High Def Glossary of Terms
1000/1001
When the NTSC colour television system was being developed, the designers wanted to make it compatible with all of the old black and white systems that were already in people’s homes. To do this, they had to make some compromises. The thing that has probably caused the most problems for our industry over the years is that the field rate was changed by 1/1.001 from 60 to 59.94 per second. This was a small enough change that the older TV’s would still receive the new colour broadcast and allowed for the new colour information to be encoded into the broadcasted signal. This offset gives rise to “niceties” such as drop-frame time code and audio that also has to run at the right rate. Although having analogue origins, it has also been extended into the digital and HD world where 24, 30, and 60 frames/fields per second becomes 23.98, 29.97, and 59.94 to be compatible with existing NTSC formats and workflows.
1080/24P
Refers to an internationally standardized High Definition production format (ITU BT 709) having a digital sampling structure of 1920 (H) x 1080 (V) and operating at 24-frames per second progressively scanned. Often used to loosely describe 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 structure of 1920 (H) x 1080 (V) and operating in interlaced scan mode at 60 fields per second. Often used to loosely describe a system that operates at 59.94i as well.
1280x720
Refers to a high definition digital sampling structure of 1280 horizontally and 720 vertically. All 1280x720 images are progressively 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 as 1.78 units wide to 1.0 units high. This ratio is the most standardized aspect ratio of HDTV and Widescreen SDTV. Also known as 16x9. Also see Aspect Ratio- Picture
1.85
The ratio of the horizontal size of a screen to its vertical size as 1.85 units wide to 1.0 units high. This ratio is the most common screen ratio for motion pictures. Also see Aspect Ratio- Picture
1920x1080
Refers to a digital sampling structure of 1920 horizontally and 1080 vertically. 1920x1080 images can be scanned either interlaced (1080i) or progressively (1080P).
2k
Resolution defined as 2,048 pixels wide by 1,556 high. Also the name of a colour enhancement system made by DaVinci Systems that processes Standard Definition, High Definition, and high resolution images.
22:11:11
Defines high definition video signals, where the luminance (Y) is sampled at 74.25 MHz and the colour difference samples (R-Y,B-Y) channels are each sampled at 37.125 MHz. Note that it has become commonplace to denote HDTV Y,R-Y,B-Y also as 4:2:2. While technically incorrect, it is popularly used in a great deal of published literature.
22:22:22
Denotes a high definition system where all signals (R,G,B) are sampled at 74.25 MHz. Note that it has become commonplace to 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 2.35 units 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 frames so that a simple 3:2 process will produce the standard 59.94 fields per second interlaced video. Also see 1000/1001, 24P
24P
Terminology for 24 full frames per second digital video progressively captured. In most cases it refers to the HD picture format of 1920x1080, though it is also used with 1280x720 images as well. Often used to loosely describe a capture system that operates at 23.976P as well. Also see 1000/1001
24PsF
Term used to describe a 24 (or in common usage 23.98) frame progressive video that divides the video in segments of even and odd lines for transmission and storage (and often display). Though transmitted similarly as an interlaced signal, if treated as a progressive signal, does not cause the same harmful artefacts that interlace scanning causes. Also see PsF Imaging.
29.97P
Terminology for 29.97 full frames per second digital video progressively captured.
30P
Terminology for 30 full frames per second digital video progressively captured. Often used to loosely describe a capture system that operates at 29.97P.
3:2 Pulldown
The process used to convert 24 frame per second film or 24P video into 59.94i video. Technically the 3:2 pulldown process consists of two parts, the “Pulldown”, and the creation of the “3:2” cadence. The pulldown process is the slowing down of the film or video to 23.976 frames per second. The 3:2 cadence is created by taking one frame of the 24 frame source and filling 3 of the 59.94 fields. The next frame of the 24 frame source 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 24 frame per second acquired material to fit into 5 frames of the destination 59.94i video. The term is loosely used to describe the process of converting 23.98P HD video to 59.94i even though there is only a 3:2 cadence added and not a pulldown performed. Also see 1000/1001.
4:1:1
This terminology has come into common usage to describe both high definition and standard definition systems where the ratio between luminance and chrominance samples is 4 to 1 (1 set of colour difference samples (R-Y,B-Y) for every 4 luminance samples (Y)). In its original application in standard definition video signals, it represents a system where the luminance (Y) is sampled at 13.5 MHz and the R-Y,B-Y channels are each sampled at 3.75 MHz.
4:2:2
Defines standard definition video signals, where the luminance (Y) is sampled at 13.5 MHz and the colour difference samples (R-Y,B-Y) channels are each sampled at 6.75 MHz. This terminology has come into common usage to describe both high definition and standard definition systems where the ratio between luminance and chrominance samples is 2 to 1 (i.e. 2 sets of colour difference samples (R-Y,B-Y) for every 4 luminance 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 describe both high definition and standard definition systems where sampling 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 describe an image captured progressively at 48 frames per second and transmitted as a segmented frame. Incorrect usage stems from having each segment of a 24PsF frame arrive at twice the captured 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, Centre, Right, Left-Rear, Right-Rear) and one Low Frequency Effects (LFE) channel.
59.94i
Describes an interlaced video signal where 1/2 of the total lines of the picture are captured and displayed every 1/59.94th of a second. See also Interlaced Imaging, Progressive Imaging and PsF Imaging.
59.94P
Describes a progressive video signal where all lines of the picture are captured and displayed every 1/59.94th of a second. See also Interlaced Imaging, Progressive Imaging and PsF Imaging.
60i
Describes a interlaced video signal where 1/2 of the total lines of the picture are captured and displayed every 1/60th of a second. Often used to loosely describe a capture system that operates at 59.94i. See also Interlaced Imaging, Progressive Imaging and PsF Imaging, 1000/1001.
60P
Describes a progressive video signal where all of the total lines of the picture are captured and displayed every 1/60th of a second. Often used to loosely describe a capture system that operates at 59.94P. See also Interlaced Imaging, Progressive Imaging 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) and operating at 60-frames per second progressively scanned. Often used to loosely describe a capture system that operates at 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. Also the name of a colour enhancement system made by DaVinci Systems that processes standard definition video.
A/D, ADC
Analogue to Digital Conversion.
AAF
The Advanced Authoring Format – Designed as the next generation EDL, AAF is an industry initiative to create a file interchange standard for the easy sharing of media data and metadata among digital production tools and content creation applications, regardless of platform. It includes EBU/SMPTE metadata and management of pluggable effects and codec’s. It allows open connections between equipment where not only video and audio are transferred but also metadata including information on how the content is composed, where it came from, etc. It can fulfil the role of an all-embracing EDL or offer the basis for a media archive that any AAF-enabled system can use.
Acquisition
The gathering of data, whether it be photographic, audio, or for some other purpose.
AES
Audio Engineering Society, a worldwide organization. Also see AES/EBU.
AES/EBU
Colloquial for the two-channel digital audio interface, defined by AES and EBU. Self-clocking transmission of 2 channels with an audio word length of up to 24 bits at a variety of sampling frequencies.
Afterburner
Usually refers to the HD9150 series of products by Evertz .The HD9150 “Afterburner” series down converts HDTV input video to digital and analogue standard definition video with and without burnt in time code/data windows.
Aliasing
Defects or distortion in a television picture due to sampling limitations. Defects are commonly seen as jagged edges on diagonal lines and twinkling or brightening (beating) in picture detail.
Analogue
Describes a continuously variable signal of some sort. Commonly used to describe equipment or methods that do not involve the electronic digitization of a signal into data. Examples are can be found in Audio Recording (Vinyl Records, Cassette tapes), Video Recording (BetacamSP, VHS), and Broadcasting (AM, FM, Conventional TV).
Anamorphic
A term used to denote a difference in magnification along mutually perpendicular meridians. Anamorphic systems are basically image-distorting systems. A wide formatted image will be compressed horizontally creating a “squished” looking picture to fit into a narrow medium (film or video). For proper viewing, the image must be expanded back to its original wide format.
Anti-Aliasing
The smoothing and removing of aliasing effects by filtering and other techniques. Edges on character generators and DVEs contain anti-aliasing facilities.
Arri D-20
Next Generation cinematography camera project by Arri (
Colourist
An individual artist who understands colour and can interface between a production’s need for colour treatment of images and the equipment necessary to accomplish that treatment. Colourists 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 have been combined together. This process results in restricted detail especially with colour components. Most commonly used to describe NTSC or PAL video where the luminance, chrominance, and horizontal and vertical synchronizing information have been combined into one analogue signal.
Component Video
A video signal where luminance and chrominance signals are kept as separate components. This allows signals to retain detail components and eliminates encoding/decoding artefacts commonly found in composite video.
Compositing
The process of layering multiple video clips. Often includes painting, rotoscoping, keying, colour correction, matting, etc as tools to create the multi-layered image.
Compression
The process of reducing the bandwidth or data rate in a video or audio signal. Often used with audio and video to reduce storage and transmission costs. Compression techniques common in digital imaging rely on removing both redundant data and data that is deemed less critical or imperceptible to the viewer. This can be done either within a frame (intra-frame compression) or across multiple frames (inter-frame compression). Compression systems are developed to reduce perceptible losses, however most compression systems in use today will exhibit some level of distortion.
Compression Ratio
The difference between the original amount of data and the amount of data after the bandwidth has been reduced through compression, or the degree to which the data set has been reduced numerically. Usually expressed as a ratio such as 5:1 (5 to 1).
Conform
Cutting together recorded material according to a prepared scheme such as a rough cut or EDL. EDLs can be used to directly control conforming in an online edit suite (auto conforming).
CTL
Short for Control Track. A signal recorded on videotape to facilitate proper head positioning for reading the video signal. Often connected to a counter that will increment on every frame of video.
D-20
See Arri D-20
D-5HD
A High Definition videotape format developed by Panasonic based on the highly successful D-5 platform for standard definition. It uses 1/2" wide tape stock and records 22:11:11 10 bit HD Video. It uses compression that that reduces the data rate approximately 4:1 to 210Mb/s. The tape format supports 1920x1080 at 23.98P,24P,25P,29.97P, 30P, 50i, 59.94i, and 60i and 1280x720 at 59.94P and 60P. The format became the preferred mastering format for telecine transfers when HD was introduced. D-5HD VTR's are now also capable of 525 or 625 line standard definition, a move towards creating HD equipment that responds to a more universal approach where equipment can be used in both the HD and SD environments
D/A, DAC
Digital to Analogue conversion
DA
Distribution Amplifier. Device that takes a signal in and provides multiple outputs of that signal.
DAT
Digital Audio Tape. An audio cassette tape format that typically records 2 channels of 16-bit 48kHz or 44.1kHz digital audio on a 3.8mm wide magnetic tape.
dB
See Decibel
D-Cinema
Digital Cinema. Digital distribution and projection of cinematic material. Advances in digital video technology, digital video projectors, and new methods of duplication and distribution are coming together to offer a new distribution model that doesn’t involve film prints.
Dalsa Origin
Next generation digital cinematography camera by Dalsa (www.dalsa.com) that uses a unique single sensor design to capture motion picture data at up to 4k (4046x2048) resolution. It features an optical viewfinder and can use existing 35mm PL mount lenses
Decibel (dB)
A unit of measurement expressing ratios using logarithmic scales. 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 picture both 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 involve processing, storage, and distribution of a signal as binary data.
Digital Intermediate (DI)
A Digital Intermediate is the result of the process of shooting Highdef, or shooting on film followed by scanning to film quality data files, editing the project in High Definition, and applying the creative process of colour correction and colour treatment to the completed master. This Digital Intermediate then becomes the master for video, DVD or for theatrical output by transferring this data master back to film. The big advantage over the conventional method is in the creative process. Once you have scanned your feature to a data master you have the same creative ability and freedom that is available when mastering a television movie or high end television commercial. Creative decisions on effects like speed ramps, freeze frames, dissolves, dips to colour, wipes, multi layers and re-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 original film now exists in an HD digital format.
Digital Television (DTV)
Refers to transmitting a broadcast signal that consists of digital data. The ATSC has allowed for both standard definition and high definition programs transmitted in a digital form to be considered DTV.
Digital Utility
Crew member as designated by Local 600, IATSE. Additional hire: cable wrangling of cables connected to the camera, under supervision of the DIT, first or second camera assistant or camera utility.
Direct Broadcasting via Satellite (DBS)
Consumers receive programs directly from a satellite source. Typically, a DBS home systems consists of a pizza-sized dish that is locked onto one satellite source, and a “set-top box” that decodes the compressed satellite signal for display on a standard television.
Director’s Friend
A company that manufactures computer-based HDTV interface . Often synonymous with one of their products the “df-cineHD” which provides mobile digital cinema capture, colour correction, and edit suite capabilities.
DIT
A Digital Imaging Technician. A designation of Local 600, IATSE, the cinematographer’s guild. Advanced colouring (controller duties); setup, operation, troubleshooting and maintenance of digital cameras (oversight of camera utilities), waveform monitors, down converters (Highdef to other formats), monitors, cables, digital recording devices, terminal equipment, driver software and other related equipment. Complete understanding of digital audio acquisition and time code process and how they are integrated into digital acquisition format and post production environments. Also responsible for in-camera recording. Supervisory responsibility for technical acceptability of the image.
D-ILAä
Digital Image Light Amplifier. JVC’s proprietary projection display technology which uses a reflective-mode active matrix liquid crystal display to control the light output. D-ILA technology has produced digital projectors with 2k resolutions at high brightness and contrast ratios.
DLPä
Texas Instruments Inc Digital Light Processing technology, the projection and display technology which uses Digital Micromirror Devices (DMD’s) 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 discrete multichannel digital surround sound. AC-3 supports from 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 the production of discrete multichannel digital surround sound and metadata. Dolby E supports up to 8 channels in any combination including 8 Mono, 4 Stereo, and 5.1 plus stereo. Designed as a production format, it is editable on frame boundaries and maintains quality through multiple decode/encode cycles.
Dolby Pro-Logic
More advanced form of Dolby Surround that not only recovers the surround information from the encoded program material, but also adds a centre channel to keep dialogue and centre effects firmly positioned. Provides a wider listening/viewing area and provides better channel separation.
Dolby Surround
First generation home theatre format that recovers surround information from encoded program material and feeds it to a pair of surround speakers placed up on the side walls adjacent to the listening area. Outputs three channels: left, right, and surround (usually split into 2 rear speakers).
Down conversion
The process of converting high resolution video to lower resolution video. Often done to high definition camera reels so that programs can be offlined on inexpensive standard definition editing systems before being conformed in High Definition. Also done to finished HD programs for delivery to non-HD clients.
DP
Director of Photography
DPX
Digital Moving-Picture Exchange. A file format specified by SMPTE that contains information about an image as well as the image itself.
Drop-Frame
Alteration of time code to match the frame rate of NTSC video to a time of day clock. NTSC video actually runs at 29.97 frames per second (30/1.001). To keep the time code on an NTSC videotape synchronous with a time of day clock, it needs to make up 1 in 1001 frames. It does this by changing the count by two frames on nine out of every ten minutes. So the frame following 10:35:59:29 would be numbered as 10:36:00:02. 30 frame HD formats are often run at 29.97 to allow conversion and synchronization to NTSC video. These formats support Drop-Frame time code. Note that there is no drop frame format for native 24-frame video formats. Also see Non-Drop-Frame, Time code.
DV
Refers to a video tape format primarily designed for the consumer market that records a 4:1:1 standard definition signal with a 5:1 compression ratio for a total bitrate of 25Mb/s. DV cassettes come in 2 sizes Standard and Mini. Audio can be either 48khz 16 bit stereo or 32kHz 12 bit 4 channel.
DVCProHD / DVCProHD-EX
A High Definition videotape format developed by Panasonic. It uses 1/4" wide tape stock and records 22:11:11 8 bit HD Video. It uses an extension of the DV compression and recording system to reduce the data rate to 100Mb/s. The tape format supports 1920x1080 at 59.94i, and 60i and 1280x720 at 59.94P and 60P. The Panasonic’s Varicam format uses the 1280x720 DVCProHD format to carry variable frame rate information. DVCProHD-EX is an extension of the DVCProHD format and is able to record and playback up to 126 minutes of HD video on a single cassette
DVD
Digital Versatile Disk, Disk of the size of a CD, but with a storage capacity of up to 17 Gbyte. The single layer one side DVD stores up to 4.7 Gbyte, more then eight time as much as on a CD. It is an ideal media for video and multi channel audio applications. The term DVD has become synonymous with DVD-Video, which holds MPEG-2 compressed video, multichannel audio, subtitles, menus, and other features onto a DVD disk for playback in industry standard players.
DVHS
A digital tape format developed by JVC based on the VHS tape transport. Most commonly used for HD delivery, it supports MPEG2 encoded video at rates up to 25Mb/s. There are currently 3 different types of DVHS tapes. D-Theatre DVHS tapes are recorded with a special copy protection system for wide release of high definition content. Pro-HD DVHS offers the ability to record and playback in a password-protected mode for playback on Pro-HD DVHS equipment, giving content providers the ability to protect their material (this feature is often used for "Digital Dailies"). Pro-HD equipment will also playback D-Theatre and Consumer DVHS tapes. Consumer DVHS offers recording and playback of non-copy-protected and off-the-air material and playback of D-Theatre titles.
Edge crop
A technique of showing just the centre portions of a wider aspect ratio format. The resulting effect of edge cropping is the loss of the outer edges of the picture.
EDL
Edit Decision List. A list that describes with tape names and time code numbers how to assemble a program from the original tapes. Includes time code numbers representing the IN and OUT points, (Beginnings and Ends) of every shot of a 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 Apple’s Final Cut Pro software with High Def and Standard Def editing capability. Final Cut Pro HD features built in support for Panasonic's DVCProHD codec. Native DVCProHD coded material (100Mb/s) can be captured via Firewire (from a Firewire enabled deck), and uncompressed HD I/O is achieved using a number of other hardware manufacturers HD capture cards.
Frame Rate
Used to describe the number of times per second that a complete picture is updated in an imaging system. In a progressive system the frame rate equals the capture rate. In an interlaced system, the frame rate is one half of the capture rate. Also see Capture Rate, Interlace Imaging, Progressive Imaging.
Gamut
A colour gamut is the boundary of a colour space. Colours outside the gamut of a specific colour space are considered "illegal" for that colour space even though they may be well within the gamut of a different colour space. See Colour Space, Legal Gamut, Valid Gamut.
Genesis
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. It uses prefiltering and compression that together reduce the data rate approximately 7:1 to 140Mb/s. The tape format supports 1920x1080 at 23.98P,24P,25P,29.97P, 30P, 50i, 59.94i, and 60i.
HDCAM SR Format
A next generation High Definition videotape format developed by Sony. It uses a 1/2" wide tape stock and can record either 22:22:22 10bit HD video, 22:11:11 10bit HD Video, or a special double speed mode for 2 channels of 22:11:11 10 bit HD Video. It uses a light compression scheme to reduce the data rate 2.7:1 (for 22:11:11) to approximately 440Mb/s.
HDTV
Short for High Definition Television
HDV
A format which uses DV cassette tapes for recording and playback of high-definition video. The HDV format includes 720p (progressive) and 1080i (interlace) specifications. The HDV format specifies the data recording of MPEG2 inter-frame compressed high-definition signals at either 19Mb/s or 25Mb/s.
High Definition
Usually refers to a video format consisting of either 720 active lines of progressive video or 1080 active lines of either progressive or interlaced video.
High Definition Television (HDTV)
A digital television system in which the quality is much better than that of existing NTSC (or PAL) systems.
IEEE
Acronym for the Institute of Electrical and Electronic Engineers. Organization responsible for defining standards and specifications.
IMAX
An entertainment technology company, with particular emphasis on film and digital imaging technologies. IMAX is involved in the design, leasing, marketing, maintenance, and operation of IMAX® theatre systems to film development, production, post-production and distribution of large-format films. Experimentation in HD as an acquisition format for IMAX is ongoing, along with Digital Cinema electronic projection systems.
Interlace imaging
Imaging technique where all the odd lines of a picture are captured in one moment and the even lines are captured in the next moment. When you put two of these “fields” together, you get a “frame” (all of the lines). Notice however that a frame represents two moments in time. If there was movement between the capturing of these two fields, there will be a blurry look if the image is stopped on a frame. This is not a problem when the program is played back at normal speeds because the eye will merge the images into smooth motion. See Progressive Imaging, PsF Imaging, Frame Rate, Capture Rate
IRE
Acronym for Institute of Radio Engineers. The Institute of Radio Engineers was founded in 1912 – the second organization that would eventually merge to found the IEEE in 1963. IRE units are a linear scale for measuring the relative amplitude of the component of a television signal with a zero reference at the blanking level.
ITVA
Independent Television Association. Now known as MCA-I (Media Communications Association- International
iQ
See Quantel iQ and eQ
kHz
Kilohertz or 1,000 Hertz. A measurement of frequency.
Kinetta
Next generation digital cinematography camera project
LAN
Local Area Network
Laser Film Recorder
A machine for printing on photographic film. Three lasers scan across the film area to produce the image.
LCRS
Denotes an audio system that has 4 full range channels (Left, Centre, Right, Surround). This signal is often encoded in Dolby Pro-Logic for distribution
Legal Gamut
Describes a video signal where all colours are within the gamut of the colour space that it currently defined by. See Valid Gamut, Gamut, Colour Space.
Letterbox format
A technique for showing a wider aspect ratio format on narrower aspect ratio screen displayed in its original aspect ratio. The resulting effect of letter boxing in a video system is black bars at the top and bottom of the picture.
LTC
Longitudinal Time Code. Pronounced LIT-see. Timecode information that is encoded on a linear track of a videotape. It is primarily used to allow a time code reference to be read when a videotape moving at play speeds or faster. See Timecode, VITC.
LUT
Look Up Table. Often describing a table that allows the translation from one colour space to another.
MADI
Multichannel Audio Digital Interface, also known as AES-10 standard. Allows interconnection of two devices to transmit up to 56 channels of digital audio (max. word length 24 bits) with a single coaxial cable or via optical link. Standard interface to digital multitrack machines and mixing consoles.
Megabyte
One million bytes. (~1,000,000) bytes. Also see Bit, Byte, Kilobyte, Gigabyte, Terabyte, Petabyte
Memory Stick
A removable digital media card that is used in many applications. Often used to transfer camera setups and scene files between Sony HDW-F900 Camcorders or HDC-F950 Cameras.
Mbps, Mb/s
Megabits per second. A measure of data transfer speed. 1 Mbps represents 1,000,000 bits being transmitted in one second.
MHz
Megahertz or 1,000,000 Hertz. A measurement of frequency.
Non-Drop-Frame
Timecode counting scheme that always counts 30 frames in a second. Because NTSC video operates at 29.97 frames per second, the counting timecode will not match the time of day. Since there is no drop frame format for native 24P, it is not necessary to specify drop or non-drop frame for these formats. Also see Drop-Frame, Timecode.
NTSC
National Television Systems Committee. Also the name for the 525 line, 30 frame per second colour TV standard mainly used in North, Middle and South America and Japan.
Offline Editing
Editing that is done using less expensive standard definition equipment to produce an Edit Decision List (EDL) which will be used later for assembling a high definition program using more expensive High Definition equipment. Offline editing involves shot selection and the defining of basic transitions such as cuts and dissolves which can be carried by EDLs. AAF promises to be an open standard for transporting a much wider range of decisions, including DVE, colour corrections, as well as other metadata, Offline and Online systems
OMF
Open Media Framework. A file type for post production interchange 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 definition equipment to produce a completed high definition master. Using an Edit Decision List (EDL) from an offline edit can save money in online by allowing all the cuts to be assembled in the proper order automatically (conformed) and ready for finishing touches to be added. AAF promises to be an open standard for transporting a much wider range of decisions, including DVE, colour corrections, as well as other metadata, Offline and Online systems for even more time savings.
Origin
See Dalsa Origin
Overcranking
A process based on the film camera technique of recording frames faster than the anticipated playback rate to create “slow-motion”. This process provides unique control of motion images in the camera where motion-blur and other techniques can be incorporated in the process. Panasonic has developed an electronic recording system capable of over/undercrank recording using a process that produces results very much like the film technique. This Panasonic system is known as “VariCam.” Sony has utilized a system where interlaced frames can be interpolated to create progressive frames, creating a look of overcranking.
PAL
Phase Alternation Line. This is the 625 line, 25frame per second colour television system in use today in the United Kingdom and much of Europe.
Pan and Scan
A technique for changing the field of view of a motion picture or down converted HDTV images so that only a portion of the wider image is shown on a narrower standard definition screen. The image is adjusted side to side to adjust framing for the narrower screen.
Panavision Genesis
Next Generation digital cinematography camcorder by Panavision. Features 12.4 Megapixel sensor that is the same size as a 35mm film target allowing for all existing Panavision 35mm lenses. An HDCamSR recorder can be mounted on the top or back of the camera unit for on-board recording.
Petabyte
One quadrillion bytes. (~1,000,000,000,000,000) bytes. Also see Bit, Byte, Kilobyte, Megabyte, Gigabyte, Terabyte
Pixel
A word derived from Picture Elements. This is the smallest unique point of a digital video image. In a Digital Video, a picture is divided up into thousands of pixels, each specified by Luminance, Chrominance, and position information.
Progressive Imaging
All lines (whole frame) are captured at the same instant. Each frame 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 a single moment in time. After the frame is captured, it is then separated (Segmented) into two halves. One half is the odd lines and the other is the even lines. (Now this may sound like 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 same harmful artefacts’ that interlace scanning causes. Often image can be processed with much of the same transmission hardware that was designed for interlace. Processing hardware can also be designed to handle both Interlace and PsF (i.e. Switchable). 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 and resolutions on the same timeline and then to output a completed project at various framerates and resolutions. Includes a picture and audio editing, compositing, colour correction, paint, titling, media management tools, and AAF support.
RAM
Random Access Memory, a temporary memory into which data is stored.
Resolution
How much information defines an image. There are two types of resolution, spatial and temporal. Spatial defines how many pixels are used to make up a single image. Common spatial resolutions for HD are 1920x1080 and 1280x720. Temporal defines how many images per second are displayed. Common temporal resolutions for HD are 24, 25, 30, 50, and 60 frames per second.
RGB
Short for Red, Green, Blue, the colours used to create all colour television and video. Often, the Red, Green and Blue components are only directly present at the image capture stage (in the camera) and on display (on the monitor). At other times they are converted to other forms such as Y, R-Y, B-Y for transportation, storage, and processing. See Y, R-Y, B-Y
ROM
Read Only Memory, a permanent memory from which data can be read. This information can’t be deleted nor altered.
SECAM
System Electronique Couleur Avec Memoire. This is the 625 line, 25frame per second colour television system in use today in France and the Middle East.
Segmented Frame
See PsF Imaging
SMPTE
Society of Motion Picture and Television Engineers, Organization responsible for defining standards and specifications for the motion picture and broadcast industry including: SMPTE Time Code, NTSC, HDTV, etc.
www.smpte.org
Standard Definition (SD)
Usually refers to an NTSC (or PAL) compatible video format consisting of 480 (576 for PAL) active lines of interlaced video.
Standard Definition Television (SDTV)
A digital television system in which the quality is approximately equivalent to that of existing NTSC (or PAL) systems.
SXRD
(Silicon X-tal Reflective Display) Digital display technology introduced by Sony. If offers high pixel resolutions and contrast ratios. Digital Cinema projectors have been announced with brightness of up to 10,000 lumens and 4k (4096x2160) image resolution
Tape to Film Transfer
The process of printing high definition or computer graphics footage to film.
Telecine
Usually refers to a Film to Video device that operates at “real time” (ie at least 24 frames per second). Often used to describe the colour correction/enhancement step in a production workflow. 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 the form of: Hours:Minutes:Seconds:Frames. When used correctly, a specific frame of video can be located on a videotape by using its timecode number. When doing offline editing, proper timecode handling is critical because the timecode is what is used to reference the master tapes in the final assembly process. See LTC, VITC
Title Safe
The area of a screen where it is possible to place a title where there is no chance that it will not be displayed in its entirety. In high definition production it is often combined with what downconversion format is used. For example “4x3 title safe” would mean that all titles are positioned such that when the HD program is downconverted edge-cropped that none of the titles would be cut off.
Undercranking
A process based on the film camera technique of recording frames slower than the anticipated playback rate to create “fast-motion”. This process provides unique control of motion images in the camera where motion-blur and other techniques can be incorporated in the process. Panasonic has developed an electronic recording system capable of over/undercrank recording using a process that produces results very much like the film technique, this Panasonic system is known as “VariCam.” Sony has utilized a system where interlaced frames can be interpolated to create progressive frames, creating a look of undercranking.
Upconversion
The process of converting lower resolution video to higher resolution video.
Valid Gamut
Describes a video signal where all colours are within the gamut of all the different colour spaces that it is expected to be translated into. If a signal contains colours that are within the gamut of its native colour space (is legal), but outside the gamut of a colour space to which it is being converted to (for example a Y, R-Y, B-Y signal being converted to RGB for display on a monitor), the video may be distorted, folded, clipped or passed depending on how the particular device handles that particular out-of-gamut condition. See Legal Gamut, Gamut, Colour Space
VariCam Format
A Panasonic camcorder system that provides electronic over and under-crank recording of high definition video. The system records 720-progressive video at 60-frames per second. Using a system of frame markers in the Timecode User Bits, Varicam can provide variable frame rate recording so that in-camera motion control is possible in an electronic camcorder. Film camera systems have been able to accomplish over/under crank recording for many years, and is a staple of film cinematography.
Venom FlashPack
A dockable solid-state digital recorder for use with the Thompson Viper and LDK-6000mkII Worldcam cameras Each Flashpack can hold up to 10 minutes of 4:4:4 or "Film stream" data or 18 minutes of 4:2:2 HD Data.
Video Controller
Crew member as designated by Local 600, IATSE. Responsible for colour timing including but not limited to; adjusting, balancing, registering and setting timing, matching electronic contrast, brightness, quality and edge definition. Matching of cameras, colour consistency (RGB), exposure (iris), density (master black), electronic colour balance (chroma, hue and saturation), of each camera and its monitor and totally matching camera inputs to the VCU and checking the waveform monitor and the vectorscope. Generally limited to operating within an already functioning, fully operational system. Supervised by the DIT.
Viper Film stream
A camera system developed by Thomson that allows for the capture of RGB 22:22:22 10-bit log data directly from the CCD’s. The Viper also features multiple aspect ratios and frame sizes, a mechanical shutter, and multiple frame rate support. The dual link 22:22:22 10-bit log data is transferred over a dual link HD-SDI without any electronic manipulation within the camera. This allows for external recording and full control of the colouring of the raw data at a later time.
VITC
Vertical Interval Timecode. Pronounced VIT-see. Timecode information that is encoded in the vertical blanking of a video signal. It is primarily used to allow a time code reference to be read when a videotape is slow jog/shuttle or pause mode. See Timecode, LTC
WVHS
An analogue High Definition tape format developed by JVC based on the VHS tape transport. WVHS records/plays a 1035/1080i analogue high definition signal.
Y, R-Y, B-Y
Terminology to describe the luminance (Y) and colour difference signals (R-Y) and (B-Y) of component video. Y is luminance information and the R-Y and B-Y signals together provide the colour information. These signals, derived from the original RGB source, are used in most video systems as a bandwidth reduction technique.
