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| Complementary metal-oxide semiconductor |
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| portable, shoulder mounted camera that must be connected to an external video recorder. high quality and can be shoulder mounted or tripod mounted |
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| high quality portable field production cameras with the recording device built in. |
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| used when there is not enough light. electric charges trick the CCD into thinking they are getting more light than they actually recieve. measured in dB |
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| HDMI, BNC, RCA, S-Video, XLR(audio) |
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| 50:1 means the brightest area can only be 50 times brighter than the darkest are |
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Hue - the color itself
saturation - the richness or strength of a color
brightness - how dark or light a color appears. |
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| processes the color signals(C signals) |
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| "Y channel". processes the black and white(brightness) signal. the Y signals contribute to the sharpness of the picture. |
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| what kind of color mixing does TV use? |
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| additive mixing. RGB light |
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| Electronic News Gathering |
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| Electronic Field Production |
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| the point where the camera is as close as it can get and still focus on the object. |
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| condenser, ribbon, lavalier, dynamic(outside, rugged) |
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| spotlight that can be "spotted" or "flooded" by moving the light farther away and towards the lens. measured in kW |
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| focus by moving the lens isntead of the light itself. commonly 750watt |
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| short for cucoloris. metal insert that goes into a spotlight to create lighting patterns |
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| shaped like a scoop, it is a rugged all purpose floodlight often diffused with scrims(spun glass material for diffusing light) |
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| american measure of light. multiply by 10 to get LUX |
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| the general, overall light level on a scene. |
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| heating up a filament with electricity |
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| activating a gas-filled tube to give off ultraviolet radiation. |
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| generates light by moving electricity through various types of gasses. |
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| principal source of directional illumination falling on a subject. reveals the basic shape |
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| 4 things to consider when choosing a light |
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1.) distance between light source and object
2.) mood
3.) sensitivity of CCD/CMOS
4.) reflective materials |
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| produces illumination from behind the subject and opposite the camera. it distinguishes the shadow of the object from the background and emphasizes the objects outline. |
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| provides generally diffused illumination to reduce shadow or contrast range |
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| The tone generator for bars/tone. Normally 100cycles but WSU uses 400cycles |
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| Hue, Saturation, Brightness |
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Hue - describes the color itself i.e. a red ball
Saturation - Indicates richness or strength of a color. Bright red paint on a car is highly saturated, whereas faded blue jeans would be low saturation.
Brightness - how light or dark a color appears on a black and white monitor or how light or dark a color appears. Page 90 |
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| Referencing the brightest video picture to the darkest. Bars are generated from a test generator. Also used for color matching. |
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- Provides a general sync pulse. Allows you switch among and intermix the video signals of various cameras and/or video recorders without the need for additional digital equipment.
- Where two or more video signals are combined or being switched between, the horizontal and vertical timing of the picture sources should be coincident with each other. If they are not, the picture will appear to jump when switching between the sources whilst the display device (television set) re-adjusts the horizontal and/or vertical scan to correctly reframe the image. |
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| useful for being long distances from the sound source. sensitive to physical shock, and overload. |
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CTO(Color to Orange) corrects all incoming light to 3200K
CTB(Color to Blue) corrects all incoming light to 5600K
CTG(Color to green) corrects all incoming light to somewhere around 4600-4800K |
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- generates light by moving electricity through gases.
- uses very little power(you could plug in (5) 200W lamps in without blowing a circuit)
- requires a heavy Ballast
- Produces white light at a color temperature of 5600K |
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| Going back and laying a new time code on top of your finished video |
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| Down Stream Keyer - keys video on top of program |
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-Most Rugged
-can be worked close to sound source and can withstand high sound levels
-great outdoor mic |
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| Video with time code displayed on bottom of screen |
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-Corrects timing anomolies in a signal; corrects sync timing issues
- Adjusts the scanning of the play VTR t the one that did the original recording
-Makes sure that the scanning clocks of all VTRs are in step |
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Y/C = Luminance(Y) over Chrominance(C)
R-Y = Red Minus Lum
B-Y = Blue Minus Lum
Green is regenerated(matrixed) from Y, R-Y, and B-Y |
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| Horizontal Blanking Interval |
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| Time Between scans where the electron shuts off to return to the left side of the screen. Horizontal if interlaced scanning. vertical blanking retrace for progressive. |
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| What does Cable 8 shoot and record onto? |
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| Alot like Time Base Corrector, grabs each frame of video, digitizes it, and stores it momentarily until its scanning is synchronized with the next good video frame it receives. Can be used to stabilize weak signals or signals that are temporarily interrupted. |
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generates light by heating up a filament with electricity.
-disadvantages - higher wattage lamps are large, have a short life, and lose color over time. |
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| Automated Dialogue Replacement - When a scene's audio quality does not live up to expectations, a FOLEY STAGE is used to project the video while the actors repeat their lines. |
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| Institute of Radio Engineers- Measure contrast on waveform monitor. |
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| - legal white levels are at 100 IRE and black levels at 7.5 IRE with the amplitude/gain measured as the Gamma (grayscale) |
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| it's the three vertical black lines underneath the red bar...helps you set up your black levels and contrast. from left to right the lines are super black, normal black, and lighter than black with values of 5, 7.5 and 11.5 respectively |
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| Vertical Interval Time Code - Time code recorded in the Vertical blanking interval(area between frames) of video. |
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| Society of Motion Picture and Television Engineers |
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| Where You Cougs Goin? Mothafuckin Righteous Bars |
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