Transcript
VIDEO TECHNOLOGY
Prepared by:
NESTOR S. ABROGENA JRINSTRUCTOR-1 / VIDEO TRACK HEADDESIGN FOUNDATION, SCHOOL OF DESIGN AND ARTSCOLLEGE OF SAINT BENILDE
VIDEO TECHNOLOGYWAS FIRST DEVELOPED
FORCATHODE RAY TUBE
TELEVISION SYSTEMS
CATHODE RAY TUBE
BASIC IMAGE FOR FILM & VIDEOHAD ITS ROOTS
IN STILL
PHOTOGRAPHY
REPRODUCTION
LIGHT PHOTOSENSITIVE
MATERIALARE THE ELEMENTS
OFIMAGE REPRODUCTION
AND A
PRINCIPLES OFIMAGE REPRODUCTION
1. STILL CAMERA2. MOVING CAMERA3. VIDEO CAMERA
STILL CAMERA
MOVING CAMERA
MOVING CAMERA: PERSISTENCE OF VISION
- SINCE THE EYE RETAINS IMAGES SLIGHTLY LONGER THAN IT IS ACTUALLY
EXPOSED TO THEM, IT TENDS TO MELD 2 SUCCESSIVE IMAGES INTO ONE, CREATING A SMOOTH
TRANSITION BET, THEM.
FILM FORMAT: 35mm-1890’sBefore: CELLULOSE NITRATE-BASED – highly flammable and becomes explosive as it deteriorates with age
Before: CELLULOSE ACETATE-BASED – highly flammable and becomes explosive as it deteriorates with age
FILM FORMAT: 16mm-1920’s-looks grainier and less sharp, but already coped up due to technologySUPER 16 (1970): 16mm wide but 40% largerULTRA 16
FILM FORMAT: 8mm-1932-½ OF 16mm; less expensive-SUPER 8 (1965)- 8mm wide but 50% larger than 8mm-Before: the prime format of home movies
FILM FORMAT:
65mm / 70mm
-Large formats-IMAX (IMAGE MAXIMUM) / ONIMAX (65mm Horizontally
ASPECT RATIO
WIDTH OF THE FRAME
DIVIDED BY THE HEIGHT
4:3 / 1.33:1-STANDARD TV
- 4 UNITS WIDE FOR EVERY 3 UNITS OF HEIGHT
16:9-WIDESCREEN
-1.85:1: ASPECT RATIO USED BY AMERICAN-1.66.1: ASPECT RATIO USED BY EUROPEAN-LETTERBOX: CROPPING TOP AND BOTTOM
2.35:1-ANAMORPHIC
-VERY WIDE SCREEN; WHEN SHOOTING, SQUEEZE THE WIDTH THEN UNSQUEEZED IN PROJECTION, WIDENING ORIGINAL ASPECT
RATIO
RULE OF THUMBTHE LARGER THE FORMAT, THE
BETTER THE QUALITY , THE MORE EXPENSIVE IT IS TO
SHOOT AND THE HEAVIER THE EQUIPMENT TO USE.
VIDEO CAMERA
HOW DO VIDEO CAMERAS WORK?LIGHT IS CONVERTED INTO AN ELECTRICAL SIGNAL, EACH FRAME OF INFORMATION
DOESN’T FLOW THROUGH THE ELECTRICAL CABLE AT ONCE
AN ELECTRON BEAM SCANS ACROSS THE PICTURE FROM ONE SIDE TO THE OTHER. THE LEVEL OF BRIGHTNESS AND DARKNESS IS READ
AND TRANSMITTED
THE VIDEO IMAGE IS MADE UP OF A SERIES OF
HORIZONTAL LINES BUT THE SCANNING PROCESS IS SO FAST THAT OUR EYES SEE THE
FRAME AS A WHOLE UNIFIED PICTURE
THE RASTER SCANHORIZONTAL LINES STARTING AT THE TOP,
FROM LEFT TO RIGHT
2 TYPES OF SCANNINGPROGRESSIVE- IN ORDER FROM TOP TO BOTTOM
INTERLACED- SCANS EVERY OTHER LINE, STARTING WITH ODD LINES (1,3,5…625), THEN EVEN
LINES (2,4,6…624)
THE RASTER SCAN
FRAMETWO FIELDS SHOWN IN RAPID SUCCESSION
THERE ARE 25 FRAMES PER SECOND WITH 50 FIELDS PER SECOND (PAL) / 24
FPS WITH 60 FIELDS PER SECOND (NTSC). THE CAMERA PROCESSES 15, 625 LINES
OF PICTURE INFORMATION PER SECOND
CAMERA IMAGE SENSORRESPONSIBLE FOR TRANSFORMING LIGHT INTO
ELECTRICAL SIGNAL
CCD- (CHARGED COUPLE DEVICE)
LIGHT SENSITIVE COMPUTER CHIP DIVIDED INTO PIXELS (PICTURE ELEMENTS) VERY FINE GRID SOPT-TINY LIGHT METERS THAT READS THE
BRIGHTNESS OF LIGHT AT THAT SPOT
WORLD COLOR TV STANDARDS
NTSC (NATIONAL TELEVISION SYSTEM COMMITTEE) – 525/60 INTERLACED LINES; 30 FPS, USED IN US, CANADA, JAPAN, PHILIPPINES
PAL (PHASE ALTERNATING LINE) – 625/50 LINES; 25 FPS, USED IN UK, WESTERN EUROPE, PARTS AFRICA, MIDDLE EAST, AUSTRALIA, CHINA
SECAM (SÉQUENTIEL COULEUR ÀVEC MÉMOIRE) – OR SEQUENTIAL COLOR WITH MEMORY / SYSTEME ELECTRONIQUE POUR COLEUR AVEC MEMOIRE- 625/50 LINES; 25 FPS, USED IN FRANCE, EASTERN EUROPE, PARTS OF AFRICA AND RUSSIA
FILM / VIDEO OUTPUT
NARRATIVEEXPERIMENTAL
ANIMATIONDOCUMENTARY
BRANCHED OUT FORMS MUSIC VIDEOTV COMMERCIALS (TVC)
PUBLIC SERVICE ANNOUNCEMENT / INFOMERCIAL
CORPORATE VIDEO / AUDIOVISUAL
PRESENTATION (AVP)
STAGES OF PRODUCTION
PRE-PRODUCTION
PRODUCTION
POST PRODUCTIONADPROM
THE WHO’S IN THE PRODUCTION
PRODUCERDIRECTORCINEMATOGRAPHERPRODUCTION DESIGNERASSISTANT DIRECTOR
PRODUCTION MANAGERSOUND RECORDIST / ENGINEER
EDITORMUSICAL SCORER
ADPROMPRODUCTION ASSISTANT
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