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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