1 Metropolitan Community CollegeAudio Video Production Engineering Part 2 Video Rev. 6d

2 Start Week 7 2

3 Video and Vision The Human Eye Cornea Lens Retina Optic Nerve 3

4 Detailed Information 4

5 Human Eye 5

6 Human Eye Detail 6

7 Additional Fovea Details 7

8 More Vision Detail 8

9 Rods and Cones 9

10 Visible Light SpectrumMeasured in Wavelength Unit of measure nm (nanometer) Approx. 400 nm – 700 nm 10

11 Spectrum 11

12 Visible Spectrum 12

13 Spectral Sensitivity of Human Eye 13

14 Adjusted Spectrum 14

15 Low Light “Rods” 15

16 16

17 Color Temperature Characteristic that can change our perception of color/hue 17

18 18

19 Color Temperature End of week 7 19

20 Relative intensity has been normalized for each temperature (in Kelvins).20

21 Color Temp & Light SourceK Candlelight K Tungsten Bulb (household variety) K Sunrise/Sunset (clear sky) K Fluorescent Lamps K Electronic Flash K Daylight with Clear Sky (sun overhead) K Moderately Overcast Sky K Shade or Heavily Overcast Sky 21

22 White Balance 22

23 Lens filter setting Select the FILTER according to the lighting condition. Position 1 (3200K) : For shooting indoors with studio lighting Position 2 (5600K + 1/8ND): For shooting outdoors. Position 3 (5600K + 1/64ND): For shooting outdoors under a clear sky. 23

24 White Bal Adjustment 1. Set the following switches. • Set the OPERATE switch to ON. • Set the OUTPUT switch to CAM-AUTO KNEE OFF. • Set the IRIS mode switch of the lens to A (Auto). 2. Set the FILTER knob according to the current lighting. 3. Set the WHT.BAL switch to A or B. 24

25 4. Place a white object near the center of the screen under the same lighting conditions as the target subject and zoom in to fill the screen with white. 5. Tilt the AUTO WHT./ACCU FOCUS switch upward (to AUTO WHITE) once and release it. "AUTO WHITE A, B OPERATION" is displayed in the viewfinder while the auto white balance adjustment circuit operates. When the white balance has been adjusted correctly, the approximate color temperature is displayed together with “AUTO WHITE A, B OK” for about 5 seconds. 25

26 Television Lighting There are several different Lighting instrument types. Applications vary depending on program needs. 26

27 Fresnel with barn doors27

28 Flood light, focusing 28

29 Softlight 29

30 Broad light with Barn Doors30

31 Scrim 31

32 Basic Three Point LightingThree point lighting video Lighting Instruments video 32

33 The Television PictureNTSC RS-170A standard (standard def.) 33

34 Horizontal Sync 34

35 Color Framing 35

36 Time Code Considered to be a system of identifying locations of images or sound on recorded medium (film, tape, etc.) 36

37 Time Code Types Proprietary SMPTE (LTC) SMPTE VITC Embedded digitalMIDI 37

38 Usage Considerations SMPTE standard will be used for discussion Additional detail: 38

39 Time Code Structure 80 bit digital contentHour, minute, second, frame, and other info. 39

40 Timecode Data StructureBits Definition 0-3 Frame units 32-35 Minute units 4-7 User bits group 1 36-39 User bits group 5 8-9 Frame tens 40-42 Minute tens 10 Drop frame flag 43 Binary group flag 0 11 Color frame flag 44-47 User bits group 6 12-15 User bits group 2 48-51 Hour units 16-19 Second units 52-55 User bits group 7 20-23 User bits group 3 56-57 Hour tens 24-26 Second tens 58-59 Binary group flags 1 and 2 27 Biphase mark correction 60-63 User bits group 8 28-31 User bits group 4 64-79 Sync word 40

41 Non-Drop Frame Non-drop frame needed for digital video medium where each frame needs identification Running time not accurate 41

42 Drop Frame Mainly used when accurate running time is desiredDrops numbers each minute on the minute except on 10th minutes 42

43 NTSC Color Signals Have an actual frequency of close to frames-per-second. As cue points must be located at frame boundaries, this figure is normally rounded up to 30 frames-per-second, causing an excess of 108 frames per hour. 43

44 To Eliminate These 108 Frames each HourTwo specific time code frame values are dropped each minute (2x60=120), except every 10th minute (2x60-2x6=108). 44

45 Time Code Values DroppedAre specified as the first two frames of a minute. Thus, the time code number following 01:04:59:29 would be 01:05:00:02, time code frames 01:05:00:00 and 01:05:00:01 don't exist. 45

46 Non-linear Editor Note:non-dropframe timecode values as HH:MM:SS:FF and dropframe values as HH:MM:SS;FF 46

47 VITC Time code encoded into the video frameCan be read while in still frame Replaced in editing process 47

48 Audio & Synchronizing When used in audio or sweetening for video (layback) resolution uses ATR Tach. Usually 100th of a frame of video 48

49 TC Switch Functions REC : Preset mode. Set to this position when newly presetting and recording the time code. The time code mode of the time code generator will be in the REC run mode (time code runs only during recording). This position allows you to record continuous time codes when recording scenes one after another. 49

50 TC Switch Functions FREE : Preset mode. Set to this position when newly presetting and recording the time code. The time code mode of the time code generator will be in the FREE run mode (time code runs permanently). Select this setting when the unit should be slavelocked with an external time code generator. 50

51 TC Switch Functions REGEN : Regeneration mode, in which the unit reads existing time codes on the tape and records time codes in continuation of the existing ones. Set to this position when you want to add additional time codes to time codes already recorded on the tape. 51

52 Time Code Info (16) 52

53 TC input/output (4&5) 53

54 TC Input Input connector for the SMPTE-standard LTC signal. The built-in time code generator can be slave-locked with the input time codes. If the user’s bits should also be slave-locked, set the VCR Setup Menu item No. 403 U-BIT SLAVE to “TC&UB”. 54

55 * When the TC GENE switch (#17 on page 15) is set to REC or REGEN, or the VCR Setup Menu item No. 398 SSF MODE is set to “CUE MODE” or “MARK MODE”, slave-locking will not take place. For the slave lock of time code, see page 64. 55

56 Time Code Menu 56

57 End Week 7 Review week 8 57

58 Basic TV Principles Video – The visible portionSync – The housekeeping portion 58

59 Cameras and Monitors Many types of camera pick-up sensors (tubes, CCD, CMOS) Many display types (tubes, LCD, Plasma) 59

60 Image Capture Some type of scanning is requiredPhoto sensitive surface is required 60

61 Image Capture CCD (Charged Coupled Device) is a passive-pixel sensor Requires a separate image processer 61

62 Image Capture Active-Pixel Sensor (aps) or CMOS uses less power than CCD, has less image lag and is less costly Image sensor and image processing on same chip 62

63 Basic Block Diagram CCD63

64 Basic Block Diagram Tube pickup64

65 Encoding The process of combining raw image information into a useable format for display such as NTSC, S VIDEO, Component and RGB. 65

66 NTSC National Television Standards Committee Analog standard in USAAlso called composite video 66

67 S Video Two wire system Luminance Chroma Improved video quality 67

68 Component Y, R-Y, B-Y High quality broadcast recording 68

69 RGB Red, Green, Blue High Quality Broadcast and computer imagesSync on Green or separate Horizontal & Vertical Sync 69

70 Lens 70 1 FOCUS ring Manual focus ring. 2 ZOOM lever/ringThis is the manual zoom ring equipped with a zoom lever. To adjust the zoom manually, turn the zoom mode knob 12 to position "M". 3 IRIS ring Manual iris ring. To activate the auto iris feature, set the Iris Mode switch 7 to A. 4 [VTR] Trigger button To start/stop shooting. 70

71 71 5 [RET] return video button• When GY-DV550 is in the record-pause or stop mode, press this button to check the immediately preceding image recorded. • When the camera control unit is connected, the return video signals can be monitored on the viewfinder while pushing this button. • When an external VCR is connected, the return video and return audio signals can be monitored while pushing this button. (When VTR SELECT switch is set to EXT.) 6 ZOOM servo control lever To operate the servo zoom feature with this lever, set the ZOOM knob 12 to S. • Pressing the W section of this lever increases the angle of the lens for a wider shooting angle. • Pressing the T section of this lever narrows the lens angle perspective for telephoto shots. • Pushing harder changes the speed of the zoom. 71

72 Under exposed is better than over exposed for HDTV!7 IRIS mode switch A: Activates the auto iris feature. M: Allows manual iris control. 8 Momentary auto iris button When the IRIS MODE switch 7 is at "M", pushing this button activates the Auto Iris Function while it is held down only. 9 [S] IRIS speed adjusting control For adjusting the iris operation speed. Under exposed is better than over exposed for HDTV! 72

73 10 FILTER thread Protect the lens with a clear filter or UV filter by screwing the filter onto the thread inside the lens hood from the front. Other filters can be used for various effects. 11 ZOOM servo connector Connect an optional zoom servo unit here. 12 ZOOM mode knob S: Servo zoom mode. Allows operation by the zoom servo control lever 6. M: Manual zoom mode. Allows zoom control by the zoom lever/ring 2. 13 BACK FOCUS ring/fixing screw For back focus adjustment only. Secure with the screw knob after adjustment. 73

74 14 Macro focusing ring (for close-up shooting) By rotating this ring in the direction of the arrow, close-up shooting of very small objects becomes possible. Normal focus adjustment and zooming are not available in the macro mode. To shoot images in the macro mode, set the focus ring 1 to the infinite position and the zoom ring 2 to the maximum wide-angle position. To adjust the focus of the macro image, rotate this ring in the direction of the arrow until the object is focused. 74

75 Back Focus Video 75

76 Resolution Horizontal resolution Vertical resolution PixelsBandwidth dependant 76

77 Resolution Chart 77

78 Viewing Information recommended farthest sitting distance to see full resolution for each screen size is… 78

79 For DVD (480) 20 inch TV= 7 feet 26 inch TV= 9 feet 30 inch TV= 10For DVD (480) 20 inch TV= 7 feet 26 inch TV= 9 feet 30 inch TV= 10.5 feet 34 inch TV= 12 feet 40 inch TV= 14 feet 50 inch TV= 17.5 feet 60 inch TV= 21 feet. 79

80 For 720 HD sources 20 inch TV= 4 feet 26 inch TV= 5 feet 30 inch TV= 6 feet 34 inch TV= 6.7 feet 40 inch TV= 8 feet 50 inch TV= 10 feet 60 inch TV= 12 feet 780

81 For 1080 HD sources 20 inch TV= 2. 8 feet 26 inch TV= 3For 1080 HD sources 20 inch TV= 2.8 feet 26 inch TV= 3.5 feet 30 inch TV= 4 feet 34 inch TV= 4.5 feet 40 inch TV= 5.3 feet 50 inch TV= 6.5 feet 60 inch TV= 8 feet 81

82 82

83 Monitors and Receivers83

84 Inputs Video (all types) RF Digital 84

85 Display CRT (cathode ray tube) Flat screens (LCD & Plasma)Projection (LCD & DLP) End of week 8 85

86 Display LCD (Liquid Crystal Display) Not the best for fast moving images (greatly improved since 2009) Accurate black display difficult 86

87 Display LED back lit LCD Edge lit…blacks not as even Full array…better black levels with little light leakage 87

88 Display Plasma long life, good viewing angle and good brightness Subject to image burn-in 88

89 DLP (Digital Light Processing)Better suited for projection than flat screen. Requires a lamp and has narrow viewing angle when used as flat screen 89

90 Interlaced Scanning Produces odd lines first then even lines each takes 1/60th second (field) Two fields make complete frame (1/30th sec.) 90

91 Progressive Scanning All lines are progressively scanned starting with line one, then two, three, etc. The refresh rate can be higher than interlaced scanning often 1/60th sec. 91

92 DTV Systems 480p 480 active scan lines 1/60th Sec. 720p 720 active scan lines 1/60th Sec. 1080i 1080 active scan lines 1/30th Sec. 92

93 Refresh Rates above 60 Applies to LCD displays. Improves a jerky appearance called “Judder”. 120 Hz & 240 Hz refresh cuts down on motion induced artifacts. 93

94 Refresh Rates The use of 120 & 240 Hz refresh rates causes unwanted background noise and can cause a lack of depth in the images. 94

95 End week 8 Review Week 9 95

96 Measurement & Wiring Waveform monitor Vector scopeMany new equipment types since HD introduced 96

97 New Test Equipment (6:05) 97

98 Broadcast Specs (6:43) 98

99 Color Grading HD (27:52) 99

100 Camera Alignment (8:51) 100

101 Video Links Using the Waveform Monitor Using the Vectorscope Monitor setup Applying WFM & VS Grey Card 101

102 Grey Bar Tektronix link 102

103 Tektronix link 103

104 Tektronix link 104

105 External Reference Needed to compare timing and phasingNeeded to lock signals to same reference (genlock) 105

106 External Reference Mostly “Black Burst or Tri-Level Sync” is used as the reference signal. A single “Master” generator is used and the signal split using VDA and sent to other equipment. 106

107 107

108 External Reference For Waveform Monitor and Vectorscope, the reference signal is connected to “Ext. Ref. In”. It has to be selected using the “int/ext” reference switch. 108

109 External Reference For use in a camera/switcher chain, the reference signal is applied to the “Genlock” in connection. 109

110 Wiring and cable Impedance 75 ohm standardWiring must always look at 75 ohm load (terminated) 110

111 Looping Method of connecting more than one device from a single feedCable lengths must be short Last device must be terminated 111

112 Looping Example 112

113 Video Connectors Depends on type of video signal ( comp. , S, etc.)Standard Professional is BNC (old type UHF) Consumer often use RCA 113

114 Common Connectors S video RCA BNCHD-15 (VGA) DVI (digital) HDMI (High Def) 114

115 Cable Types and Loss Cable selected for applicationShort length may use smaller diameter cable Long length use RG-6 type 115

116 Cable Construction Center conductor Dielectric Shield Outer jacket 116

117 Coax Cable Construction117

118 Cable Loss Loss per foot increases as cable size decreasesLoss greatest at high freq. Resulting in lack of picture definition (detail) End of week 9 118

119 Cable Types Video double shielded (RG6 type), .305” diameter, 75 Ohm, 98% Shield, VOP 66%, loss/C 1MHz .25dB, 10MHz .78dB 119

120 Cable Types Video single shielded (RG59 type), .242” diameter, 75 Ohm, 95% Shield, VOP 78%, loss/C 1MHz .3dB, 10MHz .9dB 120

121 Cable Types CATV Double shield(RG59 type), .237” diameter, 75 Ohm, 100% Shield, VOP 82%, loss/C See chart 121

122 Cable Types CATV Double shield(RG6 type), .275” diameter, 75 Ohm, 100% Shield, VOP 82%, loss/C See chart 122

123 Loss Per Hundred Ft. Ch 2 54 MHz Ch 13 216 MHz Ch 36 300 MHz123

124 124

125 End Week 9 Review Week 10 125

126 Distribution, Switching, and RecordingDiscussion 126

127 Distribution Video distribution amplifier VDAAmplifier that provides usually 4 – 6 isolated outputs from one input 127

128 Equalizing Equalizing may be stand alone or part of a VDACompensates for long video cable runs Multiburst test signal usually used. 128

129 Multiburst Test Patern129

130 Normal Response 130

131 High Freq. Loss 12331

132 High Freq. Peaking 132

133 Routing Switchers Sometimes called cross-point switchers.May have many inputs and many outputs. Often use electronic control panels 133

134 Routing Switchers May be build into equipment to provide “Input” selection or stand alone unit to provide a mechanical way to select a signal to send to a destination (1 x 10, 6 x 2, etc.) 134

135 Switching (Production)Signals must be synchronous Non-synchronous signals processed with frame synchronizer (built in) 135

136 Ross Prod. Switchers 136

137 Timing Signals must be timed (adjusted) so leading edge of sync is the same for all inputs. 137

138 138

139 Phasing Subcarrier phase must be adjusted to the same value for all signals. Do not confuse with Burst Phase 139

140 140

141 Dissolve, Wipe, Key Switcher has a number of busesTwo paired buses may mix signals in a number of ways 141

142 Dissolve The process of replacing one signal with anotherDuring the transition both signals are present 142

143 Wipe The process of replacing one signal with anotherThe two signals are separated by a pattern one signal on one side the other on the second side 143

144 Key Luminance key Chroma key Mat key External key 144

145 Luminance Key process Electronic circuits detect adjustable luminance levels of the video signal and creates a cut-out signal that is filled with a second video 145

146 Mat Key process Electronic circuits detect adjustable luminance levels of the video signal and creates a cut-out signal that is filled with a color produced by the mat generator. 146

147 Chroma Key process Electronic circuits detect adjustable chroma values of the video signal and creates a cut-out signal that is filled with a second video 147

148 External Key process External device (like a CG) that provides a key signal (cookie cutter) as well as a fill signal. The key signal cuts a pattern out of the primary video signal. 148

149 Transitions & Moves Video Transitions 5:10 https://mccneb.ensemblevideo.com/app/plugin/embed.aspx?ID=nePspdTVvEGXfEBfDgjNBw Camera Lens Adjustments 4:18 https://mccneb.ensemblevideo.com/app/plugin/embed.aspx?ID=_DXLd6a3mk65OpbqI7H7CA Camera Movements 4:00 https://mccneb.ensemblevideo.com/app/plugin/embed.aspx?ID=iWG_rnKMNEC8bLAHLejbAA 149

150 Recording Similar to audio Uses both stationary and rotating headsMany formats 150

151 Video heads 151

152 152

153 Heads Stationary heads used for audio and control trackRotary heads used for video erase and record/playback Some have stationary erase head 153

154 Tape formats BetaCam VHS and SVHS ¾” U-Matic 1” type COther consumer types 154

155 Playback Tracking (control track) Slow motion Time base correctionDropout compensation End of week 10 155

156 End Week 10 156

157 Digital Video Process similar to audio Sample rate often 4X SCSync is not sampled coded word contains sync info Requires high bandwidth 157

158 Storage medium DV tape recorder Hard Drive VCD/DVDOther professional formats SD type cards 158

159 Antialiasing Low pass filtering necessaryBlurry glass used to add a small blur to image 159

160 A to D conversion Analog signal from sensor is converted to digital and sent to DSP 160

161 Other processes Matrix for colorimetry and white balance GamaChroma Subsampling Sharpening 161

162 Compression Type of compression depends on use of media StoredTransmitted Transmission medium 162

163 Compression Basics Uncompressed NTSC 720X480 using 4:2:2 YCrCbAt 30 FPS Requires 165 Mbps 163

164 Compression Basics Used to reduce file size or transmission bandwidthMost types are based on retaining static image segments and transmitting motion 164

165 Type of Compression MPEG 1 and 2 MPEG 4 JPEGH.261, 263, 264 for packet switched networks Others 165

166 Improving fine motion detailH.263 and others use Block sizes of 16X16 or 8X8 H.264 and Windows Video 9 CODEC (WMV9/VC-1) use 4X4 166

167 8X8 vs 4X4 167

168 DV Format Use 8 bits (0 – 255) Black is 16 White is 235 168

169 Setup (pedestal) on DV Europe and Asia use 0 for blackUSA uses 7.5 IRE for black Menu selected for analog out (0 or 7.5) 169

170 DV Sampling Same rate as D1, D5, Digital Betacam720 Pixels per scan line Color sampled at ½ rate Hence 4:1:1 for 525 line (NTSC) 170

171 DV Compression Uses Intraframe CompressionDoes not depend on preceding or following frames 171

172 DV Compression Uses Adaptive Interfield compressionIf little difference in two interlaced fields are detected it will compress them together 172

173 DV Compression 5:1 compression DV Video 25 megabit/sec Sound 1.5Subcode & Error corr. 8.7 Total data stream about megabit/sec 173

174 File Format Conversion174

175 Prism features Prism lets you set compression/encoder rates, resolution and frame rate of output files. Prism supports everything from HD to high compression for smaller files. You can even set a specific size for output files. 175

176 File format conv. from .avi .asf .mpg .mpeg .mpe .vob .mov .3gp .mp4 .m4u .flu .mku .mod .ogm .divx .dv (Both Windows & MAC format) 176

177 File format conv. to .avi .wmv* .asf* .mpg .mov .3gp .mp4 .flu .swf .rm* .gif* .dv .mp3 .wav Both Windows and Mac format (except *) 177

178 Menu Options 178

179 Menu Options 179

180 USB 1 and USB 2 Rely on host processors USB 1 speed of 1.5 Mbit/s USB 2 speed of 480 Mbit/s Most USB 2 devices run at 240 Mbit/s 180

181 Cable Lengths USB 1 & 2 16’ (up to 5 active extensions) USB 3 9.8’ (active cable available 65’) ’ (new type 32.8’) 181

182 Power available USB ma USB ma USB ma A 45 watts Thunderbolt 10 watts 182

183 1394 Firewire Brand names for 1394 FireWire – Apple Inc. i.LINK – Sony LYNX – Texas Instrument 183

184 Firewire More used than USB2 as it does not need computer support and has higher speed (400 Mbit/S) 184

185 Firewire Connectors 4 Pin does not have power 6 pin does have power185

186 Firewire 1394c amendment will support 800Mbit/sec for 100 m of CAT 5 cable Approved June 12, 2008 186

187 Thunderbolt Information 187

188 Comparing I/O Speeds 188

189 Resources 189

190 Discussion Questions Feedback Suggestions Other 190