Friday, 3 July 2015
unit 26 audience profile
Audience group profile
A
• 60 per cent of audience profile is between the ages of 18-19 years olds.
• 40 per cent are age between 21-29.
• 80 Percent are white British,
• 20 Percent black British.
• 100percent are student.
• 80 Percent male and 20 Percent female.
B
Most people like music and films. Most of them describe themselves as quiet, shy confident, out going and loves travelling. Most are into fashion both male and female.
Most dislike insects and music entertainers and horror movies.
C
Movie Audience Survey
In my audience survey I conducted a series of question of the following:
What is your favourite film?
What’s your favourite movie genre, and why?
What’s your least favourite film?
Who is your favourite actor/actress?
Which film has made a big impact on you?
How often do you watch movies?
How often do you watch films online or cinema?
What most influences you to see a film?
Who is your favourite film character?
Films you wish you could be in?
Based on my audience film viewing preferences discovered that most favourite films are made in the 1980’s and early 1990’s. Most are also into action films. Their favourite male actors are actors older actors in there 40’s and mainly star in action movies. Most often watches film online and watches film on a weekly basis. What influences some of the most to see a film is the trailer or the director. Also most films they which to be are action crime drama.
Tuesday, 9 June 2015
The Early days of film
The Lumiere Brothers
Who Are The Lumiere Brothers?
1. The Lumiere brothers were the first film makers in history. They are the first to projected image to allowed a film to be seen by more than one person at a time. They believe in realism. Their first film is considered to be the true motion picture. They film in 52 sec. They create technology in cinematography.
2. They were both born in France.
Move to Lyon in 1870
Attended a technical school in Lyon
3. 1830 french revolution
Felix Faure was president ion 1895
4. Industrial revolution in the 1800
Basket ball was invented
The statue of liberty
The oxford English dictionary
1895 the first screening
5. Their film were natural events
6. there film was 52 sec. Each film are 17 metres long. camera didn't move.
7. The camera does not move no variety of shot everything happens in one length. no zoom,
Remakes
Annie 1982
Annie 2014
The 2014 version Annie is a remake of the original Annie is the third remake of the film. Like all the other Annie films it focuses on the main Character, this time however it's a black female starring in the film which reflects the changing times. The setting is modern and the costume is different in todays time. in constrat in todays society which represent changes towards race, as black female palying the lead character Annie. Also Jamie Foxx playing a rich man who adopted her in comparison it was a white male playing him character.
Ocean 11 1960
The film set in the 1960. Both films focus on the same story of gangs of friends who are also robbers. the first one stars Frank Sinatra and friends. At the time Sammy Davis causes controversity because of his race.
Ocean 11 2001
The 2001 version is more technology more guns involve in this version compare to the original. both film focus on the main two stars. This version starts George Clooney and friends. both film has the same kind of music. humour and camaraderie is still the same. number of weapons used has changed. the opening is different. with better technology sound effects is different. In contrast in the conclusion of the new version Bernie mac as a black male didn't create any controversity in the 2001 version as in a different society.
Total Recall 1990
I think this original is better is more engaging. has sound effects, but the 2012 has an advance sound effects. focus on the same story of the main character on the run with people trying. this one uses crazier effects
Total Recall 2012
This version is more technology with the cars and gadgets. The sound is different more sound effects. this version is boring the humour is not like the original.
Tuesday, 10 February 2015
Clarity shines on the murky confusion surrounding the two types of signals.
Clarity shines on the murky confusion surrounding the two types of signals.
Though digital video editing has been around for at least fifteen years now, it remains almost as confusing as programming a VCR; and now it's my turn to take a whack at unconfusing the subject.
Much of the said confusion comes from muddling two pairs of opposites that actually have no inherent connection: analog vs. digital and linear vs. nonlinear.
XX Analog/digital: is the signal recorded by continuous imitation (analog) or by intermittent sampling and encoding (digital)?
XX Linear/nonlinear: is each point in the program material reachable only in the order recorded (linear) or can any point be accessed at random (nonlinear)?
Many people still think that analog video must be linear and digital must be nonlinear.
But it ain't necessarily so! A video laser disk offers random (nonlinear) access to an analog video signal and the tapes in digital camcorders are as linear as you get: to reach the last shot on the roll you gotta crank through every blessed shot ahead of it, one at a tedious time.
Stay tuned as we attack this confusion by looking closely at each pair of opposites, beginning with analog vs. digital recording. (Linear vs. nonlinear is a topic for a later column.)
Amber Waves of Gain
The first thing to remember is that an analog signal copies by imitating. Light from the camcorder lens slams into a sensor on the imaging chip, creating an electrical charge. The stronger the light, the stronger the charge, which is to say that the electrical signal is imitating the intensity of the light that produced it. Multiply this stimulus/response by several hundred thousand sensors covering all three primary colors and you have the entire optical image imitated by an electrical signal of rapidly and continuously varying voltage.
The second thing to remember is that, regardless of the recording system, all video signals start out like this, as analog wave forms. Yes, your expensive DV camcorder is creating old-fashioned analog video signals, just like the humblest old VHS clunker.
It's creating them, but not recording them, because that's where analog and digital video part company. In an analog system the continuously varying voltage magnetizes tape particles in a continuously varying pattern that mirrors the signal. On playback, the tape particles create a continuously varying output signal that (surprise!) continues to mirror the original. Every transfer of the picture information is an imitation--or, more precisely, an imitation of an imitation, with consequences that we'll see shortly.
In a digital system, by contrast, the first thing that happens to the original continuous signal is that it's fed through an analog/digital converter chip. That chip looks at the signal hundreds of thousands of separate times per second and assigns each discrete sampling a numerical value that corresponds to the strength of the signal at that precise moment in time. These numbers, rather than the signal itself, are copied and recopied throughout the rest of the process. This means that digital recording differs from analog in two crucial ways:
--It numerically encodes the information rather than electrically mimicking it, and
--It records only samples of the information rather than all of it.
These differences have consequences of their own, as we're about to explain.
But on the Other Hand...
If you believe all the hype, digital video must be as superior to analog as halogen lighting is to whale oil, right? Maybe, maybe not, because analog video enjoys three powerful advantages over its new rival: compactness, scalability and seamlessness.
Compactness
Above all, the information in analog video can be stored very efficiently and cheaply (up to two and a half hours on one $2 VHS tape at SP speed). High-quality digital video demands gargantuan amounts of storage space. For example, those fancy new video disks, DVDs (Digital Versatile Disks), must squeeze 4.7 gigabytes of data onto a single side of the disk just to fit a feature-length movie, and that's with a hefty dose of compression.
But DVD is not yet available in recordable form, so you have to use computer storage or a digital camcorder instead. Working with computer storage, my students have trouble fitting three five-minute projects on a 4.2 gigabyte hard drive.
Scalability
All video, analog and digital, tends to look sharper and clearer on a smaller screen; it's the natural result of squeezing the same amount of visual information into a smaller space. All but the highest quality digital video, however, suffers greatly from enlargement. When you blow up your digitized image onto a huge home-theater TV screen, for example, all of those invisible digital compression artifacts become quite noticeable--straight lines become jaggy, curves look blocky, etc. Analog video, on the other hand, is much better at filling larger screens with sharp-looking images.
Seamlessness
In the audio world, some purists have returned to analog (vinyl LP) recordings because they can hear the fact that digital recordings only sample the signal at intervals instead of copying the whole thing. To them, CDs sound hollow and brittle in consequence.
It could be argued that digital video suffers a similar artificiality. It's hard to describe, but look at the hyper-crispness of heavily digitized commercials and the oddly stark appearance of digital satellite broadcast. There's no doubt about it: digital video has a certain look that's distinct from analog video.
A Hands-down WinnerWith all that said, we must judge digital video to be the superior recording system for three powerful reasons: copy quality, freedom from noise and computer compatibility.
Copy QualityOut of old habit, we talk about "copying" a floppy disk or a digital video file, but we are not actually making a copy at all. Instead, we're making a transcription: rewriting the information rather than duplicating it.
Instead of copying the video signal, digital duplication transcribes the numerical code that describes that signal. If you transcribe it accurately (and computers are outstanding at chores like that), you can decode the result into a daughter signal that is essentially indistinguishable from the parent.
Freedom from Noise
Noise is any disturbance in an electrical current that is not part of the signal, and every current carries a certain amount of this electrical garbage.
Since an analog dupe is an imitation, it happily copies the noise right along with the parent signal, while adding new noise in the process. That means that in each generation, the noise level relative to the signal (signal-to-noise ratio) increases and the quality decreases proportionately.
In digital recording, noise is not a problem because the signal consists entirely of current pulses carrying information like Morse code: power on = 1; power off = 0. If the voltage level of the "power on" part of the signal is well above the noise level, then the transcribing (copying) system can be set to respond only to current at that level and ignore the noise entirely. So even if the process adds a small amount of its own noise, it never copies the parental noise--nor does it pass on its own noise to the grandchildren.
The result is that digital video can be copied through many generations without appreciable quality loss. This is a massive improvement over analog video (and even over cinematic film, which is another analog medium).
Computer Compatibility
By far the biggest advantage of digital video is that a computer can process and store it. Computers are astonishingly powerful but they cannot work with pictures, or more accurately, with the continuously varying wave forms that record them. Before you can get your computer to handle or even recognize video input, you have to digitize the video.
For many years, professionals have digitized video, not only to take advantage of loss-free duplicating, but also to perform image processing. Image processing means superimposing titles, compositing multiple images, and adding effects like dissolves and wipes.
In image processing, digital is an ephemeral state: an analog signal is digitized, massaged for a few microseconds at most, and immediately reconverted to analog.
But as hard drives got bigger and faster, and as image compression techniques improved, it became possible to digitize the signal and then keep it in that form indefinitely by storing it in the computer.
Digital storage also saw the birth of nonlinear editing, with almost instant access to any footage anywhere in the computer. This advantage is so great that digital video would probably prevail over analog due to random (nonlinear) access alone.
But linear/nonlinear is that other pair of opposites, the pair that's often muddled with analog/digital. Linear and nonlinear are such important concepts that they deserve their own discussion; and, in a later Edit Suite, they'll get it.
As we said much earlier, stay tuned!
Though digital video editing has been around for at least fifteen years now, it remains almost as confusing as programming a VCR; and now it's my turn to take a whack at unconfusing the subject.
Much of the said confusion comes from muddling two pairs of opposites that actually have no inherent connection: analog vs. digital and linear vs. nonlinear.
XX Analog/digital: is the signal recorded by continuous imitation (analog) or by intermittent sampling and encoding (digital)?
XX Linear/nonlinear: is each point in the program material reachable only in the order recorded (linear) or can any point be accessed at random (nonlinear)?
Many people still think that analog video must be linear and digital must be nonlinear.
But it ain't necessarily so! A video laser disk offers random (nonlinear) access to an analog video signal and the tapes in digital camcorders are as linear as you get: to reach the last shot on the roll you gotta crank through every blessed shot ahead of it, one at a tedious time.
Stay tuned as we attack this confusion by looking closely at each pair of opposites, beginning with analog vs. digital recording. (Linear vs. nonlinear is a topic for a later column.)
Amber Waves of Gain
The first thing to remember is that an analog signal copies by imitating. Light from the camcorder lens slams into a sensor on the imaging chip, creating an electrical charge. The stronger the light, the stronger the charge, which is to say that the electrical signal is imitating the intensity of the light that produced it. Multiply this stimulus/response by several hundred thousand sensors covering all three primary colors and you have the entire optical image imitated by an electrical signal of rapidly and continuously varying voltage.
The second thing to remember is that, regardless of the recording system, all video signals start out like this, as analog wave forms. Yes, your expensive DV camcorder is creating old-fashioned analog video signals, just like the humblest old VHS clunker.
It's creating them, but not recording them, because that's where analog and digital video part company. In an analog system the continuously varying voltage magnetizes tape particles in a continuously varying pattern that mirrors the signal. On playback, the tape particles create a continuously varying output signal that (surprise!) continues to mirror the original. Every transfer of the picture information is an imitation--or, more precisely, an imitation of an imitation, with consequences that we'll see shortly.
In a digital system, by contrast, the first thing that happens to the original continuous signal is that it's fed through an analog/digital converter chip. That chip looks at the signal hundreds of thousands of separate times per second and assigns each discrete sampling a numerical value that corresponds to the strength of the signal at that precise moment in time. These numbers, rather than the signal itself, are copied and recopied throughout the rest of the process. This means that digital recording differs from analog in two crucial ways:
--It numerically encodes the information rather than electrically mimicking it, and
--It records only samples of the information rather than all of it.
These differences have consequences of their own, as we're about to explain.
But on the Other Hand...
If you believe all the hype, digital video must be as superior to analog as halogen lighting is to whale oil, right? Maybe, maybe not, because analog video enjoys three powerful advantages over its new rival: compactness, scalability and seamlessness.
Compactness
Above all, the information in analog video can be stored very efficiently and cheaply (up to two and a half hours on one $2 VHS tape at SP speed). High-quality digital video demands gargantuan amounts of storage space. For example, those fancy new video disks, DVDs (Digital Versatile Disks), must squeeze 4.7 gigabytes of data onto a single side of the disk just to fit a feature-length movie, and that's with a hefty dose of compression.
But DVD is not yet available in recordable form, so you have to use computer storage or a digital camcorder instead. Working with computer storage, my students have trouble fitting three five-minute projects on a 4.2 gigabyte hard drive.
Scalability
All video, analog and digital, tends to look sharper and clearer on a smaller screen; it's the natural result of squeezing the same amount of visual information into a smaller space. All but the highest quality digital video, however, suffers greatly from enlargement. When you blow up your digitized image onto a huge home-theater TV screen, for example, all of those invisible digital compression artifacts become quite noticeable--straight lines become jaggy, curves look blocky, etc. Analog video, on the other hand, is much better at filling larger screens with sharp-looking images.
Seamlessness
In the audio world, some purists have returned to analog (vinyl LP) recordings because they can hear the fact that digital recordings only sample the signal at intervals instead of copying the whole thing. To them, CDs sound hollow and brittle in consequence.
It could be argued that digital video suffers a similar artificiality. It's hard to describe, but look at the hyper-crispness of heavily digitized commercials and the oddly stark appearance of digital satellite broadcast. There's no doubt about it: digital video has a certain look that's distinct from analog video.
A Hands-down WinnerWith all that said, we must judge digital video to be the superior recording system for three powerful reasons: copy quality, freedom from noise and computer compatibility.
Copy QualityOut of old habit, we talk about "copying" a floppy disk or a digital video file, but we are not actually making a copy at all. Instead, we're making a transcription: rewriting the information rather than duplicating it.
Instead of copying the video signal, digital duplication transcribes the numerical code that describes that signal. If you transcribe it accurately (and computers are outstanding at chores like that), you can decode the result into a daughter signal that is essentially indistinguishable from the parent.
Freedom from Noise
Noise is any disturbance in an electrical current that is not part of the signal, and every current carries a certain amount of this electrical garbage.
Since an analog dupe is an imitation, it happily copies the noise right along with the parent signal, while adding new noise in the process. That means that in each generation, the noise level relative to the signal (signal-to-noise ratio) increases and the quality decreases proportionately.
In digital recording, noise is not a problem because the signal consists entirely of current pulses carrying information like Morse code: power on = 1; power off = 0. If the voltage level of the "power on" part of the signal is well above the noise level, then the transcribing (copying) system can be set to respond only to current at that level and ignore the noise entirely. So even if the process adds a small amount of its own noise, it never copies the parental noise--nor does it pass on its own noise to the grandchildren.
The result is that digital video can be copied through many generations without appreciable quality loss. This is a massive improvement over analog video (and even over cinematic film, which is another analog medium).
Computer Compatibility
By far the biggest advantage of digital video is that a computer can process and store it. Computers are astonishingly powerful but they cannot work with pictures, or more accurately, with the continuously varying wave forms that record them. Before you can get your computer to handle or even recognize video input, you have to digitize the video.
For many years, professionals have digitized video, not only to take advantage of loss-free duplicating, but also to perform image processing. Image processing means superimposing titles, compositing multiple images, and adding effects like dissolves and wipes.
In image processing, digital is an ephemeral state: an analog signal is digitized, massaged for a few microseconds at most, and immediately reconverted to analog.
But as hard drives got bigger and faster, and as image compression techniques improved, it became possible to digitize the signal and then keep it in that form indefinitely by storing it in the computer.
Digital storage also saw the birth of nonlinear editing, with almost instant access to any footage anywhere in the computer. This advantage is so great that digital video would probably prevail over analog due to random (nonlinear) access alone.
But linear/nonlinear is that other pair of opposites, the pair that's often muddled with analog/digital. Linear and nonlinear are such important concepts that they deserve their own discussion; and, in a later Edit Suite, they'll get it.
As we said much earlier, stay tuned!
Thursday, 22 January 2015
Mike Assingment
Aspect Ratio
Aspect ratio is an image projection
attribute that describes the proportional relationship between the width of an
image and its height. For example, movies, which are usually shot with a
wide-angle lens, have an aspect ratio that is typically 16:9, which means that
the width of the image area is almost twice its height. The traditional
television and computer display, on the other hand, are designed for an aspect
ratio of 1.33:1, which means that the width of the display area is only 1.33
times the height, almost square. The inconsistency between movie and television
aspect ratios has generally meant compromising the size or completeness of the
image when you watch a movie on a standard TV set. Many newer television
displays, such as those using HDTV technology, have a widescreen format with
an aspect ratio of 16:9.
This is a 16:9 shot
This
is a 1.33.1
Composite Video
Composite
video, is the analogue waveform that conveys the image data in a conventional
National Television Standards Committee television signal. Composite video
contains chrominance (hue and saturation) and luminance (brightness)
information, along with synchronization and blanking pulses, all together in a
single signal. In fast-scan NTSC television, a very high frequency or
ultra-high frequency carrier coaxials. Some DVD players and video cassette recorders
accommodate composite video input or output through a phono jack, also known as
an RCA connector in composite video, interference
between the chrominance and luminance information is inevitable, and tends to
be worst when the signal is weak. This is why a distant NTSC television station
at VHF or UHF, received with an old-fashioned whip antenna, "rabbit ears," or outdoor
"aerial" often contains false or fluctuating colours. Compare
S-Video.
Component Video
Component
Video is a video signal that is split into two or more component channels. It
stores information in analogue video into three separate signals.
HDMI Interface
High
Definition Multimedia Interface. Is a hardware that transfer uncompressed video
data and compressed digital audio data from HDML compliant source device. It
provides interface between audio video source, such as a set top box, DVD
player, and video monitor on digital television with a single cable. It also
supports high definition video and multi-channel digital audio on a single
cable. It support 8 channels which transmit on ATSC HDTV standards. It
digitally replaces existing analogue video.
PAL
Phase alternating line is a colour coding system for analogue
television which is used in broadcast television system. It broadcast at
625-line/50 field (25 frame) per second (5761)
NTSC
NTSC is responsible for setting Television and video
standards. The NTSC standard for television defines a composite video signal
with a refresh rate of 60 half frames (interlaced) per sec each frames contains
525 lines and can contain 16 million different colours. It’s is incompatible
with most computer video standard, which generally use RGB video signals.
However, you can insert special video adapters into your computer that converts
NTSC signals into computer video signals
Satellite is a television system that supply television
programme using broadcasting signals that relayed from communication satellites
signals through a satellite dish. On the other hand, Cable is delivered
television programme to pay subscribers, the signals is transmitted through coaxial
cables it can also transmitted by light pulses through fibre optic cables.
Internet TV is the digital distribution of television content watch on the
internet. In addition to this, can watch video through by video streaming
technology. These days you don’t need
cable service to keep up with your favourite TV shows, some TV shows are
available online. Can also watch internet TV on Netflix and YouTube. Many
nations are making big strides toward the implementation of Digital Terrestrial
Television. Digital signals provide improved reception quality, ability to
broadcast high definition, expanded channels line ups and enhanced multimedia
applications such as video on demand and entertainment services.
The
Advantages of Digital Video Recording and Editing
The greatest advantage of a DVR is that it provide you with the
flexibility, simple operation, and makes sure you do not miss a moment of your
favorite program. Because it’s constant recording, you can pause/rewind live TV
and replay favorite moments. Digital editing software allows you to use your
computer to edit video and audio. It also allows you to upload video footage
into a computer in a process called video capture. Can place clips on a
particular point on the timeline, insert a clip between two existing cliffs,
shuffle clips around. You will not miss
your favorite programed as the DVR will continue to record even if you rewind
or replay scenes. It also allows you to schedule the recording of programs up
to two weeks ahead of time.
H.264 is a new video codec standard which can achieve high quality video
in relatively low vibrates. It stream video application in real time, at rates
ranging from one quarter to half the file size of previous video formats.
MPEG.4 this is under development for multimedia content distribution networks,
it contains specifications for audio, video and interactivity. It provides good
image quality at low data rates but is still in development.
In order to undertake good quality video footage you must ensure focus,
composition, sound, sound is check to ensure that the sound is there when
recording, check must check to ensure that the video quality is good and the
white balance is right. In addition to this you do this by check the light and explore
the light if is too dark or too light, use a white blank white paper to
determine which lighting to when recording. In addition to this, This is done
by checking the white balance, the focus, composition and sound need to check
the microphone. Also, have to make sure the video is in focus to ensure that
you capture good quality recording.
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