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SMPTE Standards
The Society of Motion Picture and Television Engineers (SMPTE) (, rarely ), founded by Charles Francis Jenkins in 1916 as the Society of Motion Picture Engineers or SMPE, is a global professional association of engineers, technologists, and executives working in the media and entertainment industry. As an internationally recognized standards organization, SMPTE has published more than 800 technical standards and related documents for broadcast, filmmaking, digital cinema, audio recording, information technology (IT), and medical imaging. SMPTE also publishes the ''SMPTE Motion Imaging Journal'', provides networking opportunities for its members, produces academic conferences and exhibitions, and performs other industry-related functions. SMPTE membership is open to any individual or organization with an interest in the subject matter. In the US, SMPTE is a 501(c)3 non-profit charitable organization. History An informal organizational meeting was held in April 1916 at the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Transatlantic (band)
Transatlantic were a multinational progressive rock supergroup (music), supergroup consisting of Neal Morse (ex–Spock's Beard), Roine Stolt (Kaipa, the Flower Kings), Pete Trewavas (Marillion, Edison's Children) and Mike Portnoy (Dream Theater). They formed in 1999 as a side project to their full-time bands, but disbanded in 2002. They then reunited in 2009, and then disbanded again in 2022. Despite not being an official member and only appearing on one studio album, Daniel Gildenlöw (Pain of Salvation) has often joined the band during live shows. However, due to illness, Ted Leonard stood in for him during the 2014 tour. Leonard also joined the band during the 2022 tour. Biography Formation Originally intending to include Fates Warning guitarist Jim Matheos, Morse and Portnoy tapped The Flower Kings, Flower Kings guitarist/vocalist Roine Stolt when Matheos was unable to participate. The band completed their lineup by adding bassist and progressive rock veteran Pete Trewava ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
High Frame Rate
In motion picture technology—either film or video—high frame rate (HFR) refers to higher frame rates than typical prior practice. The frame rate for motion picture film cameras was typically 24 frames per second (fps) with multiple flashes on each frame during projection to prevent flicker. Analog television and video employed interlacing where only half of the image (known as a video field) was recorded and played back/refreshed at once but at twice the rate of what would be allowed for progressive video of the same bandwidth, resulting in smoother playback, as opposed to progressive video which is more similar to how celluloid works. The field rate of analog television and video systems was typically 50 or 60 fields per second. Usage of frame rates higher than 24 fps for feature motion pictures and higher than 30 fps for other applications are emerging trends. Filmmakers may capture their projects in a high frame rate so that it can be evenly converted to multipl ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Post-production
Post-production, also known simply as post, is part of the process of filmmaking, video production, audio production, and photography. Post-production includes all stages of production occurring after principal photography or recording individual program segments. The traditional first part of the post-production process, non-linear (analog) film editing, has mostly been replaced by digital or video editing software, which operates as a non-linear editing (NLE) system. The advantage of non-linear editing is the ability to edit scenes out of order, thereby making creative changes at will. This flexibility facilitates carefully shaping the film in a thoughtful, meaningful way for emotional effect. Once the production team is satisfied with the picture editing, the editing is said to be ''locked''. At this point the turnover process begins, in which the picture is prepared for lab and color finishing, and the sound is ''spotted'' and turned over to the composer and sound desi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
35 Mm Movie Film
35 mm film is a film gauge used in filmmaking, and the film standard. In motion pictures that record on film, 35 mm is the most commonly used gauge. The name of the gauge is not a direct measurement, and refers to the nominal width of the 35 mm format photographic film, which consists of strips wide. The standard negative pulldown, image exposure length on 35 mm for movies ("single-frame" format) is four film perforations, perforations per Film frame, frame along both edges, which results in 16 frames per foot of film. A variety of largely proprietary gauges were devised for the numerous camera and projection systems being developed independently in the late 19th and early 20th centuries, along with various film feeding systems. This resulted in cameras, projectors, and other equipment having to be calibrated to each gauge. The 35 mm width, originally specified as inches, was introduced around 1890 by William Kennedy Dickson and Thomas Edison, using 120 film st ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
VC-1
SMPTE 421, informally known as VC-1, is a video coding format. Most of it was initially developed as Microsoft's proprietary video format Windows Media Video 9 in 2003. With some enhancements including the development of a new Advanced Profile, it was officially approved as an SMPTE standard on April 3, 2006. It was primarily marketed as a lower-complexity competitor to the H.264/MPEG-4 AVC standard. After its development, several companies other than Microsoft asserted that they held patents that applied to the technology, including Panasonic, LG Electronics and Samsung Electronics. VC-1 is supported in the now-deprecated Microsoft Silverlight, the briefly-offered HD DVD disc format, and the Blu-ray Disc format. Format VC-1 is an evolution of the conventional block-based motion-compensated hybrid video coding design also found in H.261, MPEG-1 Part 2, H.262/MPEG-2 Part 2, H.263, and MPEG-4 Part 2. It was widely characterized as an alternative to the ITU-T and MPEG video ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
SMPTE 2110
SMPTE 2110 is a suite of standards from the Society of Motion Picture and Television Engineers (SMPTE) that describes how to send digital media over an IP network. SMPTE 2110 is intended to be used within broadcast production and distribution facilities where quality and flexibility are more important than bandwidth efficiency. History SMPTE 2110 was based on the TR-03 and TR-04 work published by the Video Services Forum on 12 November 2015. The first four parts of SMPTE 2110, -10, -20, -21 and -30, were published by SMPTE on 27 November 2017. Other parts, including recommended practices, were added later, and several parts were updated in 2022. Standard SMPTE 2110 is specified in several parts: *ST 2110-10 - System architecture and synchronization: essences, RTP, SDP and PTP *ST 2110-20 - Uncompressed video transport, based on SMPTE 2022-6 *ST 2110-21 - Traffic shaping and network delivery timing *ST 2110-22 - Constant Bit-Rate Compressed Video transport *ST 2110-30 - Audio t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Material Exchange Format
Material Exchange Format (MXF) is a container format for professional digital video and audio media defined by a set of SMPTE standards. A typical example of its use is for delivering advertisements to TV stations and tapeless archiving of broadcast TV programs. It is also used as part of the Digital Cinema Package for delivering movies to commercial theaters. Summary MXF, when used in the form of "Operational Pattern OP1A" or "OPAtom", can be used as a ''container'', ''wrapper'' or ''reference file'' format which supports a number of different streams of coded "essence", encoded in any of a variety of video and audio compression formats, together with a metadata wrapper which describes the material contained within the MXF file. Other "Operational Patterns" can contain or reference multiple materials, just like a simple timeline of a video editing program. MXF has full timecode and metadata support and is intended as a platform-agnostic stable standard for future professio ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Test Card
A test card, also known as a test pattern or start-up/closedown test, is a television test signal, typically broadcast at times when the transmitter is active but no program is being broadcast (often at sign-on and sign-off). Used since the earliest TV broadcasts, test cards were originally physical cards at which a television camera was pointed, allowing for simple adjustments of picture quality. Such cards are still often used for calibration, alignment, and matching of cameras and camcorders. From the 1950s, test card images were built into monoscope tubes which freed up the use of TV cameras which would otherwise have to be rotated to continuously broadcast physical test cards during downtime hours. Electronically generated test patterns, used for calibrating or troubleshooting the downstream signal path, were introduced in the late-1960s, and became commonly used from the 1970s and 80s. These are generated by test signal generators, which do not depend on the correct config ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
SMPTE Color Bars
SMPTE color bars are a television test pattern used where the NTSC, NTSC video standard is utilized, including countries in North America. The Society of Motion Picture and Television Engineers (SMPTE) refers to the pattern as Engineering Guideline (EG) 1-1990. Its components are a known standardization, standard, and created by test pattern generators. Comparing it as received to the known standard gives video engineers an indication of how an NTSC video signal has been altered by recording or transmission and what adjustments must be made to bring it back to specification. It is also used for setting a television monitor or receiver to reproduce NTSC chrominance and Luminance (video), luminance information correctly. A precursor to the SMPTE test pattern was conceived by Norbert D. Larky (1927–2018) and David D. Holmes (1926–2006) of RCA Laboratories and first published in RCA Licensee Bulletin LB-819 on February 7, 1951. U.S. patent 2,742,525 Color Test Pattern Generator ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Serial Digital Interface
Serial digital interface (SDI) is a family of digital video Interface (computing), interfaces first standardized by SMPTE (The Society of Motion Picture and Television Engineers) in 1989. For example, ITU-R BT.656 and SMPTE 259M define digital video interfaces used for Broadcasting, broadcast-grade video. A related standard, known as high-definition serial digital interface (HD-SDI), is standardized in SMPTE 292M; this provides a nominal data rate of 1.485 Gbit/s. Additional SDI standards have been introduced to support increasing video resolutions (High definition video, HD, Ultra high definition, UHD and beyond), High frame rate, frame rates, 3D video, stereoscopic (3D) video, and color depth. Dual link HD-SDI consists of a pair of SMPTE 292M links, standardized by SMPTE 372M in 1998; this provides a nominal 2.970 Gbit/s interface used in applications (such as digital cinema or HDTV 1080P) that require greater fidelity and resolution than standard HDTV can provide. 3 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
SMPTE Timecode
SMPTE timecode ( or ) is a set of cooperating standards to label individual frames of video or film with a timecode. The system is defined by the Society of Motion Picture and Television Engineers in the SMPTE 12M specification. SMPTE revised the standard in 2008, turning it into a two-part document: SMPTE 12M-1 and SMPTE 12M-2, including new explanations and clarifications. Timecodes are added to film, video or audio material, and have also been adapted to synchronize music and theatrical production. They provide a time reference for editing, synchronization and identification. Timecode is a form of media metadata. The invention of timecode made modern videotape editing possible and led eventually to the creation of non-linear editing systems. Basic concepts SMPTE timecode is presented in ''hour:minute:second:frame'' format and is typically represented in 32 bits using binary-coded decimal. There are also ''drop-frame'' and ''color framing'' flags and three extra ''bin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
SMPTE RP-133 Small
The Society of Motion Picture and Television Engineers (SMPTE) (, rarely ), founded by Charles Francis Jenkins in 1916 as the Society of Motion Picture Engineers or SMPE, is a global professional association of engineers, technologists, and executives working in the media and entertainment industry. As an internationally recognized standards organization, SMPTE has published more than 800 technical standards and related documents for broadcast, filmmaking, digital cinema, audio recording, information technology (IT), and medical imaging. SMPTE also publishes the ''SMPTE Motion Imaging Journal'', provides networking opportunities for its members, produces academic conferences and exhibitions, and performs other industry-related functions. SMPTE membership is open to any individual or organization with an interest in the subject matter. In the US, SMPTE is a 501(c)3 non-profit charitable organization. History An informal organizational meeting was held in April 1916 at the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
