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Tektronix provides test and measurement instruments, solutions and services for the computer, semiconductor, military/aerospace, consumer electronics and education industries worldwide.
DVI system software designed to play motion video and audio across hardware and operating system environments.
Industry:Entertainment
1) Video that forms a background scene into which a key may be inserted. 2) A solid colour video output generated by the background generator within a device, such as a production switcher, for use as background video in key effects.
Industry:Entertainment
A temporary, dark-colored, gelatin coating which is sometimes applied to the rear side of a photographic plate or film to reduce halation by absorbing any light that may pass through the emulsion. Non-Curl Backing: A transparent, gelatin coating, sometimes applied to the opposite side of a photographic film from the emulsion to prevent curling by balancing the forces that tend to curl the film as it is wet and dried during processing.
Industry:Entertainment
An MPEG video frame type that provides bi-directional interframe compression. B frames derive their content from the closest I or P frames, one in the past and one in the future. B frames require greater computing power to produce than I or P frames. B frames enable compression rates of 200: 1. Robust MPEG encoders employ a combination of B, I, and P frame encoding.
Industry:Entertainment
The process of recording a black burst signal across the entire length of a tape. Often done before recording edited footage on the tape to give the tape clean, continuous video and sync and to insure there is no video already on the tape.
Industry:Entertainment
A film or video technique in which an object or performer is taped against a blue-colored background. In post-production, the blue colour is electronically removed, allowing images to be combined. Also, the film industry's term for chroma key.
Industry:Entertainment
Any cel, drawing or painting used in any part of the making of a film. Many types of art created for the production of the film were not photographed, but instead acted as a guide for artists to follow. Some of the different types of production artwork are:
*Concept Art: Inspirational sketches or paintings used to establish the situations, colour choices or mood of a particular sequence. These were rendered in a wide range of media, from pastels and graphite, to watercolour and cut paper.
*Character Models: standardised renderings of characters, expressions, props and costumes. Character Designs would be created by concept artists or lead animators, and once they were approved, photograhic stats, called Model Sheets would be produced and distributed to the various departments to insure absolute consistency between the sketches of all of the artists working on a project. Hundreds of photostats would be produced from a single paste-up, consisting of various drawings trimmed and applied to a board. Sometimes animators would create their own model sheets, traced from their own or other artist's drawings.
*Storyboards: A series of sketches, similar to a comic strip, which outlines the action and dialogue in a scene. These drawings would be pinned up on a bulletin board and arranged, re-arranged and replaced as the storey took shape. Early rough storyboard sketches are referred to as Thumbnails, while more detailed drawings would be called Finished or Final Storyboard Panels.
*Layout Drawings: A detailed pencil drawing that either indicates the fielding, the character's action, or the design of the background which acts as the scenery behind the character. There are two types of layouts: Character Layouts, which outline the character's path of movement, expressions and action within the scene; and the Background Layout, which generally consists of a line drawing of the environment in which the character exists. These layouts are used as reference by the animator, and the background painter, respectively.
*Rough Animation: Drawings The original, first generation sketch by the animators in creating the movement in a scene. Roughs can be divided into three basic types: Key Drawings, which were drawn by the principle animators themselves, Break-Downs, which were drawn by both animator and his assistant, and Inbetweens which were the work of the assistant animators alone. Generally, the animator would sketch out a key drawing for every five or six frames and leave the drawings between his keys for the assistants to fill in. Once the rough animation was approved, the drawings would be delivered to the assisting department for Clean Up. Many collectors prefer roughs to clean ups, because they are often more spontaneous and full of life, and they are more likely to be the work of a lead animator. Clean-Ups Tracings of the original animation roughs which are often more detailed and refined than the drawings which preceded them. Created by the assisting department, these sketched represent the final stage of animation before the image was transferred to the cel via hand inking or xerography. These sketches often include coloured lines to indicated different ink colors, colour mark-ups to tell the painters which areas to paint which colors, and notes to the ink & paint department about parts of the character that needed to be registered to other characters or background elements.
*Color Model Cels: A cel created by the Ink & Paint Department to act as an example for inkers and painters to follow. colour models may be exact duplicates of the cels appearing in the film, or may be test models, exploring various inking techniques or colour palettes. Although many collectors assume that colour models are less valuable than cels used under the camera, this is not always the case. Since colour model cels acted as an example for the inkers and painters to follow, great care was taken to make them absolutely flawless. Cels under the camera often had flaws due to repairs or corrections quickly done in the heat of production.
*Animation Cels: The individual painting on celluloid which is photographed along with other cels and a background in a setup, creating the complete image for a single frame of film. Every cel is different, but this doesn't mean that every cel is unique. Often multiple copies of a cel were created as colour models, gifts or as Inker's Tests, which were created by the inkers in their free time to refine their technique and practise their skills.
*Background Paintings: A painting or other artwork depicting the environment in wich the character operates. First, the Background Sylist made small colour sketches called Key Backgrounds, which were created to establish the colour scheme and mood. These keys acted as a model for the other background artists to follow. Key backgrounds were also referred to as Preliminary Backgrounds. Backgrounds which were rejected or cut from the film were called N.G. Backgrounds. Although hundreds of animation drawings and cels would be required for a scene, typically there was only one background. A setup featuring a cel and background from the same scene is often incorrectly referred to as a Key Background Setup, but a more accurate description would be a Matching Background Setup. A cel and background from the same film, but not the same scene is often referred to simply as a Background Setup.
Industry:Entertainment
The individual cels that go together to make up a cel setup. Due to technical considerations, it was very rare for two or more separate characters to be included on a single cel level. Usually, each element was on its own cel, with up to a maximum of five levels to a scene. Because of the added density of the multiple cel levels, the paint colours were corrected for the discoloration caused by the plastic, making the colours on a bottom level cel much brighter than those on a top level cel.
Industry:Entertainment
A combination of two or more cels, with or without a background, which work together to form a complete image. These can be either Matching (the way the image appeared in the finished film) or Non-Matching (combinations of elements which are pleasing together, but do not appear together in the film).
Industry:Entertainment
Sheets of clear plastic, containing the images of the characters, which are placed over a background, and then photographed in succession to give the illusion of movement in the completed film. The outline of the image, whether hand-inked or xerographed, is applied to the front of the cel. The colours are painted by hand onto the back of the cel to eliminate brushstrokes. Large areas of black paint were sometimes applied to the front of the cel to reduce glare.
Industry:Entertainment
