Com 250 test 2

composite video Also called NTSC

A system that combines the Y (luminance, or black-and-white) and C (color-red, green, and blue) video information into a single signal

tripod Also called sticks.

A three-legged camera mount.

Basic Videotape tracks

All analog videotape recorders (VTRs) use separate tracks for recording the video and audio as well as the control data. Most analog VTRs put at least four tracks onto a videotape: the video track containing the picture information, two audio tracks containing all sound information, and a control track for the synchronization of the frames.

Master control switcher

All signals are funneled through. Some are boards or computers. They switch audio and video at the same time or they can switch audio separately. Requires someone there 24x7. UTM does not have one.

nonlinear editing (NLE) system

Allows random access of shots. The video and audio information is stored in digital form on computer disks. Usually has two external monitors, small loudspeakers, and an audio mixer.

Communication

Always establish and maintain regular communication among all production personnel.

multimedia

Computer display of text, sound, and still and moving images. Usually recorded on CD-ROM or DVD

Costume designer (non technical)

Designs and sometimes constructs costumes for dramas, dance numbers, and children's shows (in large productions only).

Sampling and Quantizing

Digital signals sample the analog signal at equally spaced intervals and assign each sample a specific binary number - the process of quantizing. Each number consists of a combination of 0's and 1's. The higher the sampling rate, the highter the picture quality. Digital signals are very robust and do not deteriorate over multiple generations.

digital televsion (DTV)

Digital systems that generally have a higher image resolution than standard television. Sometimes called advanced television (ATV). The established DTV scanning standards are 480p, 720p and 1080i.

Light

Directional and diffused light, light intensity and how to measure it, measuring incident and reflected light, and contrast.

Facts-the-truck

Double check everything!

Downloading and Streaming

Downloading means that the data are sent in packets that are often out of order. You need to wait until all packets have arrived before you can open the file. Streaming means that you can open the file and listen to and watch the first part while the data delivery of the balance of the file is still in progress.

ENG/EFP camera

Highly portable, high-end self-contained camera for electronic field production.

Notes and reset

If there are no major setup and equipment problems, the period set aside for notes may be considerably shorter than scheduled. The available time can then be spent on a more leisurely reset - fine tuning the lighting, moving a plant that may interfere with the person in front of it, cleaning a table and so forth.

back light

Illumination from behind the subject and opposite the camera; usually a spotlight.

compression

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

Chinese Lantern

These floodlights produce highly diffused light over a large area.

Strip, or CYC, light

These instruments are used primarily to illuminate cycloramas, drapes, or large scenic areas.

Handheld stabilizer

This handheld stabilizer is built for small camcorders. If you're strong enough, you can carry it with one hand. The foldout monitor helps you get the right shots.

Spill

This is a grace period to fix things that went wrong unexpectedly. For example, the director might use this time to redo the introduction by the host because the guest's name was inadvertently misspelled in the opening titles.

production team

This is how we organize people in TV. Comprises a variety of nontechnical and technical people, such as producer and various assistants (associate producer and production assistant), director and assistant director, and talent and production crew. In charge: director.

Crew call

This is the time when all production crewmembers (floor manager and assistants, TD, LD, camera operators, audio people, and other equipment operators) are expected to show up and start working.

Camera Mounting Head

This mechanism connects the camera to the tripod or the studio pedestal. It facilitates pans and tilts. Always lock the mounting head when leaving the camera unattended.

Technical meeting

This meeting includes the major nontechnical and technical people: producer, director, interview host, PA, floor manager, TD, LD, and audio engineer. The director briefly explains the program objective and how she expects the show to look. This meeting is also to double-check all technical facilities and the scenery and props.

Lowel omni-light

This popular lightweight instrument doubles as a spot and a floodlight and is used mainly in ENG/EFP. Youn can plug it into any normal household outlet and hold it or fasten it to a light stand or any other convenient mounting deivce.

White-balancing

This procedure ensures that white and all other colors look the same under different lights. It need to be done every time the camera operates under new lighting conditions, unless it has a fully automatic white-balance mechanism.

Cant

To tilt the camera sideways.

Video

consists of both lens-generated and computer-generated images.

master control

controls the program input, storage, and retrieval for on-the-air telecasts. Also oversees the technical quality of all program material. This is the nerve center for television stations. Its basic functions are quality control, program input/output, program storage, and program retieval. Most master control rooms house the CCUs (camera control units), multiple VRs (video recorders), video servers, and a link to the transmitter. Sometimes nonbroadcast production houses have a master control that contains camera control equipment, VRs, video servers, and a variety of communication systems.

digital effects

digital image manipulation equipment, common digital video effects, and synthetic image creation

background light

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

line-out

the line that carries the final video output--and from there to the video recorder and/or the transmitter.

(ENG) Electronic News Gathering

for simple stories could be done by a single person, who simultaneously acts as reporter, camcorder operator, and editor/narrator. Primarily deals with news production.

solarization

special effect produced by a partial polarity reversal of an image. In a color image, the reversal results in a combination of complementary hues.

standard electronic video effects

superimposition, key, and wipe

Don't break the 180 degree rule

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Checklist: Camcorders and ENG/EFP cameras

.Don't expose the camera to the elements. .Leave the camera with care. .Use the lens cap. .Use fully charged batteries. .Verify the recording media. .Examine all connections. .Test the camera. .Set the switches. .Perform a white balance. .Always capture audio. .Heed the warning signs.

Postproduction Editing

.Editing Preparations .Shooting with continuity in mind. .Making protection copies .Adding time code to source tapes (if needed). .Making a window dub .Reviewing & logging source tapes .Transcribing audio text .Striping edit master tape with a control track .Digitize source tapes .Backing up files.

Checklist: Studio Cameras

.Get in touch and in control. .Tame the cables. .Test-zoom and focus. .Practice your moves. .Move carefully. .Don't jump the red light. .Avoid nervous camera movements. .Let the director direct. .Be observant and attentive. .Anticipate your next shot. .Put all tools away properly.

Studio Pedestals

.Pneumatic/counter-balance systems .Parallel & tricycle steering .Cam Head - (Always lock pan/tilt when leaviong the camera.)

Why Digital?

.Quality .Higher resolution pictures, better colors & b/w contrast .Generation loss is minimal .Transparency .Compression & Signal Transport .Compression eliminates redundant information to increase storage capacity & speed up signal transport. . Lossless Compression - No information is lost just rearranged for easier storage & transport. .Lossy Compression - Information not absolutely necessary is discarded. .Smaller data files (JPEG and MPEG -2)

HD Video formats

.Sony XDCAM .Uses either an optical disc or ExpressCard memory to store video. .Panasonic P2 .Uses a PMCIA memory card to store video

Dissolve Frames per second

30 frames per second

Floor plan

A Diagram of scenery and set props that facilitates the setup of scenery, set decoration, and lighting and the preplanning of shots.

cyclorama also called cyc

A U-shaped continuous piece of canvas or muslin for backing of scenery and action. Hardwall cycs are permanently installed in front of one or two of the studio walls.

shutter speed

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.

Frame

A complete scanning cycle of the electron beam. In interlaced scanning, two partial scanning cycles (fields) are necessary for one frame. In progressive scanning, each scanning cycle produces one complete frame.

Character generator (C.G.)

A computer dedicated to the creation of letters and numbers in various fonts. Its output can be directly integrated into video images.

interactive video

A computer-driven program that gives the viewer some control over what to see and how to see it. It is often used as a training device.

mounting head Also called pan-and-tilt head.

A device that connects the camera to its support.

floor plan

A diagram of scenery, properties, and set dressings drawn on a grid.

super short for superimposition

A double exposure of two images, with the top one letting the bottom one show through.

window dub

A dub of the source tapes to a lower-quality tape format with the address code keyed into each frame.

studio pedestal

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

video server

A large-capacity computer hard drive that can store and play back a great amount of audio and video information. It can be accessed by several users simultaneously.

Fast lens

A 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.

slow lens

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

floodlight

A lighting instrument that produces diffused light.

spotlight

A lighting instrument that produces directional, relatively undiffused light.

edit controller Also called editing control unit

A machine that assists in various linear editing functions, such as marking edit-in and edit-out points, rolling source and record VTRs, and integrating effects. It can be a desktop computer with editing software.

flat

A piece of standing scenery used as a background or to simulate the walls of a room. There are hardwall and softwall flats.

light plot

A plan, similar to a floor plan, that shows the type, size (wattage), and location of the lighting instruments relative to the scene to be illuminated and the general direction of the light beams.

camcorder

A portable camera with the video recorder built into it.

rough-cut

A preliminary edit.

Production Schedule and time Line

A production schedule, prepared by the producer, is a calendar that shows the major preproduction, production, and postproduction activities.. A time line, drawn up by the director, shows a breakdown of time blocks for a single production day.

I.F.B. stands for interruptible foldback or feedback.

A prompting system that allows communication with the talen while on the air. A small earpiece worn by on-the-air talent carries program sound (including the talent's voice ) or instructions from the producer or director.

S.A. stands for studio address system also called studio talkback or P.A. (public address) system

A public address loudspeaker system from the control room to the studio.

field log

A record of each take during the video recording

VR log Also called editing log.

A record of each take on the source media. When the recording media is videotape, the shot record is also called VTR log.

High-definition video (HDV)

A recording system that produces images of the same resolution as HDTV (720p and 1080i) but with inferior colors. The images are much more compressed than those of HDTV, resulting in a slightly lower image quality.

Studio control room

A room adjacent to the studio in which the director, producer, production assistants, technical director, audio engineer, and sometimes the lighting director perform their production functions.

1080i

A scanning system of digital television. The i stands for interlaced, which means that a complete frame is formed from two interlaced scanning fields. Officially classified as HDTV. Superior picture. 1080 lines/ 30 frames/ 60 fields.

480p

A scanning system of digital television. The p stands for progressive, which means that each complete television frame consists of 480 visible lines that are scanned one after the other. 480 lines/ 60 fps High quality but not HDTV

720p

A scanning system of digital television. The p stands for progressive, which means that each complete television frame consists of 720 visible lines that are scanned one after the other. Generally considered high-definition television. 720 lines/ 60 fps. Very sharp picture. Considered HDTV quality. requires largest amount of bandwidth to transport signal (storage).

analog

A signal that fluctuates exactly like the original stimulus (ramp leading to a certain height).

Superimpostion

A simultaneous overlay of two pictures.

jib arm

A small camera crane that can be operated by the cameraperson.

viewfinder

A small video screen or flat-panel display on a camera that shows the black-and-white or color picture the camera generates. The flat-panel displays are also called monitors.

Lowel Pro-light

A small, powerful (250-watt) ENG/EFP spotlight that can be handheld, clipped to the camera, or mounted on a light stand. With its lenslike prismatic glass, it produces an exceptionally even beam.

charge-coupled device (CCD) Also called chip.

A solid-state imaging device that translates the optical image into a video signal.

flash memory device Also called flash drive or memory card

A solid-state read/write portable storage device that can download, store, and upload a limited amount of digital audio and video information.

SMPTE time code

A specially generated address code that marks each video frame with a specific number (hour, minute, second, and frame). Named for the Society of Motion Picture and Television Engineers, this time code is officially called SMPTE/EBU (for European Broadcasting Union).

Quantizing

A step in the digitization of an analog signal. It changes the sampling points into discrete numerical values (0's and 1's). Also called quantization.

Y/C component video also called Y/C system and S-video

A system that keeps the Y (luminance, or black-and-white) and C (color-red, green, and blue) signals separate. Y and C are combined again when recorded on a specific media.

wipe

A transision in which one image seems to "wipe off" (gradually replace) the other from the screen.

Maintenance engineer (technical)

A true engineering position. Maintains all technical equipment and troubleshoots during productions.

time base corrector (TBC)

An electronic accessory to videotape recorders that helps make videotape playbacks electronically stable. It keeps slightly different scanning cycles in step.

key

An electronic effect in which the keyed image (figure-usually letters) blocks out portions of the base picture (background) and therefore appears to be layered on top of it.

Production Team

An electronic news gathering (ENG) "team" may consist of a single VJ (video jounalist), who not only reports tthe story but also operates the camera and does the postproduction editing. The typical EFP (electrronic field production) team comprises the talent, a camcorder operator,, and a utility person. Larger field and studio productions employ a much larger team. It may include the producer and various assistants, such as associate producer (AP)) and production assistant (PA); the director and the associate director (AD); and the talent. The production crew usually includes the floor manager and floor persons (grips or utility persons), technical director, camera operators, lighting director (LD), video operator (VO), audio engineer,, video-record operator, and C.G. (character generator) operator. In preproduction the producer is in charge of coordinating the various people and production details; in the production phase, the director is in charge.

A Cut

An instantaneous switch from one picture to another in real time.

Interlaced and Progressive Scanning

An interlaced televsion frame is made up of two scanning fields, which are necessary for one complete frame. Interlaced scanning scans every other line, then goes back and scans the lines that were skipped. Progressive scanning scans every line. In progressive scanning, each scanning cycle produces not fields but a complete video frame. The frame rate, or refresh rate, can vary.

Depth of Field

Area in which all objects, located at different distances from the camera, appear in focus. .Focal length of the lens .The f/stop .Distance from the camera to subject .More telephoto - the less depth of field

principles of graphics

Aspect ratio, essential are, readability, color, animated graphics, and style.

Assistant chief engineer or technical supervisor (technical)

Assist the chief engineer in all technical matters and operations. Is often involved in preproduction activities of large productions. Schedules crews and participates in big-remote surveys.

Associate, or assistant, director (AD) (non technical)

Assists director during the actual production. Ofent does timing for director. In complex multicamera productions, helps to "ready" various operations (such as presetting specific camera shots or calling for a graphic effect).

Production assistant (PA) (non technical)

Assists producer and director during the actual production. Takes notes of comments made by the producer or the director during rehearsals, which serve as a guide for the crew to fix minor production flaws before the final recording.

Associate producer (AP) (non technical)

Assists producer in all production matters. Often does the actual production coordination jobs, such as telephoning talent and making sure that deadlines are met.

Shadows

Attached and cast shadows and controlling falloff

Primary colors of video

Basic colors of light from which all others are mixed (additive primaries) RGB - Red, Green, Blue

Contrast and Measuring Light

Contrast is the difference between the darkest and the brightest areas in the camera picture. This contrast is often expressed as a ratio, such as 60:1, which means that the brightest spot is 60 times the intensity of the darkest spot. Many cameras tolerate a relatively limited contrast ratio, ranging from 50:1 to 100:1. When measuring contrast, the light meter must read reflected light. When measuring baselight levels, the meter reads incident light.

Phases of the production day:

Crew call, technical meeting, setup and lighting, meal, notes and reset, briefing of guest, run-through and camera rehearsal, notes and reset, break, video recording or taping, spill, strike

EFP Team

Deals with larger productions. Ex: Sports. Takes the studio into the field. Involves lots of people. Usually a three person team consisting of the talent, a camcorder operator, and a utility person who handles lighting, audio, and//or video recording, and if necessary, the microwave transmission back to the studio.

Choreographer (non technical)

Determines all movements of dancers.

Digital Cinema Cameras

Digital cinema cameras are highly specialized super-HDTV cameras or camcorders that produce extremely high-resolution pictures. They are also equipped with high-resolution viewfinders and other attachments carried over from film.

Compression and Codecs

Digital signals can be compressed; analog signals cannot. Compression eliminates redundant or unnecessary picture information to increase storage capacity and speed up signal trasport and video and audio processing. Lossless compression rearranges the data into less space. Lossy compression throws away redundant or unimportant data. There are several codec (compression-decompression) systems that offer various ways and degrees of compression.

Routing Switcher

Does both audio and video. Sends to source. Analog router is on the top area and digital is the middle area. It doesn't do effects, it just sends it from here to there. (similar to JCP switchboard)

Makeup artist (non technical)

Does the makeup for all talent (in large productions only).

Digital Image Manipulation Equipment

Editing system with graphics software; graphics generator; electronic still store system; frame store synchronizer

Video recording

Enough time should be alloted for a few false starts or closings. The fewer takes there are, however, the fresher the interview will be.

camera control unit (CCU)

Equipment, separate from the actual camera, that allows the video operator to adjust the color and brightness balance before and during the production.

production schedule

Establish a realistic production schedule and stick to it. A calendar that shows the preproduction, production, and postproduction dates and who is doing what, when, and where. BACKWARDS PLANNING.

time line

Establish a realistic time line and stick to it. A breakdown of time blocks for various activities on the actual production day, such as crew call, setup, and camera rehearsal.

lux

European standard unit for measuring light intensity. One lux is 1 lumen (1 candlepower) of light that falls on a surface of 1 square memter located 1 meter away from the light source. 10.75 lux = 1 foot-candle. Most lighting people figure roughly 10 lux = 1 foot-candle.

Break

Even when working on a tight schedule, it is important to give the talent and crew a brief break just before the production. This will help everybody relax and separate the rehearsal from the actual video recording.

baselight

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

The Four Program Transitions

Fade, Cut or Take, Dissolve, and Wipe

low-key lighting

Fast-falloff lighing with dark background and selectively illuminated areas. Has nothing to do with the vertical positioning of the key light.

Power supply

Feeds the necessary electricity to the camera through the camera cable.

props short for properties

Furniture and other objects used by talent and for set decoration.

Dissolve

Gradually changes a picture from one to the other.

High-key and Low-key lighting

High-key lighting uses an abundance of bright, diffused light, resulting in slow-falloff or flat lighting; the high-key scene generally shows a light background. Low-key lighting uses few spotlights to create fast-falloff lighting and prominent cast shadows; it illuminates only selected areas and projects a dramatic feel.

monitor

High-quality video display used in the video studio and control rooms. Cannot receive broadcast signals. Also refers to flat-panel viewfinders.

zoom range. Also called zoom ratio.

How much the focal length can be changed from a wide shot to a close-up during a zoom. The zoom range is stated as a ratio, such as 20:1. .Optical Zoom-Lens elements inside the lens activate the change of angle of view. (Better quality). .Digital Zoom-Center of the image is selected and gradually magnified. .With a digital zoom the enlarged image becomes progressively less sharp (oversized pixels).

Flat-panel Displays

Improved color rendition, greater contrast ratio, generally higher resolution.Flat-panel displays have myriad tiny transistors (pixels) that are sandwiched between two transparent panels. There are liquid crystal display (LCD) and plasma panels. In plasma panels instead of sandwiching a liquid, the two glass panels of the plasma system contain a thin layer of gas. When the gas receives the varying charges of the video signal, it activates the myriad tiny red, green, and blue dots that are arranged much like the ones on a standard television receiver. When a video signal is applied, the pixels light up or orient liquid crystals or gas to let light shine through. The advantage of flat-panel displays is that they can be quite large while remaining relatively thin.

Windows

In EFP lighting, a window can serve as a key or a side-back light, so long as it is off-camera. All incandescent instruments must have light-blue color media attached to match the color temperature of the light coming through the window.

The Photographic Principle, or Triangle Lighting

Lighting function can usually be achieved with the basic photographic principle: a key light (principal light source), a fill light (fills in dense shadows), and a back light (separates the subject from the brackgound and gives it sparkle). This is also known as three-point lighting. Reflectors frequently substitute for fill lights. The background light is an additional light used for lighting the background and the set area. In field, or location, lighting, it is often more important to provide sufficient illumination than careful triangle lighting. In the field floodlights are used more often than spotlights.

Light and Shadow Control

Lighting is the deliberate illumination of a performance area and the control of attached and cast shadows.

Lighting instruments

Lights are usually classified into spotlights and floodlights, and studio and portable lights. Spotlights produce a sharp focused beam; floodlights produce highly diffused, nondirectional illumination. Studio lights are normally suspended from the ceiling. Portable lights are smaller and supported by collapsible light stands.

Shadows and falloff

There are two types of shadows: attached and cast. Attached shadows are affixed to the object; they cannot be seen independent of it. Cast shadows can be seen independent of the object that causes them. Falloff indicates the change from light to shadow and the contrast between light and shadow areas. Fast falloff means that the light area changes abruptly into dense shadow area; the contrast is high. Slow falloff means that the light turns gradually into the shadow side; the contrast is low.

A dissolve

There is a change in time and space from one picture to another.

Basic Camera Elements

These are the lens, the imaging device or sensor, and the viewfinder.

Beam Splitter and Imaging Device

These devices change the light of the optical image as produced by the lens into electric charges of various strengths. The beam splitter divides the light that comes through the lens into red, green, and blue (RGB) light beams. The imaging device - the charge-coupled device (CCD) or CMOS chip - is attached to the beam splitter and transduces the colored light beams into electric charges, which are then further processed into the video signal.

Camera Mounts

These include a variety of tripods, special mounts such as the jib arm and the Steadicam, and studio pedestals. Whenever possible, put the camcorder or the ENG/EFP camera on a tripod. Keep the handheld or shoulder-mounted camera as steady as possible and zoomed out when moving.

Preproduction Team

These people plan the production. This team normally includes the producer, writer, director, art director, and occasionally,, technical director (TD). Small production companies or televison stations often combine preproduction functions, such as producer-director. Larger productions employ additional preproduction personnel, such as a sound designer or a choreographer.

Super High-Definition Systems

These systems ARE NOT for broadcast and currently used primarily for digital cinema. 4K System- Consists of 4,000(h)/2,000(v) or more pixels per scanning line progressively scanned. 8K System - Consists of 8,000(h)/7,000(v) or more pixels progressively scanned. Both K systems are intended for very large-screen digital cinema projection and NOT for broadcast. 2K, also.

Video production studio

They are designed for multicamera productions and teamwork. Important features include sufficient floor space, a smooth floor for camera travel, adequate ceiling height so that the lights can be suspended, large doors, acoustically treated walls, and relatively quiet air-conditioning.

Major studio installations

They include a lighting grid or moveable battens, adequate electrical outlets, intercommunication system between the studio and the control room, studio video monitors, and studio speakers

Studio support areas

They include the scenery and property storage and the makeup and dressing rooms.

Director and TD (Technical Director)

They must sit next to each other to share the monitors and react quickly to physical signals.

Tapeless Recording Media

They work only with digital data. They include hard drives and video servers, solid-state flash memory devices, and optical discs. In contrast to the linear videotape systems, all tapeless systems are nonlinear. This means that the tapeless systems allow random access to any specific frame or clip. An advantage of memory cards over videotape or other nontape media is that they do nut have any moving parts.

Strike

This activity does not refer to a protest by the crew but to the clearing of the studio of all scenery, properties and equipment.

Body-Mounted stabilizer for small camcorders

This camera support vest facilitates camera operation better and is certainly less tiring than the handheld stabilizer. The harness has a spring-loaded mechanism that lets you walk or even run with the camera, using the foldout monitor as your primary viewfinder.

Stunt bar

This extendable bar lets you lower the camcorder close to the ground for low-angle shots or raise it above your head for high-angle shots. Note that it does not absorb camera wobbles.

Run-through and camera rehearsal

This run-through is to familiarize the guest with the studio environment and procedures, to check on the camera shots, and to rehearse the show's opening and closing. It is intentionally brief to keep the guest as fresh as possible. Because of severe time constraints, news interviews are normally not rehearsed. The producer may brief the guest during the camera setup and lighting.

Small EFP floodlight

This small floodlight runs off ordinary household current and can be used to illuminate small areas. When mounted inside an umbrella reflector, it serves as a softlight.

Body-Mounted stabilizer for large camcorders

This sturdy harness is designed to support a large camcorder or an ENG/EFP camera. The mechanism of gimbals and springs allows you to walk, run, or jump, with the camera remaining steady. Part of the counterweight is a large monitor.

Postproduction Team

This team normally consists of the director, the editor, and in complex productions, a sound designer who remixes the sound track. The director and occasionally the producer guide the editor in the selection and the sequencing of shots.

zoom

To change the focal length of the lens through the use of a zoom control while the camera remains stationary.

Crane Also called the boom.

To move the boom of the camera crane up and down.

tongue

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

Arc

To move the camera in a slightly curved dolly or truck

truck Also called track

To move the camera laterally by means of a mobile camera mount.

Dolly

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

pedestal

To move the camera up or down using a studio pedestal.

tilt

To point the camera up and down.

Calibrate the zoom lens

To preset a zoom lens to keep in focus thoughout the zoom.

Calibrating the Zoom Lens

To preset a zoom, the lens must be zoomed in on the farthest target object and brought into focus. All subsequent wide-angle zoom positions will be in focus so long as the camera-to-subject distance remains the same.

pan

To turn the camera horizontally.

control track

The area of the videotape used for recording synchronization information.

audio track

The area of the videotape used for recording the audio information.

video track

The area of the videotape used for recording the video information. Contains all sound info.

horizontal wipe

The base picture is gradually replaced by another from the side.

Vertical wipe

The base picture is gradually replaced by another from the top down or from the bottom up.

Corner Wipe

The base picture is gradually replaced by another that starts from a corner of the screen

Diamond Wipe

The base picture is gradually replaced by the second image in an expanding diamond-shaped cutout.

directional light

Light that illuminates a relatively large area and creates soft shadows.

reflected light

Light that is bounced off the illuminated object. To measure reflected light, point the light meter close to the object from the direction of the camera.

incident light

Light that strikes the object directly from its source. To measure incident light, point the light meter at the camera lens or into the lighting instruments.

Production switchers

Only switches video (no audio). First row is program - what goes out on the air. The second row is preset. Fade, Cut or take, dissolve or wipe.

Camera operators also called vidographers or shooters (technical)

Operate studio and field cameras. Sometimes also do lighting.

Video-record operator (technical)

Operates video recorders (VRs) during the production. In small field productions, the audio technician doubles as VR operator.

Video editor (technical)

Operates video-editing equipment. Often makes creative editing decisions as well.

Lighting techniques

Operation of lights, lighting safety, studio lighting and the photographic principle, and field lighting.

beam splitter

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

nontechnical production personnel

People concerned primarily with nontechnical production matters that lead from the basic idea tto the final screen image. Includes producers, directors, and talent. Also called (above-the-line) personnel.

technical production personnel

People who operate the production equipment, including camera operators, floor persons, and video and audio engineers. Also called (below-the-line) personnel.

digital

Pertaining to data in the form of binary digits (on/off pulses) which represent the signal (staircase leading to a certain height in discrete steps).

Routing Switcher

Primarily sending sources (camera and video feed) to their destination. It switches both audio and video.

key light

Principal source of illumination; usually a spotlight

insert editing

Produces highly stable edits for linear editing. Requires the prior laying of a continuous control track by recording black on the edit master tape.

Sync Generator

Produces uniform electrical pulse that is necessary to synchronize the scanning of the video pictures.

1080p

Progressive scan DTV. Not for broadcast due to excessive bandwidth. Reserved for digital cinema.

nonlinear editing

The basic principle of nonlinear editing (NLE) is file management. The NLE system uses computers with high-capacity hard drives for the storage, retrieval, and sequencing of video and audio files. The final edit is exported to the edit master media.

luminance also called luma to include the grayscale information

The brightness (black-and-white) information of a video signal

camera chain

The camera and the associated electronic equipment, consisting of the power supply, the sync generator, and the camera control unit.

Diffusion tent

Small portable lights, including small spotlights, can be made into effective spotlights by diffusing their beams with light tents.

Cookie pattern

Some ellipsodial spotlights double as pattern projectors. You can insert a variety of metal cutouts, called cookies, whose patterns are projected by the spotlight onto a wall or other surface.

Variable Scanning Systems

Some video cameras, especially high-end digital cinema cameras, have a variable scanning system that can produce the standard movie frame rate of 24 frames per second (fps) or even lower, as well as the HDTV 60 fps and even a very high frame rate for slow-motion efects.

Performer (non technical)

Someone who appears on-camera in nondramatic activities. Always portrays himself or herself.

Actor (non technical)

Someone who portrays someone else on-camera.

Lightin Instruments

Spotlights, floodlights, and instruments for specific tasks

special effects

Standard electronic video effects are achieved wiht an electronic switcher and a special-effects generator (SEG). They include superimpositions, normal (luminance) keys, matte keys, chroma keys, and wipes. Most chroma keys use either blue or green as the backdrop color. Although wipes function technically as transitions rather than effects, they are so obvious that they are usually considered an electronic effect. Digital video effects (DVE) can be generated by the switcher as well as by computers with appropriate DVE software.

codec

Stands for compression-decompression. Can be one of several compression systems of digial video, graphics, and audio files.

RGB

Stands for red, green, and blue - the basic colors of television.

NTSC (National Television Standards Committee

Responsible for developing a standard for television.

nonlinear recording media

Storage of video and audio material in digital form on a hard drive, solid-state flash memory device, or read/write optical disc. Each single frame can be instantly accessed by the computer.

Electronic still store (ESS) system

Stores still video frames in digital form for easy random access.

Line producer (non technical)

Supervises daily production activities on the set.

Master Control

Switches different signals back and forth. Switches audio and video at the same time or they can be done separately.

Sampling

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

Tape-and-tapeless recording systems

Tape-based systems can record and play back analog or digital video and audio signals and other information necessary for the proper operation of the tape. Tapeless digital systems can record and play back only digital information but are much more flexible

Postproduction Facilities

The NLE equipment is usually housed in small separate rooms in one large room with cubicles. In nonlinear editing on-line suites mean an especially well-equipped and furnished editing room, mainly to impress clients.

Composite and Component recording systems

The NTSC (National Television System Committee) standard is a composite video system that combines the color (c) and the luminance (Y, or black-and-white) parts of the video signal into a single composite signal. The Y/C component video system separates the color (C) and the luminance (Y) information; it is also referred to as the S-video system. The signals are combined again during recording. The Y/color difference component system separates the Y, blue minus Y, and red minus Y signals throughout transport, recording, and transmission. It provides the highest video quality.

Character Generator

The character generator (C.G.) is a computer with software designed to create titles; graphics generators are dedicated computer systems that can create or manipulate 3D still and animated images.

Low-energy color

The colors are desaturated, which means they have little color strength. Most pastel colors. Should be used for the backgroun.

High-energy color

The colors have high saturation, which makes them bold. Should be used for the foreground (titles).

progressive scanning

The consecutive scanning of lines from top to bottom. Each scanning cycle reads all lines and produces a complete frame. Refresh rate = 60 fps

Digital Video Scanning Systems

The most prevalent digital television (DTV) scanning systems are 480p, 720p, and 1080i. All DTV systems produce video with higher resolution than standard analog television, improved color, and more sublte shadings between the brightest and darkest picture areas. High-definition television (HDTV) uses the 720p and 1080i scanning systems; high-definition video (HDV) uses the 720p and 1080i scanning systems but has less color information and higher compression than HDTV.

Connectors

The most widely used video connectors ar the BNC connector, the S-video connector, the RCA phono connector, the HDMI connector, and the FireWire (IEEE 1394).

Scanning

The movement of the electron beam from left to right and from top to bottom on the television screen.

Camera Movements

The movements include pan, tilt, cant, pedestal, dolly, truck or track, arc, crane or boom, and tongue. The zoom is also included, although the camera does not move.

refresh rate

The number of complete scanning cycles per second. Also expressed in frames per second.

zoom lens

Variable-focal-length lens. All video cameras are equipped with a zoom lens.

Digital video effects (DVE)

Video effects generated by an effects generator in the switcher or by a computer with effects software. The computer system dedicated to DVE is called a graphics generator.

The During" Videotape recording process checklist

Video leader; tape counter; preroll; recording levels; recording for postproduction; retakes; recordkeeping

Y/color difference component video

Video-recording system wherein the three signals- the luminance (Y) signal, the red signal minus its luminance (R-Y), and the blue signal minus its luminance (B-Y) - are kept separate during the recording and storage process. All three signals are recorded separately.

LED Lighting

Lower light requirements of improved sensors in digital video cameras, new light-emitting diode lighting instruments are being developed that may eventually replace the incandescent instruments in current use.

P.L. stands for private line or phone line also called party line.

Major intercommunication device in video studios.

Titles

When using letters against a busy background, make them big and bold enough that they can be read easity on the home screen. In designing color graphics, try to set off high-energy colors (bright and rich hues) against a low-energy background (washed-out, pastel colors).

Key

allows you to insert (cut electronically) an image into a background picture. In other words lets you overlay one graphic onto another. It's it's not a transition but a special effect.

Production Switcher

allows you to punch up video sources, as the picutures supplied by two or more cameras. It does not switch audio and can do more effects than the other switchers. Only contains one row that goes on the air and that is "Program." It also contains Preview.

Clip light with barn doors

small spotlights, which use ordinary internal reflector lamps, are useful for illuminating small areas during field productions.

High-definition television (HDTV)

Includes the 720p, 1080i, and 1080p scanning systems.

Block organization of titles

Information is easier to read when the titles are organized in graphic blocks.

Three Editing Phases

The three nonlinear editing phases are: capture, editing and export.

Analog and Digital Signals

An analog signal fluctuates exactly like the original stimulus. A digital signal is based on a binary code that uses on/off, either/or values respresented by 0's and 1's; it is purposely discontinous.

Fader Bar

Activates and regulates the speed of faders and dissolves.

fill light

Additional light on the opposite side of the camera from the key light to illuminate shadow areas and thereby reduce falloff; usually done with floodlights.

Color

Additive and subbtractive mixing, the color television receiver and generated colors, and color temperature and white-balancing

iris Also called lens diaphragm.

Adjustable lens-opening mechanism.

Video operator (VO) also called video engineer or shader (technical)

Adjusts the camera controls for optimal camera pictures (also called shading). Sometimes doubles as maintenance engineer.

pulse-count system Also called control track system

An address code that counts the control track pulses and translates that count into time and frame numbers. It is not frame-accurate.

Types of Cameras

Camera types include small handheld and large shoulder-mounted camcorders - portable cameras with the recording device attached or built-in; ENG/EFP cameras, which are high-end, shoulder-mounted field cameras; high-definition television studio cameras, which with a different lens are also used in the field; and digital cinema cameras, which are highly specialized super-HDTV video cameras.

Director of photography (DP) (technical)

Carryover from film production. Takes care of lighting and camera operation in single-camera productions.

Setup and lighting

Check the floor plan to see if there are any special effects required or if it is just the routine lighting.

colors and color temperature

Colors are generated through additive color mixing. All colors are mixed by adding the primary light colors - red, green, and blue (RGB) - in various proportions. Color temperature refers to the relative reddishness or bluishness of white light. White-balancing adjusts the camera to the color temperature of the prevailing illumination so that the camera will reproduce a white object as white on the video screen.

preproduction team

Comprises the people who plan the production. Normally includes the producer, writer, director, art director, and technical director. Large producctions may include a composer and a choreographer. In charge: producer.

Flourescent Bank

Consists of a series of fluorescent tubes. It produces very soft light with slow falloff.

edit decision list (EDL)

Consists of edit-in and edit-out points, expressed in time code numbers, and the nature of transitions between shots.

Chrominance channel. Also called color, or C, channel.

Contains the RGB video signals or some combination thereof.

luminance channel. Also called luma, or Y, channel.

Contains the black-and-white part of a video signal. It is mainly responsible for the sharpness of the picture.

Linear Assemble and Insert Editing

In assemble editing everything that is recorded on the selected portions of the source tape is tranferred to the edit master tape. The shots can be assembled one after the other on the edit master, regardless of whether it was a blank tape or one with a previous recording on it. Insert editing requires the prior laying of a control track (by recording black) on the edit master tape. The continuous control track makes the edits highly stable and allows split edits.

Floor manager. Also called FLOOR DIRECTOR or STAGE MANAGER. (non technical)

In charge of all activities on the studio floor, such as setting up scenery, getting talent into place, and relaying all director's cues to talent. In the field the floor manager is basically responsible for preparing the location for the shoot and for cueing all talent.

Audio engineer also called audio technician (technical)

In charge of all audio operations in production and, in the absence of a sound designer, in postproduction. Sets up microphones and operates audio console during the show.

Chief engineer (technical)

In charge of all technical personnel, budgets, and equipment. Designs electronic systems, including signal transmission facilities, and oversees installations, day-to-day operations, and all maintenance.

Technical director (TD) (technical)

In charge of all technical setups and operations during a production. Does the actual switching in a studio production. Often acts as technical crew chief.

Producer (Non Technical)

In charge of an individual production. Often doubles as writer and director. Once the general idea is born, it is nurtured through all preproduction stages by the producer, who states the specific purpose of the show (the program objective) and sometimes the process message (the message that the viewer should ideally perceive while watching the show). The producer also prepares a budget for the entire production.

Sound designer (technical)

In charge of creating the sound track of a complex production, such as a drama, commercial, or large corporate assignment.

Director (non technical)

In charge of directing talent and technical operations. Ultimately responsible for transforming a script into effective video and audio messages. In smaller operations also assumes the producer's responsibilities.

Executive Producer (Non Technical)

In charge of one or several programs or program services. Approves and manages budget.

Lighting director (LD) (technical)

In charge of studio and field lighting; normally for large productions only.

Art director (non technical)

In charge of the creative design aspects of show (set design, location, and graphics).

Studio and field producers (non technical)

In large operations, studio and field producers are assigned different producing responsibilities: the studio producer takes care of all studio productions, and the field producer handles all field productions.

off-line editing

In linear editing it produces an edit decision list or a rough-cut not intended for broadcast. In nonlinear editing the selected shots are captured in low resolution to save computer storage space.

on-line editing

In linear editing it produces the final high-quality edit master for broadcast or program duplication. In nonlinear editing the shots listed on the edit decision list are recaptured at a higher resolution.

Assemble editing

In linear editing, adding shots on videotape in consecutive order without first recording a control track on the edit master tape.

Chroma Key

Key effect that uses a color (usually blue or green) for the key source backdrop. All blue or green areas are replaced by the base picture during the key.

Lenses

Lenses are classified by the focal length (short and long), angle of view (wide and narrow), and speed (largest aperture expressed in the lowest f-stop). The zoom lens has a variable focal length. The zoom range is stated as a ratio, such as 20:1 or 20x. A 20:1 lens can show the angle of view 20 times narrower than the extreme-wide-angle position with the background magnified.

high-key lighting

Light background and ample light on the scene. Has nothing to do with the vertical positioning of the key light.

Cut or Take

Instantaneous switch from one source to the other.

aperture

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

Studio Control Room

It is designed and arranged to coordinate the total production process. It usually comprises the image control-with the switcher, C.G. (character generator), monitor banks, intercom lines, and sometimes the lighting control board-and the sound control, which contains an audio console and recording and playback equipment.

Meal

It is important that everyone be back from lunch on time, which means that everyone should leave for lunch on time, even if there are still minor setup and lighting details remaining. Minor adjustments can be made during the reset time.

Field log

It lists all takes during a recording

diffused light

Light that illuminates a relatively large area and creates soft shadows.

Property manager (non technical)

Maintains and manages the use of set and hand properties, such as tables, chairs, and office furniture (set properties), and telephones, coffee cups and flashlights (hand properties) - for large productions only. In smaller opreations props are managed by the floor manager.

Three types of video switchers

Master Control routing switcher production switcher

Capture

Moving video and audio from the recording media to the hard drive of a computer with a nonlinear editing program. Analog videotape signals must be converted to digital before they can be imported by the computer.

White balance

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

Multimedia and Interactive Video

Multimedia refers to the simultaneous display by the computer of text, sound, and still and moving images. Distributed on CD-Rom, DVD, or the Internet, these interactive programs are used extensively for information, instruction, and entertainment. Interactive video allows the viewer to exercise choice with immediate feedback.

Scoop

Named after its scooplike reflector, the scoop is an old-fashioned but highly useful floodlight. Scoops can be used as key lights (the main light source) as well as fill lights for dense shadow areas to slow down falloff and make shadows more transparent. They are ideal for lighting large areas with relatively even light.

digitize

Necessary step with analog source material whereby the analog signals are converted to digital signals prior to capture.

postproduction team

Normally consists of the director, a video editor, and for complex productions, a sound designer who remixes the sound track.

NTSC Stands for National Television System Committee.

Normally refers to the composite video signal, consisting of the Y signal (luminance, or black-and-white information) and the C signal (red, green, and blue color information).

Focus and Shutter Speed

Normally, we want all pictures on the screen sharp and clear. You can achieve focus bu manual or automatic controls. Shutter speed reduces the blurring of bright, fast-moving objects. The higher the shutter speed, the less blurring occurs but the more light is needed.

Off-line and On-line Editing

Off-line linear editing produces an edit decision list (EDL) or a rough-cut. On-line linear editing produces the final edit master tape. In nonlinear editing, off-line refers to the capture of source footage and file manipulation at low picture resolution. On-line refers to recapturing the off-line footage at a higher resolution according to the EDL. The resulting footage is exported to a VTR or DVD for recording an edit master.

field

One-half of a complete scanning cycle, with two fields necessary for one television picture frame. In analog (NTSC) television, there are 60 fields, or 30 frames, per second.

Announcer (non technical)

Reads narration but does not appear on-camera. If on-camera, the announcer moves into the talent category.

additive primary colors

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

tapeless systems

Refers to the recording, storage, and playback of audio and video information via digital storage devices other than videotape.

Talent (non technical)

Refers, not always accurately, to all performers and actors who regularly appear on video.

color temperature

Relative reddishness or bluishness of white light, as measured on the Kelvin (K) scale. The norm for infoor video lighting is 3,200 K; for outdoors, 5,600 K.

Softlight

Relatively large instruments with long tubelike lamps whose light bounces off with a curved, light-diffusing reflector. The opening of the relector is covered with a diffusing material that scatters the light so much that it renders shadows virtually invisible.

Soft Wipe

Renders the demarcation line between the two images purposely less prominent.

Music director/conductor (non technical)

Responsible for music group in large productions, such as the band that plays on a variety show. Can also be the person who picks all the recorded music for a specific show or series.

Scenery, properties, and set dressings

Scenery consists of softwall and hardwall flats, a cyclorama and various drops, set pieces, platforms, and wagons. Properties include set props (such as furniture), hand props (items actually used by the talent), and set dressings (artwork, lamps, and decorative plants). Scenery must convey a certain environment and allow for optimal lighting, audio pickup, and talent and camera movement.

Guidelines: Field Lighting

Scout ahead; Be prepared; Don't overload circuits; Don;t waste lamp life; Secure the light stands; Move cords carefully; Be time conscious.

Prism Block

Separates white light into the three primary colors - RGB

Floor persons. Also called GRIPS, STAGEHANDS, or FACILITIES PERSONS. (non technical)

Set up and dress sets. Operate cue cards and other prompting devices. Sometimes operate microphone booms. Assist camera operators in moving camera dollies and pulling camera cables. In small operations also act as wardrobe and makeup people. Set up and ready all nontechnical facilities in the field.

attached shadow

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

cast shadow

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

Fade

Signifies beginning or end of program or segment.

contrast

The difference between the brightest and the darkest spots in a video image.

Manipulation

The digital process permits a great number of quick manipulations of audio and video information. Nonlinear editing is made possible through sorting and ordering digital video and audio files.

Edit controller Also called the editing control unit

The edit controller is used in linear editing to assist in various functions, such as marking edit-in and edit-out points, backspacing, rolling source and record VTRs in sync, and integrating effects.

mosaic effect

The image is distilled into equal-sized tiles and the size of the tiles can be manipulated.

matte key

The key (usually letters) is filled with gray or a color.

team members

The members perform nontechnical and technical functions. Nontechnical people do not normally operate equipment; technical people do. The nontechnical people are also called above-the-line personnel; the technical people, below-the-line personnel.

Postproduction Preparations

The most important preparations for efficient postproduction editing include shooting for continuity, making protection copies, adding time code, making a window dub, reviewing and logging the source footage, transcribing the audio text, and, for linear insert editing, laying a control track on the edit master tape.

Pulse-count and Address Code

The pulse-count system is not a true address code because it counts pulses but does not give each frame a unique address. The address code, such as the SMPTE time code, marks each frame with a unique address - a time code number consisting of hours, minutes, seconds, and frames.

Aspect Ratio

The ratio of the width of the television screen to its height. In STV (standard television), it is 4 x 3 (4 units wide by 3 units high); for HDTV (high-definition television), it is 16x9 (16 units wide by 9 units high). Mobile video has various aspect ratios, including vertical ones.

Notes and reset

The run-through and camera rehearsals will inevitably reveal some minor problems with the lighting or audio. The floor manager may ask the makeup person to straighten the guest's clothing and put a little makeup on their forehead to hide perspiration.

f-stop

The scale on the lens, indicating the aperture. The larger the f-stop number, the smaller the aperture and the less light is transmitted; the smaller the f-stop number, the larger the aperture and the more light is transmitted. F-stop numbers are usually 1.4, 2.8, 4, 5.6, 8, 11, 16 and 22.

Interlaced scanning

The scanning of all the odd-numbered lines (first field) and the subsequent scanning of all the even-numbered lines (second field). The two fields make up a complete television frame. 525 lines/ 30 frames/ 60 fields

Essential area Also called safe title area

The section of the television picture that is seen by the home viewer, regardless of minor misalignments of the receiver. All the important information must be contained in the essential area - the screen area that is reproduced by the home television set even under adverse conditions.

ingest

The selection, coding, and recording on a large server of various program feeds.

binary digit (bit)

The smallest amount of information a computer can hold and process. A charge is either present, represented by a 1, or absent, represented by a 0. One bit can describe two levels, such as on/off or black/white. Two bits can describe four levels (2 squared bits); 3 bits, eight levels; 4 bits 16 and so on. A group of 8 pits is called a byte.

falloff

The speed (degree) with which a light picture portion turns into shadow areas. Fast falloff means that the light areas turn abruptly into shadow areas and there is a great difference in brightness between light and shadow areas. Slow falloff indicates a very gradual change from light to dark and a minimal brightness difference between light and shadow areas.

Lens Iris and Aperture

The speed of the lens is determined by the maximum aperture, or iris opening. A fast lens lets a relatively large amount of light pass through; a slow lens, relatively little. The specific aperture is indicated in f-stops. The lower the f-stop number, the larger the aperture and the more light is transmitted. A fast lens has a low minimum f-stop number (such as f/1.4). The higher the f-stop number, the smaller the aperture and the less light is transmitted. A slow lens has a relatively high minimum f-stop number (such as f/4.5).

Camera Chain

The studio camera chain consists of the camera head (the actual camera), the power supply, the sync generator, and the camera control unit (CCU). A camcorder contains the entire camera chain plus the recording device.

Frame rate

The time it takes to scan a complete frame; usually expressed in frames per second (fps). In analog (NTSC) television, there are 60 fields, or 30 frames, per second. In DTV the frame rate is flexible, ranging from 15 fps to 60 fps. HDTV cinema cameras have adopted the film standard of 24 fps, but you can change their frame rate.

triangle lighting Also called three-point lighting and photographic principle.

The triangular arrangement of kdy, back and fill lights.

photographic principle Also called triangle, or three-point, lighting.

The triangular arrangement of key, back, and fill lights.

Types of light and light intensity

The two basic types of light are directional and diffused. Directional light is focused and causes harsh shadows. Diffused light is spread out and creates soft shadows. Light intensity is measured in foot-candles (fc) or European lux. There are approximately 10 lux per foot-candle.

Types of Videotape recorders

The two major types of VTRs are analog and digital. Although both types use videotape as the recording media, they are not compatible: you cannot play back an analog tape on a digital VTR or a digital tape on an analog VTR.

foot-candle (fc)

The unit of measurement of illumination, or the amount of light that falls on an object. One foot-candle is 1 candlepower of light (1 lumen) that falls on a 1-square-foot area located 1 foot away from the light source.

Linear editing

The use of VTRs designates linear editing, whether the recording is analog or digital. The basic principle of linear editing is copying sections of the source tapes in the desired sequence to the edit master media. Subsequent copies are struck from the edit master.

Video Leader

The video leader must be generated by the equipment actually used in the videotape recording.

edit master

The videotape or disc that contains the final version of an edited program. Subsequent copies are struck from the edit master.

Fresnel Spotlight

The workhorse of studio lighting. Its lens creates a relatively sharp light beam that can be partially blocked by barn doors. This spotlight can be focused, tilted up and down, and panned sideways by turning the knobs with a lighting pole (a wooden pole with a metal hook at the end).

Single-and Multiple-source Systems

Typically, single-source VTR editing systems are limited to cuts-only transitions. Dissolves, wipes, and other special-effects transitions are possible with multiple-source editing systems.

c-clamp

Use this to fasten heavy lighting instruments to the lighting battens. Even when tightly fastened to the batten. It allows the lighting instrument to be turned.

intercom short for intercommunication system

Used for all production and engineering personnel involved in a show. The most widely used system has telephone headsets to facilitate voice communication on several wired or wireless channels. Includes other systems, such as I.F.B. and cellular telephones.

Ellipsoidal spotlight

Used for special effects. It produces an extremely sharp, high-intensity beam that can be made rectangular or triangular with movable metal shutters. It is used to illuminate precise areas.

Basic Photographic principle

Uses a key light, a fill light and a back light. They are arranged in a triangle with the back light at its apex, opposite the camera.

Digital Cinema

Uses high-end video equipment (HDTV cameras and sophisticated postproduction video and audio equipment) to produce major motion pictures.

Wipe

Uses patterns for a transition

linear editing system

Uses videotape as the editing medium. It does not allow random access of shots.

Briefing of guest

While the production crew is getting ready for the first run-through and camera rehearsal, the producer, the interview host, and the PA (and sometimes the director) meet with the guest in the Green Room to go over the program concept. The Green Room is a small, comfortable room specifically set up for such a briefing.

Focal length

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.

Writer (non technical)

Writes video scripts. In smaller-station operations or in corporate video, the writer's function is often assumed by the director or producer or by somebody hired on a freelance basis.

wipe patterns

a group of buttons on the switcher shows the various ---- ------- available. Elaborate systems offer up to 100 different patterns.

The "After" Videotape recording process checklist

recording check; labeling; protection copies

Switching

refers to instantaneous editing using simultaneously available video sources.

The "Before" Videotape recording process checklist

schedule; VTR status; power supply; tape; cables; monitor