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