engineers responsible for the implementation of digital terrestrial television broadcasting (DTTB). In this Handbook, new digital broadcasting technologies were explained in detail, for example a splendid description of the Discrete Cosine Transform (DCT) coding that is the basis of all past and present TV compression systems, as well as a very instructive chapter on signal power summation. Most of that content are not repeated in this new Handbook on Digital Terrestrial Television Broadcasting Networks and Systems Implementation. -
Use Video Standards for Eye-Opening Data Transmission: Mega-Bits @ Many
CLC006,CLC007,CLC011,CLC014,CLC016, CLC018,CLC020,CLC021 Use Video Standards for Eye-Opening Data Transmission: Mega-bits @ Many Meters Literature Number: SNLA171 Use Video Standards for Eye-Opening Data Transmission: Mega-bits @ Many Meters James A. Mears National Semiconductor Wireless and Broadband System Design Conference Abstract Author/Speaker Adopting existing video standards and devices benefits James A. Mears long-haul data transmission. Error-free data transmis- sion over hundreds of meters is easily accomplished on Current Activities coax or twisted pair. Techniques and devices supporting The Society of Motion Picture and Television Engi- James Mears is a Member of the Technical Staff in Na- neers (SMPTE) digital video standards can implement a tional Semiconductor’s Interface Products Group wide variety of data transmisison tasks in telecommuni- working in application development for National’s Se- cations and computers. These standards provide engi- rial Digital Video and Interface products. He is the neers well-defined, comprehensive and available solu- creator of National’s popular Transmission Line and tions for reliable data transmission. Added benefits are Serial Digital and Interface RAPIDESIGNER© the inter-operability, stability and longevity afforded sliderules for engineers. designs using these standards and devices. Readily available components build links operating to 400Mbps Background and 300meters on existing coax systems. These provide eye-opening performance while delivering mega-bits @ James received his BSEE in 1970 from Louisiana many meters. Polytechnic Institute. His experience includes the de- sign and construction of broadcast television production facilities, HF/DF antenna systems, RF test equipment, computer and communication systems, electric motors and drive systems, audio equipment and instrumenta- tion, and semiconductors. -
Glossary 319
GLOSSARY 319 GLOSSARY 180-degree rule (or crossing the line): Keeping camera angles on one side of an imaginary line running through the set. Crossing the line can cause confusing discontinuity. 4:4:2 (and 4:4:4): Chroma sampling rates. 4:4:4 means that the color and luminance components of the picture are sampled at the same rate, as is performed in cinematic post-production. With 4:2:2, the two chroma components are sampled at half the rate of the luminance component; this reduces bandwidth by one-third with little or no visible difference. 4K: High-definition formats that can process screen resolu- tions up to 4,096 pixels. Ultra-high definition (UHD) 4K is 3,840 wide, while DCI 4K is 4,096. It has four times as many pixels as current 1080p HDTV. 8K: High-definition format capable of resolutions up to 7,680 pix- els wide. Called Super Hi-Vision in Japan, it has 16 times as many pixels as current 1080p HDTV. Adaptive bit rate streaming: Encoding a single video at multiple bit rates. The process detects the bandwidth and CPU capac- ity of the viewer’s computer in real time and adjusts the bit rate accordingly. After Effects: An Adobe software application for motion graphics and compositing. AFTRA: American Federation of Television and Radio Artists. Alpha compositing: The process of combining an image with a background to create the appearance of partial transparency. An alpha channel is used extensively when combining computer- rendered image elements with live footage. Analog: Standard audio/video recording.