Metropolitan
Community
College
Rev. 6c
Audio Video Production
Engineering
Part 2 Video
Start Week 7
2
Video and Vision
The Human Eye
Cornea
Lens
Retina
Optic Nerve
3
Detailed Information
http://www.photo.net/phot
o/edscott/spectsel.htm#0
1
4
Human Eye
5
www.photo.net
Human Eye Detail
6
Additional Fovea Details
http://en.wikipedia.org/wiki
/Fovea
7
More Vision Detail
http://hyperphysics.phyastr.gsu.edu/hbase/vision
/rodcone.html
8
Rods and Cones
9
www.photo.net
Visible Light Spectrum
Measured in Wavelength
Unit of measure nm
(nanometer)
Approx. 400 nm – 700 nm
10
Spectrum
www.photo.net
11
Visible Spectrum
www.photo.net
12
Spectral Sensitivity of
Human Eye
13
www.photo.net
Adjusted Spectrum
14
www.photo.net
Low Light “Rods”
15
www.photo.net
16
www.photo.net
Color Temperature
Characteristic that can
change our perception of
color/hue
17
18
www.photo.net
Color Temperature
19
www.photo.net
Relative intensity has been normalized for each
temperature (in Kelvins).
20
Color Temp & Light Source
1000-2000 K Candlelight
2500-3500 K Tungsten Bulb (household variety)
3000-4000 K Sunrise/Sunset (clear sky)
4000-5000 K Fluorescent Lamps
5000-5500 K Electronic Flash
5000-6500 K Daylight with Clear Sky (sun overhead)
6500-8000 K Moderately Overcast Sky
9000-10000 K Shade or Heavily Overcast Sky
21
White Balance
22
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
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
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
Television Lighting
There are several different
Lighting instrument types.
Applications vary depending
on program needs.
26
Fresnel with barn doors
27
Flood light, focusing
28
Softlight
29
Broad light with
Barn Doors
30
Scrim
31
Basic Three Point
Lighting
Three point lighting video
32
The Television Picture
NTSC RS-170A standard
(standard def.)
33
Horizontal Sync
34
Color Framing
35
Time Code
Considered to be a system
of identifying locations of
images or sound on
recorded medium (film,
tape, etc.)
36
Time Code Types
Proprietary
SMPTE (LTC)
SMPTE VITC
Embedded digital
MIDI
37
Usage Considerations
SMPTE standard will be
used for discussion
Additional detail:
http://en.wikipedia.org/wiki
/Drop-frame_time_code
38
Time Code Structure
80 bit digital content
Hour, minute, second,
frame, and other info.
39
Timecode Data
Structure
Bits
40
Definition
Bits
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
Non-Drop Frame
Non-drop frame needed for
digital video medium
where each frame needs
identification
Running time not accurate
41
Drop Frame
Mainly used when accurate
running time is desired
Drops numbers each
minute on the minute
except on 10th minutes
42
NTSC Color Signals
Have an actual frequency of
close to 29.97 frames-persecond. 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
To Eliminate These 108
Frames each Hour
Two specific time code
frame values are dropped
each minute (2x60=120),
except every 10th minute
(2x60-2x6=108).
44
Time Code Values
Dropped
Are 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
Non-linear Editor Note:
non-dropframe timecode
values as HH:MM:SS:FF
and dropframe values as
HH:MM:SS;FF
46
VITC
Time code encoded into the
video frame
Can be read while in still
frame
Replaced in editing process
47
Audio & Synchronizing
When used in audio or
sweetening for video
(layback) resolution uses
ATR Tach. Usually 100th of
a frame of video
48
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
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
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
Time Code Info (16)
52
TC input/output (4&5)
53
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 slavelocked, set the VCR Setup Menu item No.
403 U-BIT SLAVE to “TC&UB”.
54
* 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
Time Code Menu
56
End Week 7
Review week 8
57
Basic TV Principles
Video – The visible portion
Sync – The housekeeping
portion
58
Cameras and Monitors
Many types of camera pickup sensors (tubes, CCD,
CMOS)
Many display types (tubes,
LCD, Plasma)
59
Image Capture
Some type of scanning is
required
Photo sensitive surface is
required
60
Image Capture
CCD (Charged Coupled
Device) is a passive-pixel
sensor
Requires a separate image
processer
61
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
Basic Block Diagram
CCD
63
Basic Block Diagram
Tube pickup
64
Encoding
The process of combining
raw image information into
a useable format for
display such as NTSC,
S VIDEO, Component and
RGB.
65
NTSC
National Television
Standards Committee
Analog standard in USA
Also called composite video
66
S Video
Two wire system
Luminance
Chroma
Improved video quality
67
Component
Y, R-Y, B-Y
High quality broadcast
recording
68
RGB
Red, Green, Blue
High Quality Broadcast and
computer images
Sync on Green or separate
Horizontal & Vertical Sync
69
Lens
1 FOCUS ring
Manual focus ring.
2 ZOOM lever/ring
This 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
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
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
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
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
Back Focus Video
www.dvinfo.net/store/proh
d/video11.html
75
Resolution
Horizontal resolution
Vertical resolution
Pixels
Bandwidth dependant
76
Resolution Chart
77
Viewing Information
http://forum.bluray.com/showthread.php?
t=33462 recommended
farthest sitting distance to
see full resolution for each
screen size is…
78
For DVD (480)
20
26
30
34
40
50
60
79
inch
inch
inch
inch
inch
inch
inch
TV=
TV=
TV=
TV=
TV=
TV=
TV=
7 feet
9 feet
10.5 feet
12 feet
14 feet
17.5 feet
21 feet.
For 720 HD sources
20
26
30
34
40
50
60
780
inch
inch
inch
inch
inch
inch
inch
TV=
TV=
TV=
TV=
TV=
TV=
TV=
4 feet
5 feet
6 feet
6.7 feet
8 feet
10 feet
12 feet
For 1080 HD sources
20
26
30
34
40
50
60
81
inch
inch
inch
inch
inch
inch
inch
TV=
TV=
TV=
TV=
TV=
TV=
TV=
2.8 feet
3.5 feet
4 feet
4.5 feet
5.3 feet
6.5 feet
8 feet
82
Monitors and Receivers
Audio In
Video In
Ant.
Audio
IF Amps
Audio
Det.
Audio
Amp
Speaker
Tuner
RFAMP
Mixer
Local Osc
Video
IF Amps
Video Amp
Chroma
processing
Video
Det.
Picture
tube
Deflection
Vertical
Sweep
Sync
Sep &
Amp
83
Horiz.
Sweep
High
Voltage
Inputs
Video (all types)
RF
Digital
84
Display
CRT (cathode ray tube)
Flat screens (LCD & Plasma)
Projection (LCD & DLP)
85
Display
LCD (Liquid Crystal Display)
Not the best for fast
moving images (greatly
improved since 2009)
Accurate black display
difficult
86
Display
LED back lit LCD
Edge lit…blacks not as even
Full array…better black
levels with little light
leakage
87
Display
Plasma long life, good
viewing angle and good
brightness
Subject to image burn-in
88
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
Interlaced Scanning
Produces odd lines first
then even lines each takes
1/60th second (field)
Two fields make complete
frame (1/30th sec.)
90
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
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
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
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
End week 8
Review Week 9
95
Measurement & Wiring
Waveform monitor
Vector scope
Many new equipment types
since HD introduced
96
New Test Equipment
http://www.tek.com/testim
onial/benefits-waveformmonitors-color-correctionvideo
(6:05)
97
Broadcast Specs
http://www.tek.com/how/e
diting-compliancebroadcast-specifications
(6:43)
98
Color Grading HD
99
http://www.tek.com/how/a
rt-color-gradingscopes?utm_source=epiph
any&utm_medium=email
&utm_campaign=eNewsFe
bruary2013
(27:52)
Camera Alignment
http://link.brightcove.com/
services/player/bcpid4246
10616001?bctid=1155879
794001
(8:51)
100
Video Links
Waveform Monitor video
Vector scope video
Monitor setup
Applying WFM & VS
Grey Card
101
Grey Bar
102
Tektronix link
103
Tektronix link
104
Tektronix link
External Reference
Needed to compare timing
and phasing
Needed to lock signals to
same reference (genlock)
105
External Reference
Mostly “Black Burst or TriLevel 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
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
External Reference
For use in a camera/switcher
chain, the reference signal
is applied to the “Genlock”
in connection.
109
Wiring and cable
Impedance
75 ohm standard
Wiring must always look at
75 ohm load (terminated)
110
Looping
Method of connecting more
than one device from a
single feed
Cable lengths must be short
Last device must be
terminated
111
Looping Example
112
Video Connectors
Depends on type of video
signal ( comp. , S, etc.)
Standard Professional is
BNC (old type UHF)
Consumer often use RCA
113
Common Connectors
S video
HD-15 (VGA)
114
RCA
DVI (digital)
BNC
HDMI (High Def)
Cable Types and Loss
Cable selected for
application
Short length may use
smaller diameter cable
Long length use RG-6 type
115
Cable Construction
Center conductor
Dielectric
Shield
Outer jacket
116
Coax Cable Construction
117
Cable Loss
Loss per foot increases as
cable size decreases
Loss greatest at high freq.
Resulting in lack of picture
definition (detail)
118
Cable Types
Video double shielded (RG6
type), .305” diameter, 75
Ohm, 98% Shield, VOP
66%, loss/C 1MHz .25dB,
10MHz .78dB
119
Cable Types
Video single shielded (RG59
type), .242” diameter, 75
Ohm, 95% Shield, VOP
78%, loss/C 1MHz .3dB,
10MHz .9dB
120
Cable Types
CATV Double shield(RG59
type), .237” diameter, 75
Ohm, 100% Shield, VOP
82%, loss/C See chart
121
Cable Types
CATV Double shield(RG6
type), .275” diameter, 75
Ohm, 100% Shield, VOP
82%, loss/C See chart
122
Loss Per Hundred Ft.
Ch 2
54 MHz
Ch 13 216 MHz
Ch 36 300 MHz
Ch 62 456 MHz
Ch 80 872 MHz
Ch 158 1002 MHz
123
124
End Week 9
Review Week 10
125
Distribution, Switching,
and Recording
Discussion
126
Distribution
Video distribution amplifier
VDA
Amplifier that provides
usually 4 – 6 isolated
outputs from one input
127
Equalizing
Equalizing may be stand
alone or part of a VDA
Compensates for long video
cable runs
Multiburst test signal
usually used.
128
Multiburst Test Patern
129
Normal Response
130
High Freq. Loss
1233
High Freq. Peaking
132
Routing Switchers
Sometimes called crosspoint switchers.
May have many inputs and
many outputs.
Often use electronic control
panels
133
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
Switching (Production)
Signals must be
synchronous
Non-synchronous signals
processed with frame
synchronizer (built in)
135
Ross Prod. Switchers
http://www.rossvideo.com/
productionswitchers/vision/models.ht
ml
136
Timing
Signals must be timed
(adjusted) so leading edge
of sync is the same for all
inputs.
137
138
Phasing
Subcarrier phase must be
adjusted to the same
value for all signals.
Do not confuse with Burst
Phase
139
1400
Dissolve, Wipe, Key
Switcher has a number of
buses
Two paired buses may mix
signals in a number of
ways
141
Dissolve
The process of replacing
one signal with another
During the transition both
signals are present
142
Wipe
The process of replacing
one signal with another
The two signals are
separated by a pattern
one signal on one side the
other on the second side
143
Key
Luminance key
Chroma key
Mat key
External key
144
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
Mat Key process
146
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.
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
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
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
Recording
Similar to audio
Uses both stationary and
rotating heads
Many formats
150
Video heads
151
152
Heads
Stationary heads used for
audio and control track
Rotary heads used for video
erase and record/playback
Some have stationary erase
head
153
Tape formats
BetaCam
VHS and SVHS
¾” U-Matic
1” type C
Other consumer types
154
Playback
Tracking (control track)
Slow motion
Time base correction
Dropout compensation
155
End Week 10
156
Digital Video
Process similar to audio
Sample rate often 4X SC
Sync is not sampled coded
word contains sync info
Requires high bandwidth
157
Storage medium
DV tape recorder
Hard Drive
VCD/DVD
Other professional formats
SD type cards
158
Antialiasing
Low pass filtering necessary
Blurry glass used to add a
small blur to image
159
A to D conversion
Analog signal from sensor
is converted to digital and
sent to DSP
160
Other processes
Matrix for colorimetry and
white balance
Gama
Chroma Subsampling
Sharpening
161
Compression
Type of compression
depends on use of media
Stored
Transmitted
Transmission medium
162
Compression Basics
Uncompressed NTSC
720X480 using 4:2:2 YCrCb
At 30 FPS Requires 165 Mbps
163
Compression Basics
Used to reduce file size or
transmission bandwidth
Most types are based on
retaining static image
segments and
transmitting motion
164
Type of Compression
165
MPEG 1 and 2
MPEG 4
JPEG
H.261, 263, 264 for packet
switched networks
Others
Improving fine motion
detail
H.263 and others use Block
sizes of 16X16 or 8X8
H.264 and Windows Video 9
CODEC (WMV9/VC-1)
use 4X4
166
8X8 vs 4X4
167
DV Format
Use 8 bits (0 – 255)
Black is 16
White is 235
168
Setup (pedestal) on DV
Europe and Asia use 0 for
black
USA uses 7.5 IRE for black
Menu selected for analog
out (0 or 7.5)
169
DV Sampling
Same rate as D1, D5,
Digital Betacam
720 Pixels per scan line
Color sampled at ½ rate
Hence 4:1:1 for 525 line
(NTSC)
170
DV Compression
Uses Intraframe Compression
Does not depend on
preceding or following
frames
171
DV Compression
Uses Adaptive Interfield
compression
If little difference in two
interlaced fields are
detected it will compress
them together
172
DV Compression
173
5:1 compression
DV Video 25 megabit/sec
Sound 1.5
Subcode & Error corr. 8.7
Total data stream about
35.382 megabit/sec
File Format Conversion
174
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
File format conv. from
176
.avi
.asf
.mpg .mpeg
.mpe .vob .mov .3gp
.mp4 .m4u .flu
.mku
.mod .ogm .divx .dv
(Both Windows & MAC
format)
File format conv. to
177
.avi
.wmv* .asf* .mpg
.mov .3gp .mp4 .flu
.swf
.rm* .gif* .dv
.mp3 .wav
Both Windows and Mac
format (except *)
Menu Options
178
Menu Options
179
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
Cable Lengths
USB 1 & 2
16’ (up to 5
active extensions)
USB 3
9.8’ (active
cable available 65’)
1394
15’ (new type
32.8’)
181
Power available
USB 1
100 ma
USB 2
100 ma
USB 3
150 ma
1394
1.5 A 45 watts
Thunderbolt 10 watts
182
1394 Firewire
Brand names for 1394
FireWire – Apple Inc.
i.LINK – Sony
LYNX – Texas Instrument
183
Firewire
More used than USB2 as it
does not need computer
support and has higher
speed (400 Mbit/S)
184
Firewire Connectors
4 Pin does not have power
185
6 pin does have power
Firewire
1394c amendment will
support 800Mbit/sec for
100 m of CAT 5 cable
Approved June 12, 2008
186
Thunderbolt Information
http://www.apple.com/thun
derbolt/
187
Comparing I/O Speeds
188
Resources
http://en.wikipedia.org/wiki
/Firewire
189
Discussion
Questions
Feedback
Suggestions
Other
190