1. Introduction
	2. Digital Video Formats
	3. Choosing a Digital Camcorder
	4. Digital Video Captured
	5. Digital Video Exported
	6. Hardware
	7. Software
	8. Resources
	9. Glossary

Introduction:-
People are increasingly using video for different reasons. From the holiday movie, personal video greeting cards, to corporate video promotions. In our community the use of video is of long standing and will probably replace still frames or jpeg's as the main medium of interchange as more people switch to broadband DSL and cable modem access.

1. Shoot your video footage (use an analog or digital video camera)
2. Capture (input video onto your Mac or PC hard drive using a Firewire connection or video capture card)
3. Edit (use a software video editing tool, i.e. Adobe Premiere)
4. Compress/Encode (use bundled video editing tool or dedicated video compression tool)
5. Distribute (to News, Web, CD, DVD, etc.)

Digital Video Formats:
There are basically two formats digital and analog. Analog refers to changing the original acquired (in a camera) into something that represents the signal- in this case, into a wave form. Digital Video means a couple of things. It can refer to video that is shot by a digital camcorder, and it can refer to video that is captured (digitized) on a computer. The quality and glamour of digital video is that it can begin and remain digital from camcorder to computer. You accomplish this thanks to a standardized wiring connection, or cable, used between the camcorder and a special (capture) card on your computer. This cable and its connections, known by three names, IEEE 1394, i-link, and Firewire, USB equivalents are also now available, are some of the most significant factors in the development of the digital industry because they keep digital video digital. Without an EEE 1394 connection, the video signal would would have degraded into another format, such as VHS or S-VHS.

Analog and Digital Formats
The main difference is between digital tape formats and analog tape formats. Initially all of the videotape formats were analog. The first digital videotape format was D1 introduced by Sony in 1986. For nearly a decade digital videotape remained an issue only at the very high end of videotaping. But starting in 1995 with DVPRO, digital videotape has become a reality at the lower and middle levels of videotaping. The primary difference is how the data is stored on the tape. In analog tapes the data is stored in an essentially uncoded format. In digital tape the raw data is stored as sets of zeroes and ones.

Digital Tape Formats
MiniDV:
The common 1/4 inch DV format in common consumer use. It's the low cost brother of the digital formats. The resolution quality of MiniDV and Betacam SP are perceptively similar. But the audio signal of MiniDV is better than Betacam SP and has better multi-generational tape-to-tape quality. Uses the * IEEE 1394 Interface * to transmit its digital video to other digital recorders or computers.

D-VHS:
A 1/2-inch bitstream format developed by JVC, using ordinary VHS cassettes with digital-grade tape. Its data transmission was "based on the IEEE-1394" format but apparently did not fully comply with the Firewire standard. This format was aimed at recording of MPEG2 or DVD programmes for consumer use. It is not clear whether this format is still being promoted by JVC.

Digital-S:
This is a proprietary digital format of JVC, and is incompatible with all the others. Also uses SDI (Serial Digital Interface) to transmit its digital video to other digital recorders or computers. SDI is not IEEE 1394 Interface compatible.

DVCPRO:
This is a proprietary digital format of Panasonic , and is incompatible with all the others. Also uses SDI (Serial Digital Interface) to transmit its digital video to other digital recorders or computers. SDI is not IEEE 1394 Interface compatible.

DVCAM:
This is a proprietary digital format of Sony, and is incompatible with all the others, except it accepts video tapes with a miniDV format. Also uses SDI (Serial Digital Interface) to transmit its digital video to other digital recorders or computers. SDI is not IEEE 1394 Interface compatible.

Analog Tape Formats
Hi-8:
Hi8 does for 8 mm what S-VHS does for VHS. Sony's mini format offering improved quality. Now eclipsed by DV formats

VHS:
(A video format that produces composite output) This is the format that nearly all home VCRs today use. This format was introduced by JVC in 1976. The VHS format however is still very important in terms of distributing taped programs. Since its the common format of the video world, almost all recorders have a composite output. The problem with the VHS format is that quality of the image on the tape is not really very good. This becomes a problem when you have what appear to be some great shots taken with a professional format machine and then duplicate it onto VHS. Also as you make copies of a vhs tape there is further degradation of signal quality.

S-VHS:
S-VHS Super VHS is a marked improvement over VHS. The signals from the camera are handled differently, with color and brightness being split up, and result in improved color rendition. The tape is similar in size to the VHS tape cassette. S-VHS tape cannot be played in a VHS machine. S-VHS is a common format for use on non-broadcast video projects and is sometimes used for broadcast video in smaller stations. There are a number of good industrial level camcorders in the S-VHS format, both single piece and two piece, (e.g., the Panasonic Supercam, the JVC VHS-C and S-VHS-C (Compact VHS and S-VHS) These are smaller cassettes than VHS and SVHS that only hold 30 minutes (sometimes 40 minutes) of tape in regular play. They were created to allow for smaller camcorders. VHS-C tape can be played in regular VHS machines using an adapter. Most camcorders using VHS tape are actually VHS-C machines. There are few S-VHS-C camcorders currently available. 8 mm 8 mm is a consumer format introduced in 1983 that uses a much smaller tape size than VHS. The tape is only 8 mm wide and .55 to .4 mm thick as compared to the 13 mm wide and .8 mm thick VHS tape. This means that a cassette holding up to 2 hours of tape at regular play is only 2.5 by 4 inches (6 by 9.5 cm). Compare that to the VHS cassette at 4 by 6 inches (10 by 16 cm). With miniaturization however there come problems. Eight mm tape is much more delicate and prone to defects than VHS tape. These defects often take the form of "dropouts", horizontal streaks on the picture when played back. These defects are caused by physical defects on the tapes or dust. In terms of quality, 8 mm is roughly similar to VHS. Not recommended as a source for compressed digital video.

Betacam SP:
Betacam now (Betacam SP) is a component analog format. In this format , not only is color is separated from light (as in S-VHS), but colors themselves are also segregated to ensure quality of the signal over multiple generations of editing. The difference between Betacam and Betacam SP, introduced in 1986, is in the tape. Betacam SP uses a metal tape and is an improvement over Betacam. Betacam cassettes are large. Ninety minute cassettes measures 5.5 by 10 inches (14 by 25 cm). Typically Betacam field units (camcorders or dockable decks) handle only smaller cassettes with shorter lengths of tape (30 minutes and less). These smaller cassettes are 4 by 6 inches (10 by 16 cm) in size. Betacam SP is still the de facto standard for professional broadcast videotaping. More professionals purchase this format than any other. It is also the most expensive!

U-matic:
An outdated format that accepts a composite output signal.

How to Recognize a DV/1394 Camcorder
Look for the symbol - MiniDV -
Canon, JVC, Panasonic and SONY manufacture DV cameras. Nearly all camcorders have a graphic logo on the body of the device. The easiest way to recognize a DV format camcorder is to look for the DV symbol on the camcorder. If you see a logo for VHS-C or Hi-8, then it is definitely not a DV camcorder.

Note: Some cameras use a flavor of DV called DVCam or DVPRO rather than miniDV. For these cameras, the logo may say DVCam or DVPRO. And these are not IEEE 1394 Interface compatible.

Look for the IEEE 1394 Connector
Most, but not every DV and Digital8 format cameras have a digital connection for transferring video from the camera to the computer. Now that you have identified the camcorder as a DV format device, the next step is to check for the input/output that lets you connect the camcorder to your computer using a high speed digital connection known as IEEE 1394. The connector is labeled differently on various camcorders, but is usually one of these: 1394, DV in/out, FireWire, or i.Link.

Summary:
Digital: The picture is DVD-quality, the sharpest of any format. The sound usually a weak link in camcorder performance is superior to other formats. You can view your footage through a TV (using the camcorder's standard A/V outputs), a PC (using the camcorder's "Firewire" digital output) or by capturing digital still frames, then printing them out on a color printer. You also can edit and enhance images on your PC. And though it's work to produce a tape you can play on a VCR (play the digital tape through the camcorder on the TV; tape what's playing on the TV with your VCR), it can still be done. Any DV format is noticeably better than the analog S-VHS or Hi-8 formats. MiniDV offers close-to-professional quality at modest prices

Advantages: You can't get a better picture. Freeze-frame stills are equally impressive. All digital camcorders have a special photo mode, which allows them to double as digital cameras. They can also connect directly to a personal computer, so you can capture images and then manipulate them on your computer.

Disadvantages: New and more expensive technology. Won't play in your VCR.

Reccommended: MiniDV.

Choosing a Digital Camcorder
These are some of the common categories to consider when deciding which camera is the best fit for your needs.

• Camera Lens
• CCD Specifications
• Analog Video Input
• Audio Recording
• Camera Features
• LCD Screen
• Ergonomic Design
• IEEE 1394 Compatibility

Price:
The best information source is normally the technical specifications that are included with the camera, in data sheets at the retail store, in catalogs or on the manufacturer's Web site (most manufacturers now have the specifications on the Web pages). Sales people at department stores are generally useless. Go to a photo/video specialty store if you want a chance of getting a knowledgeable sales person.

Camera Lenses:
Lenses are normally the single most expensive component in a quality camcorder. The quality of a camcorder's optics are the first factor in determining the quality of the recorded video image.

Lens Quality:
Most DV camcorders employ permanent zoom lenses and are not as high quality as the more expensive high quality lenses used in photography and professional video equipment. There are a few DV camcorders, such as the Canon XL1 that have a detachable lens adapter (the XL1 can use EOS 35mm photography lenses)

Detachable lenses:
Again these make for a heavier, bigger camera, but the improvement in image quality might make it worth it. More robust optics means more light reaches the CCD Chip(s). Also the larger the lens, detachable or not, the greater the degree of light and image collection quality. Optical and Digital Zoom Range

Image Stabilization Optical Stabilization uses a system of motion detectors and lenses to reduce the effects of vibration and camera movement on an image. This feature is very important when shooting with handheld camcorders or while moving. Some camcorders also offer Electronic Image Stabilization, but as with Digital Zoom, this manipulates the digital image and can degrade the video quality. Optical Stabilization is superior to Electronic Stabilization today.

CCD Specifications CCDs (Charged Coupled Devices) are the computer chips that scan light and convert them into electrical signals. The effectiveness of CCDs are determined by the size of the CCD chip, the number of Active Pixel Elements, the number of CCDs and to at least some extent the technology imbedded in the CCD circuitry. Canon claims that their Pixel Shift technology (http://www.canondv.com/xl1/prodinfo/pixel.html) CCDs produce a higher effective resolution than CCDs with more pixels.

One Chip vs Three Chip Camcorders
A few consumer models and many higher-end camcorders use three separate CCDs, each CCD dedicated to a primary color. Most camcorders use a single CCD to scan and transmit the image information. Basically, a three CCD camcorder is capturing more information than a single chip camcorder. In theory, three CCD camcorders should be able to record colors better and more accurately than single CCD camcorders. The importance of this advantage depends on what type and quality of the video you are producing. If you make black and white documentaries then accurate color reproduction may not be that important.

Low Light Responsiveness:
A CCDs responsiveness to low light situations also impact video quality. Camcorder specification include the minimum and recommended illumination (light) called Lux to record an image. The higher the lux, the more light required. 0 lux is complete darkness. Some camcorders may also include specifications for the signal-to-noise ratio. Higher quality camcorders have a higher signal-to-noise ratio that produce better quality images in low light. Cameras that have a noisy signal will record images that appear grainy and smeared.

Progressive Scan
A few of the DV camcorder models hitting the market can record in Progressive Scan mode. This means that instead of recording interlaced video with odd and even fields, each frame is recorded with progressive scanning. The result is that there is no gap between the odd and even lines; all lines are recorded in one pass. This is important if you want to capture and use photo images. Progressive scan video is also vastly superior for desktop delivery because it contains no interlacing artifacts. You should look for this feature when buying a DV camera, and use it when filming for desktop delivery or you want to capture higher quality still images from your video.

Analog Video Input
Your old camcorder and VHS tape decks do not output IEEE 1394 DV video. If you want to edit existing VHS/SVHS and other non-DV formats then you need to be able to capture this video. Some of the newer camcorder models, such as the Canon Elura and Sony TRV900 can input analog video (usually with an S-video connector), which can be an important consideration if you want to work with existing video footage. Several Sony Digital8 camcorders also allow you to use existing Hi8 and Digital8 tapes.

Audio Recording Specifications
The DV specification allow for up to four channels of 32 kHz, 12 bit audio, or two channels of 48 kHz 16 bit audio. Most camcorders support both formats.

Camera Features:
Wireless Remote Control: There is one problem with making homemades, being the family photographer, you never seem to make it into the picture. Most camcorders have wireless remote controls, that let you turn them on and off and control some features from 20 to 30 feet away. This not only gets you in the picture but puts you in control. So to leverage control over quality and output, your wireless remote control feature is best used in conjunction with a tripod and a TV as a monitor. Just run a cable from the output of your camcorder to the TV's output, and place the TV so that you can see it from in front of the lens. This way you can see whats in the picture when you can't look through the camcorder viewfinder.

Recording Modes
If you own a wide-screen digital television, want to create 'letterbox' video for a regular TV, or you are a DV filmmaker that will transfer your project to film then you will want a camcorder that can record in 16x9 mode. The quality of 16x9 recording can vary significantly from camcorder to camcorder.

Camera Control
There are many control features that can affect the flexibility you have when you set up your scenes and the quality of the images and audio you record for given conditions. These include Zoom Control, Focus, Audio Gain, White Balance, Exposure and Shutter Speed.

Still Camera Features
If you plan on taking a lot of digital images, then you will want to make sure your camera has an advanced still image function. Some models even have floppy drives in addition to digital tape decks.

LCD Screen
Professionals operate a camcorder through the viewfinder. Less proficient people will likely cause bodily harm to themselves or an innocent bystander if they have to move while looking through the viewfinder. Also, you may need the LCD screen if you do not have a separate monitor (TV, not computer) to preview your video at your editing station (where you have your computer). In this case, you will need to preview your project video project by playing it back to the camcorders LCD screen.

Ergonomic Design
Size does matter
If you are going to record and edit video primarily for fun then remember this important fact: video you record with an inexpensive camera is always better than the video you did not record because you did not carry the 15 pound shoulder mounted camera with you! If you are starting an event videographer business (wedding and corporate events) then your clients may look at you funny if you use a palm sized camcorder. If you are worried about managing the perception of the father-of-the-bride, then you may prefer a larger sized camcorder. Smaller camcorders are great for 'stealth' shots where you don't want people to be aware you are recording. Smaller cameras are less intrusive. DV Filmmakers recording on location without permits have discovered the advantage smaller DV camcorders offer over their larger film cousins. A camera's size and weight can determine how well you can manage the camera for long stretches at a time.

Design and Camera Controls:
Easy access to the camera controls is important. You don't want to lose your concentration on shooting because you had to fumble with the zoom, focus and other controls.

IEEE 1394 Compatibility
Not every digital camcorder supports IEEE 1394 (aka Firewire, or i.Link) input and output interfaces. Not all digital camcorders have an IEEE 1394 interface. Many European models do not support IEEE 1394 input (see explanation below). To make matters more complicated, the IEEE 1394 interface on different camcorders are not all the same. It can even vary between models from the same manufacturer. Specific camcorder models IEEE 1394 interface may not be compatible with the IEEE 1394 interface that goes in the computer. Furthermore, the digital video software on the computer may not be compatible with specific camcorder models. This sounds terrible, but it is really very typical of a new technologies.

Price
Price should be the simplest, though often painful, decision factor. Make sure you consider not just the price for the camera itself, but how you intend to use the device and what additional equipment and accessories you will require. At a minimum, you will need tapes and an extra battery. You will also need to budget for external lenses if you are considering a camera that can use external lenses, such as the Canon XL1.

Optical Zoom range is more important than Digital Zoom.

Optical Stabilization is better than Electronic Stabilization.

Special Features:
Features will vary from one camcorder to the next, but some features are vital. The camcorder should be able to record in fully automatic, semi-automatic, and fully manual modes. Also, the camcorder should offer 16:9 aspect ratio for future video use. And the camcorder should offer the zebra function and and the optical image stabilizer.

Digital Video Captured:
Capturing, or digitizing, video means converting the analog signal from a videotape to digital data, stored on a hard drive. This is done using video capture--built-in or plug-in hardware boards installed in the computer. Users hook up their VCR or camcorder to the video capture port. Like a VCR, the board captures the video played into it, converts it into digital data, and records it to a hard drive. Most of these boards also compress the video as they digitize, using compressor/decompressor (codec) chips. Codecs compress the video to decrease the storage requirements of the video footage and to reduce the bandwidth of the video data to one that the computer can handle smoothly. Codecs are critical to determining how to make digital video look best for the delivery methods used.

1. A capture card
2. A large (4GB+) hard disk capable of high (3Mb/sec+) sustained data rate

Will DV software work with any IEEE 1394 interface?
The short answer: Sometimes, not always and much more often in the future.

Digital Video Exported:-
So we've taken the raw video footage and we've captured it onto the hard disk. Now it's time to perform the editing process which requires dedicated software, which is described in Software section. At the end of all this, you'll have a polished video but it will only reside on your hard disk. For some purposes, this is exactly where it needs to be. But for many other purposes, it's necessary to output the video to some sort of external medium.

To determine which codecs are installed on your system?
In W95/98 and WinNT4.0, you do this in the Multimedia object in the Control Panel. Click the Advanced tab to get a list of all installed codecs and version numbers. Or alternatively this information can be found in the system.ini file under [drivers32]. A line such as VIDC.IV32=ir32_32.dll means that indeo V3.2 is installed.

To determine which codec was used to compress a movie?
Premiere has an excellent Tools/Movie Analysis option which gives you comprehensive details of Codec, data rates etc.. Alternatively under Win95/98 Right Click on the movie and select Properties. With Quicktime 3 movie player this information is under Movie/File Information.

What is the best codec to use?
The one that is best for your application! Decide on your priorities and choose accordingly. If you'll be playing your movie out to video tape, you'll use the hardware codec for your capture card. If you want video from CD ROM which will run on almost every machine without having to install additional drivers, and don't want ultimate quality, then the choice must be Cinepak, Intel Indeo or Sorenson MPEG. If you want excellent quality under Quicktime 3 or 4 at low data rates, then choose Sorensen. If you want the quality and can get away with higher data rates then you might consider Indeo 4.4 or 5. If you'll be playing your movie from an Internet site, you'll use a codec that supports streaming like RealVideo, Vivo or Microsofts proprietary format .asf.

To compress and export a movie using Adobe Premiere
1st Import the video file into Premiere which will load in the Project window. Next drag the video or graphic file from the Project window to the Video 1A track in the Timeline window, Click anywhere in the Timeline window to activate it. Next to begin exporting select File | Export | Movie in the main menu bar, and you will be presented with the "Export Movie" dialog box. From the "File type:" dropdown combo list select your type ie MPEG 1 and click OK to start exporting.

To Choose a codec from inside Adobe Premiere
Select File | Export | Movie in the main menu bar and the "Export Movie" dialog box appears. Next Click Settings and the "Export Movie Settings" dialog box appears. With the "File Type" MPEG selected click the "Next" button. You are now in the "Video Settings" dialog box. Click on the Dropdown Combo list and a selection of appropriate codecs for MPEG will appear, these will vary from computer to computer, ie your capture card will have its own codec. Next click Cinepak Codec by Radius. This is a stable common codec for movies on CD-ROM. Consider any other codecs that may be available.

Hardware:-
Equipping yourself for the digital video world need not leave you out of pocket. Since there are many configurations of hardware etc what i will do is use a practical example for illustration and allow you to choose.

• Intel Pentium processor, a Pentium II or III at 300MHz.
• Operating System: Windows 95,98, NT 4.0 or later.
• RAM 128MB: You can run with less but life is easier with more.
• 5GB Hard Disk Space: Sounds a lot but is roughly equal to 15 minutes of audio visual storage. Plan on needing 18GB and if you have the cash get a 30GB. It makes life simpler. And recommended is splitting your large 18MB or 30MB disk into two 9MB or 15MB physical hard disk or their nearest size equivalents, since the drive storing the video must be captured and stored on a separate drive from your software.
• 256-color video display adaptor: This is a minimum for hobby style graphics. A better bet would be a good graphics card with its own built in memory Matrox manufacture such items.

Capture Card:
This is the heart of your digital video it does all the input/output stuff get a good one! Based on Adobe Premiere I recommend trying out a Pinnacle Capture Card. More information regarding compatibility is available at the Adobe web site. Also there are Analogue Cards available that will provide video digitising features that will allow you to convert analogue video sources, such as video tapes, or a live feed from a camera or television an example is the Pinnacle Studio DC10 Plus, some such as the Matrox Marvel G400-TV include a tv tuner and dual monitor support. You also need a large hard disk able to cope with a continuous 3.6Mb/sec data stream.

CD:
A nice dependable cd-r burner helps you to produce cd's that can your store your finished homemade movies.

Sound Card:
A reasonable quality sound card.

Modem:
28k-56k is sufficient but for lengthy homemades cable or asdl broadband is best.

Capture Card Slot:
32-bit PCI 2.1 slot with bus mastering: Make sure there is one free and unobstructed, these can be identified as ivory or white-colored.

Software:-
Virtually all video capture cards come bundled with a selection of software, the most significant of which is the video editing package. Entry-level cards tend to come with lower end packages such as MGI's VideoWave or Ulead's VideoStudio whereas the top-end varieties will be accompanied by something like Ulead's MediaStudio Pro or Adobe's Premier, which is virtually the industry standard. All of these allow you to capture video to disk, remove unwanted frames, produce fades or transitions between clips, add captions, manipulate audio and so forth. They also let you write your edited video to disk, analogue VHS tape, digital video tape or whatever. If you're a first-time user, you'll probably appreciate the more user-friendly front end of the entry-level packages, although there are some clear drop-offs compared to the more fully-featured software.

• EditDV
• Vegas Video 2.0
• Movie Maker 1.0
• VideoWave III

Resources:-

Analog Interface Video Capture Cards:
All in Wonder 128 Pro
Fast AV Master 2000
Fast ClipMaster
Matrox Marvel G400-TV
Matrox Marvel G200-TV
Pinnacle MiroVIDEO Studio 4000
Pinnacle Studio DC10 Plus
Pinnacle Studio DC30Pro Plus
Pinnacle Studio miroVIDEO DC50

Dual Interface (Analog & FireWire 1394)Video Capture Cards:
Matrox RT2000
A realtime nonlinear editing solution for corporate and event video artists, it's dual interface design allows input and output from FireWire 1394 equipment and analog as well.

Digital Interface Video Capture Cards:
Matrox Marvel
Pinnacle Studio

Editing Software:
Premiere 5.1
EditDV
Vegas Video 2.0
Movie Maker 1.0
VideoWave III
WebFlix Pro
Cleaner 5.0

Storage Software:
Ulead Photo Explorer

Video recording formats (NTSC, PAL, SECAM...specs)
videoformats
Digital Video and Firewire Central
CD Info - info about CD-ROM and DVD (DVD-R, DVD-ROM)
DV Toolkit - digital video information, links and compression resources from DV
MPEG Pointers and Resources
CNN Video Vault
Educational information about the popular video formats and codec

Glossary:-

Aperture:

A device which regulates the amount of light allowed to enter the camcorder while the shutter is open.

Audio Dubbing:

Recording new audio over a pre-recorded track without disturbing the existing video. Audio input can come from a built-in microphone or an external microphone.

Auto Exposure:

A camcorder mode that automatically adjusts the shutter speed and iris to compensate for various lighting conditions.

Auto Focus:

The camcorder automatically adjusts to focus on a subject or object.

AVI Audio-Video Interleave:

This is a video format for Windows.

Back Light:

A feature that is used when the subject or object being filmed is darker than its surrounding area. Back Light creates a sense of depth between the subject or object and its surroundings.

Back-Timing:

Using a 3-point edit to mark two out points and one in point, allowing the computer to match up the two out points and calculate the remaining in point. For example, marking an in and out point on a source clip and an out point in a program and allowing the editing software to calculate the in point in the program.

Band Wipe Transition:

This produces the effect of displaying an incoming clip as alternating bands that eventually cover the outgoing clip.

Barn Door Wipe:

A transition that opens or closes the first frame of an incoming clip over the outgoing clip as if it were two sliding doors.

CCD (Charged Coupled Device):

A light detection device used in professional and consumer camcorders to capture images for video.

Character Generator (CG):

The equipment used in a linear editing suite to create titles or other text on video. (EditDV provides the Titling Filter for creating text)

Chrominance:

The part of the video signal that contains the color information.

Clip:

A set of contiguous frames beginning at a designated In point and ending at a designated Out point.

Codec:

Component of a video system that encodes video data into its compressed format, and decodes data from its compressed format. Video data is stored in a compressed format. When an effect is applied to one or more tracks of video, the video must be uncompressed in order to compute (render) the effect. Historically, codecs have been implemented on specialized hardware. Software codecs are now more prominent because desktop computers are now fast enough to support video processing.

Color Palette:

Software user interface for choosing a desired color for use with many of the filters and transitions. A color might be chosen to be replaced, to be keyed out, to be changed, etc.

Composite Video:

A video signal produced from a combination of electronic signals. Composite video is the standard television signal.

Compression:

The digital representation of media in an efficient storage format. For video, MPEG is often used to reduce the size of graphics for easy transmission. Compression may be lossy in that the original picture cannot be reconstructed exactly.

Color Adjust Filter:

This is a editing software filter that produces a change in the color aspects of a clip by allowing adjustment of individual channels.

Cross Fade Audio Transition:

A transition that causes the end of one audio clip to fade out, while the beginning of the next clip fades in.

Cut:

An abrupt transition between two clips. The first frame of the incoming clip immediately follows the last frame of the outgoing clip.

Cutaway:

This is transitional footage normally inserted between cuts containing the same subject in slightly different screen positions to avoid a 'jump cut'.

Cut Point:

The position of a cut relative to an overlying transition.

Depth Of Field:

The area between the nearest object in focus and the furthest object in focus.

Digital8:

Sony's proprietary digital camcorder format, which records digital video onto standard 8mm and Hi8 tapes. Digital Electronic Image Stabilization: Motion sensors are used to eliminate any unintentional movement, creating a better video image. DEIS was invented by Panasonic and first introduced in 1990.

Digitize:

To convert an analog video or audio signal into a digital signal that can be used by a computer.

Dissolve Transition:

A transition in which the end of one clip gradually blends with the beginning of the next.

Dropout:

Videotape signal 'voids', which are visible as white specks or streaks. Normally the result of tiny bare spots on a tape's magnetic particle coating, or tape debris covering particles and blocking signals.

Drop Frame Timecode:

Timecode that is accurate relative to actual video running time. The numerical reference drops two numbers every minute to allow for the fact that there are actually 29.97 frames of video per second, rather than 30 frames per second.

Drop Shadow:

A shadow that is offset from an object or text in a video.

DVE Effects:

A digital video effect (DVE) is created by taking any existing video source and manipulating its position within the video frame.

Fade:

The gradual diminishing or heightening of a picture to create a scene transition.

Fade Filter:

The filter that raises or lowers video levels in clips. With the Fade filter a clip will change over time to all one color or black (fade out); or will gradually develop from a color or black (fade in).

Field:

Half of a video frame, either the even or odd scan lines.

Filler:

Blank space added to the Timeline in the course of editing a program.

Filter:

A computer software module used to process and modify digital video for adding special effects to a program.

Flow:

The act of transferring video and audio tracks from a source clip into tracks in the Sequencer window using the Patch Matrix.

Fps:

Frames per second.

Focal Length:

The distance from a camera lens's focal point to its CCD imaging chips with the lens focus set to infinity. Wide angle views use short focal length; narrow field of view (telephoto) use longer focal lengths. Zoom lenses have a variable focal length.

Force An Edit:

To insert a cut at a desired point in a clip.

Frame:

One complete still image of video media. Video media is made up of a series of frames. Each video frame has two interlaced fields.

Full Field:

A complete video image consisting of two fields of video per frame.

Generation:

Original recorded footage is called 'first-generation'. A copy of the original is second-generation video. A copy of a copy is called third generation, and so forth.

Head:

Small camcorder components that erase, record and play video and audio signals on a tape.

Image Resolution:

A measurement of the quality of a video image based on the number of pixels that make up the image.

i-link (IEEE 1394):

Also known as FireWire. An industry standard digital interface that allows for 2-way communication between either two compatible digital camcorders or between a digital camcorder and a compatible personal computer. This standard was approved by the Institute of Electrical and Electronics Engineers.

Interpolation:

The progressive calculation of a parameter between key frames.

JPEG (Joint Photographic Experts Group):

A standardized image compression format developed by the Joint Photographic Experts Group. Usually used for compressing full-color or grayscale images.

Jump Cut:

An instantaneous transition between two scenes that have identical subjects in slightly different screen locations, which makes the subject appear to jump within the screen. A cutaway shot remedies the distracting jump appearance.

Kerning:

The amount of space between text characters. Kerning varies between fonts.

Linear Editing:

The traditional form of tape based video editing.

Luminance:

The part of the video signal that contains the black and white information.

Lux:

A unit used to measure light.

Manual Focus:

Allows for the adjustment of focus by the user.

Mini DV (Mini Digital Videocassette):

A consumer digital recording format that records video digitally, producing better picture quality, color reproduction and CD-quality sound.

Mini DV Tape:

Metal Evaporated Particle Tape that provides for higher quality output and lower noise levels on a tape 1/12th the size of a VHS tape.

Mirror Filter:

Filter that flips frames horizontally to create an opposite but identical image.

NTSC (National Television Standards Committee):

The broadcast standard used in the United States, Canada, Japan, Central America and much of South America.

Overscan:

The CCDs in digital cameras actually scan a picture that is bigger than the displayable view size of a standard television. Overscan is used to make sure that even when the TV device is not properly trimmed there are no black borders. This is occasionally necessary because some televisions generate a video pattern that is smaller than the visible screen area, resulting in an image that is smaller (and less legible) than it needs to be. The video quality of pixels at the extreme edges of the overscan area may not be reliable and when played back on the camera LCD display

PAL:

Phase Alternating Line.

PAL Signal:

The most common composite video signal used in Europe. It has a frame rate of 25 fps.

Pan:

When used in reference to video, it is the sweeping movement of a camera across a scene or the appearance of such movement in a video as created by a DV filter.

Pan Setting:

When used in reference to audio, the setting that determines how audio output is divided between left and right speakers.

Patch Matrix:

The display in the Monitors window that identifies the video and audio tracks in the current source clip and the available tracks in the Sequencer window. Allows the user to direct the flow of the source clip tracks into Sequencer tracks.

PCM (Pulse Code Modulation) Audio:

Stereo quality audio that allows the user to record in either 12-bit or 16-bit audio. In 12-bit, 2 sets of stereo audio tracks are available so a second audio track can easily be added. In 16-bit, only one set of stereo audio tracks is available for recording. PCM audio is capable of a very dynamic and clear sound.

Pixel:

The smallest individual dot in a digital display. The greater the number of pixels, the higher the image quality.

Point:

A standard measurement unit for type sizes. One point equals approximately 1/72 of an inch

Radial Wipe Transition:

A transition that sweeps away the outgoing clip with a circular or semi-circular motion to reveal the incoming clip.

Render:

The processing of a series of individual clips, transitions and filters into a single playable track.

Resolution:

The amount of detail a camcorder is able to produce. The resolution is affected by the camcorder's CCD, lens, optics, and recording medium. The higher the resolution, the better the picture quality.

Roll Edit:

An editing process where both outgoing and incoming clips are trimmed at a cut point to shorten one while lengthening the other to maintain the overall length of a program.

Shutter Speed:

The speed at which the camcorder captures an image. The faster the shutter speed, the less susceptible the camera is to movement.

SMPTE:

Abbreviation for the Society of Motion Picture and Television Engineers.

SMPTE Timecode:

The timecode used by the SMPTE to identify frames in a videotape. Each frame has a unique address in an hours:minutes:seconds:frames format.

Splice:

The physical act of cutting a medium, such as film or audio tape, to add new tape to it or take out portions of it.

Spline:

A setting that produces movement between key frame settings along curved lines; creating a smooth, flowing motion.

Split Edit:

(L-cut or J-cut) Adjusting synchronized audio or video clips so that one starts slightly before or after the other.

Step:

To move forward or backward one frame at a time.

Stereo Audio:

Split on two physical tracks, one on the right and one on the left.

S-Video:

A method of separating the chrominance and luminance portions of a video signal to produce higher quality video.

Timeline:

The graphic representation of a program displayed in the Sequencer window.

Tint Filter:

A filter that produces the appearance of viewing video through colored glass.

Titling Filter:

A filter that produces text in a video in various fonts, sizes, and colors. Text can also be enhanced by using the filter's ability to create different color and opacity gradients, borders, shadows, and backgrounds.

Track:

A horizontal band across the Sequencer window that graphically represents a series of clips in your program. The Sequencer window has multiple tracks containing different types of media.

Transition:

The change from one clip to another in a video program.

Trim Handles:

Extra frames before and after the In and Out points for a source clip to allow for trimming and transitions.

Venetian Blind Wipe:

A transition that produces the effect of having an outgoing clip displayed in strips over the incoming clip. The strips open, like a Venetian blind, to reveal the incoming clip.

Video Capture:

Converting analog video signals, such as those generated by a video camera, into a digital format and then storing the digital video on a computer's mass storage device. Video capture from analog devices requires a special video capture card that converts the analog signals into digital form and compresses the data. There are also digital video devices that can capture images and transfer them to a computer via a standard serial or parallel interface.

Wipe:

A type of transition that uses a moving edge to replace the current clip to reveal the next clip.

White Balance:

This camcorder function maintains the optimum color balance of a subject or object in any lighting condition. This function can be set to operate on AUTOMATIC or MANUAL modes.

Zoom:

Changes the focal length of a lens from wide-angle to telephoto and vice versa.