highdef glossary of terms

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ighDef Glossary of Terms

The HighDef Glossary of Terms

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1000/1001

When the NTSC color television system was being developed,the designers wanted to make it compatible with all of the oldblack and white systems that were already in peoples homes.To do this, they had to make some compromises. The thingthat has probably caused the most problems for our industryover the years is that the field rate was changed by 1/1.001from 60 to 59.94 per second. This was a small enough changethat the older TVs would still receive the new color broadcastand allowed for the new color information to be encoded intothe broadcasted signal. This offset gives rise to niceties suchas drop-frame timecode and audio that also has to run at theright rate. Although having analog origins, it has also beenextended into the digital and HD world where 24, 30, and 60frames/fields per second becomes 23.98, 29.97, and 59.94 tobe compatible with existing NTSC formats and workflows.

1080/24P

Refers to an internationally standardized High Definitionproduction format (ITU BT 709) having a digital sampling

structure of 1920 (H) x 1080 (V) and operating at 24-framesper second progressively scanned. Often used to looselydescribe a system that operates at 23.976P as well.

1080/60i

Refers to a standardized High Definition production format(SMPTE 274M and ITU 709) having a digital sampling structureof 1920 (H) x 1080 (V) and operating in interlaced scan modeat 60 fields per second. Often used to loosely describe a system

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that operates at 59.94i as well.

1280x720

Refers to a high definition digital sampling structure of 1280horizontally and 720 vertically. All 1280x720 images areprogressively scanned (720P).

16x9

The standardized aspect ratio of HDTV and Widescreen SDTV having a width of 16 units and a height of 9 units. Also see

Aspect Ratio- Picture, 1.78

1.78

The ratio of the horizontal size of a screen to its vertical size as1.78 units wide to 1.0 units high. This ratio is the moststandardized aspect ratio of HDTV and Widescreen SDTV. Alsoknown as 16x9. Also see Aspect Ratio- Picture

1.85

The ratio of the horizontal size of a screen to its vertical size as1.85 units wide to 1.0 units high. This ratio is the mostcommon screen ratio for motion pictures. Also see AspectRatio- Picture

1920x1080

Refers to a digital sampling structure of 1920 horizontally and1080 vertically. 1920x1080 images can be scanned eitherinterlaced (1080i) or progressively (1080P).

2k

Resolution defined as 2,048 pixels wide by 1,556 high. Also thename of a color enhancement system made by DaVinciSystems ( www.davsys.com ) that processes Standard Definition,High Definition, and high resolution images. Resolution definedas 2,048 pixels wide by 1,556 high. Also the name of a colorenhancement system made by DaVinci Systems ( www.davsys.com ) that processes Standard Definition, High Definition, andhigh resolution images.

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22:11:11

Defines high definition video signals, where the luminance (Y)is sampled at 74.25 MHz and the color difference samples (R-Y,B-Y) channels are each sampled at 37.125 MHz. Note that ithas become commonplace to denote HDTV Y,R-Y,B-Y also as4:2:2. While technically incorrect, it is popularly used in a greatdeal of published literature.

22:22:22

Denotes a high definition system where all signals (R,G,B) aresampled at 74.25 MHz. Note that it has become commonplaceto denote HDTV RGB also as 4:4:4. While technically incorrect,it is popularly used in a great deal of published literature.

2.35

A highly popular widescreen motion picture film format of 2.35units wide by 1 unit high. Also see Aspect Ratio- Picture

23.98 or 23.976

Refers to a video image rate of 23.976 (truncated to 23.98)frames per second which is deliberately offset from 24 framesso that a simple 3:2 process will produce the standard 59.94fields per second interlaced video. Also see 1000/1001 , 24P.

24P

Terminology for 24 full frames per second digital videoprogressively captured. In most cases it refers to the HDpicture format of 1920x1080, though it is also used with1280x720 images as well. Often used to loosely describe acapture system that operates at 23.976P as well. Also see1000/1001.

24PsF

Term used to describe a 24 (or in common usage 23.98) frameprogressive video that divides the video in segments of evenand odd lines for transmission and storage (and often display).Though transmitted similarly as an interlaced signal, if treatedas a progressive signal, does not cause the same harmfulartifacts that interlace scanning causes. Also see PsF Imaging.



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29.97P

Terminology for 29.97 full frames per second digital videoprogressively captured.

30P

Terminology for 30 full frames per second digital videoprogressively captured. Often used to loosely describe acapture system that operates at 29.97P.

3:2 Pulldow n

The process used to convert 24 frame per second film or 24Pvideo into 59.94i video. The term originates from themechanical action of the pulldown gate in a telecine whichpulled each film frame into the imaging area. Technically the3:2 pulldown process consists of two parts: the slowing of theframe rate by a factor of 1000/1001 from 24.000 fps to 23.976fps and the creation of a "3:2" field cadence. The 3:2 cadenceitself is created by taking one frame of the 24 frame source andfilling 3 of the 59.94 fields. The next frame of the 24 framesource will only fill 2 of the 59.94 fields, the next frame 3 fields,the next frame 2 fields, etc. This sequence causes 4 of the 24frame per second acquired material to fit into 5 frames of thedestination 59.94i video. The term "pulldown" is now commonlyused to describe any combination of a 1000/1001 speedchange and/or 3:2 cadence creation. Also see 1000/1001.

4:1:1

This terminology has come into common usage to describeboth high definition and standard definition systems where theratio between luminance and chrominance samples is 4 to 1 (1set of color difference samples (R-Y,B-Y) for every 4 luminancesamples (Y)). In its original application in standard definition

video signals, it represents a system where the luminance (Y) issampled at 13.5 MHz and the R-Y,B-Y channels are eachsampled at 3.75 MHz.

4:2:2

Defines standard definition video signals, where the luminance(Y) is sampled at 13.5 MHz and the color difference samples (R-

Y,B-Y) channels are each sampled at 6.75 MHz. Thisterminology has come into common usage to describe both



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high definition and standard definition systems where the ratiobetween luminance and chrominance samples is 2 to 1 (i.e. 2sets of color difference samples (R-Y,B-Y) for every 4luminance samples (Y)). Also see 22:11:11

4:4:4

Defines standard definition video signals, where all signals(usually R,G,B but also Y, R-Y,B-Y) are sampled at 13.5 MHz.This terminology has come into common usage to describeboth high definition and standard definition systems wheresampling is done on the RGB components of a video signal.

Also see 22:22:22

48PsF

Term often used incorrectly to describe a 24 frame progressive

segmented frame video. In actual terms, 48PsF would describean image captured progressively at 48 frames per second andtransmitted as a segmented frame. Incorrect usage stemsfrom having each segment of a 24PsF frame arrive at twice thecaptured rate (48 times a second). See PsF Imaging.

4k

Resolution defined as 4,096 pixels wide by 3,112 deep.


5.1

Denotes an audio system that has 5 full range channels (Left,Center, Right, Left-Rear, Right-Rear) and one Low FrequencyEffects (LFE) channel.

59.94i

Describes an interlaced video signal where 1/2 of the total linesof the picture are captured and displayed every 1/59.94 th of asecond. See also Interlaced Imaging, Progressive Imaging andPsF Imaging.

59.94P

Describes a progressive video signal where all lines of the



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picture are captured and displayed every 1/59.94 th of a second.See also Interlaced Imaging, Progressive Imaging and PsFImaging.

60i

Describes a interlaced video signal where 1/2 of the total lines

of the picture are captured and displayed every 1/60th

of asecond. Often used to loosely describe a capture system thatoperates at 59.94i. See also Interlaced Imaging, ProgressiveImaging and PsF Imaging, 1000/1001.

60P

Describes a progressive video signal where all of the total linesof the picture are captured and displayed every 1/60 th of asecond. Often used to loosely describe a capture system that

operates at 59.94P. See also Interlaced Imaging, ProgressiveImaging and PsF Imaging, 1000/1001.

720/60P

Refers to a High Definition production format (SMPTE 296M)having a digital sampling structure of 1280 (H) x 720 (V) andoperating at 60-frames per second progressively scanned.Often used to loosely describe a capture system that operatesat 59.94P as well.

8:8:8

Defines standard definition video signals, where all signals(usually R,G,B but also Y, R-Y,B-Y) are sampled at 27 MHz. Alsothe name of a color enhancement system made by DaVinciSystems ( www.davsys.com ) that processes standard definitionvideo.


A/D, ADC

Analog to Digital Conversion.

AAF

The Advanced Authoring Format Designed as the next

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generation EDL, AAF is an industry initiative to create a fileinterchange standard for the easy sharing of media data andmetadata among digital production tools and content creationapplications, regardless of platform. It includes EBU/SMPTEmetadata and management of pluggable effects and codecs. Itallows open connections between equipment where not onlyvideo and audio are transferred but also metadata includinginformation on how the content is composed, where it camefrom, etc. It can fulfil the role of an all-embracing EDL or offerthe basis for a media archive that any AAF-enabled system canuse.

Acquisition

The gathering of data, whether it be photographic, audio, or forsome other purpose.

AES

Audio Engineering Society, a worldwideorganization. http://www.aes.org/ . Also see AES/EBU.

AES/EBU

Colloquial for the two-channel digital audio interface, definedby AES and EBU. Self-clocking transmission of 2 channels withan audio word length of up to 24 bits at a variety of samplingfrequencies.

Afterburner

Usually refers to the HD9150 series of products by Evertz ( www.evertz.com ). The HD9150 Afterburner series downconvertsHDTV input video to digital and analog standard definitionvideo with and without burnt in timecode/data windows.

Aliasing

Defects or distortion in a television picture due to samplinglimitations. Defects are commonly seen as jagged edges ondiagonal lines and twinkling or brightening (beating) in picturedetail.

Analog

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Describes a continuously variable signal of some sort.Commonly used to describe equipment or methods that do notinvolve the electronic digitization of a signal into data.Examples are can be found in Audio Recording (Vinyl Records,Cassette tapes), Video Recording (BetacamSP, VHS), andBroadcasting (AM, FM, Conventional TV).

Anamorphic

A term used to denote a difference in magnification alongmutually perpendicular meridians. Anamorphic systems arebasically image-distorting systems. A wide formatted image willbe compressed horizontally creating a squished lookingpicture to fit into a narrow medium (film or video). For properviewing, the image must be expanded back to its original wideformat.

Anti-Aliasing

The smoothing and removing of aliasing effects by filtering andother techniques. Edges on character generators and DVEscontain anti-aliasing facilities.

Arri D -20

Next Generation cinematography camera project by Arri (www.arri.com) that is promising high resolution digital motion picturecapture using traditional 35mm lenses.

ASC

American Society of Cinematographers http://www.theasc.com

Aspect Ratio (Picture)

The ratio of screen width to screen height. Can be expressed asWidth by Height (Example: 16x9, 4x3) or as calculated ratio(1.33:1, 1.78:1)

Some common aspect ratios:

1.33 (4x3) Standard Television or Academy Standard1.78 (16x9) HDTV1.85 Academy Flat2.35 Cinemascope

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Aspect Ratio (Pixel)

The ratio of pixel width to pixel height. Standard NTSC (ITU-R 601) digital video has rectangular pixels. Computers and HDTVhave square pixels.

ATSC

Acronym for Advanced Television System Committee. Formedto establish technical standards for advanced televisionsystems, including high definition television. (HDTV) http://www.atsc.org

Avid DS Nitris

A nonlinear production system made by Avid ( www.avid.com )

for conforming and finishing of projects at multiple non-compressed HDTV and SDTV formats. Nitris is part of the AvidDNA (Digital Non-linear Accelerator) line that features custombuilt hardware acceleration and breakout boxes. Includes acomplete range of seamlessly integrated picture and audioediting, compositing, paint, animation, character generationand media management tools. Also available as Avid DS NitrisEditor (without compositing functionality)


Bandwidth

The amount of information that can be transmitted in a givenperiod of time. For video information, a large amount of bandwidth can be generally associated with better quality of the picture. Digital video in particular requires large amounts of

bandwidth. Often, compression techniques are used to reducethe bandwidth needs especially for transmission and storage. Also refers to the spectrum available to each broadcast

station. For digital television conversion, each station isallocated 6 MHz of the broadcast spectrum. In this spectrum,one HDTV signal or up to four multicast standard definitiondigital signals can be broadcast.

BCD

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Binary Coded Decimal. A coding system in which each decimaldigit from 0 to 9 is represented by four binary digits (0 or 1).

Bit

Short for Binary Digit. The smallest piece of binary digital dataand is represented by either a 1 or a 0. Often the number of bits is used to describe the attributes of a pixel are used indigital video as a representation of signal quality (i.e. an 8 bitsignal can have 256 levels from black to white while a 10 bitsignal can have 1024 levels). See Byte, Kilobyte, Megabyte,Gigabyte, Terabyte, Petabyte

BOXX

Short for Boxx Technologies, a manufacturer of high endcomputer systems for the graphics and production

environments. http://www.boxxtech.com

Byte

A byte consists of 8 bits or 10 bits. Also see Bit, Kilobyte,Megabyte, Gigabyte, Terabyte, Petabyte.


Camera Utility

Crew member as designated by Local 600, IATSE. Assists the Video Controller in the setup of the cameras, pulls cablesduring rehearsals and takes, assists the camera operator duringcomplex pedestal moves (does not focus), setup andmaintenance of quad split monitors, cables and all othercamera accessories.

Capture Rate

Used to describe the number of times per second that a pictureis taken or captured in an imaging system. In a progressivesystem the capture rate is equal to the frame rate. In aninterlaced system, the capture rate is double the frame ratebecause at each capture interval, only one field (a half resolution image) is acquired. It takes two fields to make acomplete frame. It is standard practice to refer to the capturerate of an image as well as how it is captured when describingit instead of the frame rate (i.e. 60i (60 captures, 30 frames per

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second), 30P (30 captures, 30 frames per second) and 60P (60captures, 60 frames per second)) Also see Frame Rate,Interlace Imaging, Progressive Imaging.

CCD

Charge Coupled Device. The imaging device used in mostmodern electronic cameras.

CIE

International Commission on Illumination - abbreviated as CIEfrom its French title "Commission Internationale de l'Eclairage"- is an organization devoted to international cooperation andexchange of information on all matters relating to the scienceand art of lighting and color.

CineAlta

Name for a line of products by Sony that are developed for thefilm market.

CineSpeedCAM

High Speed HD camera from BandPro (www.bandpro.com).Can operate at 1536x1024 pixels at up to 1000fps, 1024x768pixels at up to 2000fps, or 768x512 pixels upto 4000fps.

Color Correction / Color Enhancement

The step in the post production process where the images areadjusted to both match subtle differences in shots and tocreate an overall look.

Color Space

Color spaces are mathematical models used to specify, createand visualize color. Different models will represent the samecolor in different ways. As human's, we may define a color byits attributes of brightness, hue and colorfulness. A printingpress defines a color in terms of the reflectance andabsorbance of cyan, magenta, yellow and black inks on thepaper. In computer and video production we define a color interms of the excitations of red, green and blue phosphors onthe CRT faceplate or pickup on a camera's imager. Often invideo, values are converted from the RGB color space to either



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the Y, R-Y, B-Y color space or composite color space fortransmission, processing and storage.

Within each of these broader models are more specific colorspace definitions that specify exact transfer characteristics(Linear, Log, or Gamma), white point, resolution (number of bits), and chromaticity coordinates in relation to standardizedCIE values. Some of these models used in video and filmproduction are SMPTE-C, SMPTE-240M, Rec-601-1, Rec-709,and Cineon. To accurately produce a Rec-709 color space signalon a SMPTE-C monitor, a color space conversion must occur.One way that color space conversions can be done is throughthe use of LUT's (Look Up Tables) in which the value from onecolor space can be translated into another. See Gamut, LegalGamut, Valid Gamut.

Colorist

An individual artist who understands color and can interfacebetween a productions need for color treatment of images andthe equipment necessary to accomplish that treatment.Colorists have traditionally worked with telecine film output,and now also work in tape to tape applications in SD and HD.

Composite Video

A video signal where luminance and chrominance signals havebeen combined together. This process results in restricted

detail especially with color components. Most commonly usedto describe NTSC or PAL video where the luminance,chrominance, and horizontal and vertical synchronizinginformation have been combined into one analog signal.

Component Video

A video signal where luminance and chrominance signals arekept as separate components. This allows signals to retaindetail components and eliminates encoding/decoding artifactscommonly found in composite video.

Compositing

The process of layering multiple video clips. Often includespainting, rotoscoping, keying, color correction, matting, etc astools to create the multi-layered image.

Compression



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The process of reducing the bandwidth or data rate in a videoor audio signal. Often used with audio and video to reducestorage and transmission costs. Compression techniquescommon in digital imaging rely on removing both redundantdata and data that is deemed less critical or imperceptible tothe viewer. This can be done either within a frame (intra-framecompression) or across multiple frames (inter-frame

compression). Compression systems are developed to reduceperceptible losses, however most compression systems in usetoday will exhibit some level of distortion.

Compression Ratio

The difference between the original amount of data and theamount of data after the bandwidth has been reduced throughcompression, or the degree to which the data set has beenreduced numerically. Usually expressed as a ratio such as 5:1(5 to 1).

Conform

Cutting together recorded material according to a preparedscheme such as a rough cut or EDL. EDLs can be used todirectly control conforming in an online edit suite(autoconforming).

CTL

Short for Control Track. A signal recorded on videotape tofacilitate proper head positioning for reading the video signal.Often connected to a counter that will increment on everyframe of video.


D-20

See Arri D-20

D-5HD

A High Definition videotape format developed by Panasonicbased on the highly successful D-5 platform for standarddefinition. It uses 1/2" wide tape stock and records 22:11:1110 bit HD Video. It uses compression that that reduces the data



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rate approximately 4:1 to 210Mb/s. The tape format supports1920x1080 at 23.98P,24P,25P,29.97P, 30P, 50i, 59.94i, and 60iand 1280x720 at 59.94P and 60P. The format became thepreferred mastering format for telecine transfers when HD wasintroduced. D-5HD VTR's are now also capable of 525 or 625line standard definition, a move towards creating HDequipment that responds to a more universal approach whereequipment can be used in both the HD and SD environments

D/ A, DAC

Digital to Analog conversion

DA

Distribution Amplifier. Device that takes a signal in and providesmultiple outputs of that signal.

DAT

Digital Audio Tape. An audio cassette tape format that typicallyrecords 2 channels of 16-bit 48kHz or 44.1kHz digital audio ona 3.8mm wide magnetic tape.

dB

See Decibel

D-Cinema

Digital Cinema. Digital distribution and projection of cinematicmaterial. Advances in digital video technology, digital videoprojectors, and new methods of duplication and distribution arecoming together to offer a new distribution model that doesntinvolve film prints.

Dalsa Origin

Next generation digital cinematography camera by Dalsa (www.dalsa.com) that uses a unique single sensor design to capturemotion picture data at up to 4k (4046x2048) resolution. Itfeatures an optical viewfinder and can use existing 35mm PLmount lenses

Decibel (dB)



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A unit of measurement expressing ratios using logarithmicscales. Usually used as a measurement of audio volume level.

Depth of Field

Depth of field is a term which refers to the areas of a pictureboth in front and behind the main focus point which remain

"sharp" (in focus). Depth of field is affected by the aperture,subject distance, imager or negative size, and focal length.

DI

See Digital Intermediate

Digital

Describes a signal that is represented by discrete units.Commonly used to describe equipment or methods that involveprocessing, storage, and distribution of a signal as binary data.

Digital Intermediate (DI)

A Digital Intermediate is the result of the process of shootingHighdef, or shooting on film followed by scanning to filmquality data files, editing the project in High Definition, andapplying the creative process of color correction and color

treatment to the completed master. This Digital Intermediatethen becomes the master for video, DVD or for theatricaloutput by transferring this data master back to film. The bigadvantage over the conventional method is in the creativeprocess. Once you have scanned your feature to a data masteryou have the same creative ability and freedom that is availablewhen mastering a television movie or high end televisioncommercial. Creative decisions on effects like speed ramps,freeze frames, dissolves, dips to color, wipes, multi layers andre-use of material are all very simple. Most "optical" effects are

part of the automatic conforming process in online editing.Trailers can be cut from actual film footage because the originalfilm now exists in an HD digital format.

Digital Television (DTV)

Refers to transmitting a broadcast signal that consists of digitaldata. The ATSC has allowed for both standard definition andhigh definition programs transmitted in a digital form to beconsidered DTV.



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Digital Utility

Crew member as designated by Local 600, IATSE. Additionalhire: cable wrangling of cables connected to the camera, undersupervision of the DIT, first or second camera assistant orcamera utility.

Direct Broadcasting via Satellite (DBS)

Consumers receive programs directly from a satellite source.Typically, a DBS home systems consists of a pizza-sized dishthat is locked onto one satellite source, and a set-top box that decodes the compressed satellite signal for display on astandard television.

Director s Friend

A company that manufactures computer-based HDTV interface(www.directorsfriend.com ). Often synonymous with one of their products the df-cineHD which provides mobile digitalcinema capture, color correction, and edit suite capabilities.

DIT

A Digital Imaging Technician. A designation of Local 600,IATSE, the cinematographers guild. Advanced coloring(controller duties); setup, operation, troubleshooting andmaintenance of digital cameras (oversight of camera utilities),waveform monitors, downconverters (Highdef to otherformats), monitors, cables, digital recording devices, terminalequipment, driver software and other related equipment.Complete understanding of digital audio acquisition andtimecode process and how they are integrated into digitalacquisition format and post production environments. Alsoresponsible for in-camera recording. Supervisory responsibility

for technical acceptability of the image.

D-ILA

Digital Image Light Amplifier. JVCs proprietary projectiondisplay technology which uses a reflective-mode active matrixliquid crystal display to control the light output. D-ILA technology has produced digital projectors with 2k resolutionsat high brightness and contrast ratios.

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DLP

Texas Instruments Inc ( www.dlp.com ) Digital Light Processingtechnology, the projection and display technology which usesDigital Micromirror Devices (DMDs) to control the light output.DLP technology enables very compact, high brightness, high-resolution digital projectors.

Dolby AC-3

A digital audio compression technique designed for delivery of discreete multichannel digital surround sound. AC-3 supportsfrom 1 to 6 audio channels (5.1 surround) at various bitrates.Designed as a distribution format, it is not directly editable.Chosen as the audio standard for DTV broadcasting.

Dolby E

A digital audio compression technique designed for theproduction of discreete multichannel digital surround sound andmetadata. Dolby E supports up to 8 channels in anycombination including 8 Mono, 4 Stereo, and 5.1 plus stereo.Designed as a production format, it is editable on frameboundaries and maintains quality through multiple decode/encode cycles.

Dolby Pro-Logic

More advanced form of Dolby Surround that not only recoversthe surround information from the encoded program material,but also adds a center channel to keep dialogue and centereffects firmly positioned. Provides a wider listening/viewingarea and provides better channel separation.

Dolby Surround

First generation home theater format that recovers surroundinformation from encoded program material and feeds it to apair of surround speakers placed up on the side walls adjacentto the listening area. Outputs three channels: left, right, andsurround (usually split into 2 rear speakers).

Downconversion

The process of converting high resolution video to lowerresolution video. Often done to high definition camera reels so

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that programs can be offlined on inexpensive standarddefinition editing systems before being conformed in HighDefinition. Also done to finished HD programs for delivery tonon-HD clients.

DP

Director of Photography

DPX

Digital Moving-Picture Exchange. A file format specified bySMPTE that contains information about an image as well as theimage itself.

Drop-Frame

Alteration of timecode to match the framerate of NTSC video toa time of day clock. NTSC video actually runs at 29.97 framesper second (30/1.001). To keep the timecode on an NTSCvideotape synchronous with a time of day clock, it needs tomake up 1 in 1001 frames. It does this by changing the countby two frames on nine out of every ten minutes. So the framefollowing 10:35:59:29 would be numbered as 10:36:00:02. 30frame HD formats are often run at 29.97 to allow conversionand synchronization to NTSC video. These formats supportDrop-Frame timecode. Note that there is no drop frame formatfor native 24-frame video formats. Also see Non-Drop-Frame,Timecode.

DV

Refers to a video tape format primarily designed for theconsumer market that records a 4:1:1 standard definition signalwith a 5:1 compression ratio for a total bitrate of 25Mb/s. DVcassettes come in 2 sizes Standard and Mini. Audio can beeither 48khz 16 bit stereo or 32kHz 12 bit 4 channel.

DVCProHD / DVCProHD-EX

A High Definition videotape format developed by Panasonic. Ituses 1/4" wide tape stock and records 22:11:11 8 bit HD Video.It uses an extension of the DV compression and recordingsystem to reduce the data rate to 100Mb/s. The tape formatsupports 1920x1080 at 59.94i, and 60i and 1280x720 at 59.94Pand 60P. The Panasonics Varicam format uses the 1280x720



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DVCProHD format to carry variable framerate information.DVCProHD-EX is an extension of the DVCProHD format and isable to record and playback upto 126 minutes of HD video on asingle cassette

DVD

Digital Versatile Disk, Disk of the size of a CD, but with astorage capacity of up to 17 Gbyte. The single layer one sideDVD stores up to 4.7 Gbyte, more then eight time as much ason a CD. It is an ideal media for video and multi channel audioapplications. The term DVD has become synonymous with DVD-

Video, which holds MPEG-2 compressed video, multichannelaudio, subtitles, menus, and other features onto a DVD disk forplayback in industry standard players.

DVHS

A digital tape format developed by JVC based on the VHS tapetransport. Most commonly used for HD delivery, it supportsMPEG2 encoded video at rates up to 25Mb/s. There arecurrently 3 different types of DVHS tapes. D-Theater DVHStapes are recorded with a special copy protection system forwide release of high definition content. Pro-HD DVHS offers theability to record and playback in a password-protected modefor playback on Pro-HD DVHS equipment, giving contentproviders the ability to protect their material (this feature is

often used for "Digital Dailies"). Pro-HD equipment will alsoplayback D-Theater and Consumer DVHS tapes. ConsumerDVHS offers recording and playback of non-copy-protected andoff-the-air material and playback of D-Theater titles.


Edge crop

A technique of showing just the center portions of a wideraspect ratio format. The resulting effect of edge cropping is theloss of the outer edges of the picture.

ED L

Edit Decision List. A list that describes with tape names andtimecode numbers how to assemble a program from theoriginal tapes. Includes timecode numbers representing the INand OUT points, (Beginnings and Ends) of every shot of a



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complete program.


Film Scanner

Usually refers to a high resolution Film to Data device that does

not operate at real time (ie at least 24 frames per second). Also see Telecine.

Film Out

Term describing a Tape to Film transfer.

Final Cut Pro HD

Version 4.5 of Apples Final Cut Pro ( www.apple.com/finalcutpro ) software with High Def and Standard Def editingcapability. Final Cut Pro HD features built in support forPanasonic's DVCProHD codec. Native DVCProHD codedmaterial (100Mb/s) can be captured via Firewire (from aFirewire enabled deck), and uncompressed HD I/O is achievedusing a number of other hardware manufacturers HD capturecards.

Frame Rate

Used to describe the number of times per second that acomplete picture is updated in an imaging system. In aprogressive system the frame rate equals the capture rate. Inan interlaced system, the frame rate is one half of the capturerate. Also see Capture Rate, Interlace Imaging, ProgressiveImaging.


Gamut

A color gamut is the boundary of a color space. Colors outsidethe gamut of a specific color space are considered "illegal" forthat color space even though they may be well within thegamut of a different color space. See Color Space, LegalGamut, Valid Gamut.

Genesis

http://www.apple.com/http://www.apple.com/http://www.apple.com/http://www.apple.com/


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see Panavision Genesis

Gigabyte

One Billion Bytes. (~1,000,000,000) bytes. Also see Bit, Byte,Kilobyte, Megabyte, Terabyte, Petabyte


HD

Short for High Definition.

HDCAM Format

A High Definition videotape format developed by Sony. It uses

1/2" wide tape stock and records 22:11:11 8 bit HD Video. Ituses prefiltering and compression that together reduce the datarate approximately 7:1 to 140Mb/s. The tape format supports1920x1080 at 23.98P,24P,25P,29.97P, 30P, 50i, 59.94i, and 60i.

HDCAM SR Format

A next generation High Definition videotape format developedby Sony. It uses a 1/2" wide tape stock and can record either22:22:22 10bit HD video, 22:11:11 10bit HD Video, or a specialdouble speed mode for 2 channels of 22:11:11 10 bit HD Video.It uses a light compression scheme to reduce the data rate2.7:1 (for 22:11:11) to approximately 440Mb/s.

HDTV

Short for High Definition Television

HDV

A format which uses DV cassette tapes for recording andplayback of high-definition video. The HDV format includes720p (progressive) and 1080i (interlace) specifications. TheHDV format specifies the data recording of MPEG2 inter-framecompressed high-definition signals at either 19Mb/s or 25Mb/s.

High Definition

Usually refers to a video format consisting of either 720 active



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lines of progressive video or 1080 active lines of eitherprogressive or interlaced video.

High Definition Television (HDTV)

A digital television system in which the quality is much betterthan that of existing NTSC (or PAL) systems.


IEEE

Acronym for the Institute of Electrical and Electronic Engineers.Organization responsible for defining standards andspecifications. www.ieee.org

IMAX

An entertainment technology company, with particularemphasis on film and digital imaging technologies. IMAX isinvolved in the design, leasing, marketing, maintenance, andoperation of IMAX theatre systems to film development,production, post-production and distribution of large-formatfilms. Experimentation in HD as an acquisition format for IMAXis ongoing, along with Digital Cinema electronic projectionsystems. www.imax.com

Interlace I maging

Imaging technique where all the odd lines of a picture arecaptured in one moment and the even lines are captured in thenext moment. When you put two of these fields together, youget a frame (all of the lines). Notice however that a framerepresents two moments in time. If there was movementbetween the capturing of these two fields, there will be a blurrylook if the image is stopped on a frame. This is not a problem

when the program is played back at normal speeds because theeye will merge the images into smooth motion. See ProgressiveImaging, PsF Imaging, Frame Rate, Capture Rate

IRE

Acronym for Institute of Radio Engineers. The Institute of RadioEngineers was founded in 1912 the second organization thatwould eventually merge to found the IEEE in 1963. IRE units

http://www.ieee.org/http://www.imax.com/http://www.imax.com/http://www.ieee.org/


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are a linear scale for measuring the relative amplitude of thecomponent of a television signal with a zero reference at theblanking level.

ITVA

Independent Television Association. Now known as MCA-I(Media Communications Association- International www.mca-i.org ).

iQ

See Quantel iQ and eQ

kHz

Kilohertz or 1,000 Hertz. A measurement of frequency.

Kinetta

Next generation digital cinematography camera project (www.kinetta.com that is promising a compact HD camera utilizingharddrive cartridge recording, upgradeable sensor section, anda hand-crank attachment.


Kilobyte

One thousand (~1,000) bytes. Also see Bit, Byte, Megabyte,Gigabyte, Terabyte, Petabyte


LAN

Local Area Network

Laser Film Recorder

A machine for printing on photographic film. Three lasers scanacross the film area to produce the image.

LCRS

http://www.mca-i.org/http://www.mca-i.org/http://www.mca-i.org/http://www.mca-i.org/


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Denotes an audio system that has 4 full range channels (Left,Center, Right, Surround). This signal is often encoded in DolbyPro-Logic for distribution

Legal Gamut

Describes a video signal where all colors are within the gamut

of the color space that it currently defined by. See Valid Gamut,Gamut, Color Space.

Letterbox format

A technique for showing a wider aspect ratio format onnarrower aspect ratio screen displayed in its original aspectratio. The resulting effect of letter boxing in a video system isblack bars at the top and bottom of the picture.

LTC

Longitudinal Time Code. Pronounced LIT-see. Timecodeinformation that is encoded on a linear track of a videotape. Itis primarily used to allow a time code reference to be readwhen a videotape moving at play speeds or faster. SeeTimecode, VITC.

LUT

Look Up Table. Often describing a table that allows thetranslation from one color space to another.


MADI

Multichannel Audio Digital Interface, also known as AES-10standard. Allows interconnection of two devices to transmit upto 56 channels of digital audio (max. word length 24 bits) witha single coaxial cable or via optical link. Standard interface todigital multitrack machines and mixing consoles.

Megabyte

One million bytes. (~1,000,000) bytes. Also see Bit, Byte,



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Kilobyte, Gigabyte, Terabyte, Petabyte

Memory Stick

A removable digital media card that is used in manyapplications. Often used to transfer camera setups and scenefiles between Sony HDW-F900 Camcorders or HDC-F950Cameras.

Mbps, Mb/ s

Megabits per second. A measure of data transfer speed. 1Mbps represents 1,000,000 bits being transmitted in onesecond.

M Hz

Megahertz or 1,000,000 Hertz. A measurement of frequency.


Non-Drop-Frame

Timecode counting scheme that always counts 30 frames in asecond. Because NTSC video operates at 29.97 frames persecond, the counting timecode will not match the time of day.

Since there is no drop frame format for native 24P, it is notnecessary to specify drop or non-drop frame for these formats. Also see Drop-Frame, Timecode.

NTSC

National Television Systems Committee. Also the name for the525 line, 30 frame per second color TV standard mainly used inNorth, Middle and South America and Japan.


Offline Editing

Editing that is done using less expensive standard definitionequipment to produce an Edit Decision List (EDL) which will beused later for assembling a high definition program using moreexpensive High Definition equipment. Offline editing involvesshot selection and the defining of basic transitions such as cuts



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and dissolves which can be carried by EDLs. AAF promises tobe an open standard for transporting a much wider range of decisions, including DVE, colour corrections, as well as othermetadata, Offline and Online systems

OMF

Open Media Framework. A file type for post productioninterchange of digital media. It supports video, audio, graphics,animation and effects as well as edit decision information.

Online Editing

Editing that is done using more expensive high definitionequipment to produce a completed high definition master.Using an Edit Decision List (EDL) from an offline edit can savemoney in online by allowing all the cuts to be assembled in the

proper order automatically (conformed) and ready for finishingtouches to be added. AAF promises to be an open standard fortransporting a much wider range of decisions, including DVE,colour corrections, as well as other metadata, Offline andOnline systems for even more time savings.

Origin

See Dalsa Origin

Overcranking

A process based on the film camera technique of recordingframes faster than the anticipated playback rate to create slow-motion. This process provides unique control of motion imagesin the camera where motion-blur and other techniques can beincorporated in the process. Panasonic has developed anelectronic recording system capable of over/undercrank recording using a process that produces results very much likethe film technique. This Panasonic system is known as

VariCam. Sony has utilized a system where interlaced framescan be interpolated to create progressive frames, creating alook of overcranking.


PAL

Phase Alternation Line. This is the 625 line, 25frame per second



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color television system in use today in the United Kingdom andmuch of Europe.

Pan and Scan

A technique for changing the field of view of a motion pictureor down converted HDTV images so that only a portion of thewider image is shown on a narrower standard definition screen.The image is adjusted side to side to adjust framing for thenarrower screen.

Panavision Genesis

Next Generation digital cinematography camcorder byPanavision ( www.panavision.com). Features 12.4 Megapixelsensor that is the same size as a 35mm film target allowing forall existing Panavision 35mm lenses. An HDCamSR recorder can

be mounted on the top or back of the camera unit for on-boardrecording.

Petabyte

One quadrillion bytes. (~1,000,000,000,000,000) bytes. Alsosee Bit, Byte, Kilobyte, Megabyte, Gigabyte, Terabyte

Pixel

A word derived from Picture Elements. This is the smallestunique point of a digital video image. In a Digital Video, apicture is divided up into thousands of pixels, each specified byLuminance, Chrominance, and position information.

Progressive Imaging

All lines (whole frame) are captured at the same instant. Eachframe represents a single moment in time. See Interlace

Imaging , PsF Imaging , Frame Rate, Capture Rate

PsF Imaging

Progressive-Segmented Frame Imaging. All lines (whole frame)are captured at the same instant. Each frame represents asingle moment in time. After the frame is captured, it is thenseparated (Segmented) into two halves. One half is the oddlines and the other is the even lines. (Now this may sound like



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interlace, but each frame represents only one moment in time,not two). Though transmitted similarly as an interlaced signal,if treated as a progressive signal, does not cause the sameharmful artifacts that interlace scanning causes. Often imagecan be processed with much of the same transmissionhardware that was designed for interlace. Processing hardwarecan also be designed to handle both Interlace and PsF (ieSwitchable). See Interlace Imaging , Progressive Imaging


Quantel iQ and eQ

Nonlinear production systems by Quantel ( www.quantel.com ).They feature the ability to combine multiple framerates andresolutions on the same timeline and then to output acompleted project at various framerates and resolutions.

Includes a picture and audio editing, compositing, colorcorrection, paint, titling, media management tools, and AAFsupport.


RAM

Random Access Memory, a temporary memory into which datais stored.

Resolution

How much information defines an image. There are two typesof resolution, spatial and temporal. Spatial defines how manypixels are used to make up a single image. Common spatialresolutions for HD are 1920x1080 and 1280x720. Temporaldefines how many images per second are displayed. Commontemporal resolutions for HD are 24, 25, 30, 50, and 60 frames

per second.

RGB

Short for Red, Green, Blue, the colors used to create all colortelevision and video. Often, the Red, Green and Bluecomponents are only directly present at the image capturestage (in the camera) and on display (on the monitor). At othertimes they are converted to other forms such as Y, R-Y, B-Y fortransportation, storage, and processing. See Y, R-Y, B-Y

http://www.quantel.com/http://www.quantel.com/


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ROM

Read Only Memory, a permanent memory from which data canbe read. This information cant be deleted nor altered.


SECAM

Systeme Electronique Couleur Avec Memoire. This is the 625line, 25frame per second color television system in use today inFrance and the Middle East.

Segmented Frame

See PsF Imaging

SMPTE

Society of Motion Picture and Television Engineers,Organization responsible for defining standards andspecifications for the motion picture and broadcast industryincluding: SMPTE Time Code, NTSC, HDTV, etc. www.smpte.org

Standard Definition (SD)

Usually refers to an NTSC (or PAL) compatible video formatconsisting of 480 (576 for PAL) active lines of interlaced video.

Standard Definition Television (SDTV)

A digital television system in which the quality is approximatelyequivalent to that of existing NTSC (or PAL) systems.

SXRD

(Silicon X-tal Reflective Display) Digital display technologyintroduced by Sony. If offers high pixel resolutions and contrastratios. Digital Cinema projectors have been announced withbrightness of up to 10,000 lumens and 4k (4096x2160) imageresolution


http://www.smpte.org/http://www.smpte.org/


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Tape to Film Transfer

The process of printing high definition or computer graphicsfootage to film.

Telecine

Usually refers to a Film to Video device that operates at realtime (ie at least 24 frames per second). Often used to describethe color correction/enhancement step in a productionworkflow. Also see Film Scanner.

Terabyte

One trillion bytes. (~1,000,000,000,000) bytes. Also see Bit,Byte, Kilobyte, Megabyte, Gigabyte, Petabyte

Timecode (TC)

Standard format for recording time information on videotape.Each frame is given a unique number that is represented in theform of: Hours:Minutes:Seconds:Frames. When used correctly,a specific frame of video can be located on a videotape byusing its timecode number. When doing offline editing, propertimecode handling is critical because the timecode is what isused to reference the master tapes in the final assemblyprocess. See LTC, VITC

Title Safe

The area of a screen where it is possible to place a title wherethere is no chance that it will not be displayed in its entirety. Inhigh definition production it is often combined with whatdownconversion format is used. For example 4x3 title safe would mean that all titles are positioned such that when the HDprogram is downconverted edge-cropped that none of the titles

would be cut off.


Undercranking

A process based on the film camera technique of recordingframes slower than the anticipated playback rate to create fast-motion. This process provides unique control of motion imagesin the camera where motion-blur and other techniques can be



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incorporated in the process. Panasonic has developed anelectronic recording system capable of over/undercrank recording using a process that produces results very much likethe film technique, this Panasonic system is known as

VariCam. Sony has utilized a system where interlaced framescan be interpolated to create progressive frames, creating alook of undercranking.

Upconversion

The process of converting lower resolution video to higherresolution video.


Valid Gam ut

Describes a video signal where all colors are within the gamutof all the different color spaces that it is expected to betranslated into. If a signal contains colors that are within thegamut of its native color space (is legal), but outside the gamutof a color space to which it is being converted to (for example a

Y, R-Y, B-Y signal being converted to RGB for display on amonitor), the video may be distorted, folded, clipped or passeddepending on how the particular device handles that particularout-of-gamut condition. See Legal Gamut, Gamut, Color Space

VariCam Form at

A Panasonic camcorder system that provides electronic overand under-crank recording of high definition video. The systemrecords 720-progressive video at 60-frames per second. Usinga system of frame markers in the Timecode User Bits, Varicamcan provide variable frame rate recording so that in-cameramotion control is possible in an electronic camcorder. Filmcamera systems have been able to accomplish over/undercrank recording for many years, and is a staple of filmcinematography.

Venom FlashPack

A dockable solid-state digital recorder for use with theThompson Viper and LDK-6000mkII Worldcam cameras EachFlashpack can hold up to 10 minutes of 4:4:4 or "Filmstream"data or 18 minutes of 4:2:2 HD Data.



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Video Controller

Crew member as designated by Local 600, IATSE. Responsiblefor color timing including but not limited to; adjusting,balancing, registering and setting timing, matching electroniccontrast, brightness, quality and edge definition. Matching of cameras, color consistency (RGB), exposure (iris), density(master black), electronic color balance (chroma, hue andsaturation), of each camera and its monitor and totallymatching camera inputs to the VCU and checking the waveformmonitor and the vectorscope. Generally limited to operatingwithin an already functioning, fully operational system.Supervised by the DIT.

Viper Filmstream

A camera system developed by Thomson that allows for the

capture of RGB 22:22:22 10-bit log data directly from theCCDs. The Viper also features multiple aspect ratios and framesizes, a mechanical shutter, and multiple frame rate support.The dual link 22:22:22 10-bit log data is transferred over a duallink HD-SDI without any electronic manipulation within thecamera. This allows for external recording and full control of the coloring of the raw data at a later time.

VITC

Vertical Interval Timecode. Pronouced VIT-see. Timecodeinformation that is encoded in the vertical blanking of a videosignal. It is primarily used to allow a time code reference to beread when a videotape is slow jog/shuttle or pause mode. SeeTimecode, LTC

WVHS

An analog High Definition tape format developed by JVC basedon the VHS tape transport. WVHS records/plays a 1035/1080ianalog high definition signal.


Y, R-Y, B-Y

Terminology to describe the luminance (Y) and color differencesignals (R-Y) and (B-Y) of component video. Y is luminanceinformation and the R-Y and B-Y signals together provide the



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color information. These signals, derived from the original RGBsource, are used in most video systems as a bandwidthreduction technique.

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