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A64: Digital disk recorder which can behave like a simultaneous
playback/record VTR. Has a built-in vision mixer.
A66: Digital video disk recorder which can talk to graphics computers.
A & B roll: Two film or video sources played simultaneously,
to be mixed or cut between.
A or B wind: When a roll of 16mm film, perforated along one edge,
is held so that the outside end of the film leaves the roll at the top and
toward the right, winding "A" should have the perforations on
the edge of the film toward the observer, and winding "B" should
have the perforations on the edge away from the observer. In both cases,
the emulsion surface should face inward on the roll.
Action axis: Imaginary line drawn between two subjects or along a
line of motion as an aid in maintaining continuity of screen direction.
Sometimes referred to as the "180 degree rule."
Ad-lib: Unrehearsed, spontaneous performance, or improvising on-camera
activity without preparation.
ADPCM: Adaptive Differential Pulse Code Modulation. A compression
technique which encodes the predictive residual instead of the original
waveform signal so that compression efficiency is improved by a predictive
gain. Rather than transmitting PCM samples directly, the difference between
the estimate of the next sample and the actual sample is transmitted. This
difference is usually small and can thus be encoded in fewer bits than the
sample itself.
Aerial image camera/printer: An optical printer/rostrum camera
hybrid that projects a 35mm "aerial image" via a large condenser
lens, set into an animation table, directly into a rostrum camera. The aerial
image system was one of the fastest ways to produce film opticals
with it's facility to lay title artwork and rotoscoped mattes onto the condenser
lens, much like shooting animation on a conventional rostrum camera.
AFM: See audio frequency modulation.
AGC: See automatic gain control.
Alias WaveFront: Computer modelling and animation package used in
television, film and industrial design.
Aliasing: Undesirable jagged edge on an
object.
Alpha channel: An extra 8-bits of data added to a 24-bit file that
describe the 256 levels of transparency. When compositing images, the alpha
data in the second image describes how to blend the pixels of the second
image with those of the first, resulting in new colour values for each of
the pixels.
Amateur television: Specialised domain of ham radio, transmits standard
TV signals on UHF radio bands.
Ambient sound: Natural background audio representative of a
given recording environment. On-camera dialogue may be thought of as primary
sound, where traffic noise and refrigerator hum would be ambient.
Analogue: A signal represented by a variable voltage.
Anamorphic: An optical system having different
magnifications in the horizontal and vertical dimensions of the image.
Animatic: Character line stretch used by 3D animators as an initial
guide. Also used in commercials or pop promos when Directors want to relay
their ideas to their clients, accomplished by photographing storyboards,
individual drawings or 3D mockups.
Animation: A phenomena relying on our persistence of vision whereby
still progressive images displayed in rapid succession create the illusion
of movement.
Animation camera: See rostrum camera.
Answer print: The first print of a finished film, taken from a cut
negative.
Anti aliasing: The mathematical process and technique to reduce the
effect of aliasing by interpolating pixels of
intermediate colour along displayed edges.
Armature: Skeleton of a stop motion puppet usually machined with
ball and socket joints. Most stop motion puppets
made from latex or clay will have such an armature.
Aperture: See iris.
Arithmetic coding: Perhaps the major drawback to each of the
Huffman encoding techniques is their poor performance when processing texts
where one symbol has a probability of occurrence approaching unity. Although
the entropy associated with such symbols is extremely low, each symbol must
still be encoded as a discrete value. Arithmetic coding removes this restriction
by representing messages as intervals of the real numbers between 0 and
1. Initially, the range of values for coding a text is the entire interval
(0, 1). As encoding proceeds, this range narrows while the number of bits
required to represent it expands. Frequently occurring characters reduce
the range less than characters occurring infrequently, and thus add fewer
bits to the length of an encoded message.
Artificial light: Man-made illumination
such as tungsten bulbs, fluorescent strips, electric torches, car headlights
etc. Has lower colour temperature than natural light, and thus more reddish qualities.
ASA: Exposure Index or speed rating that denotes the film sensitivity,
defined by the American National Standards Institution. Actually defined
only for black-and-white films, but also used in the trade for colour films.
Aspect ratio: Proportion of width to height
of picture. Current standard for television receivers and monitors is four
by three (4:3); 5:3 for HDTV. Typical cinema aspect ratios are 1.85:1 for
UK/USA, 1.75:1 for the rest of Europe and 2.35:1 for anamorphic
widescreen presentations.
Assemble edit: An edit wherein all existing
signals on a tape, if any, are replaced with new signals. (See insert edit).
ATM: Asynchronous Transfer Mode. A switching/transmission technique
where data is transmitted in small, fixed sized cells (5 byte header, 48
byte payload). The cells lend themselves both to the time-division-multiplexing
characteristics of the transmission media, and the packet switching characteristics
desired of data networks. At each switching node, the ATM header identifies
a virtual path or virtual circuit that the cell contains data for, enabling
the switch to forward the cell to the correct next-hop trunk. The virtual
path is set up through the involved switches when two endpoints wish to
communicate. This type of switching can be implemented in hardware, almost
essential when trunk speed range from 45Mb/s to 1Gb/s.
ATV: (Advanced TV) Although sometimes used interchangeably, advanced
and high-definition television (HDTV) are not one and the same. Advanced
television would distribute widescreen television signals with resolution
substantially better than current systems. It requires changes to current
emission regulations, including transmission standards. In addition, ATV
would offer at least two-channel, CD quality audio.
Audio Frequency Modulation: Method
of recording hi-fi audio on videotape along with video signals.
Audio mixer: Device with user-adjustable controls to blend multiple
sound inputs into desired composite output.
Auto assembly: Process of assembling an edited video tape on a computerised
editing system, controlled by an edit decision list (EDL).
Autocue: A brand of video
prompter.
Automatic exposure: Circuitry that monitors light levels and
adjusts the camera's iris accordingly, compensating for changing light conditions.
Automatic gain control: Camcorder
circuitry that adjusts incoming signal levels automatically, alleviating
excessive image brightness and distortion of loud sound.
Available light: Amount of illumination normally present in
a particular environment.
Avid: ndustry standard non linear off line editing system based on
Apple Macintosh computers.
Axial Rave: Picture based non linear online editing system.
B-Y R-Y: The human visual system has much less acuity for spatial
variation of colour than for brightness. Rather than conveying RGB, it is
advantageous to convey luma in one channel, and colour information that
has had luma removed in the two other channels. In an analogue system, the
two colour channels can have less bandwidth, typically one-third that of
luma. In a digital system each of the two colour channels can have considerably
less data rate (or data capacity) than luma.
Green dominates the luma channel: about 59% of the luma signal comprises
green information. Therefore it is sensible, and advantageous for signal-to-noise
reasons, to base the two colour channels on blue and red. The simplest way
to remove luma from each of these is to subtract it to form the difference
between a primary colour and luma. Hence, the basic video colour difference
pair is (B-Y), (R-Y) pronounced "B minus Y, R minus Y".
Back light: Illumination from behind,
creates sense of depth by separating foreground subject from background
area. Applied erroneously, causes severe silhouetting. (See fill
light, key light, three-point
lighting).
Barndoors: Accessory for video lights, two or four folding flaps
that control light distribution.
Betacam: Broadcast quality component
analogue 1/2'"' videotape cassette system. Also improved Betacam SP
and Digital Betacam.
Betamax: More commonly known as Beta, a half-inch videotape format
developed by Sony, eclipsed by the VHS format in home video market popularity.
Bidirectional: Microphone pickup pattern
whereby sound is absorbed equally from two sides only. (See omnidirectional,
unidirectional).
Bi-pack: Two pre-filmed images sandwiched together, both being apparently
100%.
Bi-phase: Electrical pulses from the tachometer of a telecine, used
to update the film footage encoder for each new frame of film being transferred.
BITC: Burnt-in-time-code. Time code numbers recorded from camera
tapes and visually displayed on screen giving a frame-by-frame picture reference.
BITC is used on reference copies of rushes, which in turn will be used for
the off-line edit.
Black box: Generic term for a wide variety of video image manipulation
devices with perceived mysterious or "magical" capabilities, including
proc amps, enhancers, SEGs, and TBCs.
Blanking: Portions of the video signal during which both camera and
receiver complete a scan line (horizontal blanking) or field (vertical blanking),
and retrace to begin the next scan.
Bleeding: Video image imperfection characterised by blurring of colour
borders; colours spill over defined boundaries and "run" into
neighbouring areas.
Blimp: Soundproof cover put around noise generating equipment during
shooting, especially cameras.
Blue screen: Foreground subject is shot
against a plain blue screen, on film or video, so that background images
can be added electronically in post production. Blue is chosen as it is
the least naturally occurring colour in flesh tones. (See Chromakey)
BNC: Bayonet Fitting Connector. Durable cable connector for transfer
of high-frequency composite video in/out signals. Connects with a push and
a twist.
Boom: Extension arm used to suspend a microphone or camera over subject
being recorded.
Booming: Camera move above or below subject with aid of a balanced
boom arm, creating a sense of floating around a scene. Can combine effects
of panning, tilting, and pedding in one fluid movement.
Bump map: A computer graphics term - to apply an image texture that
influences the shading of an object, e.g. giving an appearance of roughness
or texture.
Camera tapes: The master videotapes shot on location. Also called
'rushes'.
Cameo lighting: Foreground subjects illuminated by highly directional
light, appearing before a completely black background.
Cannon: See XLR.
Cardioid: The most common type of unidirectional
microphone; pickup pattern resembles a heart-shaped figure.
CCD: Charged Coupled Device. Light-sensitive
computer chip in video cameras that converts images into electrical flows.
CCIR 601: Internationally recognised digital television specification
for the encoding parameters of 4:2:2 and 4:4:4 signals.
CD-DA: Compact Disc-Digital Audio. Standard music CD format. CD-DA
began CD-ROM when people started storing computer data on a 12cm optical
disc (650Mb). CD-ROM drives are another kind of digital storage media for
computers, peripherals just like hard disks and floppy drives. (Incidentally,
the convention is that when referring to magnetic media, it is spelled disk.
Optical media like CDs, LaserDisc, and all the other formats are spelled
disc).
CD-I: Compact Disc Interactive. It is meant to provide a standard
platform for mass consumer interactive multimedia applications. So it is
more akin to CD-DA, in that it is a full specification for both the data/code
and standalone playback hardware: a CD-I player has a CPU, RAM, ROM, OS,
and audio/video/(MPEG) decoders built into it. Unlike a CD-ROM drive, a
CD-I player is a standalone system that requires no external computer. Portable
players add an LCD screen and speakers/phonejacks. It has limited motion
video and still image compression capabilities. It was announced in 1986,
and was in beta test by Spring 1989.
CD-ROM: Compact Disc Read Only Memory. Physically identical to a
Digital Audio Compact Disc used in a CD player, but the bits recorded on
it are interpreted as computer data instead of music. You need to buy a
CD-ROM Drive and attach it to your computer in order to use CD-ROMs.
CD-R: Compact Disc Recordable. A WORM (Write Once Read Many) disc,
usually gold in colouration, used to transport large volumes of recordable
data (650Mb). Kodak's PhotoCD system is an example of the recordable CD
format.
Cel animation: Traditional hand animation on acetate cels which produces
moving images when shot frame by frame on to film or video.
Cell compression: A compression technique developed by Sun Microsystems,
Inc.
CELP: Code Excited Linear Prediction. Audio encoding method for low-bit
rate codecs.
Challenge: Silicon graphics server computer. Used for heavyweight
rendering or networking.
Character generator: Device which
electronically produces letters, numbers, symbols, and other graphic displays
for on-screen video titling.
Chroma: The colour component in a composite coded signal. From greek
khrõma (colour).
Chromakey: Technique which allows a vision
mixer to substitute a saturated colour (usually blue or green) in a picture
for another picture source. (See Blue Screen).
Chroma format: Defines the number of chrominance blocks in a macroblock.
Chroma simulcast: A type of scalability (which is a subset of
SNR scalability) where the enhancement layer(s) contain only coded refinement
data for the DC coefficients and all the data for the AC coefficients of
the chroma components.
Chrominance: The colour portion of a video signal.
Chrominance component: A matrix, block or single pel representing
one of the two colour difference signals related to the primary colours
in the manner defined in the bitstream. The symbols used for the colour
difference signals are Cr and Cb.
Cinch marks: Short scratches on the surface of a motion picture film,
running parallel to its length; these are caused by improper winding of
the roll, permitting one coil of film to slide against another.
CinemaScope: A system of anamorphic widescreen
presentation with an aspect ratio of 2.35:1, developed by Twentieth Century
Fox in the fifties.
Clapperboard: Identification slate with hinged, striped top that
smacks together for on-camera scene initiation. Originally used to synchronise
movie sound with picture, it is more often being replaced with a digislate device.
Closeup: Tightly framed camera shot in
which subject is viewed at close range, appearing relatively large and dominant
on screen. Extent of view may be designated "medium closeup" or
"extreme closeup". (See medium shot,
long shot).
Critical area: See safe title area.
Colour bars: Standard test signal containing
samples of primary and secondary colours, used as reference in aligning
colour video equipment.
Colour correction: Process to create "looks"
and colour balance the image at the telecine stage or later after an edit
as a "Master grade". The most sophisticated
tools are available at the telecine stage although most graphics and edit
suites have some form of colour correction tools.
Colour temperature: Relative amount of
"white" light's reddish or bluish qualities, measured in degrees
Kelvin.
Component: A matrix, block or single pel from one of the three matrices
(luminance and two chrominance) that make up a picture.
Component video: A video signal in separate
component parts, chrominance and luminance. Unlike composite systems, component
signals retain maximum bandwidth, therefore reducing loss in quality.
Composite video: A video signal in which
both chrominance and luminance information are combined, using one of the
television coding standards PAL, SECAM, NTSC.
Composition: Visual makeup of a picture, including such variables
as balance, framing, field of view, texture -all aesthetic considerations.
Combined qualities form an image that's pleasing to view, and effectively
communicates.
Compression: Reducing the digital data in a video frame, typically
from nearly one megabyte to 50 kilobytes or less, by throwing away information
the eye cannot see. Compression makes it possible to store reasonably large
amounts of video on a hard disk. JPEG, Motion-JPEG, MPEG, DVI, Indeo, Fractals
and Wavelets are all compression schemes.
Condenser: Microphone with built-in amplifier,
the type installed on camcorders. Also called capacitor or electret condenser,
requires battery or external power source.
Continuity: (1) Logical succession of recorded or edited events,
necessitating consistent placement of props, positioning of characters,
and progression of time. (2) Consistency in camera to subject relationships,
to avoid confusing a viewer's perspective.
Contrast: (1) The general term for describing the tone separation
in a print in relation to a given difference in the light and shade of the
negative or subject from which it was made. Thus, "contrast" is
the general term for the property called "gamma" (Y), which is
measured by making an H & D curve for the process under study. (2) The
range of tones in a photographic negative or positive expressed as the ratio
of the extreme opacities or transparencies or as the difference between
the extreme densities This range is more properly described as "scale"
or "latitude" (3) The ability of a photographic material, developer,
or process as a whole to differentiate among small graduations in the tones
of the subject.
Control track: Electronic sprocket holes recorded on video tape to
guide the heads and control tape transport during playback.
Cookie: See cucalorous.
CPU: Central processing unit. The computer's "brain".
Crab: Shifting a camera or microphone sideways.
Crawl: Text or graphics that move
across screen horizontally, typically produced with a character
generator. (See also roll).
CRC: Cyclic Redundancy Code, Cyclical Redundancy Check.
Cross fade: Simultaneous fade in of one audio source or lighting
effect as another fades out; may overlap temporarily. Transition analogous
to video dissolve.
Cucalorous: Lighting accessory consisting
of random pattern of cutouts that forms shadows when light passes through
it. Used to imitate shadows of natural lighting. Also known as a cookie.
Cue: (1) Signal to begin, end, or otherwise influence on-camera activity
while recording. (2) Presetting specific starting points of audio or video
material so it's available for immediate and precise playback when required.
Cut: (1) Instantaneous change from one shot to another. (2) Director's
command to immediately terminate on camera action and recording.
Cutaway shot: Other than principal action
(but peripherally related), frequently used as transitional footage or to
avoid a jump cut.
Cuts only editing: Editing limited to immediate shifts from one scene
to another, without smoother image transition capabilities such as dissolving
or wiping.
Cyclorama: A curtain, back cloth or wall around the inside of a studio.
D1: Component digital videotape cassette
system. A 4:2:2 digital recording standard, it uses 19mm cassettes. Best
quality tape format available with no generation loss on multi-layering
work. (See Component).
D2: Composite digital videotape system, sampling and storing coded
signals, it uses 19mm cassettes similar to D1. Superior quality to 1'"'
and Betacam, with fast performance. (See Composite).
DA: Distribution Amplifier.
Dailies: The first positive prints made by the laboratory from the
negative photographed on the previous day.
DAT: Digital Audio Tape cassette format.
Data: The information stored, manipulated and transmitted in the
digital realm as binary digits.
Da Vinci: Telecine suite control system, providing both primary and
secondary colour correction for film and tape-to-tape grading. Now
known as DUI (da Vinci user interface).
DCP: (see Master grade).
Decibel (Db): Measure of audio signal strength based on a logarithmic
scale. Also the unit of measure for sound pressure level (loudness).
Delta: Powerful character generator.
Depth of field: Area in which all objects, located at different distances
from the camera, appear in focus. Varies with subject-to-camera distance,
focal length of camera lens, and camera's aperture setting.
Desktop video: Fusion of personal computers
and home video components for elaborate videomaking capabilities rivalling
those of well-financed broadcast facilities.
Diffused light: Illuminates relatively
large area indistinctly; often created with floodlights, producing soft
shadows. (See directional light).
Diffuser: Gauze or translucent material that alters the quality of
light passing through it to produce less intense, flatter lighting with
weaker, less noticeable shadows.
Diffusion filter: Mounted on the front of camera lens, or interrupting
telecine's light path, giving images a foggy, fuzzy, dreamy look.
Digislate: Electronic slateboard device
that displays timecode when activated and is used for sync sound purposes.
Digital: Electronic signal in the form of numeric representation
of pictures or audio, ie ones and zeros.
Digital audio: Sound that has been converted to digital information.
Digital Betacam: Popular Component 10
bit DVTR using 2:1 compression.
Digital compositing: Separate elements scanned and manipulated within
a computer environment as opposed to traditional film opticals using optical printers or aerial
image cameras.
Digitisation: The process of converting a continuous analogue video
or audio signal to digital data (ones and zeros) for computer storage.
Directional light: Illuminates relatively
small area with distinct light beam, usually created with a spotlight, yielding
harsh defined shadows. (See diffused light).
Discreet Logic: Canadian graphics software
company, producing world leading effects and editing packages such as Flame, Flint, Inferno and Fire.
Dissolve: Transitional effect where one
picture slowly fades out as the second fades in. The process which allows
one shot to melt into another.
Distribution amplifier: Divides single
video or audio signals, while boosting their strength, for delivery to multiple
audio/video acceptors. Allows simultaneous recording from same source, especially
useful for tape duplication.
Dolly: Camera support mounted on wheels enabling smooth movement
in any direction.
Dollying: Camera movement toward or away from a subject. Effect may
appear same as zooming, which reduces and magnifies the image, but dollying
in or out maintains perspective while changing picture size.
Dope sheet: Breakdown of instructions for shooting scenes or log
of shot material.
Drop out: Momentary loss of signal on
a video tape, showing up as randomly occurring white spots on the picture,
a result of minute bare spots on a tape's magnetic particle coating, or
tape debris covering particles and blocking signals.
DTV: Desktop Video.
Dub: (1) Process or result of duplicating a videotape in its entirety.
(2) Editing technique whereby new audio or video replaces portion(s) of
existing recording.
DUI: Da Vinci User Interface. State of
the art Telecine suite controller and digital colour corrector.
Dupe neg: Duplicate Negative. Safety copy of a master film negative,
used for producing prints to avoid putting the master negative at risk.
DVE: Digital Video Effects. Devices such
as ADO, A53, MAX Effects and Kaleidoscope, for picture manipulation.
DVTR: Digital Video Tape Recorder. Multiple generations or passes
on DVTR's (see D1/D2) do not suffer from tape noise degradation associated
with analogue tape formats.
Dynamic: Microphone type, also called moving coil. Works much like
a loudspeaker in reverse, employing a simple magnet and wire coil to convert
sound waves into an electrical signal.
8mm: Compact videocassette format,
popularised by camcorders, employing 8mm wide videotape. See Hi8,
Exabyte.
E to E: Electronics to electronics. A machine's input signal is displayed
when in E to E mode.
Edge numbers: Numbers printed along one edge of a motion picture
film outside the perforations to designate the footage.
Edit: The assembling of a commercial, music video etc, by transposing
or combining separate recorded sequences, either physically by cutting film
or electronically by selective copying from videotape.
Edit Box: Quantel's digital editing and
compositing system, with 3 active layers, Paintbox, MAX effects and 16 audio
tracks.
Edit control protocol: Types of signals designed to communicate between
computers and tape decks. (record, pause, rewind etc.)
Edited master: See master.
EDL: Edit Decision List. Computer file
containing edit points of an off-line editing session to be used in an on-line
editing session.
EDTV: Extended (or Enhanced) Definition Television. A television
system that offers substantially improved picture quality over conventional
525-line or 625-line receivers by employing techniques at the transmitter
and at the receiver that are transparent to (and cause no visible quality
degradation to) existing 525-line or 625-line receivers. One example of
EDTV is the improved separation of luminance and colour components by pre-combing
the signals prior to transmission.
EFP: Electronic Field Production. Film-style production approach
using a single camera to record on location. Typically shot for post-production
application, non-live feed.
Effects animation: Hand drawn effects such as lightning bolts, pixie
dust and shadows usually done as cel animation.
Eight perf: (Also VistaVision
and Lazy Eight) 35mm film format used for effects work. The film passes
through the camera horizontally in similar fashion to a stills camera resulting
in a high quality format providing twice as much negative area at a higher
resolution than conventional 35mm.
Electret condenser: Microphone type incorporating a precharged element,
eliminating need for bulky power sources. (See condenser
).
Emulsion: The light sensitive silver halide layer(s) that coat the
film's surface. Colour film stocks have three such layers, each sensitive
to Red, Green and Blue light, and are applied to a cellulose acetate or
polyester base.
Encoder: A circuit that combines the primary red, green and blue
signals into a composite video signal.
ENG: Electronic News Gathering. Use of portable video cameras, lighting
and sound equipment to record news events in the field quickly, conveniently
and efficiently.
Enhancer: See image enhancer.
Entropy: A measure of the efficiency of a system, such as a code
or language, in transmitting information. It is the measure of the amount
of energy no longer available for use. The 2nd Law of Thermodynamics states
the total amount of entropy in the universe is always increasing.
EPS: Encapsulated postscript. Standard file format for DTP/design.
Equalisation: Emphasising specific audio or video frequencies and
eliminating others as signal control measure, usually to produce particular
sonic qualities. Achieved with an equaliser.
ESPRIT: European Strategic Programme for Research and Development
in Information Technology.
Essential area: See safe title area.
Establishing shot: Opening picture of a program or scene. Usually
a wide or distant perspective, orientates viewer to overall setting and
surroundings.
Exabyte: 8mm cassette based data archive
format.
Extra: Accessory talent not essential to a production, assuming some
peripheral on-camera role. In movie work, performers with fewer than five
lines are called "under fives".
4:2:2: Original digital picture
standard.
4:4:4: The best digital picture standard, with double the colour
resolution of 4:2:2, providing sharper images and better Chroma Keying.
525: This is the standard of line resolution, specifying the number
of horizontal lines that makes up the TV picture. 625 being the U.K standard
and 525 being the American.
f-number: A symbol that expresses the relative aperture of a lens.
For example, a lens having a relative aperture of 4.5 would be marked: f/4.5.
f-stop: Theoretical calibration of lens
aperture. The higher the number, the less light enters.
Fade: A controlled gradual reduction or increase of a visual image/audio
signal.
Feed: Act or result of transmitting a video signal from one point
to another.
Feedback: (1: video) Infinite loop of visual patterns from signal
output being fed back as input; achieved by aiming live camera at receiving
monitor. [2: audio] Echo effect at low levels, howl or piercing squeal at
extremes, from audio signal being fed back to itself; achieved by aiming
live microphone at receiving speaker.
Field: Half a scanning cycle. Two fields comprise a complete video
frame.
Field of view: Extent of a shot that is visible through a particular
lens; its vista.
Fill light: Supplementary illumination,
usually from a floodlight positioned midway between camera and subject,
which lightens or eliminates shadows created by key light. (See back light, key light, three-point lighting).
Film opticals: See opticals.
Film style: Out of sequence shooting approach, to be edited in appropriate
order at post-production stage. Advantageous for concentrating on and completing
recording at one location at a time, continuity and convenience assured.
Filter: (1) Transparent material, typically a glass accessory, mounted
at front of camera lens to regulate light passing through, manipulating
colours and image patterns, often for special effect purposes. (2) Software
that applies a special effect to an image.
Fire: An open platform editing tool from
Discreet Logic, the authors of Flame.
Powerful software that runs on an Onyx2 Silicon Graphics main frame computer,
FIRE has a vast toolset of features aimed squarely at high end finishing
of commercials and music video.
Flair: Sophisticated motion control automation system.
Flame: Awesomely powerful special effects
software package from Discreet Logic that operates
on the Silicon Graphics Onyx Computer. Flame offers up to 2K resolution.
Flare: Bright flashes and/or extreme contrast reduction evident in
picture, caused by excessive light beaming into a camera lens and reflecting
off it's internal glass elements.
Flash FX: DVE part of Flash Harry, which supersedes the traditional
Encore, with vastly improved picture quality and faster operation.
Flash Harry: Quantel's digital editing,
animating and compositing system, which processes four times faster than
the original "classic" Harry. The system comprises latest VE Paintbox,
Flash Harry and Flash FX. The classic Harry is acknowledged to be the inspiration
behind the development of similar digital compositing and painting systems
for the high resolution film world.
Flat lighting: Illumination characterised by even, diffused light
without shadows, highlights, or contrast. May impede viewer's sense of depth,
dimension, drama.
Flint: Flint by Discreet
Logic comes with the same familiar user interface as it's stable mate
Flame. With the whole feature set of Flame including painting, compositing,
tracking and warping. All pictures setups and effects can be transferred
directly between Flint and Flame.
Floodlight: Radiates a diffused, scattered blanket of light with
soft, indistinct shadows. Best used to spread illumination on broad areas,
whereas spotlights focus on individual subjects.
Floptical disk: Optical disc that looks like a 3 1/2 inch floppy
but stores 14 times as much (20 MGBytes), found on Silicon Graphics computers.
Fluid head tripod: Mount type containing
viscous fluid which lubricates moving parts and dampens friction. Design
facilitates smooth camera moves, alleviates jerkiness. (See friction
head).
Focal length: Distance from a camera's lens to a focused image with
the lens focused on infinity. Short focal lengths offer a broad field of
view (wide-angle); long focal lengths offer a narrow field of view (telephoto).
Zoom lenses have a variable focal length. The distance from the centre of
the lens (the nodal point) to the focal plane, the CCD image sensor (in
video cameras), or the photographic plate.
Follow focus: Controlling lens focus so that an image maintains sharpness
and clarity despite camera and/or subject movement.
Font: Also spelt fount, a style of lettering used in character generators.
Forced perspective: The creation of realistic depth of field in a
limited space by clever or combined use of set design, miniatures and props
placement. The placing of smaller objects behind larger foreground objects.
Format: Videotape and video equipment design differences, physical
and technical, dictating compatibility and quality. In the most basic sense,
refers to standardised tape widths and videocassette sizes. (See Betacam, D1, U-Matic, VHS).
FPS: Frames Per Second. The rate at which a movie camera exposes
film. A rate of 24 fps is the accepted rate for motion picture work, 25
fps for television.
Frame: Single television frame or film
image. In European television 25 frames per second are scanned to give an
illusion of continuous movement. Each frame is composed of 2 fields.
Framestore: Common term applied to solid state storage devices. Technically
the term implies storage of one complete video frame, but the term is also
used more generically to describe storage of any amount of video from a
few lines to many frames.
Framing: Act of composing a shot in the camera viewfinder for desired
content, angle, and field of view. Overall composition.
Freeze frame: Single frame paused and displayed for an extended period
during video playback; suspended motion perceived as still snapshot.
Frequency: Number of vibrations produced by a signal or sound, usually
expressed as cycles per second, or hertz (Hz).
Frequency response: Measure of the range of frequencies a medium
can respond to and reproduce. Good video response maintains picture detail;
good audio response accommodates the broadest range, most exacting sound.
Friction head tripod: mount
type with strong spring that counterbalances camera weight, relying on friction
to hold its position. More appropriate for still photography than movement-oriented
videomaking. (See fluid head).
Front projection: An in-camera effects
technique for the projection of background plates onto a highly reflective
screen placed at the back of a set. The plate is projected along the same
optical path as the taking camera with the aid of a beam splitter. (See
also rear projection).
Full-motion video: A standard for video playback on a computer; refers
to smooth-flowing, full colour video, similar to a video recording or television.
Also known as full- screen, full colour or true-colour video.
FX: See special effects.
Gaffer: Production crew technician responsible for placement and
rigging of all lighting instruments.
Gain: Video amplification, signal strength. "Riding gain"
means varying controls to achieve desired contrast levels.
Garbage matte: Simple rough matte used to remove unwanted parts of
a scene.
Gate: Part of a film camera, projector or Telecine where the film
is held steady during exposure.
Gel: Coloured filter placed in front of a light source to alter its
hue. Useful for correcting mismatches in lighting, as in scenes lit by both
daylight and artificial light.
Generation loss: Degradation in picture and sound quality resulting
from duplication of original master video recording. Copying a copy and
all successive duplication compounds generation loss.
Generations: The number of times a video clip is copied or processed.
In analogue systems, extensive efforts are made to keep generations to a
minimum, as each copy adds noise. Digital systems exhibit no generation
loss.
Genlock: (generator locking device) A system whereby the internal
sync generator in a device, such as a camera, locks on to and synchronises
itself with an incoming signal.
Ghosting: Undesirable faint double screen
image caused by signal reflection or improperly balanced video circuitry.
"Ringing" appears as repeated image edges.
Glass painting: An in-camera compositing technique where an artist
will paint parts of a scene on a sheet of glass positioned in front of the
camera.
Glitch: Transient interruption to a signal or data.
Go motion: A variation on the stop frame animation process developed
by animators at ILM whereby motors are used to move an animated puppet during
photography to create realistic motion blur.
Grading: The process of adjusting picture colour from scene to scene,
either from film or tape. See colour correction.
Grain: Blanketed signal noise viewed as fuzziness, unsmooth images
attributable to luminance inadequacies.
Green screen: Green colour used for compositing where blue may cause
a problem. See blue screen.
Grip: Production crew stagehand responsible for handling equipment,
props, and scenery before, during, and after production.
HDTV: High Definition Television. Extra lines and bandwidth with
two standards 1250 lines at 50 fields per second or 1125 lines at 60 fields
per second. This television system standard affords greater resolution for
sharper pictures and wide-screen viewing via specially-designed TV equipment.
Hard disks: Common digital storage component in a computer. For video
use, hard disks need: 1) an access time of less than 10 milliseconds; 2)
a sustained throughput (data transfer rate) of 3 Megabytes per second; and
3) a maximum time for housekeeping of 33 milliseconds (one video frame).
Haze (UV) filter: See Skylight (1A).
Harry: See Flash Harry.
Henry: An on-line, random access, non-linear,
digital editing and effects suite from British based manufacturer Quantel.
Henry V6 features more than 100 different imaging tools and can work on
6 totally editable yet uncommitted layers independently.
Head: (1) Electromagnetic components within VTRs that record, receive,
and erase video and audio signals on magnetic tape. (2) Tripod's camera
mount.
Hi8: (High-band 8mm) Improved version
of 8mm videotape format characterised by higher luminance resolution for
a sharper picture. Compact "conceptual equivalent" of Super-VHS.
See 8mm.
Hi-fi: High Fidelity. Generalised term defining audio quality approaching
the limits of human hearing, pertinent to high-quality sound reproduction
systems.
Hiss: Primary background signal interference in audio recording,
result of circuit noise from a playback recorder's amplifiers or from a
tape's residual magnetism.
HMI: Halogen Metallide Iodide lighting, very efficient and powerful.
Used in studios and location shoots.
Horizontal resolution: Specification
denoting amount of discernible detail across a screen's width. Measured
in lines, the higher the number the better the picture quality. (See resolution.).
Hue: Colour tone of a picture.
Image enhancer: Video signal processor
that compensates for picture detail losses and distortion occurring in recording
and playback. Exaggerates transitions between light and dark areas by enhancing
high frequency region of video spectrum.
Image processing: The digital manipulation of images inside a computer.
Image sensor: See pickup.
In-camera editing: Assembling finished program "on the fly"
as you videotape simply by activating and pausing a camcorder's record function.
Reduces or eliminates post-production work, but allows less control over
finished program and usually imposes quality concessions.
Incident light: That which emanates directly
from a light source, measured from the object it strikes to the source.
(See reflected light).
Indexing: Ability of some VCRs to electronically mark specific points
on videotape for future access, either during the recording process (VISS:
VHS index search system) or as scenes are played back (VASS: VHS address
search system).
Inferno: Awesomely powerful special effects
software package from Discreet Logic that operates
on the Silicon Graphics Onyx Computer. Inferno offers up to 4K resolution
while it's stable mate Flame only goes up to 2K.
Insert: Editing where material replaces a section within the existing
recording.
Insert edit: Recording video and/or audio
segments within existing footage without disturbing what precedes and follows.
Must replace recording of same length. (See assemble
edit).
Interlaced video: Process of scanning
frames in two passes, each drawing every other line on the screen, with
scan lines alternately displayed in even and odd fields. PAL and NTSC are
interlaced; most computers produce a non interlaced
video signal.
Interpositive: A low contrast intermediate print struck from the
original negative used in film opticals.
Iris: A camera's diaphragm lens opening
or aperture, regulating the amount of light entering the camera. Measured
in f-stops.
Jack: Any female socket or receptacle accepting plug for circuit
connection.
Jam sync: Process of synchronising a secondary time code generator
with a selected master time code, i.e. synchronising the smart slate and
the audio time code to the same clock.
Jaz drive: Type of removable computer hard disk. Popular for moving
graphics files.
Jib: Arm of camera crane. Vertical movement of a camera.
Jitter: Video image aberration seen as slight, fast vertical or horizontal
shifting of a picture or portion of one.
Jump cut: Unnatural, abrupt switch between shots identical in subject
but slightly different in screen location. Awkward progression makes subject
appear to jump from one screen location to another. Remedied with cutaway.
K Spool: Type of 1" tape spool holding enough tape to record
short programmes, commercials, pop promo's etc.
Kadenza: Digital picture processing system featuring both digital
vision mixer and Kaleidoscope functions on a single integrated system.
Kaleidoscope: Digital effects system manufactured by Grass Valley.
One of the most advanced DVE's available currently. Kurl software gives
effects such as sphere, ripples, warp, page turns etc.
Kelvin: Temperature scale used to define the colour of a light source;
abbreviated as "K" (See colour temperature).
Key: Effect that allows a picture to be
superimposed over a background.
Key frame: A particular frame in an animation sequence, or DVE move,
that is used as a reference point for subsequent action/movements.
Key light: Primary illumination lamp for
the subject in a studio shoot normally positioned slightly off centre and
angled to provide shadow detail. (See back light,
fill light, three-point
lighting).
Key stoning: Perspective distortion from a flat object being shot
by a camera at other than a perpendicular angle. Nearer portion of object
appears larger than farther part.
Keykode numbers reader: Device attached to a telecine or part of
a bench logger which reads Keykode numbers bar code from motion picture
film and provides electronic output to a decoder.
Klone: Motion picture film scanner manufactured by Rank Cintel capable
of extremely high resolution imaging for film effects work.
Lavaliere: Small, easily concealed, unobtrusive, and aesthetically
pleasing microphone, typically attached to clothing or worn around the neck
for interview settings.
Layback: Transferring the finished audio track back to the master
video tape.
Lazy eight: See eight perf.
Linear editing: Analogue, tape-based editing.
Called linear because scenes are laid in a line along the tape. Has many
disadvantages, such as the need to rewind and fast forward and the inability
to insert footage without re-recording everything that follows. Compare
with nonlinear editing.
Lip sync: Proper synchronisation of video
with audio. Lip movement with audible speech. Better known as technique
widely practised with music video recordings, whereby "vocalists"
mime to playback of prerecorded music. (See synchronous
sound).
Long shot: Camera view of a subject or
scene, usually from a distance, showing a broad perspective. (See closeup, medium shot).
Low band: Standard U-Matic, not BVU or High Band.
LTC: Longitudinal Time Code. Time code recorded on one of the audio
channels of video tape. Requires tape movement to read.
Luminance: The black and white information
of a video signal; frequently abbreviated as "Y."
Lux: Amount of lumens in a square meter. Means of measuring low-light
sensitivity; minimum amount of light required to record an acceptable image.
The lower the lux reading the greater the sensitivity.
M&E: Music and Effects. A soundtrack containing just music
and/or sound effects without any speech or dialogue.
Macro: Lens capable of extreme closeup focusing, useful for intimate
views of small subjects.
Master: First generation recording. Also
master edit, an original copy of tape in its edited form, often abbreviated
to ME.
Master shot: In single camera shooting, a continuous shot of the
whole scene.
Mastergrade: Grading of tapes in Telecine,
not film. See colour correction.
Matched dissolve: Dissolve from one image to another that's similar
in appearance or shot size. (See dissolve).
Matrix: Switching apparatus which enables signals to be routed to
different destinations.
Matte: An area blanked off within a frame in order to include additional
material, or remove unwanted material.
Max Effects: Edit Box effects software. 3 channels with a background
channel used for warping, bending of pictures, also page turns used on a
grid system.
ME: Master Edit.
Medium shot: Defines any camera perspective
between long shot and closeup, whereby subjects are viewed from medium distance.
(See closeup, long shot).
Mic: ("Mike") Short for microphone.
MIDI: (Musical Instrument Digital Interface) System of communication
between digital electronic instruments allowing synchronisation and distribution
of musical information.
Mix: A visual/audio effect equivalent to a dissolve. (See Dissolve).
Model release: Agreement to be signed by anyone appearing in a film
or video work, protecting film/videomaker from right of privacy lawsuit.
Specifies event, date, compensation provisions, and rights being waived.
Monitor: Television set without receiving
circuitry, wired to VCR or broadcast device for display of live or recorded
video signals.
Monochrome: Pictures which contain no colour information. Such pictures
have luminance but no chrominance.
Monopod: One-legged camera support. (See
tripod).
Montage: Rapid sequence of video shots assembled to communicate a
particular image or mood. Juxtaposition of seemingly unrelated material
can conjure new idea or message.
Morph: Computer animation software allowing an image, moving or still,
to transform into a different image.
MOS: Slang for silent shooting. From the slang German "mit out
sprechen" ("without talking"). The correct German phrase
would be "ohne sprechen."
Mosaic: Electronic special effect whereby individual pixels comprising
an image are blown up into larger blocks creating a "moving checkerboard"
effect.
Motion blur: Technique that blurs a still image to simulate motion.
Motion capturing: Method of digitising the action of real actors
for use in 3D Computer programs.
Motion control: A computer assisted camera and rig with multiple
moving axes, enabling high precision, repeatable camera moves.
Moviola: American brand of "upright" film editing machine.
Multi layering: Combining several "layers" of pictures
to create complex images.
Nagra: Professional 1/4" studio audio tape recorder.
Natural light: Planetary illumination
from the sun, be it indoors or out. Has higher colour
temperature than artificial light, and thus
more bluish qualities.
ND (neutral density) filter: Mounted at front of camera lens, reduces
light intensity without affecting its colour qualities.
Nicam: The system by which digital stereo sound is transmitted in
the UK.
Noise: Undesirable video or audio signal interference; typically
seen as snow, heard as hiss.
Non-drop frame: A type of SMPTE time code that continuously counts
a full 30 frames per second. As a result, non-drop frame time code does
not exactly match real time.
Non synchronous sound: Audio without precisely
matching visuals. Usually recorded separately, includes wild sound, sound
effects, or music incorporated in post-production. (See synchronous
sound).
Non interlaced video: Process of scanning
complete frames in one pass, drawing every line on the screen, yielding
higher picture quality than that of interlaced video. Most computers produce
a non interlaced video signal; PAL and NTSC is interlaced.
Nonlinear editing: Digital "cut and
paste" editing that uses a hard drive instead of tape to store images.
Random access allows easy arrangement of scenes in any order. Also eliminates
the need for rewinding and allows for multiple dubs without generational
loss. Compare with linear editing.
NTSC: National Television Standards Committee.
Group formed by Federal Communications Commission to regulate U.S. television
broadcasting specifications. NTSC refers to all video systems conforming
to this 525-line 30-frame-per-second signal standard used in USA, Canada
and Japan. (See PAL, SECAM).
1 inch: Reel to reel analogue broadcast video tape format.
Off-line: A pre-edit used to establish edit points for the on-line
edit (see below), usually on non-broadcast standard equipment.
Omnidirectional: Microphone pickup pattern
whereby sound is absorbed equally from all directions. (See bidirectional,
unidirectional).
On-line: The main edit during which mixes, effects and audio are
brought together using broadcast standard equipment in order to create a
'master' edit.
Onyx: Silicon Graphics latest Super Computer, being the most powerful
and advanced computer available for the special effects industry.
Optical disks: Writeable optical disks that perform in much the same
way as a computer hard disk.
Optical printer: One or more 35mm register
pin projectors with lamp houses that project images directly into a taking
camera loaded with 35 mm film stock. Optical compositing has now mostly
been superseded by digital processes.
Opticals: The photochemical process of
compositing separately filmed elements by using a series of complex multiple
exposure techniques. (see aerial image camera,
optical printer).
Out take: Footage not to be included in final production.
Over-the-shoulder shot: View of primary camera subject framed by
another subject's shoulder and back of head in foreground. Common in interview
situations, perspective affords sense of depth.
Paintbox: Digital graphics generator
made by Quantel. An electronic form of the main graphics tools, such as
paint, pen and airbrush are available to the graphic artist.
PAL: Phase Alternate Line. 625-line 25-frame-per-second
television signal standard used in Europe (not France), Scandinavia, China,
India, Australia, South Africa etc. (See NTSC,
SECAM).
PAL M: A version of PAL standard, but using a 525 line 60 field structure.
Used only in South America.
Pan: Horizontal swivel of a camera about a fixed axis. Follows a
subject, redirects viewer's attention from one subject to another, shows
relationships between subjects, and scans subjects too large to fit into
one shot.
Parametric object: 3D graphics terminology; an object that responds
to changes in its parameters by dynamically updating its properties.
Particle-generating systems: 3D software that generates organic,
randomly flowing particles for the creation of such effects as pixie dust
and missile trails.
Pedding: Vertical camera movement, rising
or lowering, with camera levelness maintained throughout. The up/down equivalent
of dollying.
Periscope lens: Transmits image to film, achieving the camera's point
of view, for low or inaccessible sets. Used especially on motion control
rigs.
Phone plug: Sturdy male connector compatible with audio accessories,
particularly for insertion of microphone and headphone cables. Not to be
confused with phono plug.
Phono plug: Also called "RCA"
or "RCA phono," popular cable connector for home audio as well
as video components. Standard connection for direct audio/video inputs/outputs.
Not to be confused with phone plug.
Pickup: (1) A video camera's image sensing
element, either CCD (charge coupled device)
or MOS (metal oxide semiconductor); converts light to electrical energy.
(2) A microphone's sound reception.
Pickup pattern: Defines a microphone's response to sounds arriving
from various directions or angles. (See bidirectional,
omnidirectional, unidirectional).
Pixel: Smallest picture element on a television display.
Playback: Videotaped material viewed and heard as recorded, facilitated
by camcorder or VCR.
Polarising filter: Mounted at front of camera lens, reduces undesirable
glare and reflections.
Post production (post): Any film or video production activity following
initial photography. Typically involves telecine, editing, addition of background
music, voice-over, sound effects, titles, graphics and/or various electronic
visual effects. Results in completed production.
Posterisation: Special effect transforming a normal video image into
a collage of flattened single-coloured areas, without graduations of colour
and brightness.
POV: Point Of View. Shot perspective whereby the camera assumes subject's
view.
Pre-roll: Starting tape playback earlier than necessary to ensure
full operating speed and stabilisation.
Prime lens: Fixed focal length lens, not wide angle or telephoto.
Proc amp: Processing amplifier. Video image processor that boosts
video signal's luminance, chroma, and sync components to correct such problems
as low luminance and weak colour.
Prompter: see video prompter.
Props: Short for "properties," objects used either in decorating
a set (set props) or by talent (hand props).
Pyro/Pyrotechnics: The controlled creation of explosions, smoke and
fire effects.
PZM: Pressure Zone Microphone. Small, sensitive condenser mike, usually
attached to a 5-inch-square metal backing plate. Senses air pressure changes
in tiny gap between mike element and plate. (See condenser).
Q-Lock: Device for synchronising audio with video machines.
Quantel: English hardware manufacturer of graphics, effects and editing
systems such as Domino, Edit Box, Flash
Harry, Hal, Harriet, Henry, and PaintBox.
Rack focus: Shifting focus during a shot in progress, typically
between background and foreground subjects.
Ray tracing: A method of rendering 3D computer graphics used when
rendering reflective and or transparent objects.
RCA plug: See phono plug.
Reaction shot cutaway: View showing someone's response to primary
action. (See cutaway).
Rear projection: An in-camera effects
technique for the projection of background plates onto a translucent screen
built into a set. The plate is projected from behind by a synchronised projector.
(See also front projection).
Real time: The actual time during which video recording occurs, distinguished
from the tampering of time via editing.
Receiver: Television set that includes a tuner as well as an audio
amplifier and speaker. Accommodates broadcast RF signals, whereas a monitor accepts composite video signals only.
Reflected light: That which bounces off
the illuminated subject. (See incident light).
Reflector: Lighting accessory helpful for spreading light as well
as filling in shadows. Often made of lightweight reflective metal or poster
board covered with metallic material.
Remote: Equipment allowing control from a distance.
Renaissance: Da Vinci colour grading system for film and video
tape giving higher definition and improved processing.
Rendering: The 'colouring-in' of a computer graphic frame. The mathematical
process which the computer undergoes in generating graphics.
Resolution: The definition of a television
picture, and the ability to determine small objects. The more detail, the
sharper and better defined the picture. (See horizontal
resolution).
RF: Radio Frequency. Combination of audio and video signals coded
as a channel number, necessary for television broadcasts as well as some
closed-circuit distribution.
RF converter: Device that converts audio and video signals into a
combined RF signal suitable for reception by a standard TV receiver.
RGB: Red, Green, Blue. Primary television colours before encoding
to a composite signal if required. Also defines type of colour monitor.
Ringing: See ghosting.
Roll/Roller: Credits that move up the
screen, typically produced with a character generator.
(See crawl).
Rostrum camera: A film or television camera
mounted vertically on a fixed or adjustable column, for shooting graphics
and/or animation.
Rotoscoping: Tedious animation process of tracing around an image
outline for the creation of effects or mattes.
Rough cut: The first assembly of edited shots in their intended script
order. (See Off-Line).
Rule of thirds: Composition consideration suggesting that a picture
appeals most with its primary point of interest appearing off centre. With
screen divided into thirds vertically and horizontally, important elements
should be targeted wherever imaginary lines cross.
Rushes: Uncut material before editing.
London's leading post production house.
625: This is the standard, specifying the number of horizontal
lines that makes up the TV picture. 625 being the UK standard and 525 being
the American.
Sabre system: ILM's own custom written resolution independent digital
compositing and editing software based on Discreet Logic's Flame.
Safe title area: Boundaries within which
contents of a television picture are sure to be seen, regardless of size
differences in receiver displays. Also called "critical area"
and "essential area" encompasses 80 percent of total screen.
Scan converter: Device that changes scan rate of a video signal,
possibly converting it from non interlaced to
interlaced mode. Allows computer graphics to
be displayed on a standard video screen, for example.
Scan line: Result of television's swift scanning process which sweeps
out a series of horizontal lines from left to right, then down a bit and
left to right again. A complete PAL picture
consists of 625 scan lines per frame.
Scan rate: Number of times a screen is "redrawn" per second.
Computer displays operate at different scan rates than standard video.
Scene: In film and television terminology,
a sequence of related shots usually constituting action in one particular
location.
Scrim: Lighting accessory made of wire mesh, lessens intensity of
light source without softening it. Half scrims and graduated scrims reduce
illumination in more specific areas.
Script: Text specifying content of a production
or performance, used as a guide. May include character and setting profiles,
production directives (audio, lighting, scenery, camera moves), as well
as dialogue to be recited by talent. (See storyboard).
Scroll: Where lettering traverses the screen.
SECAM: SEquential Colour And Memory. 625-line
25-frame-per-second television signal standard used in France and the Soviet
Republic. (See NTSC, PAL).
Selective focus: Adjusting camera focus to emphasise desired subject
in a shot. Selected area maintains clarity while remainder of image blurs.
Useful for directing viewer's attention.
Sepia: "Antique look" typical of old photographs. Black
information replaced by red (sepia) tint.
SGI: Silicon Graphics, Inc. Computer manufacturer.
Shooting ratio: Amount of raw footage recorded relative to the amount
used in the final edit.
Shot: All pictorial material recorded by a camera. More strictly
speaking, shots are intentional, isolated camera views which collectively
comprise a scene.
Shotgun: Highly directional microphone with long barrel, designed
to pick up sound from extreme subject-to-mike distances.
Signal to noise ratio (S/N): Relationship between signal strength
and a medium's inherent noise. Video S/N indicates how grainy or snowy a
picture will be, plus colour accuracy; audio S/N specifies amount of background
tape hiss present with low- or no-volume recordings. The higher the S/N
the cleaner the playback.
Skylight (1A): aka haze (UV) filter.
Mounted at front of camera lens, virtually clear glass that absorbs ultraviolet
light. Also excellent as constant lens protector.
Slit scan: Time consuming film rostrum camera technique for producing colourful streaked
imagery, often with distortion, created by moving backlit artwork underneath
a travelling slit.
SMPTE: Society of Motion Picture and
Television Engineers which sanctions the time code standard for film and
video. (See time code).
Snoot: Open-ended cylindrical funnel mounted on a light source to
project a narrow, concentrated circle of illumination.
Snow: Electronic picture interference; resembles scattered snow on
the television screen. Synonymous with chroma and luma noise.
SoftImage: Computer modelling and animation package.
Solarisation: Multi colouring of live action images, originally achieved
by exposing photographic materials to sunlight, prior to shooting.
Solid state: The generic name given to integrated circuits and other
electronic data storage systems, containing no moving parts as part of their
prime function (excluding cooling fans etc).
Sound bite: Any recorded video or audio segment salvageable for use
in edited programme -usually a highlight phrase or event.
Sound effects (SFX): Contrived audio, usually prerecorded, incorporated
with a soundtrack to simulate the real thing.
Soundtrack: The audio portion of a programme's recording, often multifaceted
with voice-over, background music, sound effects, etc. In the film industry,
refers more strictly to musical score.
Special effects (FX): Tricks and illusions,
electronic or on camera, employed in film and video to define, distort,
or defy reality.
Spotlight: Radiates a well-defined directional beam of light, casting
hard, distinct shadows. Best used to focus illumination on individual subjects,
whereas floodlights blanket broader areas.
Stabiliser: Video signal processor used primarily for tape dubbing
to eliminate picture jump and jitter, maintain stability.
Stereo: Sound emanating from two isolated sources, intended to simulate
pattern of natural human hearing.
Stock shot: Common footage ie city traffic, clouds, waterfall etc.
conveniently accessed as needed.
Storyboard: Series of thumbnail sketches
illustrating the action and composition of a shot, accompanied by corresponding
audio information. (See script).
Streak photography: Rostrum camera technique
where the camera travels along it's column during a long exposure of backlit
artwork, resulting in light streaks on the developed film. (See also slit scan).
Super: (Superimposition) Titles or graphics appearing over picture.
From film optical days of double exposing a white title over a background
plate.
Super-VHS: Improved version of the VHS videotape format, characterised
by separate carriers of chrominance and luminance information, yielding
a sharper picture.
Spline: Computer graphics term. A mathematically defined curve used
instead of polygons for describing 2D and 3D objects.
Standard: Television standard - eg. PAL / SECAM / NTSC.
Standards conversion: The process of converting between different
TV transmission signals. Usually refers to conversion to and from PAL and
NTSC.
Steenbeck: German make of "flat bed" film editing machine
often used for viewing rushes.
Stop frame/Stop motion: Animation which
is done one frame at a time.
Storyboard: Chart giving indication of visuals and sound in preparation
for shooting.
Synchronous sound: Audio recorded with
images. When the mouth moves, the words match the movement. (See lip sync, non synchronous
sound).
Super: Superimpose a caption or graphic over another picture. (See
Key)
Sweetening: Post-production process of adding music/sound effects
to or otherwise enhancing, purifying, "massaging" a final audio
track.
Swish pan: See whip pan .
Switcher: Simple picture cut device between several sources. American
term for Vision Mixer.
Sync: (Synchronisation.) Horizontal and vertical timing signals or
electronic pulses; a component of composite signal, supplied separately
in RGB systems. Aligns video origination (live camera, videotape) and reproduction
(monitor or receiver) sources.
SyQuest: Type of removable computer hard disk. Popular for moving
graphics files.
T-stop: Calibration of the aperture of a lens which compensates for
light loss in the lens due to internal reflections off the glass surfaces.
Talent: Generic term for the people or creatures assuming primary
on-screen roles.
Talkback: Intercom system used in television production.
Tape to tape: (See Master grade)
TBC: Time Base Corrector. Device required
to correct time base errors of a VTR which build up during operation. Needed
in dubbing, particularly of poor quality material.
Telecine: Device for transferring film to video tape. Film can be
colour graded during this process.
Telephoto: Camera lens with long focal length, narrow horizontal
field of view. Opposite of wide-angle, captures magnified, closeup images
from considerable distance.
Teleprompter: see video prompter.
Test pattern: Any of various combinations of converging lines, alignment
marks, and grey scales appearing on screen to aid in video equipment adjustment
for picture alignment, registration, and contrast. (See colour
bars).
Texture map: Adding textures in computer graphics. 2D images are
placed onto 3D objects to give texture ie. steel, marble and woodgrain.
Three point Lighting: Basic lighting approach
employing key, back, and fill lights to illuminate subject with sense of
depth and texture. Strategic placement imitates natural outdoor lighting
environment, avoids flat lighting. (See back light,
fill light, key light).
Three quarter inch: See U-Matic.
Three shot: Camera view including three subjects, generally applicable
to interview situations.
Tilt: The vertical swivel movement of a camera.
Time base Corrector: See TBC.
Time code: Binary Code recorded on video
and audio tape recorders, uniquely assigning a corresponding hours, minutes,
seconds, and frame-number designation to each frame. Used for synchronising
recorders and editing. (See SMPTE).
Time lapse recording: Shooting individual frames over long durations
of actual time. Upon playback, slow processes such as a flower blooming
or clouds drifting through the sky may be viewed in rapid motion.
Time line editing: A computer-based method of editing in which video
and audio clips are represented on a computer screen by bars proportional
to the length of the clip. These bars can be moved and resized along a grid
whose horizontal axis relates to the time of the program.
Track: Camera term where action is followed by moving the camera.
Usually refers to backwards or forwards movement. Also sound (audio) 'track'.
Tripod: Three-legged camera mount offering
stability and camera placement consistency. (See monopod).
Tuner: Television and VCR component that receives RF signals from
an antenna or other RF sources and decodes into separate audio and video
signals.
Two shot: Camera view including two subjects, generally applicable
to interview situations.
U-Matic: Sony video tape cassette format.
UltiMatte: A device to create high quality mattes.Type of Chromakey
matting.
Umbrella: Umbrella shaped lighting accessory available in various
sizes usually made of textured gold or silver fabric. Facilitates soft,
shadowless illumination by reflecting light onto the subject.
Underscan: Reducing height and width of the picture on a video monitor
so that the edges, and thus portions of the blanking, can be observed.
Unidirectional: Highly selective microphone
pickup pattern, rejects sound coming from behind while absorbing that from
in front. (See bidirectional, omnidirectional).
Ursa Gold: Latest digital Telecine machine with 4:4:4 processing.
User bits: Portions of VITC and LTC reserved for recording information
of the user's choosing, e.g., Keykode numbers, footage count, etc.
VCR: Video Cassette Recorder. Machine intended primarily for recording
and playback of videotape stored in cassettes.
Vectorscope: An oscilloscope designed for television which is used
to set up and monitor the chrominance portion of a video signal.
Vertical interval: Indicates the vertical blanking period between
each video field. Contains additional scan lines above the active picture
area into which non-picture information (captioning, test and control signals,
user bits) can be recorded.
VHS: Video Home System. Predominant half-inch
videotape format developed by Matsushita and licensed by JVC.
VHS-C: VHS compact. Scaled-down version of VHS using miniature cassettes
compatible with full-size VHS equipment through use of an adaptor.
Video Prompter: A mechanical device that
projects and advances text on a mirror directly in front of a camera lens,
allowing talent to read lines while appearing to maintain eye contact with
viewers. see AutoCue.
Vignette: Visual effect whereby the viewer sees an image through
a perceived shape, the shape typically being black and out of focus.
Vignetting: Undesirable darkening at the corners of a picture.
Vision Mixer: Device which determines which of numerous possible
sources (camera,VTR, etc) goes "on air". Creates mixes,wipes,
keys, fades, special effects, etc.
VistaVision: An eight
perf film format developed by Paramount in the fifties in response to
Twentieth Century Fox's CinemaScope.
VITC: Vertical Interval Time Code Time. Code recorded in the vertical
blanking interval above the active picture area. Can be read from video
tape in the "still mode."
Voiceover (VO): Narration accompanying picture, heard above background
sound or music, without the narrator seen on camera.
VTR: Abbreviation and generic for all types of Video Tape Recorder.
Warp: Digital picture manipulation device which curves pictures.
Waveform monitor: Specialised oscilloscope testing device providing
a graphic display of a video signal's strength. Plus, like a sophisticated
light meter, aids in precise setting of picture's maximum brightness level
for optimum contrast.
Weave: Periodic sideways movement of the image as a result of mechanical
faults in camera, printer or projector.
Whip pan: Extremely rapid camera movement
from left to right or right to left, appearing as image blur.
White balance: Video camera's electronic adjustment of light levels
to retain "true" colours. Proper setting established by aiming
at white object.
Wide angle: Camera lens with short focal length and broad horizontal
field of view. Opposite of telephoto, supports viewer perspective and tends
to reinforce perception of depth.
Wild track: (Also called wild sound) Sound recorded without simultaneous
pictures.
Windshield: (Also called windscreen) Sponge-like microphone
shield, thwarts undesirable noise from wind and rapid mike movement.
Wipe: Vision mixer technique where one picture is replaced with
another by a moving edge. Many different patterns are used.
Wire frame: Computer generated model comprised of lines connecting
at key points to approximate a specific form.
Wireless microphone: Consisting of radio transmitter and receiver,
utilising a low- power radio signal for cable free operation.
Workprint: Copy of a master roll of film/videotape used for edit
planning and rough cut without excessively wearing or otherwise jeopardising
safekeeping of original material. Also called "working master."
Wow and Flutter: Sound distortions consisting of a slow rise and
fall of pitch, caused by speed variations in audio/video playback system.
Wrap: One of the best loved words in the industry: "Let's go Home".
XLR: (Also called Cannon) Three-pin
plug for three-conductor balanced audio cable, employed with high-quality
microphones, mixers, and other audio equipment.
Y: Symbol for luminance, or brightness,
portion of a video signal; the complete colour video signal consists of
R,G,B and Y.
Zip Drive: Type of removable computer hard disk. Popular for moving graphics files.
Zits: See Drop Out.
Zoom Length: Variance of focal length, bringing subject into and
out of closeup range. Lens capability permits change from wide-angle to
telephoto, or vice versa, in one continuous move. "Zoom in" and
"zoom out" are common terms.
Zoom Ratio: Range of a lens' focal length, expressed as a ratio.
6:1, for example, implies same lens from same distance can make same image
appear six-times closer.
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