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 second depending on film size and framing. Early uses in military applications were picked up by the creative community for dramatic effect.
Electronic imaging systems do not have the issues of moving a mass of film past the lens and once the problems of high speed digitization and storage were solved it allowed imaging up to 1,000,000 frames a second at low resolution. Most modern cameras are capable of some over-cranking to a few hundred frames per second and from there specialist cameras are available to cover high resolution and speeds of several thousand frames/second.
Latitude is the capacity of a camera to capture information over a wider brightness range than is needed for the final print. This provides a degree of freedom in post production for adjustment to match other shots, or for creating keys or adding digital effects.
See also: HDR
Data that has not been processed for use. It is often written as ‘RAW’, which may make you think it is an acronym. It is not.
Raw data usually applies to the output of digital cinematography cameras that can generally deliver images that include the full brightness range that its imager can extract from a scene. The data has not been tampered with, not processed for color or to suit any target viewing conditions, such as cinema or gamma corrected for home TV viewing. The raw data is as the imager saw it with debayering applied where needed.
Device for converting film images into video in realtime. The main operational activity here is color grading which is executed on a shot-by-shot basis and absorbs considerable telecine time. This includes the time needed for making grading decisions and involves significant handling of the film, spooling and cueing which risks film wear and damage, besides the actual transfer time. The output of a telecine is digital video (rather than data files).
Digital technology has moved the transfer process on. Now, adding a disk store or server can create a virtual telecine enabling the film-to-digital media transfer to run as one continuous oper