here totally convincing composite images can be easily created. You can no longer see the join and it may no longer be possible to distinguish between what is real and what is keyed.
The normal interpretation of a component video signal is one in which the luminance and chrominance remain as separate components, e.g. analog components in Betacam VTRs, digital components Y, Cr, Cb in ITU-R BT.601 and 709. RGB is also a component signal.
Component video signals retain maximum luminance and chrominance bandwidth and the frames are independent of each other and so can be edited at any frame boundary.
See also: Cut (edit)
Luminance and chrominance are combined along with the timing reference sync and color burst information using one of the color coding standards – NTSC, PAL or SECAM – to make composite video. The process, which is an analog form of video compression, restricts the bandwidths (image detail) of the color components. In the composite result color is literally added to the monochrome (luminance or Y) information using a visually acceptable technique. As our eyes have far more luminance resolving power than for color, the sharpness (bandwidth) of the coded color signal is reduced to well below that of the luminance.
This provides a good solution for transmission and viewing but it becomes difficult, if not impossible, to accurately reverse the process (decode) back into pure luminance and chrominance. This limits its use in post production as repetitive decode, recode cycles severely impair the pictures. Deriving keys from composite video gives poor results.
A film-style digital camera from Arri that is highly modular and uses a single Super35mm-sized image CMOS sensor with a Bayer filter and producing the same field of view and depth of field as that of traditional 35mm film motion picture cameras. Like real film cameras it uses a detachable optical viewfinder that is widely preferred to electronic versions on other cameras. It is capable of 1-60Hz frame rates and produces 1080-line images in 4:2:2 or 4:4:4.
See Bayer filter
Introduced in 1993 as a development of the original analog Betacam VTR that records SD component video and audio digitally onto Betacam-style cassettes. It uses mild intra-field compression to reduce the ITU-R BT.601 sampled video data by about 2:1 to provide a good portable and much cheaper alternative to the uncompressed D1 format.
Shooting movies with digital movie cameras, not film. Nearly all movies are now shot digitally with cameras specifically made for movies, differing in many ways from those made for television. The output offers RAW data that includes the full range of brightness captured by the image sensors, allowing color grading, format changes, etc. to be executed as a part of the digital intermediate process. The camera’s image sensor is typically about the size of full frame 35mm film delivering at least 4096 x 2160 (4K) sized images, with the same movie look, including a narrow depth of field.
By contrast, television cameras are designed to work live. They include front-end processing for gamma correction, set-up for the required color look and clipping to suit home viewing conditions. Sensors are usually smaller, half-inch size, delivering the much deeper depth of field that we expect from TV, and is very useful when covering live events such as sports.
See also: VFR
Electronic Newsgathering. Term applied to a small portable outfit, with a broadcast quality TV camera, recorder and/or microwave link, usually used for news. The term was originated to distinguish between newsgathering on film and video tape (electronic) and it now lives on in the chip/card plugable storage era.
See also: ING
It has been standard practice from the early days of film to shoot film at a higher rate, over-cranking, then it will be played back at normal speed to produce a slow-motion effect of high quality. However there was a limit to the speed at which film can be run through the camera. Many complex designs for film transports have been tried but they are limited to around 400 frames per seco