range of image processing equipment – such as picture color correctors and graders as well as the high-end television graphics equipment including that for live ‘3D’ graphics and virtual sets.
Grading (a.k.a. color timing) Grading is the process of adjusting the color of a clip to get the best out of the material or to match shots perhaps taken at different times or in different lighting conditions. In film, grading was traditionally done when going from internegative to print film by controlling the exposure of the film. In television it was traditionally done off the telecine for commercials or tape-to-tape for long form programs. Both processes were by their nature linear. The advent of non-linear grading systems has changed the rules for color correction. While there is still a requirement for an initial technical scan for film-originated material, from this point on, grading can happen at multiple stages in the post production process. It is to color correct individual layers within composites (which may be shot under different lighting conditions) to ensure that the result is harmonious within itself, and non-linear working means that scene-to-scene comparisons and corrections can be made as the edit unfolds. This eases the final grading process when the finished work is reviewed interactively with the director/ client. Secondary color correction is aimed at controlling a particular color or a narrow range of colors – such as those on a car or product. Here typically the hue, gain and saturation can be changed.. See also: Film scanner, Grading, Telecine
Grain management
Controlling the amount of ‘film’ grain visible on a film or digital movie. Its appearance is considered by some to add a certain look to the production. Modern DI equipment can include grain management that can increase or decrease its visibility on film or digitally originated material. Aside from aesthetics, grain affects compression systems as they see it as extra movement and so can waste bandwidth by coding it – adding another reason for controlling the amount of grain according to the different coding requirements for, say, digital cinema and mobile reception.
Granularity Term describing limits of accuracy or resolution. For example, in editing the granularity of uncompressed component video (601 or 709) is one frame; i.e. it can be cut on any frame. The granularity of long GOP MPEG-2 is about half a second – about 12 or 15 frames. In a digital imaging system the granularity of brightness is the minimum change per sample – corresponding to the effect of an LSB change.
GSN
Gigabyte System Network. Developed by SGI and others for the efficient movement of large quantities of data, it allows realtime transfers of larger-than-HD images on a network. GSN allows transfer speeds up to 800MB/s, has low latency, and is an ANSI standard compatible with HIPPI, Ethernet, and other standard networks, providing full-duplex data transmission over up to 200m. Website:
www.hnf.org
GUI
Graphical User Interface. A means of controlling or operating a system through the use of interactive graphics displayed on a screen. Examples in the computer world are the Apple Macintosh and Microsoft Windows, both designed for general-purpose use and usually operated with a mouse as the pointing device. H H.264 See: MPEG-4
HANA
High-Definition Audio-Video Network Alliance, founded and supported by several media and electronics companies, aims to develop technology guidelines that will make it easier for consumers to enjoy high definition television across their home entertainment systems. The guidelines would allow the transfer of HD between TVs, computers and other devices without multiple connecting wires and remote controls. See also: DLNA Website:
www.hanaalliance.org
Hard disk drives
Hard disk drives (HDD) comprise an assembly stacking of up to 12 rigid platters coated with magnetic oxide, each capable of storing data on both sides. Each recording surface has an associated read/write head, and any one may be activated at a given instant. Disk drives give rapid access to vast amounts of data, are highly reliable as they have only two moving parts – the swinging head assembly and the spinning disk. They can be written and read millions of times. The use of disks to store audio, video and film images has changed many aspects of digital production editing and transmission. For high capacity, disks pack data very tightly indeed.
HD Short for HDTV.
HDCAM
Assigned D11, this is a series of Sony VTRs based on the Betacam principles for recording HD video on a tape format which uses the same style of cassette shell as Digital Betacam, although with a different tape formulation. The technology supports 1080-line standards. HDCAM SR is further extension of Betacam recorders using mild MPEG-4 Studio Profile (SP) intra-frame compression to store full bandwidth 4:4:4 HD RGB 1080 and 720-line video offering more headroom for digital cinema users, as well as 4:2:2 Y,Pr,Pb component video for television. It offers video data rates of 440 Mb/s and 880 Mb/s, and more audio channels than other currently available. It is scalable in its pixel count (SDTV, HDTV, film- resolution data), bit depth (10- or 12-bit), and color resolution (component or RGB). The close-to-raw-state RGB material is well suited to the needs of digital cinematography as the full latitude and bandwidth of the pictures is preserved through recording. See also: 24PsF, CineAlta, D11 Website:
www.sonybiz.net/hdcamsr
HDCP
High-bandwidth Digital Content Protection was designed by Intel to protect digital entertainment content across DVI or HDMI interfaces. See also: HDMI Website:
www.digital-cp.com
HD D5
A D5 VTR adapted to handle high definition signals. Using around 5:1 compression the signals connect via an HD-SDI link. HD D5 can be multi- format, operating at both SD and HD TV standards. It can replay 525-line D5 as well as HD D5 cassettes. Formats include 480/60I, 1080/24P, 1080/60I, 1080/50I, 1035/59.94I and 720/60P. The recorder can also slew between 24 and 25 Hz frame rates for PAL program duplication from a 1080/24P master. Cassette recording times vary according to format, the longest is 155 minutes for 1080/24P. Website: www.
panasonic-broadcast.com
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GLOSSARY OF TERMS
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