Communication 267 Tv

Front 1

Interlaced Scanning

Back 1

The scanning of all the odd numbered lines (1st field) and the subsequent scanning of all the even lines (2nd Fields).
The 2 fields make up a full television frame

Front 2

Field

Back 2

1 half of a complete scanning cycle, with 2 fields being necessary for 1 tv picture frame. In analog TV there are 60 fields for 30 frames per second

Front 3

Frame

Back 3

The complete scanning cycle of the electron beam. In interlaced scanning, 2 partial scanning cycles (fields) are necessary for 1 frame. In progressive scanning, each cycle produces 1 complete frame

Front 4

Scanning

Back 4

the movement of the electron beam from left to right and top to bottom on the tv screen

Front 5

Progressive scanning

Back 5

The consecutive scanning of lines from top to bottom

Front 6

Digital Television (DTV)

Back 6

Digital systems that have a higher image resolution then standard tv. Sometimes called advanced television (ATV)

Front 7

High Definition Television (HDTV)

Back 7

includes 720p, 1080i, and 1080p scanning systems. Because the 480p system produces high quality it is sometimes included

Front 8

High Definition Video

Back 8

The recording system that produces images of the same resolution as HDTV but with inferior colors. The images are much more compressed resulting in a slightly lower image quality

Front 9

480p

Back 9

digital tv, Progressive scanning of 480 visible lines @ 60 complete frames per second

Front 10

720p

Back 10

HDTV Progressive scanning of 720 visible lines @60 frames per second

Front 11

1080i

Back 11

HDTV interlaced scanning, only 30 frames per second (60 fields because of interlaced), but high number of visual scanning lines so high quality

Front 12

Frame Rate

Back 12

time it takes to scan a complete frame, expressed in frames per second (fps). analog is 60 fields so 30 fps. DTV is flexible from 15 fps to 60fps. HDTV standard is 24 fps

Front 13

LCD Panels

Back 13

2 sheets that sandwich a liquid that receives video signals

Front 14

Plasma Panels

Back 14

2 sheets that sandwich a gas that receives video signals

Front 15

analog

Back 15

electronic copy of the original stimulus. signal fluctuates exactly like the original stimulus

Front 16

digital

Back 16

Pertaining to data in the form of of binary digits (on/off pulses)

Front 17

sampling

Back 17

Taking a number of samples (voltages) of the analog video or audio signal at equally spaced intervals

Front 18

1080i

Back 18

HDTV interlaced scanning, only 30 frames per second (60 fields because of interlaced), but high number of visual scanning lines so high quality

Front 19

Quantizing

Back 19

a step i nthe digitalization of an analog signal. it changes the sampling points into discrete numerical values (0's and 1's). Also called quantization

Front 20

Frame Rate

Back 20

time it takes to scan a complete frame, expressed in frames per second (fps). analog is 60 fields so 30 fps. DTV is flexible from 15 fps to 60fps. HDTV standard is 24 fps

Front 21

Compression

Back 21

the temporary rearrangement or elimination of redundant picture information for easier storage and signal transport

Front 22

LCD Panels

Back 22

2 sheets that sandwich a liquid that receives video signals

Front 23

Plasma Panels

Back 23

2 sheets that sandwich a gas that receives video signals

Front 24

analog

Back 24

electronic copy of the original stimulus. signal fluctuates exactly like the original stimulus

Front 25

digital

Back 25

Pertaining to data in the form of of binary digits (on/off pulses)

Front 26

sampling

Back 26

Taking a number of samples (voltages) of the analog video or audio signal at equally spaced intervals

Front 27

Quantizing

Back 27

a step i nthe digitalization of an analog signal. it changes the sampling points into discrete numerical values (0's and 1's). Also called quantization

Front 28

Compression

Back 28

the temporary rearrangement or elimination of redundant picture information for easier storage and signal transport

Front 29

3 basic components of camera

Back 29

lens, imaging device, viewfinder

Front 30

Focal length

Back 30

with the lens set at infinity, the distance from the iris to the plane where the picture is in focus. Normally measured in millimeters or inches.

wide-angle lens (short focal length)- wide vista, faraway objects look small

narrow-angle lens (long focal length) - narrow vista with background magnified

Front 31

Zoom Lens

Back 31

Variable- focal- length lens. All video cameras are equipped with a zoom lens (allows for different zoom and angle of lens)

Front 32

Zoom Range

Back 32

Sometimes called zoom ratio

How much the focal length can be changed from a wide shot to a cllose-up during a zoom. The zoom range is stated as a ratio, such as 20:1 .

Bigger cameras have bigger ranges (studio has 15:1 to 30:1)

Front 33

optical zoom vs. digital zoom

Back 33

in optical elements change lens focal length

in digital the center is magnified, appears to get closer

Front 34

fast lens

Back 34

lens that permits a relatively great amount of light to pass through at its largest aperture (lowest f-stop number). can be used in low light conditions

Front 35

slow lens

Back 35

A lens that permits a relatively small amount of light to pass through (high f-stop number). requires higher light levels for optimal pictures

Front 36

Iris

Back 36

Adjustable lens-opening mechanism. also called lens diaphragm. controls the amount of light that passes through/ is transmitted

Front 37

Aperture

Back 37

iris opening of a lens; usually measured in f-stops

Front 38

f-stop

Back 38

The scale on the lens, indication the aperture.

the larger the f-stop number, the smaller the aperture.

the smaller the f-stop number, the larger the aperture

Front 39

beam splitter and imaging device

Back 39

traduces light into energy

Front 40

Beam Splitter

Back 40

Optical device within the camera that splits the white light into the three additive primary colors: red, green, and blue

Front 41

charge-coupled devices (CCDs)

Back 41

a solid-state imaging device that translated the optical image into a video signal. also called chip

Front 42

beam splitter and imaging device

Back 42

traduces light into energy

Front 43

imaging device

Back 43

transduce light into an electrical charge, which after processing, makes up the video signal. usually a ccd or cmos chip

Front 44

signal processing

Back 44

how the RGB signals are amplified when they leave the imaging device and how they combine to match the colors of the scene

Front 45

luminance channel

Back 45

luma or y channel produces the black and white image of the scene and is mainly responsible for a picture's sharpness

Front 46

charge-coupled devices (CCDs)

Back 46

a solid-state imaging device that translated the optical image into a video signal. also called chip

Front 47

chrominance channel

Back 47

color, or c, channel. in high-quality video, these channels are kept separate throughout signal processing and transport

Front 48

viewfinder

Back 48

small video monitor attached to the camera that shows an image of what the camera sees

Front 49

signal processing

Back 49

how the RGB signals are amplified when they leave the imaging device and how they combine to match the colors of the scene

Front 50

imaging device

Back 50

transduce light into an electrical charge, which after processing, makes up the video signal. usually a ccd or cmos chip

Front 51

beam splitter and imaging device

Back 51

traduces light into energy

Front 52

beam splitter and imaging device

Back 52

traduces light into energy

Front 53

luminance channel

Back 53

luma or y channel produces the black and white image of the scene and is mainly responsible for a picture's sharpness

Front 54

signal processing

Back 54

how the RGB signals are amplified when they leave the imaging device and how they combine to match the colors of the scene

Front 55

pan

Back 55

to turn the camera horizontally, from left to right or right to left

Front 56

chrominance channel

Back 56

color, or c, channel. in high-quality video, these channels are kept separate throughout signal processing and transport

Front 57

luminance channel

Back 57

luma or y channel produces the black and white image of the scene and is mainly responsible for a picture's sharpness

Front 58

beam splitter and imaging device

Back 58

traduces light into energy

Front 59

tilt

Back 59

make the camera point up or down

Front 60

viewfinder

Back 60

small video monitor attached to the camera that shows an image of what the camera sees

Front 61

chrominance channel

Back 61

color, or c, channel. in high-quality video, these channels are kept separate throughout signal processing and transport

Front 62

charge-coupled devices (CCDs)

Back 62

a solid-state imaging device that translated the optical image into a video signal. also called chip

Front 63

viewfinder

Back 63

small video monitor attached to the camera that shows an image of what the camera sees

Front 64

charge-coupled devices (CCDs)

Back 64

a solid-state imaging device that translated the optical image into a video signal. also called chip

Front 65

charge-coupled devices (CCDs)

Back 65

a solid-state imaging device that translated the optical image into a video signal. also called chip

Front 66

pan

Back 66

to turn the camera horizontally, from left to right or right to left

Front 67

imaging device

Back 67

transduce light into an electrical charge, which after processing, makes up the video signal. usually a ccd or cmos chip

Front 68

imaging device

Back 68

transduce light into an electrical charge, which after processing, makes up the video signal. usually a ccd or cmos chip

Front 69

tilt

Back 69

make the camera point up or down

Front 70

pan

Back 70

to turn the camera horizontally, from left to right or right to left

Front 71

imaging device

Back 71

transduce light into an electrical charge, which after processing, makes up the video signal. usually a ccd or cmos chip

Front 72

3 basic components of camera

Back 72

lens, imaging device, viewfinder

Front 73

signal processing

Back 73

how the RGB signals are amplified when they leave the imaging device and how they combine to match the colors of the scene

Front 74

tilt

Back 74

make the camera point up or down

Front 75

signal processing

Back 75

how the RGB signals are amplified when they leave the imaging device and how they combine to match the colors of the scene

Front 76

signal processing

Back 76

how the RGB signals are amplified when they leave the imaging device and how they combine to match the colors of the scene

Front 77

Focal length

Back 77

with the lens set at infinity, the distance from the iris to the plane where the picture is in focus. Normally measured in millimeters or inches.

wide-angle lens (short focal length)- wide vista, faraway objects look small

narrow-angle lens (long focal length) - narrow vista with background magnified

Front 78

luminance channel

Back 78

luma or y channel produces the black and white image of the scene and is mainly responsible for a picture's sharpness

Front 79

luminance channel

Back 79

luma or y channel produces the black and white image of the scene and is mainly responsible for a picture's sharpness

Front 80

luminance channel

Back 80

luma or y channel produces the black and white image of the scene and is mainly responsible for a picture's sharpness

Front 81

Zoom Lens

Back 81

Variable- focal- length lens. All video cameras are equipped with a zoom lens (allows for different zoom and angle of lens)

Front 82

chrominance channel

Back 82

color, or c, channel. in high-quality video, these channels are kept separate throughout signal processing and transport

Front 83

chrominance channel

Back 83

color, or c, channel. in high-quality video, these channels are kept separate throughout signal processing and transport

Front 84

chrominance channel

Back 84

color, or c, channel. in high-quality video, these channels are kept separate throughout signal processing and transport

Front 85

viewfinder

Back 85

small video monitor attached to the camera that shows an image of what the camera sees

Front 86

viewfinder

Back 86

small video monitor attached to the camera that shows an image of what the camera sees

Front 87

Zoom Range

Back 87

Sometimes called zoom ratio

How much the focal length can be changed from a wide shot to a cllose-up during a zoom. The zoom range is stated as a ratio, such as 20:1 .

Bigger cameras have bigger ranges (studio has 15:1 to 30:1)

Front 88

pan

Back 88

to turn the camera horizontally, from left to right or right to left

Front 89

pan

Back 89

to turn the camera horizontally, from left to right or right to left

Front 90

viewfinder

Back 90

small video monitor attached to the camera that shows an image of what the camera sees

Front 91

optical zoom vs. digital zoom

Back 91

in optical elements change lens focal length

in digital the center is magnified, appears to get closer

Front 92

tilt

Back 92

make the camera point up or down

Front 93

pan

Back 93

to turn the camera horizontally, from left to right or right to left

Front 94

tilt

Back 94

make the camera point up or down

Front 95

fast lens

Back 95

lens that permits a relatively great amount of light to pass through at its largest aperture (lowest f-stop number). can be used in low light conditions

Front 96

slow lens

Back 96

A lens that permits a relatively small amount of light to pass through (high f-stop number). requires higher light levels for optimal pictures

Front 97

tilt

Back 97

make the camera point up or down

Front 98

close-up

Back 98

object or any part of it seen at a close range and framed tightly. the cluse-up can be extreme or rather loose

Front 99

Iris

Back 99

Adjustable lens-opening mechanism. also called lens diaphragm. controls the amount of light that passes through/ is transmitted

Front 100

cross-shot

Back 100

similar to the over the shoulder shot except that the camera -near person is completely out of the shot

Front 101

beam splitter and imaging device

Back 101

traduces light into energy

Front 102

depth of field

Back 102

the area in which all objects, located at different distances from the camera, appear in focus. Dpends primarily on the focal length of the lens, its f-stop, and the distance from the camera to the object

Front 103

Aperture

Back 103

iris opening of a lens; usually measured in f-stops

Front 104

field of view

Back 104

the portion of a scene visible through a particular lens: its vista. expressed in symbols

Front 105

Beam Splitter

Back 105

Optical device within the camera that splits the white light into the three additive primary colors: red, green, and blue

Front 106

headroom

Back 106

the space between the top of the head and the upper screen edge

Front 107

f-stop

Back 107

The scale on the lens, indication the aperture.

the larger the f-stop number, the smaller the aperture.

the smaller the f-stop number, the larger the aperture

Front 108

leadroom

Back 108

the space in front of a laterally moving object or person

Front 109

charge-coupled devices (CCDs)

Back 109

a solid-state imaging device that translated the optical image into a video signal. also called chip

Front 110

long shot

Back 110

object seen from far away or framed very loosely. the extreme long shot shows the object from a great distance. also called establishing shot

Front 111

beam splitter and imaging device

Back 111

traduces light into energy

Front 112

medium shot

Back 112

object seen from a medium distance. covers any framing between a long shot and close up

Front 113

imaging device

Back 113

transduce light into an electrical charge, which after processing, makes up the video signal. usually a ccd or cmos chip

Front 114

noseroom

Back 114

the space in front of a person looking or pointing toward the edge of the screen

Front 115

Beam Splitter

Back 115

Optical device within the camera that splits the white light into the three additive primary colors: red, green, and blue

Front 116

over-the-shoulder shot

Back 116

camera looks over the camera near person's shoulder (shoulder and back of the head included in shot) at the other person

Front 117

signal processing

Back 117

how the RGB signals are amplified when they leave the imaging device and how they combine to match the colors of the scene

Front 118

psychological closure

Back 118

mentally filling in missing visual information that will lead to a complete and stable configuration. also called a closure

Front 119

beam splitter and imaging device

Back 119

traduces light into energy

Front 120

vector

Back 120

a directional screen force. there are graphic, index, and motion vectors

Front 121

charge-coupled devices (CCDs)

Back 121

a solid-state imaging device that translated the optical image into a video signal. also called chip

Front 122

z- axis

Back 122

indicates screen depth. extends from camera lens to horizon

Front 123

luminance channel

Back 123

luma or y channel produces the black and white image of the scene and is mainly responsible for a picture's sharpness

Front 124

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Back 124

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Front 125

imaging device

Back 125

transduce light into an electrical charge, which after processing, makes up the video signal. usually a ccd or cmos chip

Front 126

how to get into final cut editing pro

Back 126

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Front 127

chrominance channel

Back 127

color, or c, channel. in high-quality video, these channels are kept separate throughout signal processing and transport

Front 128

final cut components

Back 128

Browser, Viewer, Canvas, Timeline

audio meter and tool pallet

Front 129

Beam Splitter

Back 129

Optical device within the camera that splits the white light into the three additive primary colors: red, green, and blue

Front 130

pickup pattern

Back 130

zone within a microphone can pick up clearly

Front 131

signal processing

Back 131

how the RGB signals are amplified when they leave the imaging device and how they combine to match the colors of the scene

Front 132

polar pattern

Back 132

2D representation of pickup pattern

Front 133

viewfinder

Back 133

small video monitor attached to the camera that shows an image of what the camera sees

Front 134

unidirectional mic

Back 134

best pickup from front

Front 135

luminance channel

Back 135

luma or y channel produces the black and white image of the scene and is mainly responsible for a picture's sharpness

Front 136

cardoid

Back 136

pickup pattern of unidirectional

Front 137

pan

Back 137

to turn the camera horizontally, from left to right or right to left

Front 138

hypercardoid

Back 138

long reaching unidirectional mics

Front 139

charge-coupled devices (CCDs)

Back 139

a solid-state imaging device that translated the optical image into a video signal. also called chip

Front 140

dynamic microphone

Back 140

rugged mic that can go in all weather

Front 141

tilt

Back 141

make the camera point up or down

Front 142

pop filter

Back 142

on dynamic mics and eliminates breath pops that occur from talking at close range

Front 143

imaging device

Back 143

transduce light into an electrical charge, which after processing, makes up the video signal. usually a ccd or cmos chip

Front 144

condenser microphone

Back 144

used for critical sound pickup indoors. sensitive

Front 145

chrominance channel

Back 145

color, or c, channel. in high-quality video, these channels are kept separate throughout signal processing and transport

Front 146

windscreen

Back 146

allow for use of condenser mics outdoors by protecting from conditions

Front 147

viewfinder

Back 147

small video monitor attached to the camera that shows an image of what the camera sees

Front 148

ribbon microphone

Back 148

most sensitive mic, used for music pickup

Front 149

signal processing

Back 149

how the RGB signals are amplified when they leave the imaging device and how they combine to match the colors of the scene

Front 150

lavalier mic

Back 150

small omnidirectional mic that is used for voice pickup

Front 151

pan

Back 151

to turn the camera horizontally, from left to right or right to left

Front 152

Additive primary colors

Back 152

Red, green, and blue. ordinary white light (sunlight) can be separated into the three primary light colors. when these three colored lights are combined into various proportions, all other colors can be reproduced

Front 153

luminance channel

Back 153

luma or y channel produces the black and white image of the scene and is mainly responsible for a picture's sharpness

Front 154

attached shadow

Back 154

shadow that is on the object itself. it cannot be seen independent of detached (detached from) the object

Front 155

tilt

Back 155

make the camera point up or down

Front 156

background light

Back 156

illumination of the set pieces and the backdrop. also called set light

Front 157

chrominance channel

Back 157

color, or c, channel. in high-quality video, these channels are kept separate throughout signal processing and transport

Front 158

back light

Back 158

illumination from behind the subject and opposite the camera; usually a spot light

Front 159

viewfinder

Back 159

small video monitor attached to the camera that shows an image of what the camera sees

Front 160

baselight

Back 160

even, nondirectional (diffused) light necessary for the camera to operate optimally. refers to the overall light intensity

Front 161

pan

Back 161

to turn the camera horizontally, from left to right or right to left

Front 162

cast shadow

Back 162

shadow that is produced by an object and thrown (cast) onto another surface. in can be seen independent of the object.

Front 163

tilt

Back 163

make the camera point up or down

Front 164

COLOR TEMPERATURE

Back 164

relative reddishness or bluishness of white light, as measured on the Kelvin(K) scale. the norm for indoor video lighting ins 3,200K; for outdoors, 5,6000K

Front 165

cant

Back 165

to tilt the camera sideways

Front 166

contrast

Back 166

the difference between the brightest and the darkest spots of a video image

Front 167

arc

Back 167

to move the camera in a slightly curved dolly or truck

Front 168

diffused light

Back 168

light that illuminates a relatively large area and creates soft shadows

Front 169

calibrate the zoom lens

Back 169

to preset a zoom lens to keep focus throughout the zoom

Front 170

foot-candle (fc)

Back 170

the unit of measurement of illumination or the amount of light that falls upon an object.

Front 171

crane

Back 171

the move the boom of the camera crane up or down. also called boom

Front 172

high-key lighting

Back 172

light background and ample light on the scene. nothing to do with vertical pointing of key light

Front 173

dolly

Back 173

to move the camera toward (dolly in) or away from (dolly out) the object

Front 174

incident light

Back 174

light that strikes the object directly from its source.

Front 175

jib arm

Back 175

a small camera crane that can be operated by the camera person

Front 176

key light

Back 176

principle light source, usually spotlight

Front 177

mounting head

Back 177

a device that connects the camera to its suppert. also called pan and tilt head

Front 178

light plot

Back 178

the plan that shows the type, size (wattage) and location of the lighting instruments relative to the scene to be illuminated and the direction of the light beams

Front 179

cant

Back 179

to tilt the camera sideways

Front 180

low-key lighting

Back 180

fast-fall lighting with dark background and selectively illuminated areas

Front 181

pedestal

Back 181

to move the camera up or down using a studio pedestal

Front 182

lux

Back 182

european standard unit for measuring light intensity

Front 183

shutter speed

Back 183

a camera control that reduces the blurring of bright, fast moving objects. the higher the shutter speed, the less blurring occurs but the more light is needed.

Front 184

photographic principle (three point lighting)

Back 184

the triangular arrangement of key, back and fill lights

Front 185

arc

Back 185

to move the camera in a slightly curved dolly or truck

Front 186

reflected light

Back 186

bounces off the illuminated object

Front 187

studio pedestal

Back 187

a heavy camera dolly that permits raising and lowering the camera while on the air

Front 188

RGB

Back 188

red, green and blue the basic colors of TV

Front 189

calibrate the zoom lens

Back 189

to preset a zoom lens to keep focus throughout the zoom

Front 190

spotlight

Back 190

produces the directional, relatively diffused light

Front 191

crane

Back 191

the move the boom of the camera crane up or down. also called boom

Front 192

directional light

Back 192

light that illuminates a relatively small are and creates harsh, clearly defined shadows

Front 193

dolly

Back 193

to move the camera toward (dolly in) or away from (dolly out) the object

Front 194

falloff

Back 194

the speed (degree) with which a light picture portion turns into shadow areas. Fast falloff means that the light areas trun abruptly into shadow areas and there is great difference between light and shadow areas. Slow falloff is opposite

Front 195

jib arm

Back 195

a small camera crane that can be operated by the camera person

Front 196

fill light

Back 196

additional light on the opposite side of the camera from the key light to illuminate shadow areas and thereby reduce falloff

Front 197

mounting head

Back 197

a device that connects the camera to its suppert. also called pan and tilt head

Front 198

floodlight

Back 198

a lighting instrument that produces diffused light

Front 199

pedestal

Back 199

to move the camera up or down using a studio pedestal

Front 200

white balance

Back 200

the adjustments of the color circuits in the camera to produce white color in lighting of various color temperatures

Front 201

shutter speed

Back 201

a camera control that reduces the blurring of bright, fast moving objects. the higher the shutter speed, the less blurring occurs but the more light is needed.

Front 202

studio pedestal

Back 202

a heavy camera dolly that permits raising and lowering the camera while on the air

Front 203

tongue

Back 203

to move the boom with the camera from left to right or right to left

Front 204

tripod

Back 204

a three legged camera mount.

Front 205

truck

Back 205

to move the camera laterally by means of a mobile camera mount. also called track

Front 206

white balance

Back 206

the adjustments of the color circuts in the camera to produce white color in lighting of various color temperatures (relative reddishness or bluishness of white light)

Front 207

zoom

Back 207

to change the focal length of the lens through the use of aa zoom control while the camera remains stationary

Front 208

aspect ratio

Back 208

the ratio of the width of the television screen to its height. In STV (standard television), its 4X3, for HDTV its 16X9. mobile video has various aspect rations including a few vertical ones