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Sound Person's Guide to Video PDF

299 Pages·2000·3.41 MB·English
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A Sound Person’s Guide to Video This Page Intentionally Left Blank A Sound Person’s Guide to Video David Mellor Focal Press OXFORD AUCKLAND BOSTON JOHANNESBURG MELBOURNE NEW DELHI Focal Press An imprint of Butterworth-Heinemann Linacre House, Jordan Hill, Oxford OX2 8DP 225 Wildwood Avenue, Woburn, MA 01801-2041 A division of Reed Educational and Professional Publishing Ltd A member of the Reed Elsevier plc group First published 2000 © Reed Educational and Professional Publishing Ltd 2000 All rights reserved. No part of this publication may be reproduced in any material form (including photocopying or storing in any medium by electronic means and whether or not transiently or incidentally to some other use of this publication) without the written permission of the copyright holder except in accordance with the provisions of the Copyright, Designs and Patents Act 1988 or under the terms of a licence issued by the Copyright Licensing Agency Ltd, 90 Tottenham Court Road, London, England W1P 0LP. Applications for the copyright holder’s written permission to reproduce any part of this publication should be addressed to the publishers British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging in Publication Data A catalog record for this book is available from the Library of Congress ISBN 0 240 51595 1 Composition by Genesis Typesetting, Rochester, Kent Printed and bound in Great Britain Contents Foreword ix 1 The origins of television and video 1 In the beginning, Scanning, The coming of colour, A new standard, Video 2 The magic of television 10 Colour television 3 Video recording – the impossible dream 18 Early developments, Helical scan, U-Matic, Domestic video formats 4 The electronic eye 27 Part 1 Camera basics: Tube cameras, Charge-coupled devices, The colour camera. Part 2 The modern camera: Hyper HAD, Into digits, Master Set-up Unit 5 ENG and Betacam SP 44 Betacam, Compressed time division multiplexed system, Audio in Betacam, The future 6 Digital video 51 D1, D1 error protection, D2, D3 and D5, Why so many formats? DV and DVCPRO: Small is beautiful, Nuts and bolts, DVCPRO, Digital cinemat- ography, Step up from SP, Compression, Yet another format?, The kit, The accessories 7 Standards conversion 73 Three problems, Sampling, Composite video, Interpolation, Motion compensation, Comparing standards converters vi Contents 8 The video monitor 81 Sync and scan, Antenna to CRT, Display technology, The shadow mask, Progressive scan, Flat panel displays, LCD, Plasma displays, Future technologies 9 Home cinema 96 The vision, Audio, Virtual Surround 10 Nonlinear editing 105 Offline/online, Timeline, Integration 11 JPEG and MPEG2 image compression 113 JPEG, Discrete cosine function, Entropy coding, Results, JPEG for moving pictures, MPEG2, Syntax and semantics, Spatial and temporal compres- sion, Motion estimation prediction, Profiles and levels, Applications 12 Digital television 132 Digital television in the UK: Digital video, Broadcasting, Possibilities, On demand, The consumer angle, Widescreen, Conclusion. Digital television in the USA: Technical issues 13 Film 146 A brief history of film, Meanwhile in France . . ., The coming of sound, Widescreen, Sideways look, Colour, 3D, Why film will prosper 14 Film stock, film laboratories 163 Formats, Types, Intermediate and print film, Laboratories, Rushes, Printing, Editing and regrading, Release print 15 Cinema technology 183 Lamphouse, Reels and platters, Lenses, Sound head, Cinema systems 16 IMAX 192 The camera, Projection, The IMAX cinema, Post-production 17 Telecine 201 Film feats, Technology, Cathode ray tube, Scanning, Digital processing, High resolution 18 Pulldown 209 29.97, PAL pulldown, So what should you do? A new frame rate? 19 Lighting technology 218 Film and video lighting, Lamps glow, bulbs grow, HMI, Broads, Blondes and Redheads, Moving light, changing colour – performance lighting, To boldly gobo Contents vii 20 The art of bluescreen 234 Rotoscoping, Ultimatte, Motion control Appendix 1 The science of colour 243 Light, The eye, Subtractive colour mixing, Additive colour mixing, Colour triangle, Colour temperature Appendix 2 Timecode: the link between sight and sound 251 The nature of timecode, Types of timecode, Timecode generation. Sound and picture, working together: Finger sync, Code-only master, ‘Real’ instruments, CTL and direction. Synchronizer systems: System extras, Jam on it, Synchronizers, Synchronization terminology Appendix 3 Audio in video editing 273 The editing process, The end of offline? Index 281 This Page Intentionally Left Blank Foreword As an audio specialist, you obviously get immense enjoyment and satisfaction from interplay between the technology and artistry involved in the creation of sound images, to inform and entertain your audience. You wouldn’t want to work anywhere else, because if you did then you would never have had the required determination to make it into the sound industry in the first place. But sound no longer exists in isolation from other media and art forms. In particular, sound is now so closely bonded to the visual image that we must at all times consider the effect the actions we take will have on the finished production as a whole, in the mind of the moviegoer or TV viewer. A Sound Person’s Guide to Video covers the technology not just of video but also film, multimedia and live performance as well – in fact anywhere that visual images and sound go together. Some of the chapters in this book will be cutting edge technology, others will look at the history and background to modern techniques. Occasionally these pages will cover aspects of the film, video and related industries themselves to see how the pieces fit together. It’s a whole new world out there, so let’s take a peek . . .

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