Mar 23

Component Video, Y / C, Composite and RGB SIGNAL

Returning to the previous article we review the process of capturing the video signal.

The study's primary image capture device that we have, the human eye, is derived from technology used in man-made artifacts to take pictures. These devices, cameras, acting in the image of the human eye. At least to some extent.

We will not go to detail the process by which you can capture and focus light through optical images, as does the human eye, but they point out, roughly, how it behaves to different wavelengths that make up " color "image.

. Photoreceptor cells that are in the eye are sensitive to different wavelengths of the electromagnetic spectrum. y ultra- violetas , no son visibles por el ojo humano. Only collect the spectrum of visible radiation, obviously belonging to the colors of the rainbow, being outside, the radiation that are beyond the colors located at the margins of that rainbow, ie, infra-red and ultra-violet are not visible to the human eye.

These photoreceptor cells called rods and cones, the cones being primarily responsible for color perception. According to studies, there would be three types of cones, each sensitive to different wave logitud, namely the corresponding to the colors red (red), GREEN (green) and BLUE (blue).
That is, the eye would be an RGB device that is capable of reproducing all the basic colors of additive combinanión these three unique colors.

Now we will see whence comes the selection of these three colors as a basis for capturing images, but as we know, at first the television technology was only able to reproduce black and white images, ie luminance only collected. Gradually it developed the technology to reproduce also the color, but it was essential to make it compatible with the previous black and white TV.

Thus, the luminance signal and record the black and white TV was joined by the chrominance signal, thereby providing color information. This is the basis of the first type of video signal that we will discuss: the signal COMPONENTS.

SIGNAL COMPONENTS

Pick up the luma and chroma separately. This was done to make it compatible with the receivers of black and white TV at the time. Use the RGB tristimulus model of the human eye.
This signal is often represented as YUV, but the correct way to represent it is Y 'CBCR. es su traducción digital que es la que nos ocupa en este caso) When analog is called YPbPr (Y 'is its translation CBCR digital is at hand in this case)

Y '= represents the luma, the grayscale image. It uses the wavelength corresponding to green to form this signal. Color was chosen because the human eye's photoreceptor cells are more sensitive to such radiation. The apostrophe (') reminds us that this signal is not linear but logarithmic, which requires gamma correction (a complex issue to be discussed in later articles.

CBCR = represents the chrominance (C), the color information. The colors red (R) and blue (B) are removed mathematically (BY, RY) and ride in the signal, apart and separate from the luminance. Although a way to compress the RGB wavelengths, is a high quality signal used at the professional level.

From here, they developed other signs of inferior quality, but also efficient domestic players or electronic devices cheaper. Are the signs of S-VIDEO and composite signals.

S-VIDEO SIGNAL OY / C

This type of signal is considered inferior to the previous one but is also often called also "signal component" as the luma and chroma signals are also separated, but the difference is that the two chroma components (R and B) ride in the same signal, hence lower quality.

COMPOSITE-COMPOSITE VIDEO SIGNAL

At this signal, characteristic of almost all home video devices, the lumancia and chroma are multiplexed together. Together but are modulated at different frequencies, so the quality is much lower than the previous ones, due to interference between the signals and the loss involved include the three components in the same bandwidth.

Apart from these three video signals there is a third type that is considered superior to them all. This is pure RGB signal.

RGB

As we have seen the beginning of this article, the eye is an RGB device, therefore, a signal that mimics their behavior may more reliably reproduce the colors and their Corresponding luminance value. This signal exists, but it is commonly used to capture video, but to reproduce colors in computer systems. It is the type of signal used computer monitors, projectors and is generally reproduces color as the graphics card of your computer.

) de manera qu In Europe, the RGB signal is implemented in the SCART connector (SCART famous) so qu
and it is often found in computer outside the home players and most of the TVs, while in countries outside the European Union is not commonly used, replacing the signal for Y / C.

In the RGB system, there is no need to add a luma signal as grayscale and black and white pure form with the combination of all three colors equally.

CAPTURING THE VIDEO SIGNAL

When we start working to identify the various signals to give our camera or VTR as well as the entries we have in our video capture. We always select the best quality, presumably because our camera will record the signal at least in that format.

Apart from the analog jacks we have seen, they can go on different types of digital interfaces such as FireWire, SDI, HDMI, DVI ... that discussed in detail in later articles.

We must analyze what the video signal is the best and what is the correct interface will to introduce a signal loss on our editing system.

Mar 20

Investigating the network to adjust photographic lens video cameras home, I meet a wide range of possibilities ranging from self-made gadgets home to companies specializing in this type of devices.

And why someone would want to put your video camera photographic lens?
extrema y con un “look” muy distinto a la fria nitidez del vídeo. So in order to capture images with "texture" more cinematic, with extreme depth of field and a "look" very different from the cold sharpness of the video.
Some impressive examples taken with a Canon HV20 affordable:

The resulting monsters are similar to this:

The staff of some ingenuity has no limits and for example we can find interesting sites like Daniel's GG Holders where Daniel explains step by step how to build your own adapter with enough economic resources. It also provides pdf documents, videos and maps with all the steps to follow. And if we do not want to build it also gives us the opportunity to buy a ready-made for him.

The theory of operation is quite simple and part of the same theory telecine: 35 mm optics must focus the image on a flat surface and the camera records the image, which has all the depth of field and texture provided by the optical photo.

, que no dé reflejos, donde se proyectará una imagen (un cristal esmerilado por ejemplo). For this extension tubes placed between the video camera and the target (screwed together by means of adapters) and inside of these pipes is placed a diffuse surface, leaving no reflections, which will project an image (a crystal ground for example).
For the camera does not record the imperfections of the crystal is recommended to put a small vibrator or crystal oscillator to move continuously to be sure to see, due to motion blur, these defects.

The video camera focuses the image and with a little skill we already have our 35mm adapter. The image will be upside down because of the effect of the lens and not having the system of mirrors that inverts the image inside of reflex cameras. So solve it by adding some external LCD screen to display the image and rotate it.

For those who have no vocation McGiver and have some budget (from $ 1100 € -700) are great choices made by companies like Consolidated LETUS , CINEVATE or RED ROCK.

 

 

Mar 14

I promised and I present the first video tutorial of EfectoHD.
  • The video contains no audio, the next steps are given by on-screen titles.
  • Duration: 11 minutes (with some cuts)
  • The program language is Castilian.
  • Watch full screen for better monitoring
  • Download the materials for the tutorial here: redibujarcuadro.rar

Here you can see an application of this tutorial:

Mar 5

I guess at this point we have all heard of the camera RED ONE .
Much has been made of this mysterious chamber that is capable of recording at 4K in a compact Flash card, with a 12 Megapixel sensor and some advertised as the real oppressor of the film ... It was only about a couple of months since the first units arrived by their owners and are beginning to emerge with numerous test sites on its quality and testing.

I found it interesting this website showing how to use educational films. From how to turn to how to install batteries. Very useful for those who already are thinking about renting it for your next project.

Mar 2

We will begin a series of articles on digital video formats and their characteristics and what advantages and disadvantages have to use when editing and postproduction.

It is a broad topic and therefore it is necessary to divide it into several parts. Here is a preview of what we'll see in the following items.

, comprimida y más tarde enviada a nuestro sistema de edición, determina las posibilidades de la postproducción. The manner in which the video signal is recorded, compressed and then sent to our editing system, determines the possibilities of the post.

dependen en gran medida de la calidad de la señal que estemos tratando. The ability to extract a good chrome or the ability to run a fine color retouching depend largely on the quality of the signal that we are dealing.

y se le da salida en formatos de imagen sin pérdida , con un amplio rango dinámico y un espacio de color logarítmico (Cineon, DPX), lo que permite que la manipulación de estas imágenes en postroducción sea límpia, precisa y fidedigna. When working in film, the negative is scanned at maximum quality (2k, 4k) and given output image formats without loss, with a wide dynamic range and logarithmic color space (Cineon, DPX), allowing that manipulation of these images in postroducción is clean, accurate and reliable.

que implica algo de pérdida y casi siempre una compresión de la señal, a lo que hay que sumar un menor tamaño de la imagen. Video is not true because the collection of images always goes through a "sampling" which involves some loss, and almost always a signal compression, to which there is also a smaller image.

All this makes the video post-production is less accurate and forces us to pay close attention to image degradation due to compression issues.

To maintain the possibilities of image manipulation in digital video should always follow these principles:

  • 1-The images must have the highest possible quality we can provide the source of provenance. We must avoid signal degradation in a format capturing less than that used for recording.
  • 2-We must ensure the images are not degenerate at any point along the chain of processes applied in post. We must avoid the loss of generations and do not renders or recompression of already compressed formats.

It is therefore very important to be clear and understand how digital video formats, how to record the signal and how to provide that signal to our editing system, so that we know how to treat at all times.

This requires defining the following concepts, which we will explain in future articles: