In the 4:1:1 systems (NTSC DV ad DVCAM, DVCPRO) the color data are sampled half as frequently as in 4:2:2. The Cr and Cb samples are considered to be co-sited with every fourth luminance sample.
YYYYCbCr format: mainstream television, consumer entertainment. 4:2:0 is the non-intuitive notation for half-luminance-rate sampling of color in both the horizontal and vertical dimensions. Chrominance is sampled 360 times per line, but only on every other line of each field. The theory here is that by evenly sub-sampling chrominance in both H and V dimensions, you get a better image than the seemingly unbalanced 4:1:1, where the vertical color resolution appears to be four times the horizontal color resolution. Alas, while 4:2:0 works well with the PAL and SECAM color encoding and broadcasting, interlace already diminishes vertical resolution, and the heavy filtering needed to process properly 4:2:0 images causes noticeable losses. As a result, multi-generation work in 4:2:0 is much more subject to visible degradation than multi-generation work in 4:1:1.
YYYYCbCrCbCr format: studio production environments, professional editing equipment, distribution and servers. In 4:2:2 systems (D-1, D-5, DigiBeta, BetaSX, Digital-S, DVCPRO50) the color is sampled at half the rate of the luminance, with both color-difference samples co-sited (located at the same place) as the alternate luminance samples. Thus, you have 360 color samples (in each of Cr and Cb) per scan line.
YYYYCbCrCbCrCbCrCbCr format: computer graphics.
The Advanced Authoring Format (AAF) is a multimedia file format that enables content creators to easily exchange digital media and metadata across platforms, and between systems and applications. The AAF simplifies project management, saves time, and preserves valuable metadata that was often lost when transferring media between applications in the past.
A Story script block with commentary (usually off-screen) recorded on top of the video material.
The MAM (Media Asset Management) and archive solution for real-time collaborative workflow, short- and long-time archive, powerful search and enterprise level access, rights management and control.
The process of capturing and registering audio-video materials and documents into the system. The source for Cinegy Ingest can be a tape, live feed or a media file from a disk or another NLE package. The result of a Cinegy Ingest session is always a Roll.
Cinegy Type template
A template of a graphic scene prepared in the Cinegy Type editor, that is used as a titler.
A single instance of essence; audio, video or both. One or more media objects each having the same start time datum and the same duration. A clip contains synchronized video, audio and tape time data elements and has an In point and Out point that are determined automatically during the ingest process (typically using scene change detection).
A container for user clips. It can be also used to browse, collect, preview and rough cut media material.
A single media object that forms a part of a clip.
A codec is a compressor/de-compressor, a bit of software or hardware that takes raw video and compresses it, and can take the compressed video and decompress it back to raw video. Codecs exist for all kinds of compressed video, including DV, motion-JPEG, MPEG-1, 2, and 4, and many others.
In Cinegy Desktop, to export the project with "handles" (additional pieces of material from left and right).
dB is an abbreviation for "decibel". One decibel is one tenth of a Bel. But the use of Bel is not usual. The measurement quoted in dB describes the ratio between the quantity of two levels, the level being measured and a reference. The absolute quantity of the signal is not relevant.
dB Full Scale. 0 dBFS represents the highest possible level in the digital gear. All other measurements expressed in terms of dBFS will always be less than 0 dB (negative numbers). 0 dBFS indicates the digital number with all digits ="1", the highest possible sample. The lowest possible sample is (for instance for 16 bit audio): 0000 0000 0000 0001. This equals -96 dB. The dynamic range is 96 dB. For 20 bit digital audio it is 120 dB and for 24 bit digital audio it is 144 dB.
A container for production-related documents stored in Cinegy Archive.
An electronic copyright protection USB device which, when connected to a computer, unlocks software functionality for certain Cinegy products or services.
DV and FireWire appear to have been developed together. The data stored on DV tape reflects the packet structure sent across a 1394 link. Certainly, the DV format and 1394 High Performance Data Bus co-evolved, in such a way that the first consumer DV camcorder in the USA was also the first 1394-equipped consumer product available.
DVCPRO, or D-7, is a DV-based format with a few subtle differences in its data stream. These changes were made by Panasonic’s engineers to improve the robustness and reliability of the DVCPRO system when compared to DV, but they do mean that certain data header bits do not conform to Blue Book standards. Thus, a direct data interchange between DVCPRO gear and DV/DVCAM gear is not possible in the same way that DV and DVCAM gear can interchange data.
Associated Press ENPS news system. Using a "mini-Cinegy" plug-in for ENPS, you have access to the Cinegy Archive database. With simple drag-and-drop, you can place clips and Sequences into the ENPS stories. The ENPS rundowns containing the Cinegy objects will appear immediately in the Cinegy ENPS playout module, ready to be played via SDI.
Edit Decision List. This is a format to communicate mainly with on-line editing hardware or some NLE video systems.
A tone control system within the Audio Recorder tool. It is aimed at reaching equalization for the voice-over recording by changing the tonal characteristics of sound via a set of controls.
SONY e-VTR is an MPEG IMX studio quality video tape recorder with the capability to interface not just over digital component interfaces but also over high-speed Ethernet connections (such as 100B-T and Gigabit Ethernet). An e-VTR also has the capability to playback Sony’s legacy, half-inch videotape material. Therefore, libraries of Betacam or Betacam SP, as well as Betacam SX or Digital Betacam program material can be converted into high quality MPEG streams for MXF encapsulation and transmission.
IEEE-1394 is a standard communications protocol for high-speed, short-distance data transfer. It has been developed from Apple Computer’s original "FireWire" proposal (FireWire is a trademark of Apple Computer). Sony calls their implementation of 1394 "i.LINK".
Graphics text block
A Story script block containing simple text.
Graphics 1…5 block
A Story script block containing information about a Cinegy Type template created via the Cinegy Type application.
Cinegy Ingest provides ways to connect several machines into the Cinegy Ingest cluster that works as a single machine combining, therefore, the power necessary to accomplish the task in real-time.
It is used on Timeline for rubber banding to adjust the volume/balance of an audio object and the opacity of a video object.
A special entry in the root of the Cinegy Desktop explorer tree, which is used to store corporate materials such as logos or countdowns, as well as internal documents. The Library folders are meant for storing the objects according to the corporate rules of organization.
Live on V1…3 block
A Story script block containing the information about Live Input items.
SMPTE 12 LTC ("litsee") is Longitudinal Timecode, a 1-volt square wave laid down either on a linear audio channel or on a dedicated timecode track. It is comparatively simple to build LTC into a VTR or to retrofit it to a VTR without timecode, as it is technically simple and requires no mucking about with the video signal itself. However, it is difficult to read during some off-speed tape motions (as when shuttling or scanning the tape) and impossible to read when the tape is paused. Back when proprietary multi-pin control cables were used to control VTR, it was important to know that "SMPTE timecode" was used. Since you had to use an external box to extract the timecode from the LTC track or the VITC line, and adherence to the standard way of recording the timecode on tape was necessary to guarantee recovery of the signal.
A creeping line which you can superimpose onto the program. You can apply a style to the marquee, as well as create and modify the styles in the marquee style editor.
In Cinegy Desktop, a piece of the original material, defined during ingest or logging session. The master clips hold all the metadata values. They always reside in a Roll, created during an ingest session and cannot be moved to another location. The user clips (or simply "clips") are only references to the master clips. Therefore, any change to the metadata in the original master clip will be propagated to all the relevant clips.
A tool for analyzing media usage and compacting usable video assets. All operations can be performed fully automatically as a scheduled process, allowing a high degree of automation and storage retention.
A tool for associating a script in RTF or TXT file format with a Roll, that provides easy and efficient Roll logging and filling it with metadata.
This is an evolving protocol for communications between Newsroom Computer Systems (NCS) and Media Object Servers (MOS) such as video servers, audio servers, still stores, and character generators. This protocol is supported and developed through cooperative collaboration among equipment vendors, software vendors and end users.
A multi-cam object containing multiple source clips of the same TV format. It enables simultaneous access to the essence from up to four cameras with synchronous real-time processing and preview.
The material exchange format, MXF, is a file format optimized for the interchange of material for the content creation industries. MXF is a wrapper format intended to encapsulate and accurately describe one or more essence "clips". These essence "clips" may be pictures, sound, data or some combination of all of these. An MXF file contains enough information to allow two applications to interchange essence without any a-priori information. The MXF metadata allows applications to know the duration of the file, what essence codecs are required, what timeline complexity are involved and other key points to allow interchange. The key to MXF is the accurate description of the essence.
News Program Manager
A rundown manager within Cinegy Desktop where News Programs are planned and Stories are created and edited.
A container for news Stories. It can be used to create, browse, collect, preview and rough cut Stories. Create Rundowns and templates for each date separately.
Near Line Storage – A digital archive of essence. This will generally be the storage for the broadcast quality essence.
The process of bringing the video material prepared in Cinegy Desktop to another system.
A special type of Roll with a predefined TV format, start timecode and duration. It is used as a temporary substitution for source essence that has not yet been ingested.
A News Program Manager panel usually used as storage for work-in-progress material.
A Story script block containing narration to be read by an anchorperson.
A Roll is a container for master clips. A Roll normally represents one ingest session, i.e. a tape, a file or a piece of live ingest.
In the past decade or so, most editing systems and most VTR have been moving to standardized serial control protocols, such as RS-422. Actually, RS-422 is a wiring and signal spec, not a protocol per se, but most of the "RS-422" equipment out there speaks the same language derived roughly from the original Sony BVU-800 control protocol, with minor variations between different machines. In such systems, timecode data flow across the same wires as the control data. It is up to the VTR to read timecode, however it is written on the tape and turned into a simple serial communications byte stream.
A standalone service that extracts items for RSS feeds from various web sites and publishes them in Cinegy Archive for later use.
The feature on Timeline allowing you to adjust the volume of the audio objects with the keyframes.
A list of Stories in the News Program to be played on-air and a News Program Manager panel containing the sorted material to be sent to air.
A template created via News Program Manager that defines the rundown(s) to be applied to the specified day of the week.
Entered information about the Story material: words of the narrator, dialogues, titles, commentaries, etc.
A string of one or more clips joined by an edit function. A Sequence may also be created but contain no clips or essence.
A basic element of a News Program. It contains scripts and media attachments covering a separate news Story.
A Cinegy news tool for creating and editing Stories.
A virtual selected segment of a clip, no new essence created.
Track destination selector.
Track enable/disable – A toggle style button on Timeline that will activate and de-activate a track. Every track on Timeline has one.
The SMPTE/EBU timecode standards define where the timecode is recorded on tape, what amplitude the signal is, the encoding of the digital data, and so on. The standard also describes the time format of the timecode (HH:MM:SS:FF, two digits each of hours, minutes, seconds, and frames), and the format of "user bits", a separate set of hexadecimal digits the actual usage of which was left up to the individual.
A module inside Cinegy Desktop meant for Sequences handling regardless of its size and complexity. Timeline contains separate tracks for video and audio material, as well as a wide range of tools for various manipulations.
A Story script block containing spoken words of those appearing on screen.
The mode of Sequence Viewer when the trimming on Timeline is performed.
Video 1…3 block
A Story script block containing the video object icon and the name of the video material.
SMPTE 12 VITC ("vitsee") is Vertical Interval Timecode – a series of black and white pulses encoded into one or two lines of the vertical interval of the video signal itself. VITC can be read even during the pause mode (as long as the VITC line in the video signal is readable), but it requires the rotating video heads to scan the tape, which is not always possible during high-speed searches or shuttles. It is also more complex to implement, since you need to switch it into the video signal.