Curso Inglés 3er Nivel

8/12/2019 Curso Ingls 3er Nivel

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TTTTTELEVISIONELEVISIONELEVISIONELEVISIONELEVISIONPPPPPRODUCTIONRODUCTIONRODUCTIONRODUCTIONRODUCTION

THIRDLEVEL

ILLUSTRATED READINGS AND

SPECIAL VOCABULARY

Selection, compilation and graphics

Lic. Elio R. Garca Reyes

Quito, Ecuador.September 2007

for STI CUEST TV

Basic Knowledge of


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LEVEL3.UNIT 1.AUDIO: SOUND PICKUP (I)

ELECTRONIC CHARACTERISTICS OF MICROPHONES.Basic electronic characteristics of microphones: Sound Generating Element. Pickup Pattern.

SOUNDGENERATING ELEMENT.

All microphones transduce sound waves into electrical energy, which is amplified and reconverted into sound

waves by the loudspeaker. The initial conversion is accomplished by the generating element of the microphone.

Because there are three major types of sound-converting systems, we classify microphones according to these

three types: dynamic, condenser and ribbon.

Generally dynamic mics are the most rugged. They can tolerate reasonably well the rough handling television

microphones frequently receive, though unintentionally. They can be worked close to the sound source and still

withstand high sound levels without damage to the microphone or excessive distortion of the incoming sound

(input overload).

Condenser and ribbon microphone are much more sensitive to physical shock, temperature change, and input

overload than dynamics mics, but they usually produce higher quality sound when used at greater distances from

the sound source.

PICKUP PATTERN

Like our ears, microphones can hear sounds from all directions as long as the sounds are within its hearing range.

But some of them hear sounds better when they come from a specific direction. The territory within which a

microphone can hear well is called its pickup pattern and its two-dimensional representation is called the polar

pattern.

VOCABULARY

transduce transducir, converter verb amplified amplificado adj verb pp

reconverted reconvertido loudspeaker bocina, amplificador

conversion conversin dynamic dinmico,

condenser condensador ribbon cinta

rugged duro, rudo, resistente adj tolerate tolerar verb

reasonably razonablemente adv rough spero, bruto,

handling manipulacin though aunque conj

unintentionally no intencionalmente adv negative close cerca adv cercano adj

still an, todava adv withstand resistir, soportar verb

damage dao excessive excesivo

distortion distorsin incoming que llega, que sube, que se recibe

sensitive sensible adj change cambio sust cambiar verb

higher ms alto adj comparativo high greater ms grande adj comparative great


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ears oreja, odo hear oir

within dentro de prep hearing range rango o alcance de recepcin

better mejor adj comparative de good, well pickup pattern patrn de recepcin

sound waves ondas sonoras, ondas de sonido polar pattern patrn de polaridad

sound levels niveles de sonido input overload sobrecarga de entrada

physical shock golpe o impacto fsico sound source fuente de sonidoHOMEWORK

a) Copy the text in English.

b) Translate the text to Spanish as we made in the class.

c) Find in the dictionary ALL the meanings for these words:

Pickup

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________

.

Still

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________

d) Answer the questions:

Name the three mayor types of sound-converting systems.

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________

Describe some characteristics of the dynamic microphones.

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________

In what ways are the condenser and ribbon microphones much more sensitive than the dynamic microphones?

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________

Explain the meaning of the term Pickup Pattern when we talk about microphones.

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________


4/31

LEVEL3.UNIT 2.AUDIO: SOUND PICKUP (II)

OPERATIONAL CHARACTERISTICS OF MICROPHONES.

Microphones are classified according to their actual operation, some are used to pickup moving sounds and others

are used for stationary sound sources. Then we call them mobileandstationarymicrophones, nevertheless you

can use mobiles as stationary and the stationary can be moved if the production situation so requires.

MOBILE MICROPHONES

The mobile microphones include lavaliere, hand, boom, wireless, or RF, and headset microphones.

LAVALIERE MICROPHONES

This is the probably most often used microphone in small studio operations. The extremely small, high quality

microphone has helped to improve television audio considerably. The omnidirectional lavaliere mic, with a

dynamic or condenser generating element, is designed primarily for voice pickup. It reproduces equally well the

high-frequency overtones that give each voice its distinct character and the deep bass resonance that some voices

posses. It is relatively immune to physical shock.

HAND MICROPHONES

The hand microphone is handled by the performer. It is used in all productions situations in which it is most

practical for the performer to exercise some control over the sound pickup, as in ENG operations, where the

reporter often works in the midst of much surrounding commotion and noise.

BOOM MICROPHONES

When a production, such as dramatic scene, requires that you keep the microphone out of camera range, you need a

microphone that can pickup sound over a fairly great distance while making the sound seem to come from close up,

(calledpresence) and keeps out most of the unwanted noises surrounding the scene. The shotgun microphone fills

that expectative, it is highly directional (supercardioid or hypercardioid) and has a far reach with little or no loss of

presence. Because it is usually suspended from some kind of boom, or is hand-held and your arms act as a boom,

we call it a boom microphone. There are a few of them and will review them later.

WIRELESS MICROPHONES

In production situations where complete and unrestricted mobility of the sound source is required, wireless

microphones are used. Wireless actually broadcast their signals, therefore are called RF (radio frequency) mics or

radio mics. They come as either hand or lavaliere mics.

HEADSET MICROPHONES

Headset mics are used in special production situations, such as sports reporting, or in ENG from a helicopter or

convention event. The headset isolates you from sufficiently from the outside world so you can concentrate on

your work. Is almost identical to a regular telephone headset, except that it has a better microphone, and a split

audio feed, one earphone carries program sound and the other the information such as the directors cues.

VOCABULARY

moving sounds sonidos en movimiento seem to semeja a, parece a

stationary estacionario close up juntarse, apretarse

mobile mvil presence presencia

nevertheless no obstante, sin embargo unwanted indeseado

lavaliere tipo de micrfono mvil shotgun escopeta

boom dispositivo extensible directional direccional

wireless inalmbrico supercardioid tipo de micrfono


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RF Radio Frecuencia hypercardioid) tipo de micrfono

headset audfonos de cabeza far distante, lejos

extremely extremadamente reach alcanzar, llegar, conseguir

small pequeo, chico loss prdida

improve mejorar suspended suspendido

considerably considerablemente hand-held de mano, manual

omnidirectional omnidireccional review repaso, revista

primarily principalmente later ms tarde adverbio

voice pickup toma de voz unrestricted irrestricto, sin restriccin

equally igualmente mobility movilidad

well bien adverbio broadcast transmisin

overtones tonos altos therefore por lo tanto

distinct distinto radio frequency frecuencia de radio

character carcter, personaje, tipo sports reporting reportaje deportivo

resonance resonancia isolates aislar

immune inmune sufficiently suficientemente

exercise ejercicio, ejercitar outside afuera

some alguno, alguna concentrate concentrar

ENG Electronic News Gathering identical idnticoreporter reportero regular regular, normal, habitual

midst en medio de, envuelto better mejor comparativo

surrounding circundante split separar, escisin, rajadura

commotion conmocin audio feed alimentacin de audio

noise ruido earphone audfono

camera range rango de cmara carry llevar, transportar

fairly con justicia, con equidad directors cues ordenes del director

HOMEWORK

Copy the text in English.

Translate the text to Spanish as we made in the class.

Find in the dictionary ALL the meanings for these words:

Close up

____________________________________________________________________________________________

____________________________________________________________________________________________.

Split

____________________________________________________________________________________________

____________________________________________________________________________________________.

Answer the questions:

How we use to classify the microphones according to their actual operation?

____________________________________________________________________________________________

____________________________________________________________________________________________

List the more commons and used mobile microphones. Describe the characteristic of one of them.

____________________________________________________________________________________________

____________________________________________________________________________________________

In which production situations is more recommended the wireless microphone?

____________________________________________________________________________________________

____________________________________________________________________________________________


6/31

LEVEL3.UNIT 3.AUDIO: SOUND CONTROL (I)

CONTROLAREAS.EQUIPMENT.OPERATIONS.

The audio control facilities comprise an important part of television production. In small television stations you

can find the audio equipment in the studio control room, along with the switcher and the character generator, but in

larger operations, audio facilities are isolated, though in proximity to the program control section of the studio

control room.

THEAUDIO CONTROL BOOTH

The Audio control booth houses the audio or mixing console, several cart (audio cartridges), cassette, digital

compact disk (CD) and digital audiotape (DAT) machines, a reel- to- reel audiotape recorder, one or two

turntables, a patch panel, one or two cue and program speakers, studio talkback system, a clock and a line monitor.

Because of the many various audio productions demand in postproduction, larger stations and network operations

have still another audio production room or facility. This room, which resembles a small control room of a

recording studio, is not used for the sound control or studio shows. Rather, it serves the various audio

postproduction demands, such as adding certain sound effects to the audio track of a program, or assembling on

audio carts (music bridges, announcements, commercials) for the next days programming.

AUDIO EQUIPMENT

The major components of audio equipment are: 1) the patch panel or patch bay, 2) the audio console, 3) the

audiotape recorder, 4) cartridge, cassette, compact disk system, and 5) an audio synchronizer.

The primary function of the patch panel is connecting and routing audio signals to and from various different

points related to the production of a program. The principle of patching is the same, the use of several wires tointerconnect multiple audio sources, many of them coming from outside the program studio.

VOCABULARY

announcements anuncios mixing console consola de mezcla

assembling montar music bridges puentes musicales

audio console consola de audio network operations operaciones de red

audio equipment equipamiento de audio next days programming la programacin de prximos das

audio facilities facilidades de audio patch bay puerto de parche

audio production room sala de produccin de audio patch panel panel de parche

audio signals seales de audio patching parchar, parchando

audio synchronizer sincronizador de audio postproduction post produccin

audio track pista de audio primary function funcin primaria, principal

booth cabina program control section seccin de control del programa

cart (audio cartridges) cartuchos de audio proximity proximidad

character generator generador de caracteres rather ms bien, preferible, bastante

coming from outside que viene de afuera recording studio estudio de grabacin

commercials comerciales reel carrete

comprise comprender, constar de reel- to- reel audiotaperecorder

grabadora de audio cinta por carrete

connecting conectar, conectando resemble parecerse a

control facilities facilidades de control routing enrutar, enrutandocue speakers parlantes para dar pie sound effects efectos de sonido

demand requerir, exigir, demandar speakers amplificadores, bocinas, parlantes

digital audiotape (DAT) cinta de audio digital studio control room sala de control de estudio


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digital compact disk disco compacto digital studio talkback system sistema de intercomunicacin deestudio

house casa pero aqu es albergar,hospedar

switcher conmutador

interconnect interconectar television stations estaciones de televisin

isolated aislado turntables plato

line monitor monitor de lnea wire alambre

major components componentes principales

HOMEWORK

Copy the text in English and translate to Spanish as we made in the class.

Find in the dictionary the meanings for the new words in the text. You must find at least 40 new words.


How is organized the audio control area in large television studios?

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________

_____________________________________________________

Describe the components of the audio control booth.

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________

Explain the concept cart and in what kind of audio production it is used.

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________


8/31

LEVEL3.UNIT 4.AUDIO: SOUND CONTROL (II)

ANALOG AND DIGITAL SOUND RECORDING AND CONTROL.SYNTHESIZED SOUND AND MIDI.

You will hear much discussion about the expanded possibilities and advantages of digital recording equipment and

techniques. We can only touch upon some of the major aspects of analog and digital systems.

ANALOG SOUND RECORDING AND CONTROL SYSTEM.

Analog signal fluctuates exactly like the original stimulus (in this case variations in sound) over its entire range.

The electric sound signal is analogous to the actual sound. The problem with analog sound recording systems is

that their electronic circuits produce noise and then add it to every generation of recording. When sounds are

passed through the circuits time after time, as in successive dubbings during mixdown, the original noise in not

only dragged along but added to the new noise the system inevitably generates. Equipment is available to keep

these distortions to a minimum, (Dolby circuits and low-noise amplifiers) but even they cannot eliminate the

additive noise process.

DIGITAL SOUND RECORDING AND CONTROL SYSTEM.

In a digital sound recording system the original stimulus is translated into many on-off pulses, as in computers,

which are represented by zeros and ones (binary digits). Hence, we deal no longer with varying voltages of signal,

but with on-off pulses, or numbers, if you will. When using the digital system in recording, the digital codes can

be amplified, modified, and rerecorded over and over again without adding the noise always present in analog

systems. The original signal has a specific code, numerically different from all others, and passes through the

circuits with no change, as if they were transparent. That is why experts talk about transparency of digital

equipment.

If digital sounds consist of on-off pulses (of many combinations of zeros and ones) could the computer then

produce sounds by simply creating some of these number combinations? The answer is yes. This is exactly how

music is synthesized, that is, produced with a computer rather than with actual instruments.

SYNTHESIZED SOUND AND MIDI

We can create a great number of sounds through digital equipment, called synthesizers. Even a relatively simple

synthesizer, which you can carry under your arm, can recreate the sounds of a great number of classical

instruments (strings, woodwinds, brass, piano, organ) as well as those of electric guitars, various keyboards and

percussion instruments.

The sounds exist merely as digital impulses and not as actual analog sounds, and using a computerized synthesizer

you can create new sounds and a virtually endless variety of sound combinations.

The magic link that makes it possible to combine computers and various synthesizers and other digital sound

control equipment is called musical instrument digital interface, more commonly known as MIDI. MIDI is not a

single piece of machinery, but a concept, a standardization device that makes various digital audio equipment

work in a team, that is, have the equipment respond to a central command (usually from a computer) and interact

which each other to produce the intended sounds or sound combinations.

VOCABULARY

discussion discusin, debate represent representar

about acerca de zeros and ones ceros y unos

expanded expandido binary digits nmeros binarios

possibility posibilidad hence por lo tanto, de ah

advantages ventajas deal trato, acuerdo, lidiar, acordar, tratar


9/31

techniques tcnicas no longer no ms, nunca ms

upon ver on varying voltages signal seal de voltaje variable

aspect aspecto if you will si as lo desea, si ud lo quiere

analog analgico amplified amplificado

digital digital modified modificado

system sistema rerecorded regrabado

signal seal over and over again una vez tras otra

fluctuate fluctuar specific code cdigo especficoexactly exactamente numerically numricamente

stimulus estmulo combination combinacin

entire range rango total synthesized sintetizado

analogous anlogo synthesizer sintetizador

actual real, verdadero carry llevar, transportar, acarrear, portar

circuit circuito under your arm bajo el brazo

add agregar, aadir, sumar classical instruments instrumentos clsicos

every cada strings cuerdas

generation generacin woodwinds de viento de madera

pass pasar, paso brass metales

through a travs de guitars guitarras

time after time una y otra vez keyboards instrument instrumentos con teclados

successive sucesivo percussion instrument instrumentos de percusin

dubbings doblar, repetir merely meramente, simplemente

mixdown mezcla digital impulses impulsos digitales

drag arrastrar computerized synthesizer sintetizador computarizado

along junto con virtually endless virtualmente infinito

inevitably inevitablemente magic link enlace mgico, (conexin, vnculo)

generate generar interface interfase

available disponible piece of machinery pieza de maquinaria

minimum mnimo respond responder

Dolby circuits circuitos Dolby command mando, comando, ordenar, mandar

low-noise amplifiers amplificadores de bajo ruido interact interactuareliminate eliminar with each other con los otros, con los dems

translated traducir intend intencin

HOMEWORK


Find in the dictionary ALL the meanings for :

on _________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________


What is the main problem with analog sound recording systems? Explain. ________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________

Which is the magic link that combines computers, synthesizers and sound control systems? Explain.

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________


10/31

LEVEL3.UNIT 5.AUDIO: SOUNDCONTROL (III)

TIME COMPRESSION AND EXPANSION.INTERCOMMUNICATION SYSTEMS.

Time compression and expansion enable you to replay recorded video faster or slower without altering the original

pitch of the audio. Pitch distortions can be corrected with a time compressor. Conversely, the time compressor

also allows you to shift the pitch of a tone without affecting the speed of the sound piece. Time compressors can

be analog or digital, the last one are more efficient and introduce less noise.

The time compressor is extensively used in adjusting a videotape or film to existing log time slots, without editing.

If, for example, you have a commercial that runs for thirty one seconds, and the log shows that you have only

twenty eight to play it, you can program the time compressor so that it plays the commercial at a slightly

accelerated speed to make it fit, and you do not need to edit the commercial again.

Some commercials are purposely edited to be a few seconds longer than planned and then are compressed in the

final dub to the intended broadcast length. That way, more material is filled into a given time period.

INTERCOMMUNICATION SYSTEMS

The intercommunication system (intercom system) is the lifeline in television operation. It provides voice

communication among all production and engineering personnel involved in a production. With a functioning

intercom, the director, for example, can give cues to many members of the production team, triggering a variety of

actions. With the increase in ENG/EFP activities, the need for communication among the teams working at a

remote location, and between them and the studio, has put more demands on the intercom system. The growing

use of news correspondents in various cities in the country and overseas necessitates complex and expanded

intercom systems. We talk about three major types of intercom systems 1) studio intercom system, 2) field

intercom systems, and 3) extended intercom systems. Now we will briefly discuss studio intercom system.

STUDIO INTERCOM SYSTEMS.

Most studios have a variety of intercom systems serving a specific communication task. The most common are the

PL, the IFB (Interruptible Feedback), and the SA (Studio Address) Systems.

In small stations, the private or phone line, (PL)system is used. All production and engineering personnel who

need to be in voice contact with one another wear standard telephone headsets with one small earphone and a small

microphone for talkback. Each major production area has one or several intercom outlets: one for the camera

operator and the other for the floor manager or another member of the floor crew. Larger studios employ a

wireless intercom system for the floor personnel. Some systems provide a small earplug, instead of the

cumbersome headset, and a small pocket receiver/transmitter. Some shows require a simultaneous feed of program

sound and control room signals. In such cases it is used a double headset in which one of the two earphones carries

the intercommunication signals and the other the program sound. In most television operations, production and

engineering crews use the same intercommunication channel, which means that everyone can be heard by everyone

else. However, most intercom systems have provisions for separating the lines for different functions. Modern

studios and remote trucks can hold twelve or more separate intercom channels.

VOCABULARY

accelerated acelerado introduce introducir

adjusting ajustar, ajustando less menos

affecting afectar, afectando lifeline lnea vital, cordn umbilical, sustento

allow permitir longer ms largo


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altering alterar, alterando make it fit ajustar, hacer que quepa

among entre member miembro

briefly sumariamente, brevemente news correspondent corresponsal de noticias

compression compresin noise ruido

conversely por el contrario outlet toma de salida, conector salida

cue pie, entrada overseas extranjero, (en el; al )

cumbersome engorroso, molesto phone line lnea telefnica

discuss discutir, analizar pitch tono (msica, sonido)

double headset sistema con doble audfono planned planeado

earplug audfono lobular pocket receiver/transmitter receptor-transmisor de bolsillo

efficient eficiente private line lnea privada

employ emplear production team equipo de produccin

enable habilitar, permitir provisions provisiones

everyone todo el mundo purposely decididamente, a propsito

everyone else todos los dems put more demands incrementar demandas

expansion expansin remote trucks camin de remoto

extensively considerablemente, cuantiosamente shift desplazamiento, mover

faster ms rpido slightly ligeramente

feed alimentar, alimentacin slower ms lentofilled lleno speed velocidad

final dub copia final, copia de transmisin Studio Address System Sistema direccionado a Estudio

floor crew equipo de piso, de estudio talkback intercomunicacin al estudio (total)

floor manager jefe de piso, de estudio task tarea

floor personnel personal de piso, de estudio the need la necesidad

growing crecimiento, creciendo time period perodo de tiempo

hold sostener, contener, tener, mantener time slots espacios de tiempo

however sin embargo, no obstante tone timbre (sonido), tono (color)

in such cases en tales casos triggering disparar, iniciar

increase incrementar, aumentar voice contact contacto de voz

instead en vez de wear usar, ponerse, vestirintercommunicationsystem

sistema de intercomunicacin with one another con otro (a) persona

Interruptible FeedBack retorno interrumpible

HOMEWORK


Find in the dictionary ALL the meanings for the word pitch.

________________________________________________________________________________________

____________________________________________________________________________________________


Which is the main use of time compression techniques? Explain. _______________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________

Explain the concept intercom system, how it works and what provides in television production.

____________________________________________________________________________________________

________________________________________________________________________________________________________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________


12/31

LEVEL3.UNIT 6.

VIDEO RECORDING SYSTEMS.(I)

11.1.288VIDEOTAPE RECORDING SYSTEMS.HOWVIDEOTAPE RECORDINGWORKS.

Videotape recording systems are categorized by the way they are used or by their electronic processes.

OPERATIONAL SYSTEMS (VTRS,MULTIPLE VTRS,ISO-CAMERAS).

Operational systems include the single VTR, multiple VTRs, and iso cameras. Single VTRis the simplest way to

record from the output of a video camera. Multiple cameras are also taped in a single VTR from the line out of the

switcher. Most ENG/EFP and studio shows are taped by a single VTR. Also camcorders have single VTR

attached to the camera. Multiple VTRsare used either for protection of the line-out material or for recording the

program material provided by the isolated (iso) camera o cameras. Isolated, or iso, camerais very much like a

normal live-on-tape show, where the pictures from the two or more cameras are selected by the switcher, whichthen sends its output to a single VTR.

ELECTRONIC SYSTEMS.

Videotape is similar to the audiotape recording process: the electronic impulses of the video and audio signals are

recorded on the plastic tape by magnetizing its iron oxide coating, mainly different in the amount of information to

be recorded. We can divide the videotape recording systems into three groups: 1) analog and digital, 2)

composite, Y/C and component, and 3) tape formats. These groups are not mutually exclusive, but they merely

distinguish one videotape system from the other.

ANALOG AND DIGITAL SYSTEMS.Analog Systems record the continually fluctuating video signal as created and processed by a video source on

videotape and retrieve the recorded information as identical continually fluctuating signal from the videotape.

Digital Systems convert the analog video signals by sampling (selecting parts of) the scanned image and

translating it into millions of discrete, fixed, values the pixels. Each pixel has its own color (hue and saturation)

and luminance (grayscale) values which are expressed as numbers (series of zeros and ones). These numbers are

then stored on, and retrieved from, videotape or other memory devices, such as large-capacity computer disks.

VOCABULARY

amount of information volumen (monto) deinformacin

luminance luminancia

analog and digital analgico y digital magnetizing magnetizar, magnetizando

analog system sistema analgico mainly principalmente

attached fijado, sujetado memory device dispositivo de memoria

camcorder cmara acoplada con grabadora merely simplemente

categorize categorizar multiple VTRs VTRes mltiples

component componente mutually exclusive mutuamente excluyente

composite compuesto operational system sistema operacional

computer disk disco de computadora pixel picture element pi-x-el

continually fluctuating fluctuacin continuada program material material de programa

convert convertir protection proteccindigital system sistema digital provided provisto part pasado

discrete discreto, distinto, separado retrieve recuperar, devolver


13/31

distinguish distinguir sampling (selecting partsof)

mtodo para discriminar valoresno determinantes

divide dividir saturation saturacin

electronic impulses impulsos electrnicos scanned escaneado

EFP electronic field production send enviar

expressed expresado part pasado simplest superlativo de simple

fixed fijo single VTR una sola, (nica) VTR

from the two or more de uno (a) o ms stored almacenado part pasado

grayscale escala de grises studio shows programas, espectculos enestudio

hue tinte, color, tonalidad such tal

identical idntico tape formats formatos de cinta

iron oxide coating recubrimiento de xido dehierro

taped grabado part pasado

isolated (iso) iso por isolated, aislado, (a) translating trasladando

large-capacity gran capacidad values valores

line out of the switcher de la salida del conmutador very much like muy parecido

line-out material material de salida video and audio signals seales de video y audio

live-on-tape show espectculo en vivo que segraba Y/C Y luminancia, C crominancia

HOMEWORK

Copy the text in English and then translate the text to Spanish as we made in the class.


How can be categorized video recording systems?

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________

Which groups include the operational classification of video recording systems?

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________

When talking about electronic video recording systems, in which groups you can divide them?

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________

Explain the difference between analog video recording systems and digital video recording systems?

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________


14/31

LEVEL3.UNIT 7.VIDEO RECORDING SYSTEMS.(II)

11.1.294OPERATIONAL CONTROLS AND FUNCTIONS.ANALOG AND DIGITAL SYSTEMS.

PLAY

,S

TOP,R

ECORD,PAUSE

,F

ORWARD,R

EWIND.A

UDIOV

OLUMEC

ONTROLS.

STANDBY.SEARCH OR SHUTTLE.TRACKING.AUDIO MONITOR.AUDIO DUB.

The most basic controls you find on every VTR, regardless of type or sophistication, are the play, stop, record,

pause, forward, and rewind buttons. The more sophisticated VTRs have these additional controls: standby, search

or shuttle, tracking, audio monitor, and audio dub. Standbykeeps the video head rotating, the tape remains

threaded but is still stationary.Pausemeans that the tape has stopped with the heads still moving. The rotating

heads will continuously scan their adjacent video fields and produce a freeze frame on the video monitor or

camera viewfinder. This function is to be used only in short periods of time; otherwise you can damage the tape

and clog video heads. Thesearchorshuttlecontrollets you advance or reverse the tape faster than recording or

play back while seeing recognizable images on the monitor. In the same knob you can switch to obtain ajoggingeffect, which means you can roll the tape forward or reverse in a frame by frame basis. The trackingcontrol

adjusts the speed of the head drum motor slightly to align the playing machine with the tracks of the recording

machine. This could be the only way to fix the problem when you find tracking errors, usually associated with

malfunction of recorder in camcorders.

Audiocontrolsinclude the track selectionthat is to receive or play back a specific sound feed, a volumecontrol,

and a VU monitoring for each audio channel. The audiodubcontrol lets you record sound information without

erasing the pictures already recorded in the video tracks.

The eject buttonreleases the videotape cassette from the machine.

INPUTS AND OUTPUTS.

All VTRs have a variety of input/output jacks. The most important ones are the video input (camera or any other

video feed) and video output (to other VTRs for editing, and to monitor or television set). Most consumer VTRs

have an RF (radio frequency) output which lets you use the regular RF (antenna) input of your home TV set.

Professional VTRs have different ways to input/output the video signals, some of them related to manufacturer

and a special quality classification. All of them have a composite output, which means that the composite video

signal is carried through out. Super VHS (SVHS) operates with and additional Y/C output (also called separate

video or S-Video) which carries separated Y (luminance, brightness level) and C (chrominance, hue and

saturation). Betacam SP systems deliver the video signal in components, which means there is an output for the

red color, one for the green color, and one for the blue color, giving the best quality of all.

VOCABULARY

additional adicional pause pausa

adjacent adyacente periods of time perodos de tiempo

adjust ajustar play reproducir

advance avanzar, adelantar, progresar,avance, adelanto, progreso

professional VTR VTR profesional

align alinear receive recibir

associated asociado participio pasado recognizable reconocible

audio controls controles de audio record registro, grabacin, grabar,

registraraudio dub doblar el audio regardless sin importar que,

audio monitor monitor de audio regular RF (antenna)input

entrada regular de antena (radiofrecuencia)

Betacam SP Betacam superior performance release liberar, soltar, entrega


15/31

C (chrominance,hue andsaturation)

crominancia, (incluye tinte ysaturacin)

remain permanecer, quedar, restar

cameraviewfinder

visor de imgenes en la cmara reverse reverso, retroceso, retroceder

classification clasificacin rewind rebobinar

clog video heads cabezales de video atascados,bloqueados (sucios)

RF (radio frequency)output

salida por RF (radio frecuencia,video y audio juntos)

components componentes (se refiere a R, G yB) RGB red, green andblue color componentes de la seal devideo

composite output salida por compuesto roll rodar, rollo

composite videosignal

seal de video compuesta scan otear, escanear

composite Y, C y Sync, sincronizacin enuna sola seal (NTSC)

search buscar, bsqueda

consumer VTR casetera domstica seeing ver, viendo

continuously continuadamente, continuamente separate video or S-Video

video separado (S-Video) serefiera a Y/C

deliver entregar, repartir short corto

drum tambor (pieza del sistema degrabacin en las VTR)

shuttle transbordador, conexin,

each cada (repartiendo) sophisticated sofisticadoeject expulsar sophistication sofisticacin

erasing borrando, borrar standby estar en espera, estaraguardando

fix arreglar, componer, fijo stop parar, detener

forward hacia delante stopped detenido, parado, participiopasado

freeze congelar, congelado super VHS (SVHS) sper VHS (super video homesystem)

function funcin switch conmutador, conmutar

home TV set receptor de TV domstico the best quality la mejor calidad

in a frame byframe basis

en base a cada cuadro threaded enhebrado, enroscada, ensartado

input/output jack conector de entrada / salida track selection seleccin de pista

jogging trotador tracking sistema de control de pulsos desincronismo en video

knob pomo de puerta (se asocia por elparecido del control)

tracking error error de sincronismo (en video)

malfunction fallo tracks pistas

manufacturer fabricante video head cabezal de video

motor motor volume control control de volumen

obtain obtener VU monitor monitor de unidades de volumen(volume-unit)

only way nica va, nico camino while mientras

operate operar Y (luminance,brightness level)

Y luminancia, nivel de brillantez

otherwise de otra manera, de lo contrario Y/C output salida por Y/C

Homework

a) Copy the text in English and then translate the text to Spanish as we made in the class.

b) Answer the questions:

1) Enumerate all the controls that usually you see in the modern VTRs? __________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________

2) Describe the components of the composite and the component video signal.

____________________________________________________________________________________________

____________________________________________________________________________________________


16/31

LEVEL3.UNIT 8.

VIDEO RECORDING SYSTEMS.(III)

11.2.316ELECTRONIC STILL STORE SYSTEM.(ESS).FILMS AND SLIDES.

The electronic still store (ESS) system is, in effect, a large slide collection that allows you to access any one of the

slides within about one tenth of a second. The ESS can grab any frame from various video sources (camera,

videotape, film, slide) and store it in digital form on a disc. Some of the ESS systems can store on their discs

packs almost 100 000 stills, with immediate random access to each of them at any time. If the stills are taken from

an actual sequence, you can play back the sequence in slow or fast motion or in real time. Each still has its own

address (file name) and can, therefore, be accessed randomly and instantly during the production or by the master

control computer. Large-capacity graphics generators work similarly with titles and a limited amount of stills,

such as the vital statistics of sports people or people in the news.

Some of the older disc systems were quite allergic to moisture, dust, and even smoke. When even slightly damp

or dirty, the system did not produce the desired selection. Although, up-to-date equipment is much less sensitive to

such contamination, it is still a good idea to keep such still store systems meticulously clean.

VOCABULARY

ESS electronic still store large-capacity graphicsgenerators

generadores grficos de altacapacidad

a limited amount una cantidad limitada master control computer computadora del control maestro

access any one accesar a cualquier (a cualquiera) meticulously meticulosamente

allergic alrgico moisture humedad

although no obstante, sin embargo much less mucho menos

any frame cualquier cuadro older ms viejo

at any time en cualquier momento on a disc en un disco

clean limpio, limpiar people in the news gente de las noticias

contamination contaminacin quite bastante

damp hmedo random access acceso aleatorio

digital form formato digital randomly aleatoriamente

dirty sucio real time tiempo real

discs pack paquete (arreglo) de discos similarly similarmente, de forma similar

dust polvo slide collection coleccin de diapositivas

electronic still storesystem

sistema de almacenamientoelectrnico de imgenes fijas

slow motion cmara lenta

fast motion cmara rpida smoke humo, fumar

file name nombre de fichero sports people gente del deporte, deportistas

grab capturar, agarrar stills imgenes fijas

immediate inmediato to each of them a cada uno (una) de ellos (ellas)

in effect de hecho up-to-date actualizado

instantly instantneamente various video sources diferentes fuentes de video

is still a good idea todava (sigue siendo) una buenaidea

vital statistics estadsticas vitales, personales

its own address su propia direccin within about one tenth of a

second

en (alrededor de) un dcimo (una

dcima) de segundo


17/31

HOMEWORK



1) What means ESS system?____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________

2) How many stills can be stored in modern ESS systems and how fast you can retrieve stills to use them in

postproduction or to be broadcasted?

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________

3) From what sources can ESS systems grab stills to be stored in their discs?

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________

4) What and how can affect ESS systems discs?

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________


18/31

LEVEL3.UNIT 9.POSTPRODUCTION EDITING.(I)

12.1.321EDITING FUNCTIONS.

Editing is done for different reasons. Sometimes, you need to arrange your shots so that they can tell a story.

Another time you may have to cut out all extraneous material to make your story fit a given time slot, or you may

want to cut out the shot where the talent named the wrong product or substitute a close-up of the product for the

uninteresting medium shot. These different reasons are called editing functions. There are four basic functions: 1)

combine, 2) trim, 3) correct, and 4) build.

COMBINING.

The simplest editing is when you combine program portions by simply hooking the various videotaped pieces

together in the proper sequence. For example, most soap operas are shot in long, complete scenes with a

multicamera studio setup, and later combined in postproduction.

TRIMMING.

Many editing assignments involve trimming the available material to make the final videotape fit a given time slot

or to eliminate all extraneous material. As an ENG editor you will find that you often have to tell a complete story

in an unreasonably short amount of time and that you have to trim the material to the minimum. Trim is also

when you add or subtract frames from a designated editing point.

CORRECTING.

Much editing is done to correct mistakes, either by cutting out the unacceptable portions of the scene or the bad

takes or by replacing them with good ones. This type of editing can be quite simple but it can also become quite

challenging, especially if the retakes do not fit the rest of the recording (mismatch of color temperature,

background sounds, field of view changes).

BUILDING.

The most difficult and the most satisfying editing assignments are when you can build a show from a great many

takes. Postproduction is no longer ancillary to production, but constitutes the major production phase. All the

transitions are created in postproduction, the sound effects added (traffic, off-camera voices, car door opening and

so on). The show is literally built shot by shot.

VOCABULARY

ancillary auxiliar named llamado, nombrado

another time otra vez, otra ocasin off-camera fuera de cmara

arrange ordenar, organizar phase fase

assignments trabajos, encargos portions porciones, partes

backgroundsounds

sonidos de fondo quite simple bien simple, bastante simple

bad takes tomas defectuosas, malas reason razn

build construir replacing remplazar, remplazando

car door opening sonido de puerta de carro que se abre retakes tomas repetidas, repetir lastomas

challenging retador satisfying satisfaciendo

close-up encuadre cercano shot tiro

combine combinar shot by shot plano a planoconstitute constituir simply simplemente

correct corregir, correcto soap operas novelones

mistakes errores substitute sustituto, sustituir

cut out eliminar subtract restar, sustraer


19/31

designated designado traffic trfico

editing functions funciones de edicin transitions transiciones

editing point punto de edicin trim recortar, reducir

either bien o bien (optar entre dosposibilidades)

unacceptable inaceptable

extraneous extrao, ajeno uninteresting sin inters

fit a given time slot ajustarse a un espacio de tiempo dado unreasonably irrazonable

hooking enganchando, enganchar with good ones con unos (unas) buenos (as)literally literalmente wrong product producto equivocado

medium shot encuadre medio wrong mal, errado

mismatch of desmacheo, no correspondencia

HOMEWORK



1) Editing is done for different reasons. Name all of them.

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________

2) Explain the function combining.

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________

3) Explain the function trimming.

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________

4) Explain the function correcting.

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________

5) Explain the function building.

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________


20/31

LEVEL3.UNIT 10.

POSTPRODUCTION EDITING.(II)

12.1.324EDITING SYSTEMS.CONTROL TRACK AND TIME CODE EDITING.

Before doing actual editing, you should know at least some of the basic tools available. Because the editing

equipment consists of various machines that interact with one another, we use the term editing system, in other

words, we mean interacting pieces of editing and editing control equipment.

SINGLE-SOURCE,EXPANDED SINGLE-SOURCE.MULTIPLE SOURCES.

The most basic single-source editing system contains a source VTR and monitor and a record (or edit) VTR and

monitor. The transitions at the edit points are necessarily cuts only. Such an editing method is anything but

precise. To make professional editing you need the help of an editing control unit, also called edit controller.

The expanded editing system employs an audio mixer for adding additional audio, and sometimes a special effects

generator and a switcher to add titles and simple graphics to the edit master tape material.

The multiple-source editing system consist of two or more VTPs (generally labeled with letters), a single VTR,

and an editing control unit, and usually also includes an audio mixer, a switcher, and special effects equipment.

LINEAR AND NONLINEAR SYSTEMS.

Linear editing system do not provide random access to the source material, but instead access to material serially,

which means you need to roll through shots 1 and 2 before reaching shot 3. Non linear editing system is based in

the use of a computer, with the video for editing stored on a high capacity hard disk, from where you can access

randomly and immediately to any shot or even any frame of each shot.

CONTROL TRACK AND TIME CODE EDITING.

PULSE-COUNT.SMPTE/EBUTIME CODE.

The control track marks each frame of recorded videotape material. So you can locate specific in and out points

(frames) with greater accuracy than simply by looking at the video pictures. Control tracking edition is also called

pulse-count editing. The editing control unit counts the pulses of every machine, from the beginning of the tapes

and indicates the reading as elapsed time (hours, minutes, seconds and frames, 00:00:00,00).

The SMPTE/EBU (Society of Motion Picture and Television Engineers/European Broadcasting Union) Time

Code is an electronic signal that provides a specific and unique address for each electronic frame. The address is

recorded on an audio track, a special address code track of the videotape, or integrated into, or recorded alongside,

the video signal. It can be displayed in elapsed time and frame number (just as pulse-count system)

VOCABULARY

adding aadiendo, aadir interacting pieces piezas interactuantes

alongside junto a, al lado de is anything but precise es cualquier cosa menospreciso

also called tambin llamado is based in the use se basa en el uso

audio mixer mezcladora de audio know at least saber al menos

basic tool herramienta bsica labeled etiquetado, a; identificado, a

but instead sino en cambio, en cambio linear lineal

code track pista de cdigo locate emplazar, ubicar, situar

control track pista de control mark marca, marcar

count the pulses contar los pulsos necessarily necesariamente

cuts only solamente cortes non linear no lineal

EBU European Broadcasting Union professional profesional


21/31

edit controller controlador de edicin serially de forma (manera) seriada

edit points puntos de edicin single-source fuente nica

editing control unit unidad de control de edicin SMPTE Society of Motion Picture andTelevision Engineers

editing system sistema de edicin source material material fuente

elapsed time tiempo transcurrido special effects generator generador de efectosespeciales

graphics grficos such an editing method un mtodo de edicin talgreater accuracy mayor precisin switcher suitcher, conmutador

hard disk disco duro the video for editing el video para editar

immediately inmediatamente time code cdigo de tiempo

in and out points puntos de entrada y salida titles ttulos (en este contexto estextos)

in other words en otras palabras VTPs reproductoras de videocintas

indicate the reading mostrar la lectura we mean queremos decir

integrated integrado

HOMEWORK

a) Copy the text in English.

b) Translate the text to Spanish as indicated in the class.

c) Answer the questions:

1) Describe the different equipment that are involved in the single-source editing system.

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________

2) Explain the differences between linearand nonlinearedition.

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________

3) What is the meaning of time codeand how it is used during edition?

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________


22/31

LEVEL3.UNIT 11.POSTPRODUCTION EDITING.(III)

12.1.332EDITING MODES.EDITING PROCESS.

Editing can be done in two different ways, called modes: assemble and insert editing and on-line and off-line

editing.

ASSEMBLE,INSERT.

Simple VTRs do not give a choice for editing and you can only work in the assemble mode. Most professional

VTRs let you switch between the two modes.

When in the assemble mode, your record VTR will erase everything on its tape (video, audio, control and address

track) just ahead of copying the material supplied by the source VTR.

When you edit in insert mode, you do not transfer the control track from the source videotape to the record

videotape. If you use a new, blank tape for your edit master tape, you must first lay a control track by recording

black on it. The insert mode allows you to set edit-in and edit-out points. Insert mode allows you to replace video

or audio contents of your program, exactly in the time you need.

ON-LINE,OFF-LINE.

This classification has been always imprecise and confusing. At first, off-line editing referred to the use of

nonbroadcast equipment, and therefore on-line was used to indicate broadcast equipment. When the editing is done

with the sole purpose of serving as a guide for the final editing, very much like the rough-cut in film editing, it is

called off-line, but when the editing process ends in the final version, for broadcast or other forms of presentation, it

is called on-line. In our days you can use too on-line for that editing process that occurs simultaneously with the

creation-broadcasting of the video material, ready to be taped or aired. A few years ago, not too many, there was not

such video enhancing devices to fulfill the real time of broadcasting, and character generators, graphic generators

and special effects generators were used only in off-line editing.

EDITING PROCESS.

The entire editing process happens in several steps or phases: the shooting phase, the review phase, the decision-

making phase, and the operation phase.

SHOOTING,REVIEW,DECISION-MAKING AND OPERATIONAL PHASES.

Much of the editing is already determined by the way the material is shot. Our advice is: the time wasted in

planning the shots, is retrieved when editing. The review phase is used to look the material and log the various

shots and scenes. This is also a moment to use the time in your behalf. Reviewing is cheaper than overworking

during the operational phase, where more people and equipment are involved. The decision-making phase involves

your selection and sequencing of shots within the context of the total story and communication purpose. You finish

this phase when the EDL (edit decision list) is ready, that is why this is known too as paper-and-pencil editing. If

all the preceding phases were well-worked you do not have to worry too much about the final phase. Operational

phase sometimes means a lot of work, because this is the actual editing, but you are having all under control,

everything planned, and can take the challenge of the unexpected with a clear mind.

VOCABULARY

a few years ago hace algunos aos not too many no muchos

advice consejo, aconsejar off-line fuera de lnea

ahead adelante, delante, por delante on-line en lnea

assemble montar, ensamblar, unir overworking trabajar en exceso


23/31

blank tape cinta en blanco, (sin usar) paper-and-pencil papel y lpiz

by the way por la forma, a propsito preceding precedente

cheaper ms barato ready listo

choice seleccin, eleccin, alternativa recording black grabar negro

clear mind la mente despejada, clara replace reemplazar

confusing confuso retrieved recuperado, recuperar

edit-in point punto de entrada rough-cut corte bruto, primer corte

edit-out point punto de salida sequencing secuenciar, secuenciando

EDL (edit decisionlist)

lista de decisin para la edicin serving as a guide sirviendo (servir) de gua

erase borrar take the challenge aceptar el reto

film editing edicin de cine the sole purpose el nico propsito

fulfill cumplir, realizar, sentirserealizado

to be aired para ser transmitido

happen ocurre, sucede to be taped para ser grabado

imprecise impreciso transfer transferir

in your behalf en tu favor, en tu nombre under control bajo control

insert insertar unexpected inesperado

lay dejar, poner waste gastar, residuo, desgaste,derroche

modes modos within the context dentro de (un, el ) contexto

nonbroadcast no transmisible worry preocupacin, preocuparse

HOMEWORK

Copy the text in English and then translate the text to Spanish as we made in the class.


Name the different editing modes and explain Assemble and Insert.

_____________________________________________________________________________________________

_____________________________________________________________________________________________

__________________________________________________________________________________________

How many phases you can distinguish in the editing process?

_____________________________________________________________________________________________

_____________________________________________________________________________________________

__________________________________________________________________________________________

Do you think the way you shoot the video material can influence in the editing process?

_____________________________________________________________________________________________

_______________________________________________________________________________________________________________________________________________________________________________________


24/31

LEVEL3.UNIT 12.POSTPRODUCTION EDITING.(IV)

12.2.348BASIC TRANSITION DEVICES.MAJOR EDITING PRINCIPLES.

Whenever you put two shots together, you need a transition between them, a procedure that leads us to perceive

the two shot specifically related. There are four basic transitions: the cut, the dissolve, the wipe, and the fade.CUT.DISSOLVE.WIPE.FADE.

The cut is an instantaneous change from one image (the last one from a shot) to another (the first one from the

next shot). It is basically used for the clarification and intensification of an event. The main reasons for using a

cut are: a) to continue action. The camera can no longer follow the action and you cut to another shot that

continues the action, b)to reveal detail: cut to a closer shot, c)to change place and time: from an interior to the

street, from daylight to the darkness of the night, d)to change impact: to closer shot, intensifies the event impact,

to longer shot, reduces it, e)to establish an event rhythm: fast cutting gives the impression of excitement, slow

cutting gives the impression of calm and tranquility.

The dissolve is a gradual transition from one shot to another, which means they temporarily overlaps and is

perfectly visible. It not only constitutes a transition method, but also represents a visual element in its own right.

Therefore, you should use it with greater discretion than the cut. The main reasons for a dissolve are: a) to

provide a smooth bridge for action, b)to indicate a change in place and time, c)to indicate a strong relationship

between two images.

In a wipe, one picture seems to push the other off the screen. It can be classified too as a special effect, and

generally signals the end of a scene and the beginning of another.

In a fade, the picture either goes gradually to a black (fade-out) or appears gradually from black (fade-in). You use

it to indicate a definite beginning or end of a scene, like the curtain in the theater.

CONTINUITY EDITING.COMPLEXITY EDITING.CONTEXT AND ETHICS.

It is important to consider all editing principles more as conventions than as absolutes. The continuity editing

means that you have to preserve or establish some kind of visual and aural coherence from shot to shot and from

scene to scene. Complexity editing means that your selection and sequence of shots is guided not so much by

maintaining visual and aural continuity, as by increasing the intensity and emotional depth of the scene.

Context. In all types of editing, but especially in news stories or documentaries, you must preserve the true context

in which the main event took place. Ethics. The willful distortion of an event through editing is not a case of poor

aesthetic judgment, but a question of ethics. You are ultimately responsible to the viewers for your choices as an

editor. Do not violate the trust they put in you. There is a fine line between intensify an event and distorting it.

The only safeguard the viewers have against irresponsible persuasion and manipulation is your responsibility as a

professional communicator.

VOCABULARY

absolute absoluto, completo, total increasing the intensity incrementar -ando la intensidad

against irresponsible contra la irresponsable intensification intensificacin

beginning comienzo, inicio intensify intensificar

bridge for action puente para la accin is guided es guiado (orientado, dirigido)

calm apacible, sosegado, calma lead conducir, cintillo, titular

can no longer ya no puede main event evento principal

case caso manipulation manipulacin

choices as an editor opciones como editor more as conventions ms como convenciones

clarification clarificacin news stories historias noticiosas


25/31

closer ms cerca not so much no tanto

complexity editing edicin de complejidad off the screen salir de la escena, fuera de la escena

context contexto only safeguard nica salvaguarda, nica garanta

continuity editing edicin de continuidad overlap solaparse, coincidir, tener puntos en comn

curtain in the theater la cortina en el teatro perceive percibir

cut corte, cortar persuasion persuasin

darkness oscuridad poor aesthetic judgment juicio esttico pobre

daylight luz del da postproduction editing edicin de postproduccin

definite definitivo, claro, seguro procedure procedimiento

detail detalle professional communicator comunicador profesional

dissolve disolver, disolvencia question of ethics cuestin de tica

documentary -ies documental -es related relativo, relacionado

editing principles principios de edicin responsible responsable

either cualquiera (ninguno) de los dos reveal revelar, desvelar

either (conj) o....o; ni.....ni seems to push parece que empuja

emotional depth profundidad emocional signal indicar, sealar, sealizar; seal

establish establecer, fundar, establecerse slow cutting cortes lentos

ethics tica smooth liso, suave, tranquilo, sin problemas, alisar

event impact impacto del evento some kind algn tipo, alguna clase

event rhythm ritmo del evento street calleexcitement excitacin, emocin strong relationship fuerte relacin

fade desvanecer, desvanecerse temporarily temporalmente

fade-in desvanecimiento desde (a laentrada)

the trust la confianza

fade-out desvanecimiento a... (a la salida) to go to a black ir(se) a negro

fast cutting cortes rpidos took place tener lugar

fine line lnea fina, lnea delgada tranquility tranquilidad

follow seguir, entender, deducir true context contexto real

from scene to scene de escena en escena ultimately en ltima instancia,

from shot to shot de tiro en tiro (de cmara) violate violar

go gradually ir gradualmente visual and aural coherence coherencia visual y auditiva

gradual transition transicin gradual whenever cuando sea, cada vez quegreater discretion mayor discrecin willful distortion distorsin intencionada, deliberada

impression impresin, wipe borrar, limpiar, barrido

HOMEWORK


b) Find ALL the meanings for the words: a) lead b) case


1) How many forms of transitions are there? Explain one of them.

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________

2) How you should consider all editing principles, as conventions or as absolutes? Why?

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________

3) How you can explain the responsibility of a professional communicator?

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________


26/31

LEVEL3.UNIT 13.SWITCHING OR INSTANTANEOUS EDITING.(I)

13.1.361BASIC FUNCTIONS.BASIC LAYOUT AND OPERATION.

The basic functions of a production switcher are: 1) to select an appropriate video source from several inputs, 2) to

perform basic transitions between two video sources, and 3) to create or access special effects. Production

switcher refers to the switcher that is located in the studio control room or remote van. There are postproduction

switchers whose architecture (electronic digital configuration) is designed primarily for setting up and executing a

great variety of transitional effects, rather than for facilitating instantaneous editing.

The simple switcher has four buses: a program bus, two mix buses (A and B), and a preview bus. The pair of mix

buses is called a bank. Also it has a pair of fader bars that can be moved individually or together into the mix bus

A or B position. The program bus switches the input (for example, cameras 1 and 2, VTR, CG and remote)

directly to the line-out. The mix buses go to the line-out, if the mix button on the program bus is punched up. The

mix buses make possible the mixing of two inputs, as in a dissolve or super. Through the preview bus, any inputcan be previewed on a special monitor before being punched up on the air. The fader bars accomplish the mixing

of two sources (dissolve, supers) and fades (from and to black).

VOCABULARY

a great variety una gran variedad moved individually movidos -as individualmente

a program bus un bus de programa on the air al aire

access accesar pair of mix buses un par de buses de mezcla

appropriate apropiada, adecuada perform basic transitions realizar transiciones bsicas

bank banco (aqu significado particular) preview bus bus de pre-visualizacin

basic functions funciones bsicas production switcher conmutador (switcher) deproduccin

bus mnibus, (en este texto otraconnotacin)

punched up ponchado

create crear remote van camioneta de remoto

electronic digitalconfiguration

configuracin digital electrnica setting up organizar (en este texto)

executing ejecutar -ando, llevar a cabo several inputs varias entradas

facilitating facilitar, -ando simple switcher conmutador (switcher) simple

fader bars barras de (efecto de) disolvencia super sobreimposicin

from and to black de (desde) y (a) (hacia) negro the input la (toma de) entrada

instantaneous editing edicin instantnea the mixing of two inputs la mezcla de dos entradas

is located est localizado -a the mixing of two sources la mezcla de dos fuentes

mix bus bus de mezcla, -ado to the line-out hacia la lnea de salida

mix bus A or B position posicin de bus de mezcla A o B transitional effects efectos de transicin

mix button botn de mezcla whose architecture cuya arquitectura

HOMEWORK


b) Find ALL the meanings for:

a) perform

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________


27/31

b) input

____________________________________________________________________________________________

____________________________________________________________________________________________

________________________________________________________________________________________________________________________________________________________________________________________


1) Describe the basic functions of a television production switcher.

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________

2) Comment about the differences between a production switcher and a postproduction switcher?

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3) How is used the fader bar during instantaneous editing?

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4) How is used the fader bar during postproduction editing?

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LEVEL3.UNIT 14.SWITCHING OR INSTANTANEOUS EDITING.(II)

13.1.366EXPANDED PRODUCTION SWITCHER.OPERATION.

Expanded production switchers is more complex, with a few buttons and buses more, therefore, more versatile.

We are going to review 1) layout of the expanded switcher, 2) additional switcher controls.

LAYOUT

To extend the design of the switcher and to make it perform additional transitions and source combinations, such

as wipes, split-screen, title keys, and some of the more lively video gamelike effects you see during a newscast,

we need even more buses and buttons.

Effect buses. The effect buses select the video sources that are to be combined into special effects, such as wipes,

split screens, and keys. A wipe is when one television picture seems to move off the screen, uncovering another.

If the wipe stops before it is completed, you see two images side by side, effect that is called split screen. A key is

when one image, such as a title, is electronically cut or inserted into a base picture.

Multiple-function mix/effects buses. The expanded switcher have no longer separate mix and effect buses, but it

have pairs of mix/effects buses which you can use for either mix (fades and dissolves) or effects (keys, wipes)

functions. On many of the smaller, yet highly flexible, switchers, the program or direct bus and the preview bus

can also be used as mix buses, and the preview bus can still double as a special effects bus (for keying). On some

larger switchers, one bus is permanently assigned to the program (line-out) function, but all other buses can be

assigned to preview, mix, or effects functions. The various functions are assigned to a specific bus by means of

delegation controls.

ADDITIONAL CONTROLS.

Delegation controls. These controls determine the function of the buses.

Special effects controls. The most common special effects controls are the buttons for specific wipe patterns. On

large switchers these controls can be extended to nearly one hundred different patterns by dialing a number code

into the switcher. You can also control the direction of the wipe. With the joystick positioner you can move some

of the patterns about the screen. There are also controls that give the wipes a soft or hard edge and that give letters

different types of borders and shadows. The special effects section of most switchers includes the chroma key

controls with which you can achieve a variety of picture inserts and backgrounds.

VOCABULARY

about the screen en cualquier lugar de la pantalla multiple-function mix/effectsbus bus de mezcla/efectosmultifuncin

base picture imagen de base newscast noticiero, telediario

borders and shadows bordes y sombras picture inserts inserciones de imagen

by dialing a number mediante el marcado de un nmero seems to move semejan (parecen) moverse

can still double puede an (incluso) doblar side by side lado con lado, uno al lado del otro

chroma key controls controles de recorte por croma smaller ms pequeo

delegation controls controles de delegacin source combinations combinaciones de fuentes

design diseo, -ar specific wipe patterns patrones de barrido especficos

direct bus bus directo split-screen pantalla partida en dos, escindida

direction of the wipe direccin del barrido that are to be combined que van a ser combinadas

electronically electrnicamente title keys textos recortados

highly flexible muy flexible to nearly one hundred a cerca de un centenar

if the wipe stops si el barrido se detiene uncovering destapar, -ando; descubrir, -iendo

joystick positioner posicionador tipo palanca tipojuegos

versatile verstil, polifactico


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larger ms grande video gamelike effects efectos de video tipo juegos

layout disear, maquetar; diseo, maqueta yet Conj. sin embargo (en este texto)

more lively ms animado, ms vvido

HOMEWORK

a) Copy the text in English and then translate the text to Spanish as we made in the class.b) Answer the questions:

1) Explain what is and how works the Effect Buses.

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2) Which is the purpose of the Delegation Controls?____________________________________________________________________________________________

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3) What functions include the Special Effect Section in a switcher?

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LEVEL3.UNIT 15.SWITCHING OR INSTANTANEOUS EDITING.(III)

13.2.372SWITCHER FEATURES AND CONTROLS.COMPUTER-ASSISTED SWITCHERS.

The switcher features and controls include 1) the architecture of switchers, 2) downstream keyer, 3) flip-flop

controls, 4) quad-split controls, and 5) clip control.

ARCHITECTURE.

Switchers have a linear or parallel architecture. Linear switcher produce their effects by reentering the effect

produced by one effect in a second bank, which adds its own effect to the first, and reentering this new effect still

another time on a third effects bank, which adds yet another effect. Like a waterfall, the effects cascade from bank

to bank, adding new features at each bank. This switcher is frequently used as production switcher.

Switchers that have a parallel architecture perform its tasks more or less at once in a nonlinear manner. Therefore,

this switcher does not need so many effects buses; instead, a single M/E bus can create many effects, depending

on what it is told to do by the various delegation buttons or by the computer. It is the p

Curso Inglés 3er Nivel

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