MetropolitanCommunityCollege

Audio Video Production EngineeringPart 2 Video

Rev. 6c

Start Week 7

2

Video and Vision

The Human EyeCorneaLensRetina

Optic Nerve

3

Detailed Information

http://www.photo.net/photo/edscott/spectsel.htm#01

4

Human Eye

www.photo.net5

Human Eye Detail

6

Additional Fovea Details

http://en.wikipedia.org/wiki/Fovea

7

More Vision Detail

http://hyperphysics.phy-astr.gsu.edu/hbase/vision/rodcone.html

8

Rods and Cones

www.photo.net9

Visible Light Spectrum

Measured in WavelengthUnit 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

www.photo.net13

Adjusted Spectrum

www.photo.net14

Low Light “Rods”

www.photo.net15

www.photo.net16

Color Temperature

Characteristic that can change our perception of color/hue

17

www.photo.net18

Color Temperature

www.photo.net19

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

20

Color Temp & Light Source

1000-2000 K Candlelight2500-3500 K Tungsten Bulb (household variety)3000-4000 K Sunrise/Sunset (clear sky)4000-5000 K Fluorescent Lamps5000-5500 K Electronic Flash5000-6500 K Daylight with Clear Sky (sun overhead)6500-8000 K Moderately Overcast Sky9000-10000 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 Adjustment1. 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 withBarn 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

ProprietarySMPTE (LTC)SMPTE VITCEmbedded digitalMIDI

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 contentHour, minute, second,

frame, and other info.

39

Timecode Data Structure

Bits 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

40

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-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

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

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 newlypresetting and recording the time code. The timecode mode of the time code generator will be inthe REC run mode (time code runs only duringrecording).This position allows you to record continuous timecodes 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 slave-locked, 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 portionSync – The housekeeping

portion

58

Cameras and Monitors

Many types of camera pick-up 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 DiagramCCD

CCD pick up

TimingGenerator

Digital SignalProcessor

FIFORegister

(DSP)

Encoder

EEPROM

Memory

Image

Video ImageOut

63

Basic Block DiagramTube pickup

Pick up TubeX 3 (R G B)

Synchronizingand Sweep

H & V

Amps ProcessingBalance

Encoding

LensControl

Image

Video Image

Genlock

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 USAAlso called composite video

66

S Video

Two wire systemLuminanceChromaImproved video quality

67

Component

Y, R-Y, B-YHigh quality broadcast

recording

68

RGB

Red, Green, BlueHigh Quality Broadcast and

computer imagesSync on Green or separate

Horizontal & Vertical Sync

69

Lens1 FOCUS ringManual 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 ringManual iris ring. To activate the auto iris feature, set the IrisMode switch 7 to A.4 [VTR] Trigger buttonTo 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 leverTo 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 switchA: Activates the auto iris feature.M: Allows manual iris control.8 Momentary auto iris buttonWhen 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 threadProtect 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 knobS: 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 screwFor 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/prohd/video11.html

75

Resolution

Horizontal resolutionVertical resolutionPixelsBandwidth dependant

76

Resolution Chart

77

Viewing Information

http://forum.blu-ray.com/showthread.php?t=33462

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

78

For DVD (480)

20 inch TV= 7 feet26 inch TV= 9 feet30 inch TV= 10.5 feet34 inch TV= 12 feet40 inch TV= 14 feet50 inch TV= 17.5 feet60 inch TV= 21 feet.

79

For 720 HD sources

20 inch TV= 4 feet26 inch TV= 5 feet30 inch TV= 6 feet34 inch TV= 6.7 feet40 inch TV= 8 feet50 inch TV= 10 feet60 inch TV= 12 feet

780

For 1080 HD sources

20 inch TV= 2.8 feet26 inch TV= 3.5 feet30 inch TV= 4 feet34 inch TV= 4.5 feet40 inch TV= 5.3 feet50 inch TV= 6.5 feet60 inch TV= 8 feet

81

82

Monitors and Receivers

RFAMPMixerLocal Osc

TunerAnt.

VideoIF Amps

VideoDet.

AudioIF Amps

AudioDet.

Video AmpChroma processing

AudioAmp

Speaker

Audio In

Video In

SyncSep & Amp Horiz.

Sweep

VerticalSweep

High Voltage

Picture tube

Deflection

83

Inputs

Video (all types)RFDigital

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 LCDEdge lit…blacks not as evenFull 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 monitorVector scopeMany new equipment types

since HD introduced

96

New Test Equipment

http://www.tek.com/testimonial/benefits-waveform-monitors-color-correction-video(6:05)

97

Broadcast Specs

http://www.tek.com/how/editing-compliance-broadcast-specifications(6:43)

98

Color Grading HD

http://www.tek.com/how/art-color-grading-scopes?utm_source=epiphany&utm_medium=email&utm_campaign=eNewsFebruary2013(27:52)

99

Camera Alignment

http://link.brightcove.com/services/player/bcpid424610616001?bctid=1155879794001(8:51)

100

Video Links

Waveform Monitor videoVector scope videoMonitor setupApplying WFM & VSGrey Card

101

Tektronix link102

Grey Bar

Tektronix link103

Tektronix link104

External Reference

Needed to compare timing and phasing

Needed to lock signals to same reference (genlock)

105

External ReferenceMostly “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

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

Impedance75 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 shortLast device must be

terminated111

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 RCA BNC

HD-15 (VGA) DVI (digital) HDMI (High Def)

114

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 conductorDielectricShieldOuter 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 MHzCh 13 216 MHzCh 36 300 MHzCh 62 456 MHzCh 80 872 MHzCh 158 1002 MHz

123

124

End Week 9

Review Week 10

125

Distribution, Switching, and RecordingDiscussion

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

12331

High Freq. Peaking

132

Routing Switchers

Sometimes called cross-point 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/production-switchers/vision/models.html

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 keyChroma keyMat keyExternal 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

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

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 & MovesVideo Transitions 5:10https://mccneb.ensemblevideo.com/app/plugin/embed.aspx?ID=nePspdTVvEGXfEBfDgjNBw

Camera Lens Adjustments 4:18https://mccneb.ensemblevideo.com/app/plugin/embed.aspx?ID=_DXLd6a3mk65OpbqI7H7CA

Camera Movements 4:00https://mccneb.ensemblevideo.com/app/plugin/embed.aspx?ID=iWG_rnKMNEC8bLAHLejbAA

149

Recording

Similar to audioUses both stationary and

rotating headsMany 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

BetaCamVHS and SVHS¾” U-Matic1” type COther consumer types

154

Playback

Tracking (control track)Slow motionTime base correctionDropout compensation

155

End Week 10

156

Digital Video

Process similar to audioSample rate often 4X SCSync is not sampled coded

word contains sync infoRequires high bandwidth

157

Storage medium

DV tape recorderHard DriveVCD/DVDOther professional formatsSD type cards

158

Antialiasing

Low pass filtering necessaryBlurry 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

GamaChroma SubsamplingSharpening

161

Compression

Type of compression depends on use of media

StoredTransmittedTransmission medium

162

Compression Basics

Uncompressed NTSC720X480 using 4:2:2 YCrCbAt 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

MPEG 1 and 2MPEG 4JPEGH.261, 263, 264 for packet

switched networksOthers

165

Improving fine motion detailH.263 and others use Block

sizes of 16X16 or 8X8H.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 16White is 235

168

Setup (pedestal) on DV

Europe and Asia use 0 for black

USA uses 7.5 IRE for blackMenu selected for analog

out (0 or 7.5)

169

DV Sampling

Same rate as D1, D5, Digital Betacam

720 Pixels per scan lineColor sampled at ½ rateHence 4:1:1 for 525 line

(NTSC)170

DV Compression

Uses Intraframe CompressionDoes 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

5:1 compressionDV Video 25 megabit/secSound 1.5 Subcode & Error corr. 8.7Total data stream about

35.382 megabit/sec173

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

.avi .asf .mpg .mpeg

.mpe .vob .mov .3gp

.mp4 .m4u .flu .mku

.mod .ogm .divx .dv(Both Windows & MAC

format)176

File format conv. to

.avi .wmv* .asf* .mpg

.mov .3gp .mp4 .flu

.swf .rm* .gif* .dv

.mp3 .wavBoth Windows and Mac

format (except *)177

Menu Options

178

Menu Options

179

USB 1 and USB 2

Rely on host processorsUSB 1 speed of 1.5 Mbit/sUSB 2 speed of 480 Mbit/sMost 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 maUSB 2 100 maUSB 3 150 ma1394 1.5 A 45 wattsThunderbolt 10 watts

182

1394 Firewire

Brand names for 1394FireWire – Apple Inc.i.LINK – SonyLYNX – 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 6 pin does have power

185

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/thunderbolt/

187

Comparing I/O Speeds

188

Resources

http://en.wikipedia.org/wiki/Firewire

189

Discussion

QuestionsFeedbackSuggestionsOther

190