Video technology was first developed for cathode ray tube television systems. As technology advanced, new display technologies emerged such as LCD, plasma, and OLED displays. The basic principles of image reproduction in film and video have their roots in still photography, where light sensitive materials capture images. Film formats have evolved from larger and more expensive professional formats like 70mm to smaller consumer formats like 8mm and digital formats. Video cameras convert light into electrical signals to create and transmit moving images through scanning processes. Standards like NTSC, PAL, and SECAM were developed for color television broadcasts.
What is the Phi Phenomenon?, What is the significance of 12fps?, What is over and under-cranking?, What impact did the introduction of sound have on frame rate?, Give as much rationale as you can for why 24 became the international frame rate standard?, What issues surrounded bandwidth?, What is interlacing?, How was the challenge of intermodulation tackled?, What is the significance of 60 Hertz and how does it relate to 30 frames per second?, What is the difference between VHF and UHF?, How was a colour standard arrived at?,
What challenge did bandwidth present to achieving a colour standard and how was this problem overcome?, What was the fields per second ratio that was eventually developed as the standard in colour and what was the resulting frames per second ratio?. What is PAL and why was it developed?, What are the fields per second and frames per second ratios of PAL and SECAM and a) Produce a step-by-step guide to explain how we get from the 24 frames per second of film to a 60i video stream to be able to watch celluloid movies on video.
b) What are the issues with the various conversions?
How do modern digital cameras avoid the telecine process and with what effect?, How are 24fps films telecine’d onto SECAM or PAL 25 fps?, Explain high frame rates and temporal resolution and What are the issues with higher frame rates in narrative filmmaking?, Finally, the links of the websites used in this document listed under the BIBLIOGRAPHIES.
Advances in geophysical sensor data acquisitionIXSEA-DELPH
This presentation will explain what is different and new about the ECHOES products and introduce a new approach to Sub-Bottom Profiler (SBP) data acquisition and processing which has the potential to make a real difference to workflow.
What is the Phi Phenomenon?, What is the significance of 12fps?, What is over and under-cranking?, What impact did the introduction of sound have on frame rate?, Give as much rationale as you can for why 24 became the international frame rate standard?, What issues surrounded bandwidth?, What is interlacing?, How was the challenge of intermodulation tackled?, What is the significance of 60 Hertz and how does it relate to 30 frames per second?, What is the difference between VHF and UHF?, How was a colour standard arrived at?,
What challenge did bandwidth present to achieving a colour standard and how was this problem overcome?, What was the fields per second ratio that was eventually developed as the standard in colour and what was the resulting frames per second ratio?. What is PAL and why was it developed?, What are the fields per second and frames per second ratios of PAL and SECAM and a) Produce a step-by-step guide to explain how we get from the 24 frames per second of film to a 60i video stream to be able to watch celluloid movies on video.
b) What are the issues with the various conversions?
How do modern digital cameras avoid the telecine process and with what effect?, How are 24fps films telecine’d onto SECAM or PAL 25 fps?, Explain high frame rates and temporal resolution and What are the issues with higher frame rates in narrative filmmaking?, Finally, the links of the websites used in this document listed under the BIBLIOGRAPHIES.
Advances in geophysical sensor data acquisitionIXSEA-DELPH
This presentation will explain what is different and new about the ECHOES products and introduce a new approach to Sub-Bottom Profiler (SBP) data acquisition and processing which has the potential to make a real difference to workflow.
Sources:
Multimedia (2011). Retrieved from http://www.slideshare.net/Shivam_Tuteja/multimedia-8114447?related=2
Nyirenda, M. (2013). Retrieved from http://www.ippmedia.com/frontend/?l=57601
Multimedia as an educational tool (n.d.). Retrieved from cemca.org.in/ckfinder/userfiles /files/Section2.pdf
Benefits of Using Multimedia in Education (n.d.). Retrieved from http://hrsbstaff.ednet.ns.ca/engramja/gradcourse/
multimedia/benefits_of_multimedia.htm
*unable to include sample video clips
This presentation is focused on basic understanding of video signal generation and its electronic interpretation. Contents are taken from bible of television!
This presentation is dedicated to R R Gulati.
Step Into Security Webinar - IP Security Camera Techniques for Video Surveill...Keith Harris
LENSEC's Step Into Security webinar covers techniques for IP security cameras used for video surveillance. This information is useful for security personnel and anyone who works with security cameras.
Physical security expert Keith Harris is a veteran in the security industry and has worked with cameras for 30 years. Keith provides information on IP security camera techniques for physical security applications.
Webinar Agenda:
•Camera Choice
•Lens Selection
•Power
•Record Capability
•Lighting
•Transmission
You can find this and other webinars covering physical security and life safety topics on LENSEC's website: http://bit.ly/StepIntoSecurityWebinarArchive
Share this info with your colleagues and invite them to join us.
5. Digital Light Processing (DLP) Liquid Crystal Display (LCD) Plasma Display Panels (PDP) Organic Light Emitting Diode (OLED / LED TV) 3D TV
6. BASIC FOR FILM & VIDEO HAD ITS ROOTS IN STILL PHOTOGRAPHY IMAGE REPRODUCTION
7. LIGHT PHOTOSENSITIVE MATERIAL ARE THE ELEMENTS OF IMAGE REPRODUCTION AND A
8.
9. STILL CAMERA light falls on the subject captured by the camera lens negative enlarger chemical process photo print > > > > >
10. MOVING CAMERA light falls on the subject > > > > > records at 24 fps negative print chemical process positive print projection at 24 fps
11. 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 BETWEEN THEM.
22. 4:3 / 1.33:1 STANDARD - 4 UNITS WIDE FOR EVERY 3 UNITS OF HEIGHT
23.
24. 2.35:1 ANAMORPHIC - VERY WIDE SCREEN; WHEN SHOOTING, SQUEEZE THE WIDTH THEN UNSQUEEZED IN PROJECTION, WIDENING ORIGINAL ASPECT RATIO - BIGGER LETTERBOX
25.
26. RULE OF THUMB THE LARGER THE FORMAT, THE BETTER THE QUALITY , THE MORE EXPENSIVE IT IS TO SHOOT AND THE HEAVIER THE EQUIPMENT TO USE.
27. VIDEO CAMERA light falls on the subject captured by the camera lens, light is then converted Into an electrical signal and prints to a magnetic tape playback VCR TV monitor > > >
28. 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
32. TRANSITIONS OF A VIDEO CAMERA DVD P2 / DVCPRO HD AVCHD (SD CARD)
33. TRANSITIONS OF A VIDEO CAMERA XDCAM (BLUE-RAY / S x S CARD) HDSLR (CF CARD / SD CARD) RED CAM (Red Drive, Red Flash [CF])
34. THE RASTER SCAN HORIZONTAL LINES STARTING AT THE TOP, FROM LEFT TO RIGHT 2 TYPES OF SCANNING PROGRESSIVE - 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)
36. FRAME TWO 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
37. CAMERA IMAGE SENSOR RESPONSIBLE 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
38. 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