An A-Z Dictionary of Industry Terms
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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 khr›ma
(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.
C-Reality: latest digital telecine machine from Cintel with 4:4:4 and hdtv
processing.
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.
first art: the creative design house based at Elstree Film Studios. Design
innovative film visual FX tools for the motion picture industry.
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, digital image or sensor
area on a ccd device.
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.
toast: the coolest toolset any telecine colourist could wish for. Allows real time filter Fx and organic creative looks which are truly filmic in nature.
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 diamond: 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.
