1. RTV 151 Video
Remember to check for course outline and reading every week
(see online audio and video reading)
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2. What about you? Life is Great Life is a Challenge
Something you want to share with the class.
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3. Audio Review Textbook…
Should you jot down reminders about every one of these so you’ll know them on the test?
ABSOLUTELY
Will I go slow enough so you can write down each item on page word for word? No
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4. What examples are discussed in the chapter that fit into the category of 'digital radio'? 
Sirius XM radio
HD radio
Internet radio
Why is FM not ‘digital audio’?

5. How long did it take FM radio to earn 50% of the radio audience in the U.S.?
35 years

6. Most digital audio formats use some kind of _______ technique, which reduces the size of files.
compression

7. Eliminated ownership limits
How did the Telecommunications Act of 1996 have the biggest impact on radio?
Eliminated ownership limits

8. Nearly three-fourths of radio listening takes place where?
In the car
New owner of HD Radio plans to exploit that

9. ______ is the technology in the U. S
______ is the technology in the U.S. to transmit digital radio by way of traditional radio stations.
IBOC

10. What kind of service is that type technology (IBOC)?
HD Radio

11. Although original radio broadcasting is commonly attributed to Marconi, in 1943 the U.S. patent office confirmed (restored credit) for original radio patents from the late 1800s to whom?
Nicola Tesla

12. What is it that has been added to most smart phones by this point but not yet activated by carriers?
FM receiver

13. The 'HD' of HD Radio originally stood for ----- .
Hybrid Digital

14. Online audio reading…
dolly

15. _______ on an audio mixer allows an audio source to pass through an auxiliary VU meter to high quality speakers (the monitor) so levels can be set and audio quality evaluated, while… _______ sends the audio through the master gain control (heard through the monitor) to be recorded or broadcast.
Audition / program

16. ______ inputs handle the extremely low voltages associated with microphones, while _________ inputs are associated with the outputs of amplified sources of audio, such as CD players
Mic level / line level

17. Studio mics use cables with three-prong _______ connectors, the standard analog professional audio connector, that provides a balanced connection.
XLR / Cannon

18. _______________ (volume controls) on an audio board can be either linear or rotary in design, and may be also called ______.
Faders / pots

19. sound loudness is commonly measured in _______; when that’s a measure of acoustic loudness the term is _____
Decibels / dB-SPL

20. _______ relates to the basic pitch of a sound -- how high or low it is, the number of cycles of the sound wave that occur er second.
frequency

21. A ______ allows specific bands of frequencies to be individually adjusted for loudness.
Graphic equalizer

22. The objective study of the physical behavior of receved sound.
acoustics

23. Early reflections of indirect sound in an acoustical space are _____ and later reflections are ___________
Echo / reverberation

24. The three major polar, or pick up patterns of professional mics
Unidirectional (cardioid), bidirectional, omnidirectional

25. The three types of transducing elements in professional mics
Moving coil, ribbon, capacitor (condensor)

26. Film vs. Video Film Video
a thin flexible strip of plastic or other material coated with light-sensitive emulsion for exposure in a camera, used to produce photographs or motion pictures
Video
magnetic tape for recording and reproducing visual images and sound.
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27. Film vs.Video Film stock is the imaging device for motion picture film
CCD or CMOS is the imaging device for video
Future for film?
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28. Film 8 mm, 16mm, 35mm, 70mm Super 16 and 35 mm
Film stock--costs and processing
Film stock types: b/w or color, negative or reversal, fast or slow, tungsten or daylight
1.85:1 aspect ratio
24 fps
Sprocket holes, audio recording
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29. Magnetic Videotape Analog vs. Digital Interlaced or Progressive
Standard or High Def
4:3 or 16:9
Digital Compression Codecs
WMA, QuickTime, RealPlayer
Not ‘filming’
Future -- not tape
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30. New storage options HDD DVD / Blu Ray / Optical discs
Flash memory (built in vs. removable, like SD card)
Cloud storage
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31. Digital Recording 480 vs. 720 vs. 1080 Now UHD / 4K Contrast ratio
Megapixels
I vs. P
Lossy or Lossless codecs
Color sampling: relationship of chroma to luminance / luma
Bit depth: the number of individual 0s and 1s sampled
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32. Video Scanning Process
Pixels
Persistence of vision -- Demonstrated in online reading
Phi Phenomenon -- our brain connects and fills in the blank moments through a sequence of static images thus creating the illusion of movement.
NTSC
525 scan lines (480 used) x 640 rows
4:3 aspect ratio
30 fps interlaced fields

33. Time Code Vital to videotape Also important in syncing digital files
Important for timing / syncing
SMPTE
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34. Lenses Camera body vs. lens Zoom or fixed (prime) -- critical focus
Optical vs. Digital zoom
Diaphragm / aperture -- f-stops / t-stops / number means what?
Manual vs. autofocus
Sharp focus, Selective focus, follow focus, rack focus, soft focus, swimming focus
Depth of field is affected by focal length, aperture, and the distance of objects from the camera.
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35. Camera mounts Tripod and pedestal Crane vs. jib Dolly / track
Friction head / Fluid Head
Crane vs. jib
Dolly / track
SteadiCam vs. Handheld
Image stabilization
Robotics, follow me, Segue, ‘copter, cable mount, etc. (see online reading)
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36. Technical vs. aesthetics
What kind of camera? What kind of lighting? What kind of lens?
Consumer vs. Prosumer vs. professional cameras
How the story is told? ‘Language’ of visual storytelling -- Hollywood style, home movies style, new media style, NPPA / news style
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37. Chapter 6 – Digital TV OTT OTA MVPDs
Elsewhere: ‘connected’
Vs. ‘linear’
Sling TV: ‘live TV channels’
OTA
MVPDs
Proposed idea: merge into Internet Delivered Television, I-DTV
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38. Improving the image… 4K / UHD 3D-TV ?? HDR Imaging
High Dynamic Range
Audio? This: range between dark and light areas in image
Japan: 8K: SHV (Super High Vision)
Programming produced in what format?
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39. Digital Transition 2009, end of OTA full-power analog broadcasting
NTSC to ATSC
ATSC 3.0 soon
COFDM vs 8-VSB
Smart TVs
Evolution of displays
Evolution of cameras
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40. Chap. 10 … Film: The Beginnings

41. To set up film, we go back to earlier…
Before there was film, there was photography

42. “The greatest medium of expression...”
“The motion picture today is the greatest medium of expression the world has ever known. [It is] capable of giving life and form to all ideas, practical and emotional ...Its only limitation [is] human ingenuity.
John Seitz, ASC, 1930."
…and it all started over a bet
This is demonstrated in the online reading

43. Edward Muybridge
In 1904 Edward Muybridge, an Englishman, needed to settle a $25, bet. He believed that a galloping horse had all four feet off of the ground at the same time but others said that this was impossible. The problem was that galloping hooves move too fast for the eye to see.

44. More than just a bet To settle the bet indisputable proof was needed.
In an effort to settle the issue, he rigged a series of cameras then used a Zoetrope to show a rapid sequence of photos taken of a running horse.

45. More than just a bet
When the pictures were developed it was found that the horse did indeed have all four feet off the ground for a split-second.

46. Discovery! Why is this significant?
In doing this experiment they found out something else  — something that becomes obvious from the illustrations of the horse on the left.

47. The Illusion of Continuous Movement
When a series of still images of a moving object are viewed at a certain speed the illusion of motion is created.
In the case of Muybridge’s series of still photos, when they were presented sequentially at 0.1 second intervals they created the illusion of continuous motion.
This is Muybridge’s actual footage

48. This is Muybridge’s actual footage
The Phi Phenomenon
The Phi Phenomenon explains why, when your view a series of slightly different still photos or images in rapid succession, an illusion of movement is created in the transition between the images.
BOOK, AS IS COMMON defines this as Persistence of Vision
This is Muybridge’s actual footage

49. This is Muybridge’s actual footage
Persistence of Vision
Persistence of Vision is the phenomenon that explains why the intervals between the successive images merge into a single image as our eyes hold one image long enough for the next one to take its place.
This is Muybridge’s actual footage

50. The earliest known photograph - 1822
The First Photograph
In 1822, Frenchman Joseph Nicepce was the first to produce a basic photographic image.
But, in 1839 Louis Daguerre patented a process that could actually be considered photography.
His photos were referred to as daguerreotypes.
The earliest known photograph

51. An 1837 Daguerreotype photograph
Daguerrotypes
There were obvious problems with this process. The only way to capture images was to make metal plates light-sensitive by painting them with a liquid solution while you were in a darkroom. You would need to expose them in a camera before they dried and then return to the darkroom to develop them.
An 1837 Daguerreotype photograph

52. Film now comes in lengths up to 1000’
Celluloid
An inventor by the name of Hannibal Goodwin greatly simplified the process in 1889, when he developed a transparent, pliable film base called celluloid.
The next step was to create long strips of film where a series of still pictures could be captured in rapid succession.
Film now comes in lengths up to 1000’

53. George Eastman and Thomas Edison
Edison and Eastman
Cameras and projectors were developed that could do this at a rate of 16 frames per-second. (The rate was later moved up to 18 frames, and eventually to 24 FPS.)
A few years later, George Eastman standardized film widths for cameras and projectors to 16 and 35 mm.
George Eastman and Thomas Edison

54. Thomas Edison’s Kinetograph
Almost a Great Idea
Soon, a host of devices were invented to entertain anyone who wanted (for a price) to watch "moving images.”
Unfortunately, all of these devices had the disadvantage of only having an audience of one. A viewer would look through a peephole at a series of drawings or photos presented in rapid sequence.
Thomas Edison’s Kinetograph

55. Edison’s Kinetoscope
The Edison profits came from the sale of machines and prints, not from exhibition to the general public
From the Edison viewpoint, one machine for every viewer was more to be desired than a hundred or more viewers for every machine.
Kinetoscope Parlor in 1899

56. Who Wants to Watch a Screen?
As he had with the phonograph, Edison misjudged how the market was to develop. He thought the money was in the kinetograph and the kinetoscope; he didn’t think people would want to sit in audiences to see an image on a screen. 
Thomas Edison’s Kinetograph

57. A Costly Miscalculation
This turned out to be a major miscalculation. According to popular belief, it was the Lumière brothers in France who first did what Edison didn't want to do - to create a projector that could show motion pictures on a screen for an audience.  They called it the cinematographe.
The Lumiere Cinematographe 1896

58. The Lumieres
In 1895, the Lumieres shot a series of 30 to 60 second films that they showed in a Paris cafe and charged a one-franc admission to see.
These films covered such fascinating topics as a man falling off a horse and a child trying to catch a fish in a fishbowl.
See more in the book…

59. The Lumiere film café circa 1895
Simple Films
While the Lumière films were “actualities” shot outdoors on location, Edison’s films featured circus or vaudeville acts that were shot in a small studio before a stationary camera. In both cases the films were composed of a single unedited shot with little or no narrative content.
The Lumiere film café circa 1895
Edison: see ‘Black Maria’

60. An early US Edison “nickelodeon”
The Worst $150 Ever Saved!!
Edison eventually saw the light and devised his own camera and projector but he didn't have much confidence in the long-range value of motion pictures.
When he paid for patents, he didn't pay the extra $150 to secure the international copyright, a mistake that would cost him millions in the following years.
An early US Edison “nickelodeon”

61. Alfred Wrench’s Cinematographe 1898
Movie Machines
Meanwhile, numerous inventors from around the world introduced their own "movie machines." In fact, so many motion picture devices appeared at about the same time that no one person can truly be credited with the invention.
Alfred Wrench’s Cinematographe 1898

62. Vaudeville and The Movies!
During this time, vaudeville (small theaters that featured short dramatic skits, comedy routines, and song and dance numbers) was quite popular.
In order get one-up on the competition and fill in time between acts, vaudeville theaters started featuring short films.
A vaudeville theater in the early 1900’s

63. A vaudeville theater in the early 1900’s
Nickelodeons
As the 1900s dawned, vaudeville expanded into nickelodeons, which were small storefront-type theaters that featured films (accompanied by piano music and sound effects) along with one or two vaudeville acts.  As the name suggests, admission was only a nickel.
A vaudeville theater in the early 1900’s

64. A Booming Industry in Changng Times
As films got more popular and longer, the vaudeville acts disappeared from the nickelodeons and the motion picture theater was born - if you can call a small room with wooden benches a motion picture theater. As their popularity grew, films had to be changed often.
A nickelodeon in the early 1900’s

65. Pioneers of Film Editing
In the early days, film action resembled a short stage play. The action was continuous and uninterrupted.  This allowed a new film to be released every few days. Within a couple of years there were thousands of nickelodeons in operation leading to a worldwide boom in the exhibition of films.
Pioneers of Film Editing

66. Georges Méliès film studio circa 1905
Obviously, early studios had to turn out large numbers of films to meet the demand. The studios of the early 1900s were appropriately called "film factories."  At that time they were primarily located in New York and New Jersey but that would soon change.
Georges Méliès film studio circa 1905

67. Edidon’s “Black Maria”
The Black Mariah
Edison’s New Jersey studio was affectionately dubbed the “Black Maria”. It featured hot metal walls and an attached darkroom for processing the exposed footage.
Edidon’s “Black Maria”

68. Innovation by Accident?
Rumor has it that the whole idea of cutting from one scene to a another resulted from a director on a tight schedule. Due to a camera malfunction, a scene was lost and there wasn’t time to shoot it all over again. To keep from falling behind he left out the missing footage.
Pioneers of Film Editing

69. Editing: A Happy Accident?
After viewing "the mistake," it was concluded that the "lost" footage wasn't really necessary and the jump in action actually speeded things along. By the late 1800s, it was accepted practice to stop and reposition the camera and to cut directly to a totally different scene to tell a story.
Pioneers of Film Editing

70. An Early Epic: The Great Train Robbery
In 1903, Edwin S. Porter, an employee of Thomas Edison, shot the first narrative film, The Great Train Robbery. The film featured a dramatic story line and cross cutting between different locations and camera angles. It had 14 scenes and lasted 12 minutes, making it an epic of its day.
Pioneers of Film Editing

71. Trip to the Moon introduced Special Effects
Georges Melies
Actually, Porter “borrowed” some of his ideas from some European directors - and in particular from a Frenchman named Georges Méliès, who is credited with virtually inventing special effects with his film, Trip to the Moon. Crude by today’s standards, the film wowed audiences in 1902.
Trip to the Moon introduced Special Effects

72. The Kiss that started an uproar
One of the very first films produced in the United States, called The Kiss, was based on a scene from the stage play, "The Widow Jones." Groups tried to get the film banned because it showed a man and a woman kissing - something that moralists of the time thought was obscene.
The Kiss that started an uproar

73. The Kiss: Curious Fallout
Responding to public and political pressure of the day, the U.S. Supreme Court officially denied motion pictures the same First Amendment freedom that was being given to the press, literature, and the theater.
They used the argument that films were amusements and not artistic works.
The Kiss that started an uproar

74. Finally: The First Amendment
As a result of the Supreme Court decision, most states elected boards to make sure that films shown in their area adhered to their particular view of morality. Almost 50 years later, the Supreme Court finally reversed itself, allowing films the same First Amendment protection as other mass media.
The Kiss that started an uproar

75. Film in Transition: The Silent Era
At this point there still wasn't sound or color. Dialogue appeared as full-frame text on the screen after actors spoke their lines. Later, the dialogue was superimposed over the picture, as shown here. The advantage of this was that it was easy to dub dialogue into any language for other countries.
Subtitles ruled the theaters for 30 years

76. That’s early film
The book covers the remaining history is a summative way
Here are some modern technology main ideas…

77. Standard film and video aspect ratios are...
4:3 original Academy standard and NTSC TV standard, 16:9 HD video, 1.85:1 Hollywood standard since 1960s, 2.39:1 current anamorphic theatrical standard

78. After a Supreme Court ruling, in the 1960s the Hayes Production Code was replaced by the ----- . 
MPAA Ratings System

79. Multi-screen cineplexes
What architectural innovation in the 1960s changed the way most people see movies?
Multi-screen cineplexes

80. VFX stands for ------ and CGI stands for -------
Visual Effects, Computer Generated Imagery

81. Among then various landmark films for VFX and CGI, --- was the first live-action movie to use CGI for a length of time; was the first all CGI animated feature film.
Tron; Toy Story

82. A modern theater sound system is named after George Lucas’ debut feature film, and is not a cinema sound format but system that strives to reproduce the acoustics and ambience of the movie studio, allowing the audience to enjoy the sound effects, score, dialogue, and visual presentation with the clarity and detail of the final mastering session
THX

83. Dolby Digital 5.1 / Dolby Surround 7.1
is one of the leading audio delivery technologies in the cinema industry, and is their newest cinema audio format.
Dolby Digital 5.1 / Dolby Surround 7.1

84. Is film dead? What doe s evidence from movimakers suggest?
p. 128 evidence of use, including at least 100 movies using film in 2015

85. Digital video cameras now commonly used for moviemaking
RED Scarlet, RED Epic, Arri Alexa, Sony CineAlta F65 and Canon EOS C500 are all examples of what?
Digital video cameras now commonly used for moviemaking

86. More than 80% of movie theaters in the U. S
More than 80% of movie theaters in the U.S. no longer do what for showing movies?
Show them by projecting film; instead are using digital projectors and playback systems

87. Next…
MVPDs
Mobile media
Digital signage
Mid Term next Thursday 10/20