I. NTSC Standards
	A.	National Television Systems Committee…originally proposed for 			monochrome signals in 1941
	B.	Modified in 1953 to allow for transmission of color signals
	C.	composite video-Signal occupies one channel
	D.	luminance-Intensity of a particular color of signal
	E.	chrominance-Color information
	F.	The NTSC signal is mainly luminance with chrominance information 		modulated over it
	G.	Complete list of standards:
		1.	Horizontal Resolution: 525 lines, 2 fields of 262.5
		2.	Frame Rate: 30 fps for Black and white, 29.97 for color
		3.	Field Rate: 60 Hz for Black & White, 59.94 Hz for color
		4.	Horizontal Scan Frequency: 262.5 x 60 = 15,750 Hz
		5.	Aspect Ration: 4:3
	H.	Color technology allows backwards compatibility with black and white.
II.	Scanning
	A.	drawing of a two dimensional screen image using a single channel, time 		based transmission
	B.	An electron beam starts at the upper left of a screen and traces its way 		downward until every line is scanned
	C.	interlaced scanning-Compensates for line interference and fading by 		drawing frames in two passes, first the odd and then even lines.  This 		eliminates flicker and increases perceived frame rate.
	D.	Progressive scanning-All lines drawn in a single pass
III.	Blanking Interval
	A.	Used to decrease the electron beam strength as it moves back from right 		to left
	B.	Horizontal Blanking Interval-Used when going back from right to left after 		every line
	C.	Vertical Blanking Interval-Used to shut down the beam while it moves 		from bottom right to top left
	D.	Vertical Interval takes 21 lines worth of time and also includes 			information such as close captioned text
	E.	May also contain time code information (Vertical Interval Time Code)
	F.	A sync level also is used for timing pulses to keep the TV tracking 			properly
IV.	Color Video
	A.	Additive vs. Subtractive Color
		1.	Additive Color is used in color video.  White: all color.  Black: no 			color.
		2.	Primary colors are red, green, and blue
		3.	COmbination of these colors synthesizes all other colors
		4.	Mixing of paints on the other hand uses process called subtractive 			color. White: no color, black: all color8v
	B.	RGB Color Model
		1.	Red + Green = Yellow
		2.	Red + Blue = Magenta
		3. 	Blue + Green = Cyan
		4.	Red + Green + Blue = White
	C.	HSB Color Model
		1.	Hue-A specific wavelength of color
		2.	Saturation-Extent that a color differs from white
		3.	Vectorscopes are used to measure and calibrate the color of a 			video signal, representing the color and magnitude as a vector 			sum.
		4.	Brightness is difference from black
		5.	At 0% Saturation, hue is meaningless
		6.	At 0% Brightness, hue and saturation are meaningless
	D.	Color separation
		1.	Colors are separated in a color camera using dichroic lenses
		2.	This allows separate color channel outputs from the camera, 			which is used in professional environments and has the most color 			resolution
		3.	This format is known as component video
	E.	Matrixing
		1.	A resistive matrix encodes component single to composite for 			broadcast
		2.	This signal is also compatible with black and white receivers
		3.	The matrix has three output channels, Y (M): Luminance, R-Y (I): 			Chrominance from orange to cyan, and B-Y (Q): Chrominance 			from green to magenta
		4.	Y = .3R + .59G + .11B; R-Y = .6R - .28G - .32B; B-Y = .21R - .52G 			+ .31B
		5.	Luminance values are weighted towards green to compensate for 			the eyes nonlinear response
	F.	Bandshaping
		1.	Allotted bandwidth per video channel is 6 Mhz
		2. 	The eye is more sensitive to change in luminance than color, so 			luminance and chrominance channels are band shaped  				proportionally to the eye's sensitivity
	G.	Two Phase Modulation
		1.	R-Y and B-Y channels control levels of a 3.6 MHz carrier, with R-Y 			in phase and B-Y shifted by 90 degrees
		2.	THese signals are summed together and then added to the 				luminance channel, resulting in composite color signal
		3.	Color TVs have an oscillator to phase adjust to the color burst 			released during the horizontal blanking interval
		4.	The two phase component can then be decoded back into RGB
		5.	Each electron beam will excite either a red, green, or blue 				phosphator inside the screen, that will be perceived as specific 			colors from a distance
		6.	If there is black and white source material, the R-Y and B-Y 				channels with be zero
V.	SMPTE (Society of Motion Picture and Television Engineers) Time Code
	A.	Audio has to be synchronized to the visual frame
	B.	Sounds and visual materials can be isolated down to the individual frame 		level
	C.	Allows media to be manipulated independent of running time
	D.	23.976-Used for HD progressive scan source material originating at 24 		fps.  ALlows for translation from HD to NTSC.
	E.	24-Frame fate for traditional film used for optical track editing.
	F.	25-European Broadcast format (Phase Alternate Line), also in Brazil, 		Argentina, Australia, Asia, and Africa
	G.	29.97-AMerican NTSC format for broadcast color video
	H.	29.97 drop-Frame renumbering that compensates for difference between 		real time and SMPTE time
	I.	30-The American NTSC format for black and white video.  Pulled down 		by 0.1% to remain in sync
	J.	30 drop-Used for television production where delivery in 20.97 drop is required, 		pulled down by 0.1%
	K.	Implementation
		1.	29.97 and 30 are the most common formats, in both drop and non-drop 			form
		2.	Each frame has code for a timecode address, held in a time code word
		3.	This is recorded onto an audio track as a longitudinal time code (LTC)
		4.	Time code words are played back as an audio signal and are fed into a 			synchronizer
		5.	The Sychronizer decodes the time code words into addresses
		6.	If there's multiple transports, the synchronizer can specify one of them as 			the master
		7.	Offsets are used to compensate for media with different starting 				addresses
		8.	Once offsets are entered, only master's time code addresses are used
		9.	Time code words written to audio track using Bi Phase Modulation. This 			generates a square wave with a zero represented by a static signal 			between clock pulses, a one representing change in polarity
		10.	Polarity always changes at clock pulse
		11.	Analog recorders don't record square waves well, often rounding the high 			frequency edges.
		12.	time code re-shapers used to generate a fresh bi phase square wave.
	K.	Drop-Frame Time Code
		1.	Compensates for 108 difference per hour from 29.97 and 30 fps
		2.	Doesn't apply numbers to first two frames per minute, except on 10s of 			minutes
		3.	SMPTE readers read 1:00:00:00 after one hour of real time
		4.	Keeps frames, just changes frame addresses
	L.	Time Code Word
		1.	80 bit binary word represents each SMPTE address
		2. 	26 address bits, 32 user bits, 1 drop frame bit (10), 1 color frame bit (11), 			1 bi phase mark bot (27), binary group bits (43, 59), unassigned bit (58), 			16 sync bits.
		3.	Address bits carry address info (hour:minute:second:frame) 
		4.	User bits can be used for proprietary info or ASCII text
		5.	Binary group bits set to 43=1 and 59=0 when ASCII text is used
		6.	Bi Phase mark bit is a simple parity error checking
		7.	Sync bits have ordering of values that won't appear in other fields, can 			detect when tape is in reverse
		8.	When Vertical Interval Time Code is used, time code word is embedded in 			the vertical interval of each video signal
		9.	This allows video transport to be read from tape even when transport is 			stopped
VI.	MIDI Time Code
	A.	Computer based setups and project studio setups for musical scoring 			may integrate MIDI Time Code
	B.	MTC definition was added to initial MIDI specification to integrate MIDI and 		SMPTE based hardware.
	C.	MIDI time code implemented by repackaging frame address data from 			time code word into stream of 8 bit messages compatable with MIDI 			transmission.
	D.	Full Frame Messaging: Uses MIDI System Exclusive message, beginning eight 		0xF0 and ending with 0xF7, passes a 4 bytes carrying hours, minutes, seconds, 		and frame.  Can't stream values in real time.
	E.	Quarter Frame Messaging: 0xF1 indicates a quarter frame data byte will follow, 		passes 8 separate messages for a single frame address.  4 frames sent per 		SMPTE frame, takes two frames of time to send the whole value.  Can update 		values in real time unlike Full Frame.
VII.	Synchronization Modes
	A.	Chase Synchronization
		1.	One transport is configured to be master, the other is s slave
		2.	Slave device will chase the master timecode address and regulate its own 			speed to maintain locked
		3.	If it stops receiving code it will stop playback
		4.	Slave device will follow new address even if its nonexistent or incorrect
		5.	Computers as chaser devices will result in less problems than an analog 			device
	B.	Triggered Synchronization
		1.	Current systems utilize incoming time code data and their own internal 			clock generators
		2.	One Time Jam Sync: Receiving device reads incoming time code 			address, starts and synchronizes internal clock, then runs off internal 			address
		3.	Continuous Jam Sync: Receiving device reads incoming time code 			address and synchronizes internal clock.  Runs off internal clock but also 			monitors incoming time code information.
		4.	Freewheel Mode: Receiving device reads incoming time code address, 			starts and synchs with internal clock.  Then it runs of internal clock while 			monitoring incoming information.  User specifies number of frames that 			can pass without valid incoming frame before there is an error
VIII.	Telecine Transfers and 3:2 Pulldown
	A.	Telecine is a process for transferring film to video
	B.	Frame rate is pulled from 24 to 23.976.
	C.	Film frames are distributed across video fields.
	D.	This results in a sequence of whole (W) and split (S) frames, creating the visual 		side effect of motion judder.
	E.	If video is digitized again, the sequencing should be eliminated.
	F.	Processing running on footage from telecine sources will run more efficiently 		when 3:2 pulldown is resolved.
IX.	Video Input/Output Formats
	A.	R,G,B - discrete color cannels used in component analog
	B.	Y, R-Y, B-Y - Luminance and color difference channels created using an analog 		resistive matrix, weighted for perception of the eye and allowing backward 		compatibility with black and white.
	C.	M, I, Q - luminance, in phase, and quadrature signals from modulation scheme of 		NTSC color broadcast
	D.	Y, U, V - Luminance with scaled R-Y and B-Y values.  
		1.	U = .493 x B-Y
		2.	V = .877 x R-Y
	E.	Y,C - Generated by modulating U and V signals into a single channel.  
		C = U x cos(t) + V x sin(t)
	F.	Y, Cr, Cb - Format used by ITU-R BT .601 systems.  8 bit digital coding of
		 luminance and color difference values.
	G.	Y, Pr, Pb - Used in component analog equipment.  Color difference values are 		scaled so chroma bandwidth is half that of luma.
X.	Digital Video
	A.	Digital video has same capabilities of modern digital audio, allowing 		synthesis, sampling, or a mix of the two.
	B.	Full resolution video size
		1.	720 samples/line = 2160 bytes
		2.	x3 bytes per pixel = 1,036,800 bytes
		3.	x29.97 frames/sec = 31 Mbytes
		4.	x60 sec/min = 1,860 Mbytes
		5.	x 60 min/hour = 111 Gbytes/hour
	C.	Color bandwidth is limited to take advantage of weaknesses of human 		eye
	D.	Subsampling is used for color difference information compared to 			brightness information
	E.	ITU-R BT.601-5
		1.	Industry standard for encoding for digital television at 4:3 and 16:9 			aspect ratios.
		2.	Luminance is at full resolution, color values are 2 to 1 subsampled 		3.	This is called 4:2:2 co-sited sampling
		4.	This reduces data size by 1/3 compared to 4:4:4
		5.	Although 4:2:2 has no perceptible loss, it may be avoided if 				compositing video which requires high color accuracy
		6.	Eight bit color values put black at 16 and white at 235 in case of 			transients from filtering or analog spikes
	F.	Other uses of co-sited sampling
		1.	Consumer digital video formats use 4:1 subsampling (4:1:1)
		2.	This decreases data size by half
		3.	MPEG-2 uses co-sited 4:2:0 sampling.  This means 2:1 horizontal 			sub sampling and 2:1 vertical sub-sampling
		4.	ITU-R BT .709 used for 1125 line GDTV, supports 4:4:4 and 4:2:2
		5.	ITU-R BT .7-9-4 is for new productions, has a 1080 active line 			standard and defines square pixel.
	G.	Non-square pixels
		1.	Computer generated imagery has square pixels
		2.	Images from 4:3 video sources have non square pixels that are 			10% taller than they are wide
		3.	If your target format is NTSC broadcast, you should specify a pixel 			aspect ratio of .9
		4.	If your target format is widescreen, you should specify a pixel 			aspect ratio of 1.2 
	H.	Video Aliasing
		1.	Raster Scan Aliasing- Causes flickering on sharp horizontal and 			diagonal lines where color values exhibit drastic change.  Can be 			minimized by using gradients.
		2.	Temporal Aliasing- If the frame rate of the video format used can't 			capture the change in the visual field effectively, ie if wheels look 			like they're going backward instead of forward.
XI.	Post-Production Terms
	A.	ADR: Automated or Automatic Dialog Replacement
		1.	Dialogue that cant be salvaged from production tracks must 			rerecorded in this process.
		2.	Actor watches image repeatedly while listening to the original 			production track on headphones, trying to match wording and lip 			movements
	B.	Ambience
		1.	The pervading psychological atmosphere of a place
		2.	Ambient sound consists of noises present in an environment
		3.	In production means the background sound accompanying a 			scene
		4.	Can be present in original production recordings, or added as 			sound effect
	C.	Direct vs. Reflected Sound
		1.	Direct sound issues from a source itself, such as from an actors 			mouth.
		2.	If a person is close, you hear direct sound and chest tones
		3.	Reflected sound is produced by bouncing off of surfaces of varying 			distances
		4.	 Hard surfaces are more "live" while soft ones are "dead"
	D.	Natural vs Characteristic sound
		1.	Coming from an actual source, with no production editing
		2.	They do not always meet people's expectations and are replaced 			or layered with samples
		3.	Characteristic sound is what someone perceives should be a 			sound
		4.	It has to be manipulated to achieve a desired effect
		5.	They have to be recognizable and meet audience expectations
	E.	Diegetic Sound vs. Non-diegetic sound
		1.	Diegetic sound is sound whose source is visible on screen or 			who's source is implied by action in film
		2.	Can be by characters, objects, or music from instruments in the 			story
		3.	Non-diegetic sound is sound whose source isn't visible on screen 			or implied by action in film
		4.	Includes narration, sound effects for dramatic effect, and mood 			music
		5.	Comes from source outside story space
	F.	Emotional Realism
		1.	The same sound serving both a physical and emotional meaning
		2.	Sound track reflects mood of the story and character's feelings
	G.	Establishing sound
		1.	Sound that gives a general character of the surroundings from the 			beginning of the scene	
		2.	It is often lowered once dialogue begins
	H.	Foley
		1.	Sound effects created manually to match action of the picture
		2.	Allows for subtle sounds that mikes often miss
		3.	Allows for complete realism in a movie
		4.	Necessary for artist to see action and figure out how to create 			sound
	I.	Hyper-Real Sound
		1.	Over-emphatically stated, over hyped, exaggerated noises 				compared to the actual sound in real life
		2.	There is so much competing sound that a sound has to be over-			emphatically stated to be heard through the clutter
	J.	MOS-When a scene is recorded without any sound
	K.	Location sound (Production sound)
		1.	Sound recorded at actual location 
		2.	It is difficult to get usable dialogue and sound on scene
		3.	Recordist tries to get usable dialogue on scene
		4.	"Room tone" is often recorded in silence, then combined with 			dialogue during post-production
	L.	Point-of-audition sound: Sound identified by physical characteristic as it 		would be heard by a character
	M.	Room Tone
		1.	A locations aural fingerprint
		2.	Nonspecific sounds between 2000 and 8000 Hz
		3.	Each room has a subtle sound by movement of air particles 
		4.	Recording during production sound recording
		5.	Gives a feeling of life to a sound deadened studio
	N.	Semi-sync
		1.	A characteristic of sound that is apparently synchronized with 			onscreen action of secondary importance
		2.	Stock sounds are linked to background noises, can't be checked 			that the sounds are actually synchronized to the onscreen image
	O.	Sound designer
		1.	An artist brough on staff during planning stages who shapes the 			overall soundtrack and expressive possibilities of sound
		2.	Can also be a person brought on for a specific effect
	P.	Sound hermeneutic: A sound, with response of an image
	Q.	Sound motif
		1.	Sound effete or combination that is associated with a particular 			character, setting, situation, or idea
		2.	Condition the audience emotionally for actions of a certain 				character
		3.	Helps shape a story with many characters and locations
	R.	Sound loop: Continuous loop of recorded sound, designed to provide 		background sound throughout a scene in a semi sync manner
	S.	Soundscape
		1.	Characteristic types of sound commonly heard in a given period or 			location
		2.	Catering to soundtracks of certain time periods
		3.	Today, soundscape is competition between multiple sounds in 			their own micro atmospheres
	T.	Supervising Sound Editor
		1.	The first postproduction sound person who directs and 				coordinates the contributions of the whole staid
		2.	Sound supervisors have been coming on earlier and earlier as
			 there is a demand for sound in early screenings.
		3.	Directors don't want to screen for anyone unless soundtrack is 			complete, putting sound editors under greater time constraints
	U.	Sweeten: Catch all phrase for fine tuning sound
	V.	THX
		1.	Design and quality control system for playback in theater
		2.	Theater must have low background noise, good isolation, reverb 			characters, no slap echoes
		3.	Also requires intelligible dialogue and frequencies
		4. 	Has to have good length/width for stereo imaging
	W.	Walla
		1.	Sound effect of murmur of crowd in the background
		2.	Based on repetition of word to simulate crowd noise
	X.	Worldizing
		1.	Manipulation of sound so it sounds like it exists in real space
		2.	Can be played back over speakers in real world acoustic 				situations and recording playback so it fits with acoustic 				characteristics of the place.
XII.	Past Test Questions
	A.	What is the high frequency oscillation found at the beginning of every 		horizontal line used for?  To calibrate receiver (TV) oscillator for I/Q 
	B.	Why might you need to "Pull down" the audio from a production source?  		What does the process involve? Slow down the audio to compensate for 		frame rate difference.
	C.	Describe the differences between Online and Offline editing:			Offling editing creates an edit list that can then be used on a program 		later, while online editing  creates the list in real time.
		Online editing allows for more extensive editing than offline.  Online is 		also more expensive.
	D.	What does a semi-colon between the seconds/frame fields of SMPTE 		address tell you?  Drop-frame numbering
	E.	In a SMPTE word, what is the purpose of the Bi-Phase Mark Bit? Parity 		(even # of logical zeroes)
	F.	Why is a resistive matrix for luma/chroma separation useful in the digital 		domain.  Allows cosseted sampling
	G.	What is an Alpha Channel? Opacity info as 8-bit greyscale
	H.	What are keyframes?  Why would you be interested in the types of 			keyframe interpolation your software supports? They define parameters 		and the software can interpolate between them.