Digital Film – Broadcast Defined

What, exactly, does “broadcast quality” mean?

The answer varies, depending upon the nation in which you are applying your digital film, the broadcaster, and the medium by which it will be delivered to the indented audience. A few standards are presented here.

We’ll start with the traditional television platforms:

NTSC: 30 fps
PAL: 25 fps

In the United States, the ATSC (US) A/53 standard uses MPEG-2 video at the Main Profile at High Level (MP@HL), with additional restrictions such as the maximum bitrate of 19.4 Mbit/s for broadcast television and 38.8 Mbit/s for cable television, 4:2:0 chroma sub-sampling format, and mandatory colorimetry information.

In Great Britain, the BBC Broadcast Standards are (at the time of this writing) at a higher bit rate and chroma sub-sampling format level.

 

By |2017-04-10T11:17:36-04:00November 13th, 2013|Film & Video|0 Comments

Digital Film – Bit Rates

The bit rate is the number of bits of data produced each second by a digital film camera. While there are two places to measure this, the traditional (and important) number is the bit rate correlated to that which is literally written to the digital storage medium.

This number differs from the maximum potential of the sensor (CCD) and governing microprocessor prior to the application of the compression codec. When a camera is enable to export directly to digital storage or over HDMI in an uncompressed raw format, this represents the maximum potential data rate produced by that camera. However, some cameras, such as the RED produce a compressed raw as the fully uncompressed raw would be an overwhelming volume, truly more than anyone would ever need.

Here is a table which provides a breakdown of some the industry standard bit rates, represented from the Wikipedia page (above):

16 kbit/s – minimum for a consumer-acceptable “talking head” picture
128–384 kbit/s – business-oriented videoconferencing
1.5 Mbit/s max – VCD quality (MPEG1)
3.5 Mbit/s typ — Standard-definition television quality (MPEG-2)
9.8 Mbit/s max – DVD (MPEG2)
8 to 15 Mbit/s typ – HDTV quality (MPEG-4 AVC)
19 Mbit/s approx — HDV 720p (MPEG2)
24 Mbit/s max — AVCHD (MPEG4 AVC)
25 Mbit/s approx — HDV 1080i (MPEG2)
29.4 Mbit/s max – HD DVD
40 Mbit/s max – Blu-ray Disc (MPEG2, AVC or VC-1)

At the time of this writing, 38.8 Mbit/s and above is used by Broadcasters for various formats.

 

By |2017-04-10T11:17:36-04:00November 13th, 2013|Film & Video|0 Comments

Digital Film – Crop Factor

The crop factor is a much talked about, but ultimately minimal impact aspect of film making. There are several well written articles about this topic such that I do not feel the need to reinvent the discussion here.

Daniel Haggett provides an excellent overview of various crop factor and how they affect the apparent magnification of a given lens.

The following is the proper formula for calculating the crop factor against the 35mm sensor:

(sqrt((36^2)+(24^2))) / (sqrt((SW^2)+(SH^2)))

This is shorter version of the formula which when copy / pasted into Google’s search entry box with the WIDTH and HEIGHT replacing SW and SH respectively, provides the crop factor against the 35mm sensor:

sqrt((36*24) / (SW*SH))

 

By |2017-04-10T11:17:36-04:00November 13th, 2013|Film & Video|0 Comments

Digital Film – Sensor Size

Digital Film Sensor Comparision Sensor (CCD) Size – Industry Name (example)
– 51.2 x 28.8 mm – Phantom 65
– 36.0 x 24.0 mm – Full Frame (Canon 5D)
– 27.7 x 19.0 mm – APS-H
– 24.0 x 13.0 mm – Super 35 (Canon C100 / 300)
– 23.6 x 15.7 mm – APS-C (Nikon, Pentax, Sony)
– 22.2 x 14.8 mm – APS-C (Canon 60D)
– 20.7 x 13.8 mm – Foveon (Sigma)
– 17.3 x 13.0 mm – Four Thirds (Panasonic GH3)
– 15.8 x 08.9 mm – (Black Magic Cinema)
– 13.2 x 08.8 mm – Nikon 1/CX
– 12.4 x 7.02 mm – Super 16 (Black Magic Pocket)

Graphic by Abel Cine

Both Full Frame and Super 35 are based on the size of traditional 35mm film. However, full frame cameras have a much larger sensor where the height of the frame is equal to the width of a strip of 35mm film—the orientation is rotated 90 degrees. With Super 35, the sensor dimensions and orientation match that of traditional film.

While there is a lot of hype around the sensor size, a small sensor can produce in incredible image when the CCD (Charge Coupling Device) is scanned at a faster rate.

What’s more, larger sensor cameras invoke a more shallow depth of field, just like opening the iris (aperture) of a lens to its lowest setting (ie: f-stop 2.0). More light over a shorter period of time results in a shallow depth of field. Sometimes this is desirable, sometimes not.

Keep in mind that nearly every movie ever made was shot on 35mm film and in the past decade, nearly every digital film was shot using a camera which maintained a Super 35 sized sensor. Here is a good, historic overview of widescreen aspect ratios.

 

By |2017-04-10T11:17:36-04:00November 13th, 2013|Film & Video|0 Comments

Chasing Asteroid 1998 QE2

Produced for the South African Astronomical Observatory as an experiment in how a short, documentary style film may be effective in presenting the very real intrigue and enthusiasm for science as enjoyed by scientists themselves. Astronomy in particular is a field of research which engages the public in a direct, life-long interest in what we see in the dark night skies.

By |2017-04-10T11:17:37-04:00May 30th, 2013|Film & Video|Comments Off on Chasing Asteroid 1998 QE2

Overview

Overview, the film

On the 40th anniversary of the famous ‘Blue Marble’ photograph taken of Earth from space, Planetary Collective presents a short film documenting astronauts’ life-changing stories of seeing the Earth from the outside – a perspective-altering experience often described as the Overview Effect.

The Overview Effect, first described by author Frank White in 1987, is an experience that transforms astronauts’ perspective of the planet and mankind’s place upon it. Common features of the experience are a feeling of awe for the planet, a profound understanding of the interconnection of all life, and a renewed sense of responsibility for taking care of the environment.

Overview’ is a short film that explores this phenomenon through interviews with five astronauts who have experienced the Overview Effect. The film also features insights from commentators and thinkers on the wider implications and importance of this understanding for society, and our relationship to the environment.

By |2017-04-10T11:17:37-04:00May 12th, 2013|Film & Video, Looking up!|0 Comments

Cities Beneath Cities

The Archaeological Site Beneath the Church of the Redeemer, Old City, Jerusalem

In my time here in Jerusalem, I had the great pleasure of working with the German Protestant Institute of Archeology (GPIA), research unit for the German Archaeological Institute (DEI) to produce a short, educational-promotional film about their work beneath the Church of the Redeemer in the Old City, Jerusalem.

Built on initiative of the German Emperor Wilhelm II between 1893 and 1898 on the ruins of the crusaders’ church St. Maria Latina, construction of the Church of the Redeemer exposed a wall which is potentially the famous “Second Wall” (according to Josephus Flavius).

In the 1970s the German Protestant Institut of Archaeology conducted a four-year excavation beneath the church led by Ute Wagner-Lux. This received international attention at that time. In 2009, in cooperation with the University of Applied Sciences Potsdam, students of Architecture and Urban Design created a concept for the tour through the excavation.

Opened to the public in December 2012, this project now aims to serve a better understanding between cultures and religions by developing a clearer understanding of history. Beneath the Church of the Redeemer on Muristan Street in the Christian Quarter of the Old City Jerusalem, visitors may enjoy both a guided tour of the archaeological site and the highly informative and beautifully developed museum.

To learn more, visit www.elcjhl.org

By |2017-04-10T11:17:39-04:00December 18th, 2012|Film & Video, Out of Palestine|0 Comments

The Yo-Yo Brigade

I was again walking back from the Old City to Mount of Olives, my camera gear, notebook, some fruit and water bottle all in my backpack. Four kids, ages I believe eight to ten were playing with yo-yos. Each had one tied to his finger, practicing various tricks. They were quite good, actually, and I could not help but stop to watch.

One of them looked over and saw me. I became the center of attention as I introduced myself. They did the same in turn. I set my backpack on the stone wall and removed my camera. As kids do, they got excited and wanted to show off for the video.

“Where you from?”

“‘merica,” I responded.

“You know Canada?”

“Yes.”

“Good. Good. Canada here, ” pointing above his hand, “What here?” pointing to the side. “What here?”

“I don’t understand. Where?”

“Here! Here! Canada here. America here. What here?” gesturing again.

“Oh! The ocean?” I responded.

“No. No. What place?”

“Uh … Not ocean,” trying to picture in my head what he was asking, “Oh! California?”

“Yes! California! My uncle, he was in California!”

“Ah! Very good.”

One of the boys said, “You have yo-yo?”

“No,” I replied.

“You want?”

“Ayowah! Qadesh? How much?”

“Ten shekels,” he replied. This did not surprise me. Everything from bread to pastries to fruit to juice is ten shekels. It’s an easy number for both tourists and vendors. I gave him a coin. He jumped the wall and ran into the convenience store just across from where we were standing. He came back in less than a minute with a really nice, shiny yellow yo-yo. I was really excited, as I had not played with one for a long time.

He assembled it for me, and even tied the slip knot in the end. He then held my hand up to make certain it fit. I wound it up, gave it a whirl, and on my first go it came right back, snapping quickly into the palm of my hand.

In a matter of two more tries I had a horizontal fling working and then with some practice, the trick where you create a triangle and the yo-yo swings in and out of the temporary shape made of string.

“My first time!” The boys clapped and wanted to show me more.

I set my yo-yo down and filmed for another few minutes. The same boy then stopped. While he was winding the string around his toy, he asked, “You Muslim?”

“No.”

He seemed a little worried by this and looked at the others.

“You like Muslim?”

“Yes. Of course. I like Muslims, Christians, and Jews.”

“Oh!?” he was surprised, but pleased, “That’s good. Good!”

The smallest of the boys was really excited now and spun round to join the conversation, taking his turn to test me, “You love god?”

“Yes,” I said smiling.

“You know God’s name?”

“Allah.”

“Yes! Allah! Wow!” He looked around at the others.

Then he put me to the real test, “Say ‘Inshallah’ ” (God willing)

I repeated, intentionally emphasizing the second syllable instead of the first as he had, “Inshallah!”

Two of the four boys clapped as all four were quite pleased, “Inshallah! Good!”

We played with the yo-yos a bit more, practicing new tricks. A few cars zoomed by, as they do at night, sometimes drag racing on both sides of the street, up or down hill. One car drove slowly by, friends or relatives of the boys waving out the window calling to them.

A bit later, the more mature of the boys, whose command of English was better said, “You know nigger?”

I was caught off guard.

“Nigger. In America, my father don’t like them. He hates ni—”

I cut him off, “What?” I was not certain I heard him correctly, “Wait, wait. Hey. Don’t use that word. It’s not good.”

“Why? He say they all–”

“Stop. Don’t say it again. African-American. Or just American, ok?”

He continued, but a bit confused by my reaction, “My father say they … they not good. In California they—”

The other boys had stopped playing with their yo-yos and were listening, intent on the conversation, “Listen,” I said, “If I meet one Palestinian who, who is mean to me, or breaks my camera, are all Palestinians bad?”

He laughed, but got it immediately, “No. No.” and shook his head, looking at the ground between his feet.

“Ok. Your father? He meets one bad man. Doesn’t matter if black or white, African or Chinese or German. Does this mean they are all this way? Are all Palestinians the same? Is that possible?”

“No … ” his lights were coming on inside. I could see he was processing, “Oh!” He looked up again and smiled. Perhaps for the first time he was seeing things with that other-than-me point of view. “Ok. Ok. No more ‘nigger’. African or American, ok?”

“Right. American. Like Palestinian.”

“Yes, that’s right.”

This seemed to be something he had wanted to hear as it really struck a cord in him. It made sense. He was hungry for connection, The next half hour was spent posing for the camera, trying more difficult tricks, and sharing contact information in order that they could find me on Facebook. I tore a piece of paper from my notebook (which I take with me everywhere for just such an occasion) and printed my name four times, one for each.

As we finally prepared to say goodnight, my new yo-yo in hand, tied tight around my middle finger, the oldest boy said, “You, you are my best friend. We love you. Ok? Best friend. We write to you on Facebook tonight! Bye!”

They must have asked me a half dozen times if I had internet on my phone, which I did not, and then when I would be on-line so they could find me. To date, now four days later I have not heard from any of them. I am sad, to be honest, as I am excited to show them the video.

By |2017-04-10T11:17:39-04:00December 8th, 2012|Film & Video, Out of Palestine|1 Comment

Baptismal Site at the River Jordan

This short, promotional film showcases construction of the sanctuary of the Evangelical Lutheran Church in Jordan & the Holy Land (ELCJHL) at the Baptismal Site at the River Jordan, just one hour west of Amman.

According to UNESCO World Heritage “… the Jordanian Department of Antiquities has systematically surveyed and partially’ excavated a series of ancient sites that collectively represent one of the most important archaeological discoveries in modem Jordan — the settlement and region of Bethany (or Beth abra), where John the Baptist lived and baptized. The Bethany area sites formed part of the early Christian pilgrimage route between Jerusalem, the Jordan River, and Mt. Nebo.”

Shot on-site in four and a half hours with roughly twenty six hours in editing, this showcases the potential of a run-n-gun production assembled on a moment’s notice.

By |2017-04-10T11:17:40-04:00December 2nd, 2012|Film & Video, Out of Palestine|0 Comments

The story of Rev. Ashraf Tannous

Rev. Ashraf Tannous is the Pastor of a Lutheran Church in Beit Sahour. Like many Palestinians, he is the second generation of a refugee family forced from their home at the time of the formation of the State of Israel.

With a solid grasp on his own heritage and what it means, for him, to be a Palestinian in a world of misconceptions, this brief interview shares Ashraf’s love affair with his home land.

Ashraf opens with “I am a human being … an Arab, Palestinian, Christian. I am a Semetic, from the Semites, a refugee, as well as a Lutheran Pastor” and in closing shares the story of when he was once described by a new acquaintance as “the sweetest terrorist” she had ever met, her own assumptions eroded and replaced through interaction.

This is the first in a series of films created to help bridge the cultural barrier between Palestine and the West, countries whose assumptions about this part of the world are based primarily on the limited view of the mass media.

By |2017-04-10T11:17:40-04:00November 28th, 2012|Film & Video, Out of Palestine|1 Comment
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