TV STANDARDS
1. PAL
2. NTSC
3.SCEAM
1. PAL
Phase Alternation Line (PAL) is the TV/Video Standard, developed in Germany. It used in most European countries.
PAL video has 625 lines per frame & 50 image fields per second. The frame rate is 25 frames per seconds(fps) or 50 fields per second, with each field accounting for half the interleaved scan lines on a Televisionm Screen. used in Nepal, India and other countries.
2. NTFS
NTSC National Television Standards Committee is the name of TV/Video standard, dcreated by them in 1953, used in North & Central, America, Japan, and other countries.
NTSC video has 525 lines per frame & 60 image fields per second. The frame rate is 29.97 (30) frame per seconds(fps) or 60 field per second, with each field accounting for half the interleaved scan lines on a Television Screen.
3. SECAM
Sequentiel Couleur & a Memoire (SCEAM) is the TV/Video Standard. A color TV transmission system used in france & Russia and Eastern Europe.
SCEAM video has 625 lines per frame & 50 image fields per second. The frame rate is 25 frames per second fps or 50 fields per second like PAL.
The most
prominent coses behind the scenes are the:
Producer
Screenwriter
Director
Unit Production Manager
Casting director
Direction of photography (DP) is cinematographer
Designers
Assistant director
Film and sound editors
Music composer
The standard
width of film used for a feature length motion picture is 35mm (1.38 in). An occasional largescale production appears on 70millimeter (2.76 in)
film where as low budget and some experimental films are typically shot on less
expensive 16millimeter (0.63 in) film.
AVI CAPTURE – VIDEO STANDARD: PAL
Capture
|
Codec
|
Resolution
|
F bs
|
Audio
|
Good
Better
|
Pic.
Video MJPEG codes
Pic
video MJPEG CODEC
|
352
*288
720*576
|
25
25
|
PCM
16 bit mono
PCM
16 bit stereo
|
Best
|
DV
video encoder
|
720*576
|
25
|
PCM
16 bit stereo
|
MPEG
CAPTURE VIDEO STANDARD:PAL
Good
|
MPEG1 (VCD compatible)
|
352*288
|
25
|
MPEG12
16 bit stereo
|
Better
|
MPEG2 (SVCD compatible)
|
480*576
|
25
|
MPEG12 16 bit stereo
|
Best
|
MPEG2 (DVD compatible)
|
720*576
|
25
|
MPEG12 16 bit stereo
|
AVI CAPTURE VIDEO STANDARD: NISC
Good
|
PCI
video MJPEG codec
|
352*240
|
29.97
|
PCI
16 bit mono
|
Better
|
PCI
video MJPEG codec
|
720*480
|
29.97
|
PCM
16 bit stereo
|
Best
|
DV
video Encoder
|
720*480
|
29.92
|
PCM
16 bit stereo
|
MPEG CAPTURE VIDEO STANDARD: NISC
Good
|
MPEG1
(VCD compatible)
|
352*240
|
29.97
|
MPEG12 16 bit stereo
|
Better
|
MPEG2 (SVCD compatible)
|
480*480
|
29.97
|
MPEG12 16 bit stereo
|
Best
|
MPEG2 (DVD compatible)
|
720*480
|
29.97
|
MPEG12
16 bit stereo
|
·
Normal display (4:3 video for 4:3 display)
·
Letterboxed (16:9) video for 4:3 display or
4:3 video for widescreen.
·
Pan and scan (16:9 video for 4:3 display)
·
Widescreen (16:9 video for 16:9 display)
Films are generally shown in theaters,
with motion picture projector in the rear of the theater shining the image over
the heads of the theater.
Cinerama, the
first wide screen process, was introduced in theaters in 1952.
Three 35millimeter cameras and three
projectors were used to record and project a single image into a larger curved
screen, with the result that the images blended together to produce an illusion
of vastness.
Cinemascope used a special lens called
an anamorphic lens,
which compressed a wide image into standard 35millimeter films, and a projector
that decompressed the image, making it twice as wide as standard screen images.
Panavision become the standard wide screen process using an anamorphic lens to
achieve an aspect ratio of 2.35 to 1. Currently, must US films have an aspect
ratio of 1.85 to 1, while most European films have an aspect ratio of 1.66 to
1. For 70millimeter films, the aspect ratio is 2.2 to 1.
FORMAT
|
Aspect ratio in pixel
|
When to use
|
Square pixels
|
1.0
|
Ur footage has a 640*480 or 648*486 frame
size
|
D1/DV NISC
|
0.9
|
Ur footage has a 720*480 or 720*486 frame
size and ur desired result is a 4:3 frame aspect ratio.
|
D1/DV NISC widescreen
|
1.2
|
Ur footage has 720*480 or 720*486 frame
size and ur desired result is a 16:9 frame aspect ratio.
|
DV1/DV PAL
|
1.0666
|
Ur footage has 720*576 or frame size and ur
desired results is 4:3 frame aspect ratio.
|
DV1/DV PAL widescreen
|
1.422
|
Ur footage has 720*576 frame size and ur
desired result is a 16:9 frame aspect ratio.
|
Anamorphic 2:1
|
2.0
|
Ur footage was shot using an amorphic film lens.
|
D4/D16 standard
|
0.948
|
Ur footage has 1440*1024 or 2880*2048 frame
size and ur desired result is 4:3 aspect ratio.
|
D4/D16 anamorphic
|
1.896
|
Ur footage has 1440*1024 or 2880*2048 frame
size of ur desired result is 8:3 frame aspect ratio.
|
Pixel Aspect Ratio
|
Frame Aspect Ratio
|
Square pixel
|
4:3
|
D1/DV NISC (0.9)
|
6:5
|
D1/DV NISC widescreen (1.2)
|
8:5
|
D1/DV PAL (1.07)
|
64:45
|
D1/DV PAL widescreen (1.42)
|
256:135
|
Anamorphic 2:1 (2)
|
8:3
|
D4/D16 standard (0.95)
|
512:405
|
D4/D16 Anamorphic (1.9)
|
1024:405
|
Down convert types: use for o/ping
movies.
A. Sequeeze:
o/p and a horizontally
compressed image while maintaining its original aspect ratio.
B.
Letter Box:
o/p and a vertically
compressed image while maintaining its original aspect ratio.
C.
Edge crop:
o/p and the central portion of the original
image by cropping its right and left edges.
TV commercial or ad film production has three stage:
a.
Pre-production:
Activities like budgeting and casting.
b.
Production:
Activities like shooting under a
director.
c.
Past-production:
Activities like eating dubbing
and incorporation of special effects.
Basic understanding of films and tape:
Advertising
commercial can be shown in cinema halls by a projector. In this case, the
commercial uses a film format.
There are three major formats in use.
70mm, 35mm and 16mm. These are different widths, which
give the area of image. The edge of the films has perforation called “sprocket
holes”. These holes and their spacing are specific for a particular gauge-each
16mm frame has two holes or 35mm frame has four holes. Large format gives
superior image, but cast considerations rule them out. 35mm is the standard for
advertising commercials for TV as well as cinema use a 35mm format. Later, the
commercial is transferred from film to video-tape by using a telecine machine.
Aspect Ratio (width to height ratio)
Each picture has horizontal and vertical dimension. TV
uses screen proportions of 4:3 or 1:33:1 (four units wide and three units
high). Films for cinema have an aspect ratio of 1.65:1 in cinemascope format.
The aspect ratio of the screen image in film is 2:5. If a movie is shot which
is wider than 4:3 TV ratio, the picture must be modified to fit the screen. To
maintain the full height, the original pictures width will have to be pruned or
to maintain the width, the height must be sacrificed. There are then band
stripes of black at the top and bottom. Many commercials on TV have used
cinema-screen proportions and so we get images which are sandwiched between fat
horizontal bandy
of black.
Film
sound
Sound waves are magnetically
recorded on films just like the audio cassette. The sound is encoded on a coat
of ferrous oxide (iron salt) or similar magnetically sensitive chemical
deposit.
Single system recording or commas (combined
magnetic)
There should be synchronization between the action and
dialogue. The synchronous sound (sync) can be recorded directly on a magnetic
track along the film strip in camera at the time of shooting. This method is
not employed now, since at post-production editing stage, the sync is last.
Non-sync Sound
The door bang is
heard first, and a second later the door is seen slammed shut. The singer, but
he tips movements
do not coincide with the words. It is called tip flap. In cameras with sound on
films shooting, there is a distance between the sound head and the picture
gate. The sound-head is ahead or behind the picture frame by 28 frames on 35mm.
the result is a displacement by just over one second between the sound and the
corresponding frame.
Separate sound recording
These days sound is recorded separately on a recorder
(Nagra recorder-1/4” open-real recorder). There are two reasons for non-sync
sound- stretch ability of tape, and variations in motor speed. To conjure
sync, the camera and the recorder are locked together by a sync-pulse
generator.
A radio sync may deliver the sync-pulse. Separate
recording facilitates sync when the sound and picture are married together on a
single strip of film at the editing stage.
Separate recording also improves the audio quality.
Non-linear
editing
It is the editing process which allows us to manipulate
the video and the audio. It is done entirely on computer. In essence, it is
similar to manipulation of text on a word-processor. We also get the capability
to move an entire segment. It gives us enhanced flexibility. The linear editing
follows a strict linear order of shots. Here are can edit in any sequence. The
choice of sequence in ours. In film editing this flexibility was not unknown,
but in video editing it is an innovation.
Video compression
At a compression level of 1:10, the human eye is not
capable recognizing of the missing out of some information. The AVID offers
AVR-27 choice for
technically minded is about 120-150KB per frame in PAL and definitely Betcam SP
quality.
Revolutionary film editing
Conventional film editing consists in screening and
blocking the footage, marking pieces of film and putting the picture together
by slicing tiny snippers and running them through a viewer. The process is
extremely cumbersorne
and slow. The convenkonal machines of film editing-Mo viola and
Steinbeck data backs to 50s and 60s. Real image, a Chennai-based
company, has marketed one of the latest film editing systems in the world. It
is called AVID and is a digital non -linear shots.
POV (Point of
view)
1.
ECU (extreme closeup) EG: an eye, a finger
nail or a flap of a pack.
2.
VCU (very close up) EG: face of a modal using
a particular brand of a soap.
3.
BCU (big close up) EG: a nail polish bottle
(only the face)
4.
CU (Close up)
5.
MCU (middle close up/ chest bust shot)
6.
MS (mid shot / waist shot)
7.
¾ shot: knee shot
8.
FLS (full length shot) EG: Remo Fernandez in
Pepsi commercial
9.
LS (long shot)
10.
XLS (extremely long shot)
Types of Shots
Close
up shots
A close
up is a tightly
framed shot of a single person or object. In case of a person, it includes from
the top of the head to the top of the shoulders.
Mid
shot
The mid shot extends from above the head to around the
waist, and could be framed to the left or right to include a second person. A
mid shot can thus become a two shot, useful in interviewing.
Long
shot
The long shot
includes the whole person, with his surrounding and people in the neighborhood.
Films, however, have three professional formats-70mm,
35mm and 16mm. It is easier to witch from one formal to another. Films can be
converted to video format by making use of ‘telecine’ equipment.
Films and video editing are totally different. Film
editing is done by wax pencil markings as per SMPTE code of the US video tape,
not like the film.
It is called AVID and is a digital non-linear on-line
video editing system. It is useful for both video and film.
TAPE
FORMAT
Tape width
|
Application
|
2 Quad
|
Broadcast
|
1 Quad
|
Broadcast
|
High Bang U-Matic 3/4
|
Semi-
broadcast, professional
|
Low band U-Matic 3/4
|
Professional,
Industrial
|
Betacam ½
|
Broadcast
and Semi- broadcast
|
1/HS ½ and Beta
|
Domestic
|
Comparison between FILM and VIDEO-TAPE
Point
of distinction
|
Film
|
Videotape
|
Picture
sharpness
|
Better
than video
|
|
Color
|
Natural
|
Unnaturally
exaggerated
|
Film
stack choice
|
Wide
as per the intensity of light EG: night scenes with film with high
|
Videotape
is basically the same
|
Video
cameras
|
Can
process bright light
|
Can’t
process bright light
|
Slow
motion/ speed-up motion
|
Can
be originated on film
|
These
effects cannot be originated, and are done post production.
|
Movie
camera
|
Physically
robust, portable operate in adverse, whether conditions cost of developing
processing and printing.
|
Delicate
not so portable.
Affected
adversely
|
Cost
|
Cost
of developing processing and printing.
|
Tape
cost effective can be wiped re-used instant monitoring as the sane is being
shot.
|
Monitoring
|
In
the can rushes will have to be seen. To get instant monitoring a compact
video camera can be mounted on the side of the movie camera.
|
|
Speed
|
Slow
|
Speedier production due to
multicamera set up.
Live
edit possible.
|
Post
production
|
|
Enable
different optical/supper effects.
Video
is much superior and rules pen post-production.
|
Distribution
|
Physical
|
Tape
can be sent on the TV station via a land-linear micro-wave link.
|
Commercials
(ad spots)
|
Most
are shot on RLM for better production values.
|
Studio
programs computer graphics,
Animation.
|
Director’s
preference
|
Some
are at home with films
|
Some
are at home with video.
|
Pixels: A screen is broken up by several thousand
tiny dots. One or more such dots are treated as units. Pixels is one such unit.
Pixel can be single-dot on mono-chrome screen, 3-dots on color screens (R, G,
B) or clusters of these dots.
Mega pixels
A picture’s resolution is expressed either it terms of
its dimensions of it dimensions of its pixels or by its total number of pixels.
The resolution could be 1160*864 pixels (read as 1160 by 864 pixels) or 1002240
(roughly 1000 thousand pixels), this resolution has touched one million, and
hence it is called one mega pixels.
DIGITAL
PAST
Expensive
Few
choices
Most low quality
Step steep
learning curve
DIGITAL
PHOTOGRAPHY
Ø Capture
Ø Edit
Ø Output
DIGITAL
PRESENT
Less Expensive
Software control
Camera complete pre and post images control and editing
Many more choices
Good to excellent quality
Step terming curve
Unless compulsory
Aperture
and shutter priorities
The amount of the light that enters the camera is
controlled by the shutter and aperture, and determine the quality of the image.
The shutter opens for a short while to allow the light to enter. The speed of
the shutter decides the exposure and the motion of an image. To allow more
light into the camera, we have to increase the aperture. This also decides the
depth of the vision. Both these factors are adjustable in professional cameras.
In digicams, we can keep one of these constant, and change the other. There are
pre-set settings for the other.
The
tens diaphragm controls the size of the operator, or tens opening, and thus the
amount of light that passes through the legs. It operates in conjunction with
the shutter.
The aperture size is measured by numerical settings
called F-stops. On a traditional, manually controlled camera the F-stops are
inscribed on an adjustable ring that fits around the lens typical F-stops are
F/2, F/2.8, F/4, F/5.6, F/8, F/11 and F/16. The settings F/2 represent a large
aperture, F/16 a small aperture with simple automatic-exposure cameras, a
computer sets the aperture size, thus the aperture ring has disappeared from
many of today’s lenses.
Lenses come with a rating for their maximum aperture,
indicate indicating how much light can reach the film. When the lens diaphragm
is wide open with single-lens-reflex cameras, the maximum aperture also
influences, how-bright the images appears in the view finder-within lens types,
a lens with a large maximum aperture will have a large diameter and weight more
than a lens with a smaller aperture. A telephoto lenses requires a larger lens
diameter and greater length to let in the same amount of light as a normal or
wide-angle lens like telephoto lenses, zoom lenses are also physically.
Typing Support
Shreeya
