Visual effects and graphics specifications for TV
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The document provides an overview of visual effects and motion graphics techniques for video production. It discusses various special effects that can be created using video switchers, including superimposition, wipes, and chroma keying. It also covers digital video effects like scaling, stretching, and mosaic effects. A variety of optical, mechanical, and motion effects are described such as reflections, fog, snow, and fly effects. The document concludes with a discussion of television graphics specifications and considerations for information density and readability in video titles and graphics.
Visual effects and graphics specifications for TV
- 1. >> 0 >> 1 >> 2 >> 3 >> 4 >> Visual Effects & Motion Graphics 3
- 2. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Special Effects help in telling the story. • If the video doesn’t open pls click here https://www.youtube.com/ watch?v=P5_Msrdg3Hk
- 3. >> 0 >> 1 >> 2 >> 3 >> 4 >> • They should not stand out glaringly • https://www.yo utube.com/watc h?v=- WhKt_CkXD0
- 4. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Special Effects are so common today that we don’t see them as artificial. • This is a matte painting on the studio wall.
- 5. >> 0 >> 1 >> 2 >> 3 >> 4 >> • The earliest machines for regular Video effects for broadcast TV shows were switchers. • Analog TV switchers led to hybrid switchers such as Panasonic’s AG-MX70
- 6. >> 0 >> 1 >> 2 >> 3 >> 4 >> Effects with Switcher Switchers are not only Video Mixers They have inbuilt Special Effects Generators (SEG) too
- 7. >> 0 >> 1 >> 2 >> 3 >> 4 >> • We have seen some of the readymade effects possible with switchers • They are Superimposition, or Super
- 8. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Keying • Chroma Key • Wipe • Split Screen • Spotlight Effect
- 9. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Masking/overlapping any electronic image area with another electronic image/signal is known as Keying • The Background is added by Keying
- 10. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Internal Keying • When the base signal/image feed is broken/overlapped by a negative space, i.e. the Key Signal. • This is done by two knobs on the switcher machine • Clipper/Clip Control changes the brightness of the masked/clipped area. • Gain Control varies the signal strengthBackground Signal Foreground Signal cuts a hole and fills with same signal quality
- 11. >> 0 >> 1 >> 2 >> 3 >> 4 >> • External Keying • Uses three signals • Background/Base Signal • Hole Cutting Signal • Foreground/Filling Signal
- 12. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Matte Key • If the cut-out portion of the title is filled in by solid colors, grays, contours or shadows, it is Matte Key • Matte Key can be in Edge Mode, Drop Shadow Mode, or Outline Mode
- 13. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Chroma Key • A special type of matte key where a uniform color background is totally replaced/Keyed Out • The Keyed out portion is filled in by a second signal – live feed or CGI or predetermined background • We shall come back to this topic if we have time
- 14. >> 0 >> 1 >> 2 >> 3 >> 4 >> Some More Switcher Effects Wipe
- 15. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Soft Wipe
- 16. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Diamond Wipe
- 17. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Split Screen • https://ww w.youtube. com/watch ?v=- WhKt_Ck XD0
- 18. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Spotlight Effect • check the spotlight around the person’s face
- 19. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Digital Video Effects (DVE)
- 20. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Scaling • Where you can change the magnification of the frame. We do that all the time in VLC.
- 21. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Stretching • Where the frame itself is stretched, oro shrunk.
- 22. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Repositioning/ Positionoing of Squeezed- Zoomed Image
- 23. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Perspective Distortion
- 24. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Mosaic Where the image is broken into uniform, discrete, tiles. This is to blur part of the image for censor purpose. Or for transition.
- 25. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Posterization Where only certain colors, or tones, are used to show the picture. • https://www.youtu be.com/watch?v=d YIc8QWtg50
- 26. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Solarization • A blending of the potive and the negative image
- 27. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Motion Effects
- 28. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Snapshots
- 29. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Rotation and Bounce Effects
- 30. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Fly Effect
- 31. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Cube Spin
- 32. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Multi-Images • There are different types of Multi-image effects. All of them are ways to put more than one image screen in the final screen. • One type of Multi-image is the Secondary Screen • Each individual is in his or her own frame. Their frames are tilted to each other creating the illusion that they are talking to each other.
- 33. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Multi-images • Echo
- 34. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Optical Effects
- 35. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Reflections • Reflections, as a form of Optical FX, have a long history in visual storytelling
- 36. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Star Filter • Point light sources show up as stars when this filter is used on camera lens
- 37. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Diffusion Filter • Face, or part of the frame, becomes softerr, hazier, creating a dreamlike effect when this filter is used on lens
- 38. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Diffusion Filter • Sometimes, a glass smeared thinly with vaseline may be placed in the filter mattebox
- 39. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Defocus & Refocus If the image background is too defocused, some actor or prop may change and you won’t notice, until the background comes back to focus again!
- 40. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Mechanical Effects
- 41. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Fire • Fire-machines, which operate on the principle of gas burner, are used.
- 42. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Flicker • Flicker of fire or even matchbox can be produced by the use of a dimmer connected to a single halogen light. • For a big set, more controlled, flicker, a flickerbox is used.
- 43. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Rain • Rain-machines are used for artificial, controlled rain
- 44. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Fog • Fog machines are used for creating fog effect. They have successfully replaced dry ice
- 45. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Snow • Snow machines are used to create snow-effect with foam
- 46. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Lightning • Old school model is to use positive and negative carbon electrodes. • Lightning means very high illumination, very short-duration, bluish light • High-luminosity flashlights are modern-day solution.
- 47. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Blast • Normally miniature sets are used for TV/Low budget movie blasts
- 48. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Wind • Fans with propeller-type blades are used for creation of wind in the big sets
- 49. >> 0 >> 1 >> 2 >> 3 >> 4 >> TV Graphics - Specifications
- 50. >> 0 >> 1 >> 2 >> 3 >> 4 >> • TV Graphics specifications means • Standards for recording and viewing images and texts • Not maintaining the standards would cause wrong image, or no image at all • Excessive brightness/white, too less brightness/black, and oversaturated colors are called illegal signal values in TV.
- 51. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Terms to remember • Aspect Ratio (AR)
- 52. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Terms to remember • Aspect Ratio (AR) Aspect ratio is the image shape. Ratio of the width and the height of the frame.
- 53. >> 0 >> 1 >> 2 >> 3 >> 4 >> Or 4:3 Aspect Ratio
- 54. >> 0 >> 1 >> 2 >> 3 >> 4 >>
- 55. >> 0 >> 1 >> 2 >> 3 >> 4 >> 4 : 3
- 56. >> 0 >> 1 >> 2 >> 3 >> 4 >> 4 : 3
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- 60. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Terms to remember • Aliasing • When a pattern is wrongly represented, it is called aliased. • Blurring the wrong representation to cheat the eye is called anti-aliasing
- 61. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Terms to remember • Color Compatibility Whether all colors are truly reproduced in an old B&W TV
- 62. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Terms to remember • Essential Area/Active Area/Safe Area/Safe Title Area
- 63. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Terms to remember • Essential Area/Active Area/Safe Area/Safe Title Area • If image or text is outside the safe area, that may not be visible in all old analog TVs, and may lose sharpness, color and contrast in modern digital TVs.
- 64. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Terms to remember • Scanning Area • Scanning area is the area for the visual frame which was recorded in the camera. • The whole frame recorded may not be truthfully visible in the TV. • The TV safe area is also known as the Essential Area
- 65. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Terms to remember • Scanning Area
- 66. >> 0 >> 1 >> 2 >> 3 >> 4 >> • This happens if the text is outside the TV safe area
- 67. >> 0 >> 1 >> 2 >> 3 >> 4 >> • PAN AND SCAN • The active area is modified from its original version to fit the screen
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- 77. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Letterbox: The right way to do it
- 78. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Don’t buy, rent or download films that are not in their original version
- 79. >> 0 >> 1 >> 2 >> 3 >> 4 >> • You are not watching the film that the filmmakers/TV Producers really shot!
- 80. >> 0 >> 1 >> 2 >> 3 >> 4 >> • NAHI!!!! • OH, YEAH!
- 81. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Terms to remember • Character Generator (CG)
- 82. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Information Density and Readability • In other word, Clutter
- 83. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Information Density and Readability • A properly structured screen makes impact, as well as give maximum info at the same time
- 84. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Information Density and Readability • Keep all graphics and text within the safe area
- 85. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Information Density and Readability • Choose fonts that have a blod and clean contour. • Thin, serif fonts have a tendency to break up when keyed in.
- 86. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Information Density and Readability • Limit information to the minimal at a time • If it is crawling text, the speed must be slow
- 87. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Information Density and Readability • Keep all lettering in Bold • Don’t keep text on a busy video background! Don’t!!
- 88. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Color • Here, we are talking about the color of light, and not the color of paints! • Light itself is invisible, and colors created in the brain
- 89. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Grayscale • It represents the brightness showing range of a signal, and the receiver/TV
- 90. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Warm/High Energy and Cool/Low Energy Colors
- 91. >> 0 >> 1 >> 2 >> 3 >> 4 >> Colours of different sources Daylight Tungsten Bulb
- 92. >> 0 >> 1 >> 2 >> 3 >> 4 >> COLOUR SYSTEMS - Addictive System The primary colours of Additive Colour Wheel – RED – GREEN - BLUE
- 93. >> 0 >> 1 >> 2 >> 3 >> 4 >> The Additive Colour Wheel The secondary colours of Additive Colour Wheel Magenta – Cyan - Yellow
- 94. >> 0 >> 1 >> 2 >> 3 >> 4 >> The Subtractive System The primary colours of Subtractive Colour Wheel Magenta – Yellow - Cyan Photographs, magazines and other objects of nature such as an apple; create color by subtracting or absorbing certain wavelengths of color while reflecting other wavelengths back to the viewer. This phenomenon is called subtractive color.
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- 96. >> 0 >> 1 >> 2 >> 3 >> 4 >> • Color • You can pinpoint any color by the combination of its Hue Saturation Brightness
- 97. >> 0 >> 1 >> 2 >> 3 >> 4 >> The Basic Components of Colour Hue Brightness Saturation What colour is “candy apple red”
- 98. >> 0 >> 1 >> 2 >> 3 >> 4 >> DESATURATION of colours by adding the complementary hue Partially desaturated colours of RED by adding white/black/cyan Tint and Shade are sometimes used to indicate the desaturation
- 99. >> 0 >> 1 >> 2 >> 3 >> 4 >> Any of the colour can be described in terms of Hue, Brightness & Saturation
- 100. >> 0 >> 1 >> 2 >> 3 >> 4 >> Brightness vs Saturation
- 101. >> 0 >> 1 >> 2 >> 3 >> 4 >> Contrast and Affinity - Hue Contrast of Hue Affinity of Hue Single Colour - Green
- 102. >> 0 >> 1 >> 2 >> 3 >> 4 >> Contrast and Affinity – Brightness/Tonal range of colours Affinity – all dark reds Contrast Bright & Dark blue
- 103. >> 0 >> 1 >> 2 >> 3 >> 4 >> Contrast and Affinity – Saturation Contrast – Greys and saturated red Affinity – All colours desaturated
- 104. >> 0 >> 1 >> 2 >> 3 >> 4 >> Warm & Cool Colours
- 105. >> 0 >> 1 >> 2 >> 3 >> 4 >> Extension – Colour extension deals with a colour's brightness and physical proportion in relation to other colours. Extension – Yellow the brightest saturated colour and Blue/Magenta the Darkest.
- 106. >> 0 >> 1 >> 2 >> 3 >> 4 >> Interactions of colours – Josef Albers demonstrated how colours appear changed in hue, brightness or saturation when placed next to each other. The susceptible colour – the colour that will appear to change The neighbor – the colour or tone that will activate the change in the suceceptible colour Interactions of colours
- 107. >> 0 >> 1 >> 2 >> 3 >> 4 >> Interactions of colours occurs when white or black is placed next to a colour. But the results vary depending upon the proportions. When cyan is surrounded by white, it looks darker than when the same cyan is surrounded by black The figure below shows the Bezold effect. These kinds of colour interactions are called simultaneous contrast, because they occur within a single picture or shot
- 108. >> 0 >> 1 >> 2 >> 3 >> 4 >> Complementary Colours – the second type of colour interactions involve complementory colours. When complementary colours are placed to next to each other their saturation increases. As the proportion of the complementary colours changes, the larger colour becomes less susceptible. And the smaller colour becomes more susceptible.
- 109. >> 0 >> 1 >> 2 >> 3 >> 4 >> Simultaneous Contrast – The orange within blue appears more saturated than the same orange within the yellow. Both susceptible oranges are in the picture at the same time The same interaction can be created from shot to shot, which is called SUCCESSIVE CONTRAST. In successive contrast only the second colour is susceptible to change. After seeing a predominantly 'reddish' shot, the following 'cyanish' shot will appear more saturated.
- 110. >> 0 >> 1 >> 2 >> 3 >> 4 >> Analogous Colours – the third type of colour interactions states that when analogous colours are placed to next to each other, they appear to push apart or seperate.
- 111. >> 0 >> 1 >> 2 >> 3 >> 4 >>
- 112. >> 0 >> 1 >> 2 >> 3 >> 4 >> Successive Contrast demo – red after image.
- 113. >> 0 >> 1 >> 2 >> 3 >> 4 >> Colour Schemes based on Colour Wheel One hue Red Complementary Blue - Orange
- 114. >> 0 >> 1 >> 2 >> 3 >> 4 >> Split-Complementary Cyan> - Orange-RedMgenta Three way Split – Three equidistant colours in the wheel Blue – Red - Green
- 115. >> 0 >> 1 >> 2 >> 3 >> 4 >> Four way split – Equidistant four hues at the wheel
- 116. >> 0 >> 1 >> 2 >> 3 >> 4 >> The Colour Script Colour script for the entire production – cool desaturated colours Colour script for each act of the story
- 117. >> 0 >> 1 >> 2 >> 3 >> 4 >> Colour script for each shot within four sequences