Industry Terms

3:2 PULL DOWN: A process that occurs during telecine when film-originated material acquired at 24 frames per second is being transferred to a video standard based on 30 frames per second. The process is required to make up for the 6-frame difference. The telecine holds every other film frame for one extra field (half a frame).

ASPECT RATIO: The measured correlation between the width and the height of a film or video frame. The ratio is calculated by dividing the width of the picture by the height. In all aspect ratios, the height of the picture is consistently one unit. All televisions (until recently) were one unit high by 1.33 units wide. 1.33:1 can also be referred to as 4:3. (4 divided by 3 is 1.33.)

BIT RATE: The speed at which binary content is streamed on a network, measured in kilo bits per second (kbps).

BROADBAND: The ability to transfer data packets at rates higher than traditional dial-up connections (i.e., ISDN, 56K modem). Broadband streams enable the transmission of a larger and higher-quality image and richer and better-quality sound. Broadband streams are available with DSL, cable modem, and T-1 or higher Internet connections.

CADENCE: The measure or beat of movement. For example, a typical film-to-NTSC telecine contains a cadence of 2:3 (or 3:2). The first film frame is held for two fields, and the second film frame is held for three fields. The third frame is held for two fields, and the fourth frame is held for three fields, etc. Movement is occurring in the following pattern: 2:3:2:3:2:3:2:3, etc. The baseball game you watch at home in NTSC contains a cadence of 1:1. In other words, movement is occurring every field (half a frame).

CAPTURE or DIGITIZE: The process of transforming analog and digital audio and video from cassettes to binary files for editing and encoding purposes on a nonlinear platform.

CAMERA CRANES: Mechanical camera extension arms with platforms or turrets. Primarily used for high moving shots or long panning. Most cranes are moved by manually by an operator. Older, out-dated mobile camera cranes use 1200 pounds of liquid mercury for balance and exposed lead weights for counter balance which the EPA has determined to be unsafe. Newer versions use enclosed weight boxes and worn gear counter balance weight systems that are computerized for precise balance and safety.

CAMERA CRANE ARM COUNTER BALANCE: Counter balance maintains an even distribution of weight between the "nose" and "bucket" of a crane arm, balanced on its center post. Counter balance allows proper function of vertical and horizontal movement. Without the proper balance, the arm will be "nose heavy" or "bucket heavy" either will make the arm difficult to move. Motion picture arms must be balanced to a "feather" touch creating a "floating" or "fluid" movement for the camera shot. The equations for weight balance distribution varies with manufacture, but the rule of thumb equals approximately a 5-1 ratio. Many manufactures use a sliding counter weight adding a "feather" or detailed weight distribution. This smaller weight can be manually "moved to point" or remotely moved via cables. With some of the older styled "bucket arms" a seat offset or pipe adds just enough weight to give the operator the leverage needed. Over weighting an arm could cause tipping of the pedestal which would result in massive injury. This would be caused at different levels of the arm. Experienced operators test the arm at all levels before allowing use. Always add in the camera weight, weight of people "flying", cables, etc. to achieve the proper distribution. MPC mandates all operators must be certified with a minimum of 150 supervised operating hours before solo flights or operation.

CODE (or Compression/Decompression): The compression algorithms used for creating media files during the encoding process. CODECs, such as MPEG-4, convert data between uncompressed and compressed formats. This compression reduces the bandwidth a clip consumes during transit via the Internet.

COLOR BARS and TONE: Found at the very beginning of a videotape. The color bars are exactly that: bars of color, and are used by technicians to set the picture correctly. The tone is audible in nature and used to set up the audio correctly.

COMPRESSION ALGORITHM: Algorithms are mathematical formulas used for increasing efficiency. In the case of compression, the algorithm sets the rules that are followed to make a file smaller and, therefore, easier to deliver over the Internet.

DE-INTERLACE: A process used to convert interlaced frames to progressive scan frames. This process is necessary to properly prepare native television signals for playback on progressive scan devices, such as computer screens.

DSP (Digital Signal Processing): Use of mathematical expressions, such as algorithms, to modify digital signals.

DTV/DVB: Digital method of transmitting either standard definition or high definition television.

DIGITAL: An electrical signal that varies in discrete steps in voltage, frequency, amplitude, locations, and so forth. Digital signals can be transmitted faster and more accurately than analog signals.

DOLLIES: Used for smoothly moving the camera during a shot. Various manufactures use articulated arm dolly or center post movements. The arms are mechanically powered by hydraulics or pneumatics allowing the camera to be moved up or down. A dolly chassis is manually pushed by a dolly grip on level ground or on tracks.

EFX: Special effects, generally built in post-production.

EXTENSION PLATES: Flat aluminum plate with areas to mount a camera. Used to extend a camera from center point. Improperly phased as “Ubangies” a term the industry no longer allows. Generally, plates extend from 12-36 inches depending on where it is mounted from center point.

FILES: TV programs placed in a file format for distribution purposes.

HIGH DEFINITION: Essentially a standard that is higher in resolution than standard definition. HDTV is high-resolution digital television (DTV) combined with Dolby Digital surround sound (AC-3). HDTV is the highest DTV resolution in the new set of standards The formats used in HDTV are:

HOSTING (for streaming media): Storing media files on servers specifically designed for streaming over the Internet. Server protocols, such as RTSP, are designed to host and stream video and audio on the Internet.

INTERLACED VS. PROGRESSIVE SCAN VIDEO: Interlaced displays, commonly used in televisions and monitors, draw each frame in two temporally separated fields. Progressive scan video, commonly used in computer displays, draws each frame in its entirety. Fields are drawn every 1/60 of a second, and progressive frames are drawn every 1/30 of a second.
720p 1280x720 pixels progressive
1080i 1920x1080 pixels interlaced
1080p 1920x1080 pixels progressive

INTERPOLATION: Smeared images or motion judder; found in converted material where the standard was changed using older technology.

INVERSE TELECINE: A process that removes interlaced video fields added in the telecine process to view film footage in media file format. The result will be video at 24 fps without interpolated fields. This process is necessary to properly prepare telecined footage for playback on progressive scan devices, such as computer screens.

JIB ARM: An extension enabling the camera to reach out from center point. Jibs allow the camera to pan and mechanically tilt. Arms can reach from 3 feet to as far as 30 feet high (lens height). Cameras are mounted on a cradle generally motorized to allow full control.

LOSSY COMPRESSION: Data compression by eliminating perceptually insignificant information. However, since lossy compression introduces inaccuracies, it should only be used with graphics, audio, and video. Data files and executable programs can only be compressed with a lossless algorithm (i.e., a zip file).

M&E (Music and Effects): Essentially the complete audio mix without dialogue; used to create language mixes other than the originating one.

MAGAZINES: Containers for raw film loads. Referred to as “Mags”. Film is loaded inside and attached to a film camera. Once a film spool is used the “Mag” is emptied in a dark room or changing bag and re-loaded for the next shot.

METADATA: Additional, related information that can be stored as part of the compressed file or kept in a separate database. Examples include CD cover art, movie one-sheet images, or text-based information, such as author, title, etc.

MPC : The Motion Picture Company, Inc. a well established Motion Picture and Television Development company producing in-house and client projects since 1984.

NOISE REDUCTION: A variety of processes applied to audio or video signals to lower the amount of noise in the given signal. Depending on the type of noise and how interrelated it is to the desired signal, noise reduction techniques can be more or less successful. At times, it is impossible to reduce the noise without adversely affecting the desired signal. Noise Reduction techniques, typically performed during telecine and sometimes throughout the postproduction process, can dramatically increase the quality of material that is compressed with a lossy algorithm.

NTSC (National Television Systems Committee): The United States Federal Communications Commission established the NTSC standard in 1953, and it is still the primary broadcast standard in North America, Japan, and several other countries. The NTSC signal consists of 525 lines of resolution, displayed at 30 frames per second, and combines blue, red, and green signals with an FM frequency for audio. NTSC is often referred to as "Never Twice The Same Color."

PAL (Phase Alternate Line): Developed by Telefunken in Germany in the mid-1960s, PAL is now the broadcast standard for most of Western Europe and many other countries. The PAL signal consists of 625 lines of resolution, displayed at 25 frames per second and reversed relative phase of the color components on alternate scanning lines, so it avoids the color distortion common to NTSC reception. PAL is often referred to as "Pay A Little More."

POV: Point of View. Used when shooting a tight shot, generally without sound.

REMOTE HEADS: Electric camera cradles enabling the camera to pan, tilt or move in a direction the axis allows. Remotely controlled by a skilled operator or computerized program. Designed to be mounted on Jib arms or on camera extension plates.

REVERSE TELECINE: The process that converts media initially developed or already transferred to a digitized format back to a film stock.

SECAM (System Electronique Couleur Avec Mémoire)—Established by the French in 1967 and adopted by Eastern Europe, Russia, and parts of the Middle East, SECAM is similar to the PAL standard, with 625 lines of resolution displayed at 25 frames per second, but the color information is transmitted sequentially for each line, in the FM sub-carrier. SECAM is often referred to as "Something Essentially Contrary to American Methods.

"SLATE” An electronically produced description of contents on a videotaped program, found near the beginning of the tape, prior to the start of program. The information contains date, production company, duration of contents etc.

SPATIAL COMPRESSION: Involves removing or reordering information regarding the field of colored pixels to conserve file space.

STANDARDS CONVERSION: The process whereby one standard (e.g., NTSC) is changed to another (e.g., PAL).

STEADICAM: Brand name for a camera stabilizing harness and articulated spring-loaded arm that carries a camera and designed to be mounted on a person. Used for running POV shots or walking with talent. Keeps the camera shot steady.

STREAMING, STREAMING MEDIA: Streaming media allows the user to play media from the Internet immediately, without downloading the entire media file, thus eliminating the wait of downloading. The advantage for the copyholder is that the end user does not receive a storable copy of the file.

TELECINE: The most common method of transferring motion picture film to videotape, telecine is a process that transfers film at 24 fps to a rate that is compatible with television playback standards. The process typically involves a conversion of the frame rate to 29.97 fps (for NTSC) and 25 fps (for PAL/SECAM) by using a sequence of whole frames and interfield frames.

TEMPORAL COMPRESSION: An algorithmic scheme that makes the assumption that frames that are next to each other look very similar. For example, the first of two frames is spatially digitized in its entirety, and in the next frame, only the information that has changed is digitized. Temporal compression reduces the amount of data needed to describe a background to, in essence, "The background in frames 400 through 750 is a blue sky."

TEXTLESS BACKGROUNDS: Programs will usually contain some sort of text during the head and tail credits or in the body to define a location and or time. Textless backgrounds are identical to the shots found in the program only they do not contain text. This allows credits to be created in languages other than the originating one.

TIMECODE: Electronic method of identifying each frame of video on a videotape, broken down into hours, minutes, seconds, and frames. While usually invisible to the viewer, it is possible to "burn" the time code into the picture. This is known as burn-in time code, visual time code, or BITC.

TRANSCODING: The conversion of one digital file format to another digital file format (e.g., MP3 to Windows Media). The ideal method for encoding to multiple streaming media formats is to use the original, uncompressed source material and encode it into the new formats, avoiding transcoding completely.

VARIABLE BIT RATE (VBR) ENCODING: As opposed to constant bit rate (CBR), VBR allocates additional bandwidth to sections of encoded media that require more complex motion and higher-quality sound. Overall, VBR produces a higher-quality encode when compared to CBR encodes with similar bit rates.

VO: Voice over.

VOiP: Voice Over Internet Protocol, used to communicate as a phone line over the internet through a DSL or fiber connection.

WEBCASTING—The process of broadcasting a live signal over the Internet to a global audience of simultaneous viewers.

LIVE EVENT WEBCASTING—Capturing, encoding, and hosting an event, such as a concert, award show, meeting, or conference, usually from a remote location, for Internet broadcast on a one-time or limited basis. Live events usually require establishing dedicated telecommunication lines and/or satellite uplinks for streaming over the Internet.

LIVE SIGNAL ACQUISITION—Acquisition of a broadcast signal from a satellite, Vyvx, microwave, or fiber. Live signal acquisition allows traditional media producers a cost-effective way to simulcast original broadcast content over the Internet.

LIVE WEBCAST SYSTEMS INTEGRATION —Design and installation of permanent Internet broadcasting systems for use on a regular or continuous basis. Applications include extending on-demand Internet broadcasting capabilities to traditional broadcasters, entertainment studios, radio stations, distance educators, corporate networks, hospitals, security companies, commercial builders, and government agencies. Systems are designed to accommodate each clients individual needs.

If you have any additions to our terms list, please email MPC with your questions