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Joystick
A control device allowing the user to manipulate videotape on a frame-by-frame basis (jog) forward or backward at any speed from still frame to the maximum search speed of the editing system or VCR being used. The maximum speed and specific characteristics of the joystick depend on the editing system or VCR. The joystick may be in the form of a stick, knob, lever, slider, or push buttons.

Linear Video Editing
See Linear vs. Nonlinear Video Editing.

Liquid Gate
A printing method of immersing motion picture film in a liquid of the same refractive index as the base material used on the film, which tends to hide scratches and other minor defects, but will not eliminate emulsion scratches because the depth of the scratch may reveal one or more colors within the dye image layer. Liquid gate printing is also used on some film-to-video telecine systems to reduce the visibility of minor defects. topˆ

Luminance
The intensity of light: specifically, the monochrome component or the brightness potion of a video image. The symbol "Y" is used to identify the luminance signal in composite and component color systems. topˆ

Master
The original recorded material before it has been edited. Generally, master videotapes and audiotapes are recorded in production to be used later in editing (the post-production process) to generate an edited master. The master is first generation in picture and sound quality.
An original generation film to tape transfer. topˆ

Master, Edited
The final product resulting from an editing session, usually generated from original source material. Also called a second generation master, E-E or electronically edited master. Copies from edited masters are called sub-masters, protection masters, or dubs. topˆ

Monitor, Color
Displays a color video picture, usually on a cathode ray tube. Red, green, and blue phosphors can be individually excited to produce a wide gamut of colors described by near infinite combinations of hue, saturation, and luminance. Common sizes are 5", 9", 14", and 20" measured diagonally. Today’s monitors are reasonably stable, but still must be adjusted frequently in critical applications. SMPTE color bars are used for this purpose. Precise matching of monitors is difficult to achieve because of inherent variations between picture tubes. The human eye is very critical in making side-by-side color comparisons, but poor in making absolute judgments. Therefore, a color monitor is useful for continuity viewing and spotting gross problems, but is not always dependable for making critical evaluations. topˆ

 

 

 

 


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