Credits

Color Plates (CP): CP-6, Ronald J. Compesi; CP-7, Ronald J. Compesi; CP-8, Doug Jensen; CP-9, Andrew Tsonis; CP-11, Jaime S. Gomez; CP-12, Tektronix; CP-13, Avid Technology, Inc.; CP-14, Jaime S. Gomez. Chapter 1: Page 5, 1.1, Paul Costa; page 8, 1.2, Ronald J. Compesi; page 11, 1.3, National Aeronautics and Space Administration (NASA); page 12, 1.4, Ronald J. Compesi; page 14, 1.5a, Ronald J. Compesi; 1.5b, Canon U.S.A., Inc.; 1.5c, Jaime S. Gomez; page 20, 1.7, Jaime S. Gomez. Chapter 2: Pages 27–28, 2.1, Power/Rector Productions and KQED, Inc.; page 34, 2.4, Matt Chan/KPIX, page 36, 2.5, Jaime S. Gomez; page 37, 2.6, Power Production Software; pages 38–39, 2.7, Robert Tat Video Communications & Wells Fargo Bank; page 52, 2.13, FOOTAGE.net. Chapter 3: Page 61, 3.1, Ikegami Electronics (U.S.A.),Inc.; page 63, 3.2, Ronald J. Compesi; page 65, 3.4, Ronald J. Compesi; page 76, 3.9, Ronald J. Compesi; page 78, 3.11, Ronald J. Compesi; page 82, 3.12, Ronald J. Compesi; page 84, 3.13, Ronald J. Compesi; 3.14, Panasonic Broadcast and Television Systems Company, Inc.; page 86, 3.15, Jaime S. Gomez; page 87, 3.17, Jaime S. Gomez; page 88, 3.18, Ikegami Electronics (U.S.A.), Inc.; page 89, 3.19, Canon U.S.A., Inc. Chapter 4: Page 91, 4.1, Ronald J. Compesi; page 92, 4.2a, JVC Professional Products Company; 4.2b, Sony Electronics, Inc.; 4.2c, Panasonic Broadcast and Television Systems Company, Inc.; page 93, 4.3, Ronald J. Compesi; page 97, 4.4, JVC Professional Products Company; page 102, 4.5, Ronald J. Compesi; page 104, 4.6, Ronald J. Compesi; page 107, 4.8, Ronald J. Compesi; page 108, 4.9, Ronald J. Compesi; page 111, 4.10, Ronald J. Compesi; page 113, 4.11, Ronald J. Compesi; page 114, 4.12, Ronald J. Compesi; page 115, 4.13, Courtesy of Steadicam®/ The Tiffen Company; page 116, 4.14, Panasonic Broadcast & Television Systems Company, Inc. Chapter 5: Page 125, 5-4, Ronald J. Compesi; page 133, 5.8a, Panasonic Broadcast & Television Systems Company, Inc.; 5.8b, Sony Electronics, Inc.; 5.8c, Panasonic Broadcast & Television Systems Company, Inc.; 5.8d, Canon U.S.A., Inc.; page 135, 5.9a, Sony Electronics, Inc.; 5.9b, Sony Electronics, Inc.; 5.9c, Panasonic Broadcast & Television Systems Company, Inc.; page 136, 5.10, JVC Professional Products Company; page 140, 5.11, Panasonic Broadcast & Television Systems Company, Inc.; page 141, 5.12, Ronald J. Compesi; page 142, 5.13, Ronald J. Compesi; 5.14, Ronald J. Compesi; page 144, 5.16, Ronald J. Compesi; page 146, 5.17, JVC Professional Products Company; page 147, 5.18, Hitachi; page 148, 5.19, Ronald J. Compesi; page 149, 5.20, Panasonic Broadcast & Television Systems Company, Inc. Chapter 6: Page 154, 6.1, Ronald J. Compesi: page 155, 6.2, Canon U.S.A., Inc.; page 156, 6.3, Ronald J. Compesi; page 158, 6.4, Canon U.S.A., Inc.; page 160, 6.5, Ronald J. Compesi; page 161, 6.6, Ronald J. Compesi; page 162, 6.7, Ronald J. Compesi; page 165, 6.8, Ronald J. Compesi; page 166, 6.9, Ronald E. Sherriffs; page 168, 6.10, Ronald J. Compesi; page 170, 6.11, Ronald J. Compesi; page 174, 6.12, Ronald J. Compesi; page 175, 6.13, Ronald J. Compesi; page 176, 6.14, Ronald J. Compesi; page 178, 6.15, Ronald J. Compesi; page 179, 6.16, Ronald J. Compesi; page 180, 6.17, Ronald J. Compesi; page 181, 6.18, Ronald J. Compesi; page 182, 6.19, Ronald J. Compesi; 6.20, Ronald J. Compesi; page 191, 6.22, Ronald J. Compesi; page 195, 6.24, Ronald J. Compesi; page 196, 6.25, Ronald J. Compesi; page 197, 6.26, Ronald J. Compesi; page 198, 6.27, Ronald J. Compesi; 6.28, Ronald J. Compesi. Chapter 7: Page 203, 7.1, Ronald J. Compesi; page 204, 7.3, Ronald J. Compesi; page 209, 7.6a, JVC Professional Products Company; 7.6b, Ronald J. Compesi; page 211, 7.7, Doug Jensen; page 212, 7.8, Ronald J. Compesi; page 213, 7.9, Ronald J. Compesi; page 214, 7.10, Kino Flo, Inc.; page 216, 7.12, Lowel Light Manufacturing, Inc.; page 217, 7.14, Lowel Light Manufacturing, Inc.; page 218, 7.15, Ronald J. Compesi; page 219, 7.16a, Eric Crapo; 7.16b, Ronald J. Compesi; page 220, 7.17, Lowel Light Manufacturing, Inc.; 7.18, Kino Flo, Inc.; page 221, 7.19, De Sisti Lighting; page 222, 7.20, Jaime S. Gomez; page 223, 7.21, Ronald J. Compesi; page 224, 7.22, Ronald J. Compesi; page 226, 7.23, Sony Electronics, Inc.; page 231, 7.27, Ronald J. Compesi; page 234, 7.28, Ronald J. Compesi; page 237, 7.31, Ronald J. Compesi; page 241, 7.32, Ronald J. Compesi; page 247, 7.37, Ronald J. Compesi. Chapter 8: Page 257, 8.6, Ronald J. Compesi; page 260, 8.9, Ronald J. Compesi; page 264, 8.10, Canon U.S.A., Inc.; page 266, 8.11, Ronald J. Compesi; page 267, 8.12, Ronald J. Compesi; page 268, 8.13, Andre Chow; page 272, 8.15, Shure Brothers, Inc.; page 275, 8.16, JVC Professional Products Company; page 277, 8.17, JVC Professional Products Company; page 278, 8.18, Ronald J. Compesi; page 279, 8.19, Shure Brothers, Inc.; page 292, 8.22, Ronald J. Compesi; page 293, 8.23, ProTools/Avid; page 295, 8.24, ProTools/Avid. Chapter 9: Page 309, 9.2, Ronald J. Compesi; page 310, 9.3, Ronald J. Compesi; 9.4, Ronald J. Compesi; page 311, 9.5, Ronald J. Compesi; page 312, 9.6, Ronald J. Compesi; 9.7, Ronald J. Compesi; page 313, 9.8, Ronald J. Compesi; page 314, 9.9, Ronald J. Compesi; page 320, 9.10, Ronald J. Compesi; page 321, 9.11, Ronald J. Compesi; page 325, 9.12, Ronald J. Compesi; page 331, 9.14, Ronald J. Compesi. Chapter 10: Page 335, 10.1, Ronald J. Compesi; page 338, 10.4, Ronald J. Compesi; page 342, 10.5, Ronald J. Compesi; page 343, 10.6, Ronald J. Compesi; page 345, 10.8, Ronald J. Compesi. Chapter 11: Page 353, 11.1, Panasonic Broadcast & Television Systems, Company, Inc.; page 354, 11.2, Ronald J. Compesi; page 368, 11.7, Panasonic Broadcast & Television Systems, Company, Inc.; page 375, 11.9, Mackie Designs, Inc. Chapter 12: Page 377, 12.1, Ronald J. Compesi; page 378, 12.2, Panasonic Broadcast & Television Systems Company, Inc.; page 381, 12.4, Ronald J. Compesi; page 382, 12.5a, Jaime S. Gomez; 12.5b, Avid Technology, Inc.; page 383, 12.6, Jaime S. Gomez; 12.7, Jaime S. Gomez; page 388, 12.8, Media 100. Chapter 13: Page 391, 13.1, ECSU Media Services; page 395, 13.4a, Ronald J. Compesi; 13.4c, Ronald J. Compesi; page 398, 13.8, Quantel, Inc.; page 399, 13.10, Larry Whitney; page 401, 13.12, Marshall Hash; page 402, 13.13, Ronald J. Compesi; page 403, 13.14, Ronald J. Compesi; page 404, 13.15, Ronald J. Compesi; page 406, 13.16, Jaime S. Gomez; 13.17, Ronald J. Compesi. Appendix 2: Pages 421–422, Lorrae Rominger, SF Film and Video Arts Commission. Appendix 3: Pages 424–425, U.S. Copyright Office.

CP

CP-1 Color Video Camera Systems

Color video systems work with the additive primary colors of light: red, green, and blue. As light enters the lens, the color video system breaks the light into its red, green, and blue components. This can be done in two different ways. Incoming light can be passed through a prism block (see left), or a stripe filter can be attached to the face of the image sensor to break the light into its color components (see right).

CP-2 Color Reproduction

The color picture on a home television CRT receiver is created in a way similar to the camera color process. The picture tube in a television set is covered with a series of phosphorescent dots arranged in groups that consist of one red, one green, and one blue dot. The color video signal is composed of varying amounts of these three colors, depending on the scene that is being shot. When the color video signal is fed into a monitor, it triggers the electron gun at the back of the tube to scan the face of the picture tube, and it activates the red, green, and blue dots on the screen in relation to their relative strength in the signal. What you see when watching the screen is a full-color picture.

CP-3 Additive Primary Colors of Light

Red, green, and blue are called the additive primary colors of light because they can be combined to form white light as well as any other color of the spectrum. No other three colors can do this.

CP-4 Additive Secondary Colors of Light

Note how the additive primary and secondary colors of light correspond to the colors on the color bar display in CP-5.

CP-5 Color Bars

A standard display of white, yellow, cyan, green, magenta, red, and blue bars is used as a color reference to adjust video cameras and monitors

CP-6 Composite, S-Video, and Component Video Outputs on a VCR

The composite (Line Out) video output mixes together the luminance (brightness) and chrominance (color) signals. The S-Video output separates the luminance and the chrominance signals. The component video output separates the signal into its luminance (Y), blue (PB), and red (PR) color components.

CP-7 White Balance

White balance adjusts the relative intensity of the red, green, and blue camera color channels to allow the camera to produce an accurate picture in the particular light in which the subject is placed. If the principal illumination is daylight (5,600°K) and the camera’s white balance controls are incorrectly set on the indoor setting (3,200°K), the resulting picture will be too blue.

CP-8 Manipulating White Balance for Effect

White-balancing the video camera with WarmCards® will produce a warmer (redder) image than white-balancing on a standard white card. “Accurate” white balance produces a cool picture in which the blue hues are evident. Warm balance boosts the red hues to create a warmer picture.

CP-9 Image Compositing (Chroma Key)

CP-10 Contrasting Colors

Lettering that contrasts with the background is easier to read than is lettering that is similar in color to the background.

CP-11 TV Graphics

TV graphics are most effective when they use b, simple designs and contrasting foreground/background colors.

CP-12 Monitoring the Signal

a. A portable waveform/picture monitor and vectorscope is used to monitor the video signal (Textronix WFM 90).

b. A standard pattern of color bars is used as a test signal.

CP-13 Color Correction

Avid’s Media Composer nonlinear editing system provides sophisticated color correction tools for the postproduction editor.

CP-14 Storyboard

Courtesy of Jaime Gomez