About Me

My Photo
Montreal, Quebec, Canada
I work in the Camera Dept for Television and Movies. I am a member of IATSE 667 Camera(International Alliance of Theatrical Stage Employees)and AQTIS (Alliance Québécoise des Techniciens de l’Image et du Son). I began my career in Television at the age of 15 as a Studio Camera Operator part time while I was in High School but now work as an HD Technician and Video Assist. ● Very Ambitious ● Aiming to become one of the Best in my field ● Team Player

Movies I've worked on:


La Dame au Manteau Rouge post
(Independent)

Categorical Imperative post
(Peripheria Productions)

The Orphan
(Dark Castle Entertainment)

The Mummy 3
"Tomb of the Dragon Emperor"
(Universal Pictures)

Get Smart
(Warner Brothers)

Journey to the Center of the Earth
"The first Digital 3D Live Action Picture ever made"
(New Line Cinema / Walden Media)

The Covenant
(Screen Gems)

Recent Commercials I've Worked On:

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* Le Lait
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* Scores Resturants
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* Couche-Tard

* Lancôme (Web Commercial)

* Activia (Web Commercial)

* Service Canada (Web Commercial)

* Tim Hortons

* FPLQ-Fromages

* Metro Stores

* Celebrex

Recent TV Shows I've Worked On:

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Debbie Travis' Facelift "Season 3"
(Whalley Abbey Media) for HGTV and BBC Canada
- Andre's Main Floor
- Tina's Full House
- Pat's Paradise
- Helen's House
- 8 Kids Basement
- Nick's Office Refuge

Prank Patrol "Season 3"
(Apartment 11 Productions) for YTV
- Shopping Spree
- Secret Admirer
- Time Machine
- Alien Invasion
- Best of Season 3
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Prank Patrol "Season 4"
(Apartment 11 Productions) for YTV and Discovery Kids
- The Waltzing Queen
- Bad Hair Day
- Giant Baby
- Fashion Crime
- Superhero Powerhouse
- Cockroach Wedding
- Chopper Down
- The Donkey Con
- Hockey Hero
- Anime Scam
- Breaking News
- Creepy Cloning
- Leprechaun's Lair
- The Exercise Chef
- Most Wanted
- Superstar
- Haunted Garden
- Interior Spy Van with Andy
- Ninja Gags (Sudoku)
- Ninja Gags (Living Doll)
- Ninja Gags (Soda Machine)
- Ninja Gags (Candies)
- Ninja Gags (Super Fan)
- Ninja Gags (Spicy Candy)
- Ninja Gags (Smoking Chair)
- Ninja Gags (Explosive Computer)
- Ninja Gags (Messy Phone)
- Ninja Gags (Monster Cell)
- Ninja Gags (Monster Noises)
- Ninja Gags (Pyramid of Apples)
- Ninja Gags (Leaf Man)
- Ninja Gags (Danger Cage)
- Ninja Gags (Burping Garbage Can)
- Ninja Gags (Fresh Eggs)
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Chuck's Day Off "Season 2"
(Whalley Abbey Media) for The Food Network
- The Wine Guy
- Cops
- Mentors
- The Waiter Staff
- The Linen Guy
- The Dishwasher

Music Videos I've Worked On:

* Sébastien Lacombe (Allez)

* Wilfred LeBouthillier (Tant qu'il y Aura)

* Stephan McNicoll (Walk Away)

* Genevieve Trepanier (Encore une Fois)

* KAÏN (Mexico)

* Florence K. (Vol De Nuit)

* Pierre Lapointe (Qu'en est-il de la chance)

A Brief History

At age 15, I visited the cable company in Lower Sackville, Nova Scotia where I grew up. At the time, for them to have a licence, they had to provide a community studio to the public. This I thought would be a great way to do school assignments and I immediately became a volunteer. After viewing the quality of my productions and the enthusiasm I showed working with the equipment, the production manager was so impressed, she asked if she could air them and offered me a part time job at the station. I then knew that this was the career I wanted to pursue. She took me under her wing and taught me everything she knew. Her name was Cindy Kidd and back then, she was the first female technical technician east of Montreal.
I worked there every free moment I had. It was so fascinating to me that I didn’t look at it as a job but as a fun hobby. When I finished my high school, I worked there full time. Being a community studio, I was able to learn all stages of television production. I began as a cameraman and later worked in the control room. From there I moved to remotes on location. In the seven years I worked for this station, I went from using 1" reel to reel tape on VTR`s to cassettes.
After this, I took a job at a production house that produced commercials for local companies to be shown on the NBC network in Bangor, Maine, which provided the cable feed for the Halifax area. After three years there, I moved to Toronto where I came up against a wall. In Toronto, it was difficult to get a job in this field because no one believed that someone in his 20’s could have so much experience without having studied it first. So I enrolled part time at Ryerson Polytechnical Institute and worked as a disc jockey on the side.
Having worked from age 15, I decided to take a break and travel a few years. I then moved to Montreal and again was unable to find employment in my field, as I had no knowledge of French. At this point I had no choice but to make a career change and take a job with an English company in the clothing industry because I wanted to live in Quebec. I figured I could do this for a while, learn French, then return to my career later. But 12 years past and I was still working in clothing. The hours were long and I was becoming scared that I would end up doing this for the rest of my life. It was a boring and unrewarding career. In my heart I wanted to return to TV but was beginning to worry that too much time had past and too many things have changed. I would have to start all over again just to catch up with the new technology. I was in a fix. I was working long hours in a job I did not like and no time to upgrade my television skills.
Then in fall of 2004, a door opened up for me. While on a leave of absence from work, I contacted a friend who worked in video to get advice on what I could do to upgrade my skills and return to the career that I loved. It was just luck a home renovation show was doing a “make over” in his home that week for TV. He invited me to visit the set and meet the crew.
Wow! Then it hit me. While there, I felt like I was back home again. Since carpentry was one of my hobbies, I volunteered my time just so I could remain on the set without being in the way. On the last day of the shoot, the host offered me a job as a carpenter/painter on the show. I felt like I had won the lottery. Even my friend commented that the only thing missing from this scene was the lighting bolt coming down from the sky with a deep voice saying “Go for it”. So here I was, a few days before returning to that clothing job I felt stuck in, ending up in the right place at the right time. It is said that your boat only sails once. I was lucky that mine had sailed a second time. This time I am staying on it.
I have since moved on to movies and have worked with such industry greats as Debbie Travis, Fred Meyers, Beau Flynn, Christopher Townsend to name a few. I even had the pleasure of meeting James Cameron. It has been a long time since I had been this excited about my future. I want to continue on this path and look forward to all that may lie ahead.
One final note. That 1st Christmas after returning to television, I called my sister in Nova Scotia. She knows my former boss, Cindy Kidd at the cable station where it had all began. It had been many years since I had been in contact with Cindy and I wanted to share my news about returning to this career after such a long absence. I knew she would be proud of me since it was her that put me on this road in the first place before venturing off of it. But sadly I found out Cindy had died of breast cancer the same week that I had returned to television. I will greatly miss Cindy. She had taught me so much and had introduced me to so many fascinating people. In my heart, I am also doing this for her.



Cirque du Soleil (Midnight Sun)

On the evening of July 11, 2004, over 200,000 spectators gather on Sainte Catherine Street in front of Place des Arts in Montreal to see a free outdoor show called "Midnight Sun" put together to celebrate the 25th anniversary of the Festival International de Jazz de Montréal and the 20th anniversary of the Cirque du Soleil. The result was one of the best shows I have ever seen in my life. Even though I missed the actual show, watching the rehearsal that afternoon was my "walk in the snow".

It was a one time only show and was broadcasted live by the CBC that evening. I found this link on "You Tube". Check it out!

Glossary of Technical Film and Broadcasting Terms from:

http://www.evertz.com/

1080p/24
A progressively scanned high definition video format with 1920 pixels and 1080 lines and a nominal frame rate of 24 frames per second (see also sF)
4:2:2
A commonly used term for a component digital video format. The details of the format are specified in the ITU-R601 standard. The numerals 4:2:2 denote the ratio of the sampling frequencies of the luminance channel to the two colour difference channels. For every four luminance samples, there are two samples of each colour difference channel
4:4:4
A commonly used term for a high resolution component digital video format. The numerals 4:4:4 denote the ratio of the sampling frequencies of the luminance channel to the two colour difference channels. For every four luminance samples, there are four samples of each colour difference channel. 4:4:4 sampled signals are also available in a RGB format with equal sampling rates for each of the colour channels. These signals are commonly carried on a pair of coax cables according to the SMPTE 372M standard
4Fsc
A commonly used term for a composite digital video format. The details of the format are specified in the ITU-R601 standard. The numerals 4Fsc denote that the sampling frequency is 4 times the colour subcarrier frequency (approximately 14.3 MHz for NTSC and 17.7 MHz for PAL)
AatonCode
An in-camera film timecode system, exposed in the camera during filming, carries data which is both machine-readable (a matrix of dots for each film frame) and man-readable for its conversion into SMPTE time code. AatonCode specifically contains the production timecode synchronizing data, hour, minute, second, frame, year, month, day, production ID, camera ID and camera speed. AatonCode, the original format and AatonCode II, the current format are both readable by Evertz UV series reader heads and model 5550 Universal Decoder
AES
Audio Engineering Society. AES is a professional organisation that recommends standards for the audio industries
AES / EBU
Informal name for a digital audio standard established jointly by the Audio Engineering Society and the European Broadcasting Union organisations. This audio standard is formally known as AES3 but may also be informally called AES/EBU audio or simply AES audio
AFD
Active Format Description. AFD is intended to guide DTV receivers and/or intermediate professional video equipment regarding the display of video of one aspect ratio on a display of another aspect ratio
Afterburner
A device which takes embedded data from the video bit stream and translates it into human readable text. This text is then "burnt" into the on screen picture in character windows. This is usually time code data, scene, take and other post production data
Alpha channel
In electronic production and post-production, there is increasing application of 4:4:4:4 encoding ---- which provides full-bandwidth R', G', and B' plus the additional alpha channel to carry processing information. An adaptation from computer graphics, the alpha channel may contain information for linear key, for luminance and/or chroma transparency, for variable edge enhancement, and similar image-processing information
Analog
An adjective describing any signal that varies continuously as opposed to a digital signal that contains discrete levels representing digits 0 and 1
A to D converter (analog-to-digital)
A circuit that uses digital sampling to convert an analog signal into a digital representation of that signal
Analog Video / Analog Audio
A video or audio stream encoded into the voltage amplitudes of an electromagnetic wave
Aperature, camera
The available maximum dimensions of the optical image on the active surface of the photo-sensor, within which good quality image information is being recorded. The camera aperture determines the maximum usable scene information captured and introduced into the system, and available for subsequent processing and display
Aperature, clean
The clean aperture in a video digital system defines an inner picture area (within the production aperture) within which the picture information is subjectively uncontaminated by all edge transient distortions
Aperature, production
A production aperture for a studio digital video signal defines an active picture area produced by signal sources such as cameras, telecines, digital video tape recorders, and computer-generated pictures. It is recommended that all of this video information be carefully carefully produced, stored, and properly processed by subsequent digital equipment
Aperature, safe action
A safe action aperture indicates the safe action image area within which all significant action must take place, to ensure visibility of the information on the majority of home television receivers
Aperature, safe title
A safe title aperture indicates the safe title image area, within which the most important information must be confined, to ensure visibility of the information on the majority of home television receivers
ARRI Code
An in-camera film timecode system, exposed in the camera during filming, carries machine-readable data (a modulated series bars similar to SMPTE LTC for each film frame). ARRI Code specifically contains the production timecode data, hour, minute, second, frame, year, month, day, and camera ID. ARRI Code is readable by Evertz UV series reader heads and model 5550 Universal decoder
Artifact
A defect or distortion of the image, introduced along the sequence from origination and image capture to final display
Aspect Ratio
The ratio of width to height in a picture. Theatre screens generally have an aspect ratio of 1.85 to 1, widescreen TV (16x9) is 1.77 to 1, and normal TV (4x3) is 1.33 to 1
ATC
Ancillary Time Code. See SMPTE RP188
Audio Group
A group of four audio signals embedded into a serial digital video bitstream. The group usually consists of either four monaural audio channels or two stereo pairs
Average Picture Level (APL)
In video systems, the average level of the picture signal during active scanning time integrated over a frame period; defined as a percentage of the range between blanking and reference white level
Balanced Audio
A method of transmitting audio that resists interference by sending a signal and its electrically inverse signal. Noise pickup along the transmission path is cancelled out as the two signals are differentially combined at the receiving end. This method of transmission is designed for long and/or exposed cable runs
Bar Data
Bar Data information is used to signal the precise unused areas of an image raster when the active video does not completely fill that raster, in particular widescreen cinema material carried letterboxed in a frame with bars top and bottom. AFD and Bar Data are described in a forthcoming SMPTE standard as well as ATSC A/53E (2006), CEA CEB-16 (2006). See also AFD
Bit
A binary representation of 0 or 1. One of the quantized levels of a pixel.
Bit error rate (BER)
The average probability of a digital recording system reproducing a bit in error. It is the ratio of the number of characters of a message incorrectly received to the number of characters of the message received
Bit Parallel
Byte-wise transmission of digital video down a multi-conductor cable where each pair of wires carries a single bit. This standard is covered under SMPTE 125M, EBU 3267-E and CCIR 656
Bit Serial
Bit-wise transmission of digital video down a single conductor such as coaxial cable. May also be sent through fiber optics. This standard is covered under SMPTE 259M and CCIR 656
Bit Stream
A continuous series of bits transmitted on a line
Bit-rate
The speed at which bits are transmitted, usually expressed in bits per second. With video information, in a digitized image for example, is transferred, recorded, and reproduced through the production process at some rate (bits/s) appropriate to the nature and capabilities of the origination, the channel, and the receptor
Blanking level
That level of a composite video signal that separates the range containing picture information from the range containing synchronizing information
BNC
Acronym for British Naval Connector or Bayonet Nut Connector or Bayonet Neill Concelman - a coaxial cable connector used extensively in professional television systems. These connectors have a characteristic impedance of 75Ω and are standardized by the IEC 169-8 standard
Byte
A complete set of quantized levels containing all the bits. Bytes consisting of 8 to 10 bits per sample are typical in digital video systems
Cable equalization
The process of altering the frequency response of a video amplifier to compensate for high frequency losses in coaxial cable
CCIR
International Radio Consultative Committee. An international standards committee. (This organization is now known as ITU)
CEA
Consumer Electronics Association. CEA is a professional organization that recommends standards and practices for the U.S. consumer electronics industry
Cliff Effect
(Also referred to as the 'Digital Cliff') This is a phenomenon found in digital video systems that describes the sudden deterioration of picture quality due to excessive bit errors, often caused by excessive cable lengths. The digital signal will be perfect even though one of its signal parameters is approaching or passing the specified limits. At a given moment however, the parameter will reach a point where the data can no longer be interpreted correctly, and the picture will be totally unrecognisable
Closed Caption
A system of encoding word characters onto certain lines of a video stream which can be decoded and displayed by a compatible television. Provides program subtitles for the hearing impaired
CODEC
An acronym of Compression, Decompression. A device or piece of software which takes one file or signal format and translates it to another with an ideally undetectable loss of quality
Color Black
An analog video signal that displays a black screen. This signal is often used as a reference signal for timing purposes
Component Analog
The non-encoded analog output of a camera, video tape recorder, etc., consisting of the three primary colour signals: red, green, and blue (RGB) that together convey all necessary picture information. In some component video formats these three components have been translated into a luminance signal and two colour difference signals, for example Y, B-Y, R-Y
Component color
Structure of a video signal wherein the R, G, and B signals are kept separate from one another or wherein luminance and two band-limited color-difference signals are kept separate from one another. The separation may be achieved by separate channels, or by time-division multiplexing, or by a combination of both
Component Digital
A digital representation of a component analog signal set, most often Y, B-Y, R-Y. The encoding parameters are specified by CCIR-601. CCIR-656 and SMPTE 125M specify the parallel interface
Composite Analog
An encoded video signal such as NTSC or PAL video that includes horizontal and vertical synchronising information
Composite color
Structure of a video signal wherein the luminance and two band-limited color-difference signals are simultaneously present in the channel. The format may be achieved by frequency-division multiplexing, quadrature modulation, etc
Composite digital
A digitally encoded video signal, such as NTSC or PAL video that includes horizontal and vertical synchronising information
CWDM
Coarse Wave Division Multiplexing. Coarse Wave Division Multiplexing allows up to 16 separate channels of data to be carried over a single optical cable using different wavelengths for each channel. Typically the wavelengths are separated at 20 nanometer wavelength intervals
D1
A component digital video recording format that uses data conforming to the ITU-R601 standard. Records on 19mm magnetic tape. (Often used incorrectly to refer to component digital video)
D2
A composite digital video recording format that uses data conforming to SMPTE 244M. Records on 19mm magnetic tape. (Often used incorrectly to refer to composite digital video)
D3
A composite digital video recording format that uses data conforming to SMPTE 244M. Records on 1/2" magnetic tape
D5
A component digital video recording format that uses data conforming to the ITU-R601 standard. Records on 1/2" magnetic tape
DARS
Digital Audio Reference Signal. A reference signal conforming to the format and electrical specification of the AES3 standard, but often has only the preamble active. This signal is used for synchronization in digital audio studio applications. The recommended practice AES11-1997 gives further information on the use of a DARS reference
Daylight saving time (DST)
Daylight Saving Time (DST) or Summer Time as it is called in many countries, is a way of getting more daylight out of the summer days by advancing the clocks by one hour during the summer. Then, the sun will appear to rise one hour later in the morning when people are usually asleep anyway, at the benefit of one hour longer evenings when awake. The sunset and sunrise are one hour later than during normal time
dB- (prefix)
A symbol indicating that a measurement is made using a logarithmic scale similar to that of the decibel (see below) in that a difference of 10 dB- corresponds to a factor of 10. In each case, the actual measurement is compared to a fixed reference level r and the "decibel" value is defined to be 10 log10(a/r). Many units of this kind have been used and only a few of the more common ones are mentioned in the next entries. In each case the dB symbol is followed by a second symbol identifying the specific measurement. Often the two symbols are not separated (as in "dBA"), but the Audio Engineering Society recommends that a space be used (as in "dB A")
dB FS
Abbreviation for "decibels full scale," a unit of power as measured by a digital device. A digital measurement has a maximum value M depending on the number of bits used. If the actual power measurement is p, the dB FS value displayed is 20 log10(p/M) dB FS. Since p cannot exceed M, this reading is always negative
dB m, dB W
Logarithmic units of power used in electronics. These units measure power in decibels above the reference level of 1 milliwatt in the case of dB m and 1 watt in the case of dB W. A power of n watts equals 10 log n dB W; conversely, a power of p dB W equals 10(p/10) watts. The same formulas link dB m to milliwatts. An increase of 10 dB m or 10 dB W represents a 10-fold increase in power. Since 1 watt = 1000 milliwatts, 0 dB W = 30 dB m
dB u
A logarithmic unit of power, similar to dB m but computed from voltage measurements. The reference level is 0.775 volts, the voltage which generates a power of 1 milliwatt across a circuit having an impedance of 600Ω. A voltage of V volts corresponds to a power of 20 log10(V/0.775) dB u
decibel (dB)
A customary logarithmic measure most commonly used (in various ways) for measuring sound. The human ear is capable of detecting an enormous range of sound intensities. Furthermore, our perception is not linear. Experiment shows that when humans perceive one sound to be twice as loud as another, in fact the louder sound is about ten times as intense as the fainter one. For this reason, sound is measured on logarithmic scales. Informally, if one sound is 1 bel (10 decibels) "louder" than another, this means the louder sound is 10 times louder than the fainter one. A difference of 20 decibels corresponds to an increase of 10 x 10 or 100 times in intensity. The beginning of the scale, 0 decibels, can be set in different ways, depending on exactly which aspect of sound is being measured. See also dB- (above)
De-embedding
The process of extracting an embedded signal from an input stream to generate two separate signals, perhaps with different standards. This term is often used to describe the process of extracting AES audio that has been embedded onto a serial digital video signal
Demux
An abbreviation for 'de-multiplexing' which is the separation of Multiplexed data streams for dispersal to different devices. This term is often used synonymously with De-embedding when used to describe the process of extracting AES audio that has been embedded onto a serial digital video signal
Digital Video / Digital Audio
A video or audio stream encoded into binary digits instead of wavelengths and amplitudes
Distribution Amplifier
An electronic device which accepts a broadcast signal, amplifies it, and then outputs the same signal many times. Essentially a signal copying device
Downconverter
A converter which takes an HDTV signal and rescales it into a standard definition TV signal
Downstream
A broadcasting term meaning closer to the point of final transmission. Indicates the system is robust enough to handle "on-air" signals with confidence
Drop frame
A method of adjusting the nominal 30 frame per second counting rate of SMPTE 12M time code to the actual counting rate of approximately 29.97 frames per second - a difference of 1 part in 1001. This correction drops 108 frames per hour by skipping frame counts 0 and 1 at the beginning of each minute, except minutes 0, 10, 20, 30, 40 and 50. See also LTC and VITC
DWDM
Dense Wave Division Multiplexing. A method for combining multiple fiber optic signals of different wavelengths onto a single strand of cable in a much smaller wavelength spectrum than CWDM. Dense Wave Division Multiplexing allows up to 80 separate channels of data to be carried over a single optical cable using different wavelengths for each channel
EAS
Emergency Alert System. A broadcast warning system in the United States that either interrupts normal broadcasting, or displays an alert which crawls across the video picture. EAS alerts also contain an audible alert message
EAV
Abbreviation for "End of Active Video". A digital synchronization sequence consisting of a sequence of four consecutive code words (a code word of all ones, a code word of all zeros, another code word of all zeros, and a code word including F (field/frame), V (vertical), H (horizontal), P3, P2, P1, and P0 (parity) bits.) which is used to designate the start of the horizontal blanking interval of the digital line. See also SAV
EBU
European Broadcasting Union. EBU is an organisation of European broadcasters that among other activities provides technical recommendations for the 625/50 line television systems
EBU TECH 3267-E
The EBU recommendation for the parallel interface of 625 line digital video signal. This is a revision of the earlier EBU Tech 3246-E standard, which was in turn derived from ITU-R601
EDH
Error Detection and Handling (EDH) is defined in SMPTE RP 165 as a method of determining when bit errors have occurred along the digital video path. According to RP 165, two error detection checkwords are used, one for active picture samples, and the other on a full field of samples. Three sets of flags are used to convey information regarding detected errors, to facilitate identification of faulty equipment or cabling. One set of flags is associated with each checkword, and the third is used to evaluate ancillary data integrity. The checkwords and flags are combined into a special error detection data packet that is included as ancillary data in the serial digital signal
EMBEDDED AUDIO
Digital audio is multiplexed onto a serial digital video data stream according to the SMPTE 272M (standard definition) or SMPTE 299M (high definition) standards
Embedding
The process of combining one type of signal with another such that both signals can be transmitted using the standard of just one. This term is often used to describe the process of inserting AES audio into a serial digital video signal
Equalization
See Cable equalization
Ethernet
A protocol for connecting computers over a Local Area Network (LAN)
Fiber Optics
A method of encoding digital information into a pulsing laser, allowing much higher transmission bandwidth than copper cable
Film Time Code
See AatonCode, ARRI Code
Frame Synchronizer
A device which retimes an incoming video signal to a set reference such as genlock, bi-level or tri-level sync signals
GPI
General Purpose Interface. A method for communicating with electronic systems by utilizing relay or electronic contact closure inputs and outputs. This term may also be an acronym for General Purpose Input, which is the contact closure input of a General Purpose Interface
GPO
General Purpose Output. The contact closure output of a General Purpose Interface
GPS
Global Positioning System. A collection of 24 orbiting satellites operated by the US Department of Defense. Using signals transmitted to and from these satellites, electronic devices can pinpoint their location and the local time and time zone automatically
Graticule
A group of lines inserted over a video signal to allow for measurement and alignment of the image. In a film camera the graticule is ground into the glass of the optical viewfinder to allow the cinematographer to properly frame the image
HANC
Horizontal Ancillary Data. Acronym for ancillary data packets carried in the horizontal blanking intervals of a digital television signal. May also refer to the data space located in the horizontal blanking interval where these packets are carried. Ancillary data packets contain metadata associated with the video or audio of a television bitstream. See also VANC
HD-D5
A Panasonic HDTV component digital video recording format that uses data conforming to the ITU-R709 standard. Records on 1/2" magnetic tape
HDCAM
A Sony HDTV component digital video recording format that uses data conforming to the ITU-R709 standard. Records on 1/2" magnetic tape
HDSDI
High Definition Serial Digital Interface. A bit-serial digital interface for HDTV component signals operating at data rates of 1.485 Gb/s and 1.485/1.001 Gb/s. The HDSDI interface is standardized in SMPTE 292M and can be carried over coaxial and fiber optic cables
Hue
Attribute of a visual sensation according to which an area appears to be similar to one of the perceived colors, red, yellow, green, and blue, or to a combination of two of them
IF-band (70/140MHz)
A frequency band with two frequencies: 70MHz and 140MHz. Usually used by satellite studios to uplink to a satellite transmission system
Impedance
A measurement of opposition to electrical current exhibited by a circuit or device, taking into account resistance and AC reactance
Intercom
A system of internal audio communication within a building or corporation over a number of well-defined standards such as RTS-Telex and ClearCom
IRE units
A linear scale in arbitrary units developed by the Institute of Radio Engineers for measuring, the relative amplitudes of the various components of a television signal. Reference white is assigned a value of 100, blanking a value of 0. One IRE unit corresponds to 7 1/7 mv in CCIR System M/NTSC and to 7.0 mv in all other systems
ISO
International Organization for Standardization. The ISO and its affiliated International Electro-technical Commission (IEC) are the two major global standards-making groups
ITU
The United Nations regulatory body governing all forms of communications. ITU-R (previously CCIR) regulates the radio frequency spectrum, while ITU-T (previously CCITT) deals with the telecommunications standards
Jitter
The variation in timing and/or displacement upon transmission or arrival of digital signal. High Jitter can severely degrade the performance of an otherwise ideal system by introducing unwanted noise at the receiver
Judder
A temporal artifact associated with moving images when the image is sampled at one frame rate and converted to a different frame rate for display. As a result, motion vectors in the display may appear to represent discontinuously varying velocities
JPEG
Joint Photographic Experts Group. An international standards group functioning under ISO and IEC, developing international standards for image compression algorithms for continuous-tone still color pictures
Key channel
See Alpha channel
Keyer
A device which inserts data into the video bit stream based upon a supplied key signal. The data can be video/audio overlay, or broadcast data
KeyKode
A system of latent edge numbers developed by Eastman Kodak. A similar system known as MR Code is used by Fuji Film. These human readable and machine readable (barcode) numbers are located on the edge of motion picture film stock and are used to number film frames during post production. Tracking these KeyKode numbers accurately is essential for successful post production of film originated material
L-band
A frequency band ranging from 950MHz-2150MHz and used mainly in satellite signal transmission over fiber. Multiple sub-carriers within this spectrum carry many video channels to satellite recievers where single channels can be selected
Letterbox
Letterbox describes a video frame that the image fails to fill vertically, requiring bars without picture information at the top and/or the bottom of the image
Logo Inserter
A specific type of keyer which inserts static or animated images or "bugs" into a video bit stream overlaying the image
LTC
Linear Time Code or Longitudinal Time Code. This time and address control signal standardised by SMPTE 12M has been in widespread use in the professional video and audio industries since 1975. It is typically written on a time code or address track of a video recorder and provides an individual frame number for each video frame recorded. LTC is also commonly used to distribute time of day information to wall clocks, automation systems and other devices throughout a television facility. In regions of the world using the NTSC or similar non-integer (1/1.001) frame rates, LTC locked to the video frame rate does not maintain accurate time and must be corrected regularly when it is used convey time of day information. (See also Drop Frame and VITC)
Matrix Time Code
See AatonCode
Mux
An abbreviation of 'multiplexing' which is a method of joining of two or more data streams for co-transmission over the same hardware. When used as a noun it describes the device that does the multiplexing. This term is often used synonymously with Embedding when used to describe the process of inserting AES audio into a serial digital video signal
NTP
The public domain software package called NTP (Network Time Protocol) is an implementation of the TCP/IP network protocol with the same name. NTP is now widely used around the world to achieve high accuracy time synchronization for computers across a network. The protocol supports an accuracy of time down to nanoseconds however; the real accuracy that can be achieved also depends on the operating system and the network performance
NTSC
National Television Standards Committee. An analog video format with 525 lines per frame, used as the broadcast standard for United States, Canada, Japan and several other countries
OSD
On Screen Display. A system where important information such as graphs and warnings overwrite a visual display
PAL
Phase Alteration Line. An analog video format with 625 lines per frame, used as the standard for most European broadcasters, and other parts of the world outside North America and Japan
Pan-Scan
Pan-Scan information is a set of data that is intended to guide professional video equipment in extracting an image to be presented in an aspect ratio that is different from that in which the material was produced or distributed. Independent parameters are provided for pan (horizontal displacement), tilt (vertical displacement), vertical size, horizontal size and output aspect ratio. Pan-Scan information is not intended for use beyond the production and distribution environments. AFD and Bar Data are described in a forthcoming SMPTE standard
Pillarbox
Pillarbox describes a frame that the image fails to fill horizontally, requiring bars without picture information at the left and/or right sides of the image. The term "sidebar" and "pillarbar" are sometimes used to pillarbox in a 16:9 display area
Pixel
The smallest distinguishable and resolvable area in a video image. A single point on the screen. In digital video, a single sample of the picture. Derived from the words picture element
Reclocking
A method for signal regeneration and jitter reduction involving clock and data recovery
Resolution
The number of bits (four, eight, ten, etc.) determines the resolution of the signal. Eight bits is the minimum resolution for broadcast television signals.- 4 bits = a resolution of 1 in 16- 8 bits = a resolution of 1 in 256- 10 bits = a resolution of 1 in 1024
RGB
The three primary colour signals: red, green, and blue (RGB) that together convey all necessary picture information. In normal high definition digital video, these three primary components are scaled such that the extreme values are code words 040h (64) and 3ACh (940) in a 10-bit representation. See also FSRGB
Router
A multi-input, multi-output device that allows for quick switching from one video input to another without recabling
RU
Rack Unit. A standard unit of measurement equivalent to 1.75 inches or 45 mm, used for audio-visual equipment racks
SAV
Abbreviation for "Start of Active Video". A digital synchronization sequence consisting of a sequence of four consecutive code words (a code word of all ones, a code word of all zeros, another code word of all zeros, and a code word including F (field/frame), V (vertical), H (horizontal), P3, P2, P1, and P0 (parity) bits.) which is used to designate the end of the horizontal blanking interval. The pixel immediately following the SAV is known as pixel 0 and designates the first pixel of the specific line of the digital image. See also EAV
Serial Digital (SDI)
Serial Digital Interface a standardised interface for transmitting digital television signals using a coaxial cable in serial form. Often used informally to refer to the 4:2:2 sampled standard definition serial digital television signals as specified in SMPTE 259M
SDI
Serial Digital Interface. A bit-serial digital interface for SDTV component signals operating at data rates ranging from 19.4Mb/s up to 540Mb/s. The SDI interface is standardized in SMPTE 259M, SMPTE 310M and can be carried over coaxial and fiber optic cables
SMPTE
Society of Motion Picture and Television Engineers. SMPTE is a professional organisation that recommends standards for the film and television industries. Evertz is a sustaining member of this engineering organization
SNMP
Simple Network Management Protocol. SNMP is a standard computer network protocol that enables different devices sharing the same network to communicate with each other
S-Video
Super-video or Component video. A format in which a video signal is split into a Luminance (brightness) component and a Chrominance (color) component
sF
Acronym for segmented frame which is a method of transporting progressive HDTV images over an HDSDI interface. The picture is progressively scanned, however it is divided into two segments, containing the odd and even lines. The segments are then sent out the serial digital interface in the same way that the fields of an interlaced video signal are. This format is often used at nominal frame rates of 24, 25 or 30 frames per second
TRS
Timing reference signals used in composite digital systems. It is four words long.
TRS-ID
Abbreviation for "Timing Reference Signal Identification". A reference signal used to maintain timing in composite digital systems. It is four words long.
Telecine
A device that transfers motion picture film to video. This sometimes involves changing the frame rate by inserting a 3:2 pulldown
Time Code or Timecode
See Linear Time Code and Vertical interval Time Code
Tri-level Sync
An HDTV synchronization signal
Unbalanced Audio
A method of transmitting audio over normal video coaxial cabling with 75Ω impedance
Upconverter
A converter which takes an SDI signal and recodes it as an HDSDI signal
User bits
32 bits in the time code are user assignable. They typically are used to contain date, reel numbers, scene and take numbers, or other user-oriented data
VANC
Vertical Ancillary Data. Acronym for ancillary data packets carried in the active part of the lines which are during the vertical blanking interval of a digital television signal. May also refer to the data space located in the vertical blanking interval where these packets are carried. Ancillary data packets contain metadata associated with the video or audio of a television bitstream. See also HANC
V-Chip
Program rating information encoded onto a broadcast video signal as an XDS packet in a Line 21 closed caption system. Television sets with V-Chip decoders will disallow viewing of programs if the rating is too high
VITC
Vertical Interval Time Code. This time and address control signal standardised by SMPTE 12M is encoded on one or more lines in the vertical interval of standard definition television signals
VGA
Video Graphics Array. A computer video adapter which can display 16 colours at a resolution of 640x480 or 256 colours at 320x200
VLPRO
Abbreviation for VistaLINK® Pro The name for Evertz Monitoring and control software used to control and monitor many of our 7700 series and 500 series modules. May also be referred to a VistaLINK® which is a registered Evertz trademark. VistaLINK® is Evertz's remote monitoring and control capability over an Ethernet network using Simple Network Management Protocol (SNMP)
Word Clock
An acknowledgement and transmission signal which enables a receiving system to adjust it's timing for incoming digital audio packets
XDS
eXtended Data Service. XDS involves a system of data packets sent with the broadcast which can deliver: program rating information such as age-appropriateness, the current time, or local weather reports
YPrPb
A compressed bandwidth RGB signal. The video luminance (Y) is transmitted only once instead of once with each RGB channel, requiring more processing power at the receiving end, but reducing transfer rates by a third
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