curso inglés 3er nivel
TRANSCRIPT
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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.
____________________________________________________________________________________________
____________________________________________________________________________________________
____________________________________________________________________________________________
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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?
____________________________________________________________________________________________
____________________________________________________________________________________________
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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.
Answer the questions:
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.
____________________________________________________________________________________________
____________________________________________________________________________________________
____________________________________________________________________________________________
____________________________________________________________________________________________
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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
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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
Copy the text in English and translate to Spanish as we made in the class.
Find in the dictionary ALL the meanings for :
on _________________________________________________________________________________________
____________________________________________________________________________________________
____________________________________________________________________________________________
Answer the questions:
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.
____________________________________________________________________________________________
____________________________________________________________________________________________
____________________________________________________________________________________________
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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
Copy the text in English and translate to Spanish as we made in the class.
Find in the dictionary ALL the meanings for the word pitch.
________________________________________________________________________________________
____________________________________________________________________________________________
Answer the questions:
Which is the main use of time compression techniques? Explain. _______________________________________
____________________________________________________________________________________________
____________________________________________________________________________________________
____________________________________________________________________________________________
____________________________________________________________________________________________
Explain the concept intercom system, how it works and what provides in television production.
____________________________________________________________________________________________
________________________________________________________________________________________________________________________________________________________________________________________
____________________________________________________________________________________________
____________________________________________________________________________________________
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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
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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.
Answer the questions:
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?
____________________________________________________________________________________________
____________________________________________________________________________________________
____________________________________________________________________________________________
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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
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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.
____________________________________________________________________________________________
____________________________________________________________________________________________
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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
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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) 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?
____________________________________________________________________________________________
____________________________________________________________________________________________
____________________________________________________________________________________________
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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
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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
a) Copy the text in English and then translate the text to Spanish as we made in the class.
b) Answer the questions:
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.
____________________________________________________________________________________________
____________________________________________________________________________________________
____________________________________________________________________________________________
____________________________________________________________________________________________
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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
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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?
____________________________________________________________________________________________
____________________________________________________________________________________________
____________________________________________________________________________________________
____________________________________________________________________________________________
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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
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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.
Answer the questions:
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?
_____________________________________________________________________________________________
_______________________________________________________________________________________________________________________________________________________________________________________
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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
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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
a) Copy the text in English and then translate the text to Spanish as we made in the class.
b) Find ALL the meanings for the words: a) lead b) case
c) Answer the questions:
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?
____________________________________________________________________________________________
____________________________________________________________________________________________
____________________________________________________________________________________________
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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
a) Copy the text in English and then translate the text to Spanish as we made in the class.
b) Find ALL the meanings for:
a) perform
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b) input
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c) Answer the questions:
1) Describe the basic functions of a television production switcher.
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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