HighDef Glossary of Terms

HighDef Glossary of Terms
The HighDef Glossary of Terms

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1000/1001
When the NTSC color television system was being developed,

the designers wanted to make it compatible with all of the old
black and white systems that were already in people’s homes.
To do this, they had to make some compromises. The thing
that has probably caused the most problems for our industry
over the years is that the field rate was changed by 1/1.001
from 60 to 59.94 per second. This was a small enough change
that the older TV’s would still receive the new color broadcast
and allowed for the new color information to be encoded into
the broadcasted signal. This offset gives rise to “niceties” such
as drop-frame timecode and audio that also has to run at the
right rate. Although having analog origins, it has also been
extended into the digital and HD world where 24, 30, and 60
frames/fields per second becomes 23.98, 29.97, and 59.94 to
be compatible with existing NTSC formats and workflows.
1080/24P
Refers to an internationally standardized High Definition

production format (ITU BT 709) having a digital sampling
structure of 1920 (H) x 1080 (V) and operating at 24-frames
per second progressively scanned. Often used to loosely
describe a system that operates at 23.976P as well.
1080/60i
Refers to a standardized High Definition production format

(SMPTE 274M and ITU 709) having a digital sampling structure
of 1920 (H) x 1080 (V) and operating in interlaced scan mode
at 60 fields per second. Often used to loosely describe a system
file:///C|/Documents%20and%20Settings/Andrey/My%20Documents/glossaryHD.htm (1 of 33)11/4/2007 9:10:57 PM

that operates at 59.94i as well.
1280x720
Refers to a high definition digital sampling structure of 1280

horizontally and 720 vertically. All 1280x720 images are
progressively scanned (720P).
16x9
The standardized aspect ratio of HDTV and Widescreen SDTV –

having a width of 16 units and a height of 9 units. Also see
Aspect Ratio- Picture, 1.78
1.78
The ratio of the horizontal size of a screen to its vertical size as

1.78 units wide to 1.0 units high. This ratio is the most
standardized aspect ratio of HDTV and Widescreen SDTV. Also
known as 16x9. Also see Aspect Ratio- Picture
1.85
The ratio of the horizontal size of a screen to its vertical size as

1.85 units wide to 1.0 units high. This ratio is the most
common screen ratio for motion pictures. Also see Aspect
Ratio- Picture
1920x1080
Refers to a digital sampling structure of 1920 horizontally and

1080 vertically. 1920x1080 images can be scanned either
interlaced (1080i) or progressively (1080P).
2k
Resolution defined as 2,048 pixels wide by 1,556 high. Also the

name of a color enhancement system made by DaVinci
Systems (www.davsys.com) that processes Standard Definition,
High Definition, and high resolution images. Resolution defined
as 2,048 pixels wide by 1,556 high. Also the name of a color
enhancement system made by DaVinci Systems (www.davsys.
com) that processes Standard Definition, High Definition, and
high resolution images.

22:11:11
Defines high definition video signals, where the luminance (Y)

is sampled at 74.25 MHz and the color difference samples (R-Y,
B-Y) channels are each sampled at 37.125 MHz. Note that it
has become commonplace to denote HDTV Y,R-Y,B-Y also as
4:2:2. While technically incorrect, it is popularly used in a great
deal of published literature.
22:22:22
Denotes a high definition system where all signals (R,G,B) are

sampled at 74.25 MHz. Note that it has become commonplace
to denote HDTV RGB also as 4:4:4. While technically incorrect,
it is popularly used in a great deal of published literature.
2.35
A highly popular widescreen motion picture film format of 2.35

units wide by 1 unit high. Also see Aspect Ratio- Picture
23.98 or 23.976
Refers to a video image rate of 23.976 (truncated to 23.98)

frames per second – which is deliberately offset from 24 frames
so that a simple 3:2 process will produce the standard 59.94
fields per second interlaced video. Also see 1000/1001, 24P.
24P
Terminology for 24 full frames per second digital video

progressively captured. In most cases it refers to the HD
picture format of 1920x1080, though it is also used with
1280x720 images as well. Often used to loosely describe a
capture system that operates at 23.976P as well. Also see
1000/1001.
24PsF
Term used to describe a 24 (or in common usage 23.98) frame

progressive video that divides the video in segments of even
and odd lines for transmission and storage (and often display).
Though transmitted similarly as an interlaced signal, if treated
as a progressive signal, does not cause the same harmful
artifacts that interlace scanning causes. Also see PsF Imaging.

29.97P
Terminology for 29.97 full frames per second digital video

progressively captured.
30P
Terminology for 30 full frames per second digital video

progressively captured. Often used to loosely describe a
capture system that operates at 29.97P.
3:2 Pulldown
The process used to convert 24 frame per second film or 24P

video into 59.94i video. The term originates from the
mechanical action of the pulldown gate in a telecine which
pulled each film frame into the imaging area. Technically the
3:2 pulldown process consists of two parts: the slowing of the
frame rate by a factor of 1000/1001 from 24.000 fps to 23.976
fps and the creation of a "3:2" field cadence. The 3:2 cadence
itself is created by taking one frame of the 24 frame source and
filling 3 of the 59.94 fields. The next frame of the 24 frame
source will only fill 2 of the 59.94 fields, the next frame 3 fields,
the next frame 2 fields, etc. This sequence causes 4 of the 24
frame per second acquired material to fit into 5 frames of the
destination 59.94i video. The term "pulldown" is now commonly
used to describe any combination of a 1000/1001 speed
change and/or 3:2 cadence creation. Also see 1000/1001.
4:1:1
This terminology has come into common usage to describe

both high definition and standard definition systems where the
ratio between luminance and chrominance samples is 4 to 1 (1
set of color difference samples (R-Y,B-Y) for every 4 luminance
samples (Y)). In its original application in standard definition
video signals, it represents a system where the luminance (Y) is
sampled at 13.5 MHz and the R-Y,B-Y channels are each
sampled at 3.75 MHz.
4:2:2
Defines standard definition video signals, where the luminance

(Y) is sampled at 13.5 MHz and the color difference samples (R-
Y,B-Y) channels are each sampled at 6.75 MHz. This
terminology has come into common usage to describe both

high definition and standard definition systems where the ratio

between luminance and chrominance samples is 2 to 1 (i.e. 2
sets of color difference samples (R-Y,B-Y) for every 4
luminance samples (Y)). Also see 22:11:11
4:4:4
Defines standard definition video signals, where all signals

(usually R,G,B but also Y, R-Y,B-Y) are sampled at 13.5 MHz.
This terminology has come into common usage to describe
both high definition and standard definition systems where
sampling is done on the RGB components of a video signal.
Also see 22:22:22
48PsF
Term often used incorrectly to describe a 24 frame progressive

segmented frame video. In actual terms, 48PsF would describe
an image captured progressively at 48 frames per second and
transmitted as a segmented frame. Incorrect usage stems
from having each segment of a 24PsF frame arrive at twice the
captured rate (48 times a second). See PsF Imaging.
4k
Resolution defined as 4,096 pixels wide by 3,112 deep.
5.1
Denotes an audio system that has 5 full range channels (Left,

Center, Right, Left-Rear, Right-Rear) and one Low Frequency
Effects (LFE) channel.
59.94i
Describes an interlaced video signal where 1/2 of the total lines

of the picture are captured and displayed every 1/59.94th of a
second. See also Interlaced Imaging, Progressive Imaging and
PsF Imaging.
59.94P
Describes a progressive video signal where all lines of the

picture are captured and displayed every 1/59.94th of a second.

See also Interlaced Imaging, Progressive Imaging and PsF
Imaging.
60i
Describes a interlaced video signal where 1/2 of the total lines

of the picture are captured and displayed every 1/60th of a
second. Often used to loosely describe a capture system that
operates at 59.94i. See also Interlaced Imaging, Progressive
Imaging and PsF Imaging, 1000/1001.
60P
Describes a progressive video signal where all of the total lines

of the picture are captured and displayed every 1/60th of a
second. Often used to loosely describe a capture system that
operates at 59.94P. See also Interlaced Imaging, Progressive
Imaging and PsF Imaging, 1000/1001.
720/60P
Refers to a High Definition production format (SMPTE 296M)

having a digital sampling structure of 1280 (H) x 720 (V) and
operating at 60-frames per second progressively scanned.
Often used to loosely describe a capture system that operates
at 59.94P as well.
8:8:8
Defines standard definition video signals, where all signals

(usually R,G,B but also Y, R-Y,B-Y) are sampled at 27 MHz. Also
the name of a color enhancement system made by DaVinci
Systems (www.davsys.com) that processes standard definition
video.
A/D, ADC
Analog to Digital Conversion.
AAF
The Advanced Authoring Format – Designed as the next

generation EDL, AAF is an industry initiative to create a file

interchange standard for the easy sharing of media data and
metadata among digital production tools and content creation
applications, regardless of platform. It includes EBU/SMPTE
metadata and management of pluggable effects and codecs. It
allows open connections between equipment where not only
video and audio are transferred but also metadata including
information on how the content is composed, where it came
from, etc. It can fulfil the role of an all-embracing EDL or offer
the basis for a media archive that any AAF-enabled system can
use.
Acquisition
The gathering of data, whether it be photographic, audio, or for

some other purpose.
AES
Audio Engineering Society, a worldwide

organization. http://www.aes.org/. Also see AES/
EBU.
AES/EBU
Colloquial for the two-channel digital audio interface, defined

by AES and EBU. Self-clocking transmission of 2 channels with
an audio word length of up to 24 bits at a variety of sampling
frequencies.
Afterburner
Usually refers to the HD9150 series of products by Evertz (www.

evertz.com). The HD9150 “Afterburner” series downconverts
HDTV input video to digital and analog standard definition
video with and without burnt in timecode/data windows.
Aliasing
Defects or distortion in a television picture due to sampling

limitations. Defects are commonly seen as jagged edges on
diagonal lines and twinkling or brightening (beating) in picture
detail.
Analog

Describes a continuously variable signal of some sort.

Commonly used to describe equipment or methods that do not
involve the electronic digitization of a signal into data.
Examples are can be found in Audio Recording (Vinyl Records,
Cassette tapes), Video Recording (BetacamSP, VHS), and
Broadcasting (AM, FM, Conventional TV).
Anamorphic
A term used to denote a difference in magnification along

mutually perpendicular meridians. Anamorphic systems are
basically image-distorting systems. A wide formatted image will
be compressed horizontally creating a “squished” looking
picture to fit into a narrow medium (film or video). For proper
viewing, the image must be expanded back to its original wide
format.
Anti-Aliasing
The smoothing and removing of aliasing effects by filtering and

other techniques. Edges on character generators and DVEs
contain anti-aliasing facilities.
Arri D-20
Next Generation cinematography camera project by Arri (www.

arri.com) that is promising high resolution digital motion picture
capture using traditional 35mm lenses.
ASC
American Society of Cinematographers http://www.theasc.com
Aspect Ratio (Picture)
The ratio of screen width to screen height. Can be expressed as

Width by Height (Example: 16x9, 4x3) or as calculated ratio
(1.33:1, 1.78:1)
Some common aspect ratios:
1.33 (4x3) Standard Television or Academy Standard

1.78 (16x9) HDTV
1.85 Academy Flat
2.35 Cinemascope

Aspect Ratio (Pixel)
The ratio of pixel width to pixel height. Standard NTSC (ITU-R

601) digital video has rectangular pixels. Computers and HDTV
have square pixels.
ATSC
Acronym for Advanced Television System Committee. Formed

to establish technical standards for advanced television
systems, including high definition television. (HDTV) http://
www.atsc.org
Avid DS Nitris
A nonlinear production system made by Avid (www.avid.com)

for conforming and finishing of projects at multiple non-
compressed HDTV and SDTV formats. Nitris is part of the Avid
DNA (Digital Non-linear Accelerator) line that features custom
built hardware acceleration and breakout boxes. Includes a
complete range of seamlessly integrated picture and audio
editing, compositing, paint, animation, character generation
and media management tools. Also available as Avid DS Nitris
Editor (without compositing functionality)
Bandwidth
The amount of information that can be transmitted in a given

period of time. For video information, a large amount of
bandwidth can be generally associated with better quality of
the picture. Digital video in particular requires large amounts of
bandwidth. Often, compression techniques are used to reduce
the bandwidth needs especially for transmission and storage.
Also refers to the spectrum available to each broadcast
station. For digital television conversion, each station is
allocated 6 MHz of the broadcast spectrum. In this spectrum,
one HDTV signal or up to four multicast standard definition
digital signals can be broadcast.
BCD

Binary Coded Decimal. A coding system in which each decimal

digit from 0 to 9 is represented by four binary digits (0 or 1).
Bit
Short for Binary Digit. The smallest piece of binary digital data
and is represented by either a 1 or a 0. Often the number of
bits is used to describe the attributes of a pixel are used in
digital video as a representation of signal quality (i.e. an 8 bit
signal can have 256 levels from black to white while a 10 bit
signal can have 1024 levels). See Byte, Kilobyte, Megabyte,
Gigabyte, Terabyte, Petabyte
BOXX
Short for Boxx Technologies, a manufacturer of high end

computer systems for the graphics and production
environments. http://www.boxxtech.com
Byte
A byte consists of 8 bits or 10 bits. Also see Bit, Kilobyte,

Megabyte, Gigabyte, Terabyte, Petabyte.
Camera Utility
Crew member as designated by Local 600, IATSE. Assists the

Video Controller in the setup of the cameras, pulls cables
during rehearsals and takes, assists the camera operator during
complex pedestal moves (does not focus), setup and
maintenance of quad split monitors, cables and all other
camera accessories.
Capture Rate
Used to describe the number of times per second that a picture

is taken or captured in an imaging system. In a progressive
system the capture rate is equal to the frame rate. In an
interlaced system, the capture rate is double the frame rate
because at each capture interval, only one field (a half
resolution image) is acquired. It takes two fields to make a
complete frame. It is standard practice to refer to the capture
rate of an image as well as how it is captured when describing
it instead of the frame rate (i.e. 60i (60 captures, 30 frames per

second), 30P (30 captures, 30 frames per second) and 60P (60
captures, 60 frames per second)) Also see Frame Rate,
Interlace Imaging, Progressive Imaging.
CCD
Charge Coupled Device. The imaging device used in most

modern electronic cameras.
CIE
International Commission on Illumination - abbreviated as CIE

from its French title "Commission Internationale de l'Eclairage"
- is an organization devoted to international cooperation and
exchange of information on all matters relating to the science
and art of lighting and color.
CineAlta
Name for a line of products by Sony that are developed for the
film market.
CineSpeedCAM
High Speed HD camera from BandPro (www.bandpro.com).

Can operate at 1536x1024 pixels at up to 1000fps, 1024x768
pixels at up to 2000fps, or 768x512 pixels upto 4000fps.
Color Correction / Color Enhancement
The step in the post production process where the images are
adjusted to both match subtle differences in shots and to
create an overall look.
Color Space
Color spaces are mathematical models used to specify, create

and visualize color. Different models will represent the same
color in different ways. As human's, we may define a color by
its attributes of brightness, hue and colorfulness. A printing
press defines a color in terms of the reflectance and
absorbance of cyan, magenta, yellow and black inks on the
paper. In computer and video production we define a color in
terms of the excitations of red, green and blue phosphors on
the CRT faceplate or pickup on a camera's imager. Often in
video, values are converted from the RGB color space to either

the Y, R-Y, B-Y color space or composite color space for

transmission, processing and storage.
Within each of these broader models are more specific color
space definitions that specify exact transfer characteristics
(Linear, Log, or Gamma), white point, resolution (number of
bits), and chromaticity coordinates in relation to standardized
CIE values. Some of these models used in video and film
production are SMPTE-C, SMPTE-240M, Rec-601-1, Rec-709,
and Cineon. To accurately produce a Rec-709 color space signal
on a SMPTE-C monitor, a color space conversion must occur.
One way that color space conversions can be done is through
the use of LUT's (Look Up Tables) in which the value from one
color space can be translated into another. See Gamut, Legal
Gamut, Valid Gamut.
Colorist
An individual artist who understands color and can interface

between a production’s need for color treatment of images and
the equipment necessary to accomplish that treatment.
Colorists have traditionally worked with telecine film output,
and now also work in tape to tape applications in SD and HD.
Composite Video
A video signal where luminance and chrominance signals have

been combined together. This process results in restricted
detail especially with color components. Most commonly used
to describe NTSC or PAL video where the luminance,
chrominance, and horizontal and vertical synchronizing
information have been combined into one analog signal.
Component Video
A video signal where luminance and chrominance signals are

kept as separate components. This allows signals to retain
detail components and eliminates encoding/decoding artifacts
commonly found in composite video.
Compositing
The process of layering multiple video clips. Often includes

painting, rotoscoping, keying, color correction, matting, etc as
tools to create the multi-layered image.
Compression

The process of reducing the bandwidth or data rate in a video

or audio signal. Often used with audio and video to reduce
storage and transmission costs. Compression techniques
common in digital imaging rely on removing both redundant
data and data that is deemed less critical or imperceptible to
the viewer. This can be done either within a frame (intra-frame
compression) or across multiple frames (inter-frame
compression). Compression systems are developed to reduce
perceptible losses, however most compression systems in use
today will exhibit some level of distortion.
Compression Ratio
The difference between the original amount of data and the

amount of data after the bandwidth has been reduced through
compression, or the degree to which the data set has been
reduced numerically. Usually expressed as a ratio such as 5:1
(5 to 1).
Conform
Cutting together recorded material according to a prepared

scheme such as a rough cut or EDL. EDLs can be used to
directly control conforming in an online edit suite
(autoconforming).
CTL
Short for Control Track. A signal recorded on videotape to

facilitate proper head positioning for reading the video signal.
Often connected to a counter that will increment on every
frame of video.
D-20
See Arri D-20
D-5HD
A High Definition videotape format developed by Panasonic

based on the highly successful D-5 platform for standard
definition. It uses 1/2" wide tape stock and records 22:11:11
10 bit HD Video. It uses compression that that reduces the data

rate approximately 4:1 to 210Mb/s. The tape format supports

1920x1080 at 23.98P,24P,25P,29.97P, 30P, 50i, 59.94i, and 60i
and 1280x720 at 59.94P and 60P. The format became the
preferred mastering format for telecine transfers when HD was
introduced. D-5HD VTR's are now also capable of 525 or 625
line standard definition, a move towards creating HD
equipment that responds to a more universal approach where
equipment can be used in both the HD and SD environments
D/A, DAC
Digital to Analog conversion
DA
Distribution Amplifier. Device that takes a signal in and provides

multiple outputs of that signal.
DAT
Digital Audio Tape. An audio cassette tape format that typically

records 2 channels of 16-bit 48kHz or 44.1kHz digital audio on
a 3.8mm wide magnetic tape.
dB
See Decibel
D-Cinema
Digital Cinema. Digital distribution and projection of cinematic

material. Advances in digital video technology, digital video
projectors, and new methods of duplication and distribution are
coming together to offer a new distribution model that doesn’t
involve film prints.
Dalsa Origin
Next generation digital cinematography camera by Dalsa (www.

dalsa.com) that uses a unique single sensor design to capture
motion picture data at up to 4k (4046x2048) resolution. It
features an optical viewfinder and can use existing 35mm PL
mount lenses
Decibel (dB)

A unit of measurement expressing ratios using logarithmic

scales. Usually used as a measurement of audio volume level.
Depth of Field
Depth of field is a term which refers to the areas of a picture

both in front and behind the main focus point which remain
"sharp" (in focus). Depth of field is affected by the aperture,
subject distance, imager or negative size, and focal length.
DI
See Digital Intermediate
Digital
Describes a signal that is represented by discrete units.

Commonly used to describe equipment or methods that involve
processing, storage, and distribution of a signal as binary data.
Digital Intermediate (DI)
A Digital Intermediate is the result of the process of shooting

Highdef, or shooting on film followed by scanning to film
quality data files, editing the project in High Definition, and
applying the creative process of color correction and color
treatment to the completed master. This Digital Intermediate
then becomes the master for video, DVD or for theatrical
output by transferring this data master back to film. The big
advantage over the conventional method is in the creative
process. Once you have scanned your feature to a data master
you have the same creative ability and freedom that is available
when mastering a television movie or high end television
commercial. Creative decisions on effects like speed ramps,
freeze frames, dissolves, dips to color, wipes, multi layers and
re-use of material are all very simple. Most "optical" effects are
part of the automatic conforming process in online editing.
Trailers can be cut from actual film footage because the original
film now exists in an HD digital format.
Digital Television (DTV)
Refers to transmitting a broadcast signal that consists of digital

data. The ATSC has allowed for both standard definition and
high definition programs transmitted in a digital form to be
considered DTV.

Digital Utility
Crew member as designated by Local 600, IATSE. Additional

hire: cable wrangling of cables connected to the camera, under
supervision of the DIT, first or second camera assistant or
camera utility.
Direct Broadcasting via Satellite (DBS)
Consumers receive programs directly from a satellite source.

Typically, a DBS home systems consists of a pizza-sized dish
that is locked onto one satellite source, and a “set-top box”
that decodes the compressed satellite signal for display on a
standard television.
Director’s Friend
A company that manufactures computer-based HDTV interface

(www.directorsfriend.com). Often synonymous with one of
their products the “df-cineHD” which provides mobile digital
cinema capture, color correction, and edit suite capabilities.
DIT
A Digital Imaging Technician. A designation of Local 600,

IATSE, the cinematographer’s guild. Advanced coloring
(controller duties); setup, operation, troubleshooting and
maintenance of digital cameras (oversight of camera utilities),
waveform monitors, downconverters (Highdef to other
formats), monitors, cables, digital recording devices, terminal
equipment, driver software and other related equipment.
Complete understanding of digital audio acquisition and
timecode process and how they are integrated into digital
acquisition format and post production environments. Also
responsible for in-camera recording. Supervisory responsibility
for technical acceptability of the image.
D-ILA
Digital Image Light Amplifier. JVC’s proprietary projection

display technology which uses a reflective-mode active matrix
liquid crystal display to control the light output. D-ILA
technology has produced digital projectors with 2k resolutions
at high brightness and contrast ratios.

DLP
Texas Instruments Inc (www.dlp.com) Digital Light Processing

technology, the projection and display technology which uses
Digital Micromirror Devices (DMD’s) to control the light output.
DLP technology enables very compact, high brightness, high-
resolution digital projectors.
Dolby AC-3
A digital audio compression technique designed for delivery of

discreete multichannel digital surround sound. AC-3 supports
from 1 to 6 audio channels (5.1 surround) at various bitrates.
Designed as a distribution format, it is not directly editable.
Chosen as the audio standard for DTV broadcasting.
Dolby E
A digital audio compression technique designed for the

production of discreete multichannel digital surround sound and
metadata. Dolby E supports up to 8 channels in any
combination including 8 Mono, 4 Stereo, and 5.1 plus stereo.
Designed as a production format, it is editable on frame
boundaries and maintains quality through multiple decode/
encode cycles.
Dolby Pro-Logic
More advanced form of Dolby Surround that not only recovers

the surround information from the encoded program material,
but also adds a center channel to keep dialogue and center
effects firmly positioned. Provides a wider listening/viewing
area and provides better channel separation.
Dolby Surround
First generation home theater format that recovers surround

information from encoded program material and feeds it to a
pair of surround speakers placed up on the side walls adjacent
to the listening area. Outputs three channels: left, right, and
surround (usually split into 2 rear speakers).
Downconversion
The process of converting high resolution video to lower

resolution video. Often done to high definition camera reels so

that programs can be offlined on inexpensive standard

definition editing systems before being conformed in High
Definition. Also done to finished HD programs for delivery to
non-HD clients.
DP
Director of Photography
DPX
Digital Moving-Picture Exchange. A file format specified by

SMPTE that contains information about an image as well as the
image itself.
Drop-Frame
Alteration of timecode to match the framerate of NTSC video to

a time of day clock. NTSC video actually runs at 29.97 frames
per second (30/1.001). To keep the timecode on an NTSC
videotape synchronous with a time of day clock, it needs to
make up 1 in 1001 frames. It does this by changing the count
by two frames on nine out of every ten minutes. So the frame
following 10:35:59:29 would be numbered as 10:36:00:02. 30
frame HD formats are often run at 29.97 to allow conversion
and synchronization to NTSC video. These formats support
Drop-Frame timecode. Note that there is no drop frame format
for native 24-frame video formats. Also see Non-Drop-Frame,
Timecode.
DV
Refers to a video tape format primarily designed for the

consumer market that records a 4:1:1 standard definition signal
with a 5:1 compression ratio for a total bitrate of 25Mb/s. DV
cassettes come in 2 sizes Standard and Mini. Audio can be
either 48khz 16 bit stereo or 32kHz 12 bit 4 channel.
DVCProHD / DVCProHD-EX
A High Definition videotape format developed by Panasonic. It

uses 1/4" wide tape stock and records 22:11:11 8 bit HD Video.
It uses an extension of the DV compression and recording
system to reduce the data rate to 100Mb/s. The tape format
supports 1920x1080 at 59.94i, and 60i and 1280x720 at 59.94P
and 60P. The Panasonic’s Varicam format uses the 1280x720

DVCProHD format to carry variable framerate information.

DVCProHD-EX is an extension of the DVCProHD format and is
able to record and playback upto 126 minutes of HD video on a
single cassette
DVD
Digital Versatile Disk, Disk of the size of a CD, but with a

storage capacity of up to 17 Gbyte. The single layer one side
DVD stores up to 4.7 Gbyte, more then eight time as much as
on a CD. It is an ideal media for video and multi channel audio
applications. The term DVD has become synonymous with DVD-
Video, which holds MPEG-2 compressed video, multichannel
audio, subtitles, menus, and other features onto a DVD disk for
playback in industry standard players.
DVHS
A digital tape format developed by JVC based on the VHS tape

transport. Most commonly used for HD delivery, it supports
MPEG2 encoded video at rates up to 25Mb/s. There are
currently 3 different types of DVHS tapes. D-Theater DVHS
tapes are recorded with a special copy protection system for
wide release of high definition content. Pro-HD DVHS offers the
ability to record and playback in a password-protected mode
for playback on Pro-HD DVHS equipment, giving content
providers the ability to protect their material (this feature is
often used for "Digital Dailies"). Pro-HD equipment will also
playback D-Theater and Consumer DVHS tapes. Consumer
DVHS offers recording and playback of non-copy-protected and
off-the-air material and playback of D-Theater titles.
Edge crop
A technique of showing just the center portions of a wider

aspect ratio format. The resulting effect of edge cropping is the
loss of the outer edges of the picture.
EDL
Edit Decision List. A list that describes with tape names and
timecode numbers how to assemble a program from the
original tapes. Includes timecode numbers representing the IN
and OUT points, (Beginnings and Ends) of every shot of a

complete program.
Film Scanner
Usually refers to a high resolution Film to Data device that does

not operate at “real time” (ie at least 24 frames per second).
Also see Telecine.
Film Out
Term describing a “Tape to Film” transfer.
Final Cut Pro HD
Version 4.5 of Apple’s Final Cut Pro (www.apple.com/

finalcutpro) software with High Def and Standard Def editing
capability. Final Cut Pro HD features built in support for
Panasonic's DVCProHD codec. Native DVCProHD coded
material (100Mb/s) can be captured via Firewire (from a
Firewire enabled deck), and uncompressed HD I/O is achieved
using a number of other hardware manufacturers HD capture
cards.
Frame Rate
Used to describe the number of times per second that a

complete picture is updated in an imaging system. In a
progressive system the frame rate equals the capture rate. In
an interlaced system, the frame rate is one half of the capture
rate. Also see Capture Rate, Interlace Imaging, Progressive
Imaging.
Gamut
A color gamut is the boundary of a color space. Colors outside

the gamut of a specific color space are considered "illegal" for
that color space even though they may be well within the
gamut of a different color space. See Color Space, Legal
Gamut, Valid Gamut.
Genesis

see Panavision Genesis
Gigabyte
One Billion Bytes. (~1,000,000,000) bytes. Also see Bit, Byte,

Kilobyte, Megabyte, Terabyte, Petabyte
HD
Short for High Definition.
HDCAM Format
A High Definition videotape format developed by Sony. It uses

1/2" wide tape stock and records 22:11:11 8 bit HD Video. It
uses prefiltering and compression that together reduce the data
rate approximately 7:1 to 140Mb/s. The tape format supports
1920x1080 at 23.98P,24P,25P,29.97P, 30P, 50i, 59.94i, and 60i.
HDCAM SR Format
A next generation High Definition videotape format developed

by Sony. It uses a 1/2" wide tape stock and can record either
22:22:22 10bit HD video, 22:11:11 10bit HD Video, or a special
double speed mode for 2 channels of 22:11:11 10 bit HD Video.
It uses a light compression scheme to reduce the data rate
2.7:1 (for 22:11:11) to approximately 440Mb/s.
HDTV
Short for High Definition Television
HDV
A format which uses DV cassette tapes for recording and

playback of high-definition video. The HDV format includes
720p (progressive) and 1080i (interlace) specifications. The
HDV format specifies the data recording of MPEG2 inter-frame
compressed high-definition signals at either 19Mb/s or 25Mb/s.
High Definition
Usually refers to a video format consisting of either 720 active

lines of progressive video or 1080 active lines of either

progressive or interlaced video.
High Definition Television (HDTV)
A digital television system in which the quality is much better

than that of existing NTSC (or PAL) systems.
IEEE
Acronym for the Institute of Electrical and Electronic Engineers.

Organization responsible for defining standards and
specifications. www.ieee.org
IMAX
An entertainment technology company, with particular

emphasis on film and digital imaging technologies. IMAX is
involved in the design, leasing, marketing, maintenance, and
operation of IMAX® theatre systems to film development,
production, post-production and distribution of large-format
films. Experimentation in HD as an acquisition format for IMAX
is ongoing, along with Digital Cinema electronic projection
systems. www.imax.com
Interlace Imaging
Imaging technique where all the odd lines of a picture are

captured in one moment and the even lines are captured in the
next moment. When you put two of these “fields” together, you
get a “frame” (all of the lines). Notice however that a frame
represents two moments in time. If there was movement
between the capturing of these two fields, there will be a blurry
look if the image is stopped on a frame. This is not a problem
when the program is played back at normal speeds because the
eye will merge the images into smooth motion. See Progressive
Imaging, PsF Imaging, Frame Rate, Capture Rate
IRE
Acronym for Institute of Radio Engineers. The Institute of Radio

Engineers was founded in 1912 – the second organization that
would eventually merge to found the IEEE in 1963. IRE units

are a linear scale for measuring the relative amplitude of the

component of a television signal with a zero reference at the
blanking level.
ITVA
Independent Television Association. Now known as MCA-I

(Media Communications Association- International www.mca-i.
org).
iQ
See Quantel iQ and eQ
kHz
Kilohertz or 1,000 Hertz. A measurement of frequency.
Kinetta
Next generation digital cinematography camera project (www.

kinetta.com that is promising a compact HD camera utilizing
harddrive cartridge recording, upgradeable sensor section, and
a hand-crank attachment.
Kilobyte
One thousand (~1,000) bytes. Also see Bit, Byte, Megabyte,

Gigabyte, Terabyte, Petabyte
LAN
Local Area Network
Laser Film Recorder
A machine for printing on photographic film. Three lasers scan

across the film area to produce the image.
LCRS

Denotes an audio system that has 4 full range channels (Left,

Center, Right, Surround). This signal is often encoded in Dolby
Pro-Logic for distribution
Legal Gamut
Describes a video signal where all colors are within the gamut
of the color space that it currently defined by. See Valid Gamut,
Gamut, Color Space.
Letterbox format
A technique for showing a wider aspect ratio format on

narrower aspect ratio screen displayed in its original aspect
ratio. The resulting effect of letter boxing in a video system is
black bars at the top and bottom of the picture.
LTC
Longitudinal Time Code. Pronounced LIT-see. Timecode

information that is encoded on a linear track of a videotape. It
is primarily used to allow a time code reference to be read
when a videotape moving at play speeds or faster. See
Timecode, VITC.
LUT
Look Up Table. Often describing a table that allows the

translation from one color space to another.
MADI
Multichannel Audio Digital Interface, also known as AES-10

standard. Allows interconnection of two devices to transmit up
to 56 channels of digital audio (max. word length 24 bits) with
a single coaxial cable or via optical link. Standard interface to
digital multitrack machines and mixing consoles.
Megabyte
One million bytes. (~1,000,000) bytes. Also see Bit, Byte,

Kilobyte, Gigabyte, Terabyte, Petabyte
Memory Stick
A removable digital media card that is used in many

applications. Often used to transfer camera setups and scene
files between Sony HDW-F900 Camcorders or HDC-F950
Cameras.
Mbps, Mb/s
Megabits per second. A measure of data transfer speed. 1

Mbps represents 1,000,000 bits being transmitted in one
second.
MHz
Megahertz or 1,000,000 Hertz. A measurement of frequency.
Non-Drop-Frame
Timecode counting scheme that always counts 30 frames in a

second. Because NTSC video operates at 29.97 frames per
second, the counting timecode will not match the time of day.
Since there is no drop frame format for native 24P, it is not
necessary to specify drop or non-drop frame for these formats.
Also see Drop-Frame, Timecode.
NTSC
National Television Systems Committee. Also the name for the

525 line, 30 frame per second color TV standard mainly used in
North, Middle and South America and Japan.
Offline Editing
Editing that is done using less expensive standard definition

equipment to produce an Edit Decision List (EDL) which will be
used later for assembling a high definition program using more
expensive High Definition equipment. Offline editing involves
shot selection and the defining of basic transitions such as cuts

and dissolves which can be carried by EDLs. AAF promises to

be an open standard for transporting a much wider range of
decisions, including DVE, colour corrections, as well as other
metadata, Offline and Online systems
OMF
Open Media Framework. A file type for post production

interchange of digital media. It supports video, audio, graphics,
animation and effects as well as edit decision information.
Online Editing
Editing that is done using more expensive high definition

equipment to produce a completed high definition master.
Using an Edit Decision List (EDL) from an offline edit can save
money in online by allowing all the cuts to be assembled in the
proper order automatically (conformed) and ready for finishing
touches to be added. AAF promises to be an open standard for
transporting a much wider range of decisions, including DVE,
colour corrections, as well as other metadata, Offline and
Online systems for even more time savings.
Origin
See Dalsa Origin
Overcranking
A process based on the film camera technique of recording

frames faster than the anticipated playback rate to create “slow-
motion”. This process provides unique control of motion images
in the camera where motion-blur and other techniques can be
incorporated in the process. Panasonic has developed an
electronic recording system capable of over/undercrank
recording using a process that produces results very much like
the film technique. This Panasonic system is known as
“VariCam.” Sony has utilized a system where interlaced frames
can be interpolated to create progressive frames, creating a
look of overcranking.
PAL
Phase Alternation Line. This is the 625 line, 25frame per second

color television system in use today in the United Kingdom and

much of Europe.
Pan and Scan
A technique for changing the field of view of a motion picture

or down converted HDTV images so that only a portion of the
wider image is shown on a narrower standard definition screen.
The image is adjusted side to side to adjust framing for the
narrower screen.
Panavision Genesis
Next Generation digital cinematography camcorder by

Panavision ( www.panavision.com). Features 12.4 Megapixel
sensor that is the same size as a 35mm film target allowing for
all existing Panavision 35mm lenses. An HDCamSR recorder can
be mounted on the top or back of the camera unit for on-board
recording.
Petabyte
One quadrillion bytes. (~1,000,000,000,000,000) bytes. Also

see Bit, Byte, Kilobyte, Megabyte, Gigabyte, Terabyte
Pixel
A word derived from Picture Elements. This is the smallest

unique point of a digital video image. In a Digital Video, a
picture is divided up into thousands of pixels, each specified by
Luminance, Chrominance, and position information.
Progressive Imaging
All lines (whole frame) are captured at the same instant. Each
frame represents a single moment in time. See Interlace
Imaging, PsF Imaging , Frame Rate, Capture Rate
PsF Imaging
Progressive-Segmented Frame Imaging. All lines (whole frame)

are captured at the same instant. Each frame represents a
single moment in time. After the frame is captured, it is then
separated (Segmented) into two halves. One half is the odd
lines and the other is the even lines. (Now this may sound like

interlace, but each frame represents only one moment in time,

not two). Though transmitted similarly as an interlaced signal,
if treated as a progressive signal, does not cause the same
harmful artifacts that interlace scanning causes. Often image
can be processed with much of the same transmission
hardware that was designed for interlace. Processing hardware
can also be designed to handle both Interlace and PsF (ie
Switchable). See Interlace Imaging, Progressive Imaging
Quantel iQ and eQ
Nonlinear production systems by Quantel (www.quantel.com).

They feature the ability to combine multiple framerates and
resolutions on the same timeline and then to output a
completed project at various framerates and resolutions.
Includes a picture and audio editing, compositing, color
correction, paint, titling, media management tools, and AAF
support.
RAM
Random Access Memory, a temporary memory into which data

is stored.
Resolution
How much information defines an image. There are two types

of resolution, spatial and temporal. Spatial defines how many
pixels are used to make up a single image. Common spatial
resolutions for HD are 1920x1080 and 1280x720. Temporal
defines how many images per second are displayed. Common
temporal resolutions for HD are 24, 25, 30, 50, and 60 frames
per second.
RGB
Short for Red, Green, Blue, the colors used to create all color
television and video. Often, the Red, Green and Blue
components are only directly present at the image capture
stage (in the camera) and on display (on the monitor). At other
times they are converted to other forms such as Y, R-Y, B-Y for
transportation, storage, and processing. See Y, R-Y, B-Y

ROM
Read Only Memory, a permanent memory from which data can

be read. This information can’t be deleted nor altered.
SECAM
Systeme Electronique Couleur Avec Memoire. This is the 625

line, 25frame per second color television system in use today in
France and the Middle East.
Segmented Frame
See PsF Imaging
SMPTE
Society of Motion Picture and Television Engineers,

Organization responsible for defining standards and
specifications for the motion picture and broadcast industry
including: SMPTE Time Code, NTSC, HDTV, etc. www.smpte.org
Standard Definition (SD)
Usually refers to an NTSC (or PAL) compatible video format

consisting of 480 (576 for PAL) active lines of interlaced video.
Standard Definition Television (SDTV)
A digital television system in which the quality is approximately

equivalent to that of existing NTSC (or PAL) systems.
SXRD
(Silicon X-tal Reflective Display) Digital display technology

introduced by Sony. If offers high pixel resolutions and contrast
ratios. Digital Cinema projectors have been announced with
brightness of up to 10,000 lumens and 4k (4096x2160) image
resolution

Tape to Film Transfer
The process of printing high definition or computer graphics

footage to film.
Telecine
Usually refers to a Film to Video device that operates at “real

time” (ie at least 24 frames per second). Often used to describe
the color correction/enhancement step in a production
workflow. Also see Film Scanner.
Terabyte
One trillion bytes. (~1,000,000,000,000) bytes. Also see Bit,

Byte, Kilobyte, Megabyte, Gigabyte, Petabyte
Timecode (TC)
Standard format for recording time information on videotape.

Each frame is given a unique number that is represented in the
form of: Hours:Minutes:Seconds:Frames. When used correctly,
a specific frame of video can be located on a videotape by
using its timecode number. When doing offline editing, proper
timecode handling is critical because the timecode is what is
used to reference the master tapes in the final assembly
process. See LTC, VITC
Title Safe
The area of a screen where it is possible to place a title where

there is no chance that it will not be displayed in it’s entirety. In
high definition production it is often combined with what
downconversion format is used. For example “4x3 title safe”
would mean that all titles are positioned such that when the HD
program is downconverted edge-cropped that none of the titles
would be cut off.
Undercranking
A process based on the film camera technique of recording

frames slower than the anticipated playback rate to create “fast-
motion”. This process provides unique control of motion images
in the camera where motion-blur and other techniques can be

incorporated in the process. Panasonic has developed an

electronic recording system capable of over/undercrank
recording using a process that produces results very much like
the film technique, this Panasonic system is known as
“VariCam.” Sony has utilized a system where interlaced frames
can be interpolated to create progressive frames, creating a
look of undercranking.
Upconversion
The process of converting lower resolution video to higher

resolution video.
Valid Gamut
Describes a video signal where all colors are within the gamut
of all the different color spaces that it is expected to be
translated into. If a signal contains colors that are within the
gamut of its native color space (is legal), but outside the gamut
of a color space to which it is being converted to (for example a
Y, R-Y, B-Y signal being converted to RGB for display on a
monitor), the video may be distorted, folded, clipped or passed
depending on how the particular device handles that particular
out-of-gamut condition. See Legal Gamut, Gamut, Color Space
VariCam Format
A Panasonic camcorder system that provides electronic over

and under-crank recording of high definition video. The system
records 720-progressive video at 60-frames per second. Using
a system of frame markers in the Timecode User Bits, Varicam
can provide variable frame rate recording so that in-camera
motion control is possible in an electronic camcorder. Film
camera systems have been able to accomplish over/under
crank recording for many years, and is a staple of film
cinematography.
Venom FlashPack
A dockable solid-state digital recorder for use with the

Thompson Viper and LDK-6000mkII Worldcam cameras Each
Flashpack can hold up to 10 minutes of 4:4:4 or "Filmstream"
data or 18 minutes of 4:2:2 HD Data.

Video Controller
Crew member as designated by Local 600, IATSE. Responsible

for color timing including but not limited to; adjusting,
balancing, registering and setting timing, matching electronic
contrast, brightness, quality and edge definition. Matching of
cameras, color consistency (RGB), exposure (iris), density
(master black), electronic color balance (chroma, hue and
saturation), of each camera and its monitor and totally
matching camera inputs to the VCU and checking the waveform
monitor and the vectorscope. Generally limited to operating
within an already functioning, fully operational system.
Supervised by the DIT.
Viper Filmstream
A camera system developed by Thomson that allows for the

capture of RGB 22:22:22 10-bit log data directly from the
CCD’s. The Viper also features multiple aspect ratios and frame
sizes, a mechanical shutter, and multiple frame rate support.
The dual link 22:22:22 10-bit log data is transferred over a dual
link HD-SDI without any electronic manipulation within the
camera. This allows for external recording and full control of
the coloring of the raw data at a later time.
VITC
Vertical Interval Timecode. Pronouced VIT-see. Timecode

information that is encoded in the vertical blanking of a video
signal. It is primarily used to allow a time code reference to be
read when a videotape is slow jog/shuttle or pause mode. See
Timecode, LTC
WVHS
An analog High Definition tape format developed by JVC based

on the VHS tape transport. WVHS records/plays a 1035/1080i
analog high definition signal.
Y, R-Y, B-Y
Terminology to describe the luminance (Y) and color difference

signals (R-Y) and (B-Y) of component video. Y is luminance
information and the R-Y and B-Y signals together provide the

color information. These signals, derived from the original RGB

source, are used in most video systems as a bandwidth
reduction technique.
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HighDef Glossary of Terms

The HighDef Glossary of Terms

When the NTSC color television system was being developed,

Refers to an internationally standardized High Definition

Refers to a standardized High Definition production format

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that operates at 59.94i as well.

Refers to a high definition digital sampling structure of 1280

The standardized aspect ratio of HDTV and Widescreen SDTV –

The ratio of the horizontal size of a screen to its vertical size as

The ratio of the horizontal size of a screen to its vertical size as

Refers to a digital sampling structure of 1920 horizontally and

Resolution defined as 2,048 pixels wide by 1,556 high. Also the

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Defines high definition video signals, where the luminance (Y)

Denotes a high definition system where all signals (R,G,B) are

A highly popular widescreen motion picture film format of 2.35

Refers to a video image rate of 23.976 (truncated to 23.98)

Terminology for 24 full frames per second digital video

Term used to describe a 24 (or in common usage 23.98) frame

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Terminology for 29.97 full frames per second digital video

Terminology for 30 full frames per second digital video

The process used to convert 24 frame per second film or 24P

This terminology has come into common usage to describe

Defines standard definition video signals, where the luminance

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high definition and standard definition systems where the ratio

Defines standard definition video signals, where all signals

Term often used incorrectly to describe a 24 frame progressive

Resolution defined as 4,096 pixels wide by 3,112 deep.

Denotes an audio system that has 5 full range channels (Left,

Describes an interlaced video signal where 1/2 of the total lines

Describes a progressive video signal where all lines of the

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picture are captured and displayed every 1/59.94th of a second.

Describes a interlaced video signal where 1/2 of the total lines

Describes a progressive video signal where all of the total lines

Refers to a High Definition production format (SMPTE 296M)

Defines standard definition video signals, where all signals

Analog to Digital Conversion.

The Advanced Authoring Format – Designed as the next

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generation EDL, AAF is an industry initiative to create a file

The gathering of data, whether it be photographic, audio, or for

Audio Engineering Society, a worldwide

Colloquial for the two-channel digital audio interface, defined

Usually refers to the HD9150 series of products by Evertz (www.

Defects or distortion in a television picture due to sampling

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Describes a continuously variable signal of some sort.

A term used to denote a difference in magnification along

The smoothing and removing of aliasing effects by filtering and

Next Generation cinematography camera project by Arri (www.

American Society of Cinematographers http://www.theasc.com

Aspect Ratio (Picture)

The ratio of screen width to screen height. Can be expressed as

Some common aspect ratios:

1.33 (4x3) Standard Television or Academy Standard

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Aspect Ratio (Pixel)

The ratio of pixel width to pixel height. Standard NTSC (ITU-R

Acronym for Advanced Television System Committee. Formed

A nonlinear production system made by Avid (www.avid.com)