Introduction to Video (Part 1)
Course Description
In the first part of this dual module, we look at how we define video.
It starts with how the TV system developed from SD systems via HD to UHD in all its different forms. Why we have different frame rates in different parts of the world, the implications of this and why we also still use interlacing for the majority of broadcasts.
We discuss aspect ratio and review the different variations used in cinema, TV and computing. We look at how we define and quantify content along with the implications of concurrently delivering to different aspect systems or using legacy content with different aspects.
In the final part of this session, we will look at the structure of a video signal and how we define pixels, lines, fields and frames in both digital and analogue domains.
Who Should Attend
This session provides key underpinning knowledge which will help anyone who deals with video on a day to day basis. It should be essential learning for all operators and technical staff and could also be of benefit to many in production. The module starts from first principles and therefore assumes no prior knowledge.
Course Duration: 3 hours.
Course Outcomes
At the end of the course you will understand:
- the difference between different resolutions, where and when they are used and why they are important.
- the importance of interlacing to early TV systems and why we are struggling to switch to progressive systems.
- the importance of frame rates and why different systems require different rates.
- the different aspect ratios used, how to define them and how to manage them.
- how to measure and define time elements of a video signal.
- the importance of synchronisation pulses in the creation of a coherent video signal.
Module Cost £80
Introduction to Video (Part 2)
Course Description
In part 2 of this dual module, we look at how we measure and quantify the content of the picture through Luma and Chroma.
We start by looking at how TV started with black and white content and a luma only signal. We look at how an analogue video signal was defined using voltage, how we might use a waveform monitor to measure it and the various controls which are used to adjust it. The module also looks at the importance of line-up, particularly for those working in quality control and the use of PLUGE to manage monitoring.
The session then moves on to look at gamma and why it is still important to almost every aspect of TV production, both now and looking forwards.
The last part tackles how we see colour, think about it and how we deal with chroma at different points in the production process. It introduces the concepts of RGB and component video and looks at how we translate from one to the other and its importance to making video more manageable.
Who Should Attend
This session provides key underpinning knowledge which will help anyone who deals with video on a day to day basis. It should be essential learning for all operators and technical staff and could also be of benefit to many in production. The module starts from first principles and therefore assumes no prior knowledge.
Course Duration: 3 hours.
Course Outcomes
At the end of the course you will understand:
- how our eyes sees images in a way that is different to the brain.
- how to set Luma levels using a waveform monitor.
- how to use PLUGE.
- the importance of Gamma in defining a video system or signal.
- how to convert RGB to component and vice versa.
- how we can manage luma chroma and/or RGB signals.
Module Cost £80
Colour and Colour Space
Course Description
Colour is an enormously complex topic and if you are managing the quality aspects of video, it will create a number of issues you need to understand.
Picking up from the Introduction to Video (Part 2), we look at the differences between RGB and YCrCb and discuss the idea of colour space and how the gamut of colours in RGB is a subset of YCrCb. The module then goes on to look at the CIE chart and xy colour space as well as thinking about other spaces such a luma, saturation, hue, PAL, NTSC and others. The module will look at the tools we have to measure and possibly control these problems and the potential problems such tools might in themselves create.
In the second part of this module, we will look at the issues which the human eye creates in the way it handles colour and in particular metamerism and colour rendering. Finally we look at the extended gamuts found in newer systems such as UHD and the virtual spaces which might be used in post production and compatibility issues these might create.
Who Should Attend
This session is aimed specifically at those who work with colour and colour management. It will be particularly useful to vision controllers, lighting designers, graphics designers and editors who will need to produce content for various platforms, standards and their associated colour spaces.
Course Duration: 3 hours.
Course Outcomes
At the end of the course you will:
- understand how our eyes perceive colour and that it is only an inaccurate illusion.
- understand the relationship between different colour spaces.
- know how to use RGB parade, diamond, doughnut arrowhead and lightning waveforms to help manage space.
- appreciate the relationship between absolute colour and perceived colour.
- appreciate colour rendering indexes, the limitations and their importance in reducing metamerism problems.
Module Cost £100
Systems 3 - Test Signals and Waveforms
Course Description
What are 100.0.75.0 bars? How do you use PLUGE? Why are sawtooth waveforms used with cameras? In the first part of this module, we examine common test signals (audio and video) and look at how and why they are used. We then move on to look at measurement and waveform monitors – the features they offer, the specialist waveforms and tools and how to configure and use them.
In the final part, we look at the principles and design of video monitors, how we measure quality and what they offer.
Who Should Attend
This session will be useful to anyone who works with video and needs to measure it or make quality checks on it. Because the session looks at video signals in different forms, we recommend attendance at the basic level video and audio course prior to doing this module.
Course Duration: 3 hours.
Course Outcomes
At the end of the course you will :
- be able to recognise a selection of common test signals and know how and why they are used.
- be able to differentiate between different variants of test signals and measure them correctly,
- be able to set up and use a variety of waveforms, including YCbCr, RGB in both parade and overlay modes.
- use cursors and graticules and line selection tools to make timing and amplitude measurements.
- use and read vector and gamut type measurement tools.
- appreciate more specialist tools for analysing jitter and HF losses or SDI signal timing.
- configure and use alarms and associated tools to accurately identify problem content.
- make audio phase and loudness measurements.
Module Cost £80
Digital Video
Course Description
This module starts by looking at how digital signals work and why they have become so important to everything we do. It looks at SDI standards and data rates and what would be the various starting points for UHD data rates. It looks at bit depths and sampling structures, and how digital video can vary, depending on requirements.
Having looked at the enormity of a digital video signal, the module continues by examining how data can be protected and maintained at quality, the absolute need for compression and an overview of how this can be achieved.
Who Should Attend
This session is an introductory session, however, it does require a good understanding of video, so we recommend that those wishing to attend need to complete at least the Video Lite module or similar, prior to attempting to take this module.
Course Duration: 3 hours.
Course Outcomes
At the end of the course you will:
- appreciate the difference between different bit depths and why they are used.
- understand how sampling rates were initially calculated and how this has influenced modern display technology, and how modern sampling rates are calculated.
- appreciate data rates for SDI and codecs differ even if uncompressed.
- understand how different sampling structures are used.
- appreciate the difference between lossless and lossy compression and how both can be used in the same codec.
- understand the principles of data protection.
Module Cost £80
Video Compression (Part 1)
Course Description
The first part of this strand looks in detail at how video compression works. It starts by looking at how lossless and lossy compression can be applied to a codec – often at the same time – and how they differ in the way they are applied. It moves on to look at Intra frame codecs and DCT and Wavelet technology. It finishes with a review of different Intra frame codecs, how they are used and why they are important.
Who Should Attend
This is a technical session and designed for those who work with digital video, choose, set up and configure codecs and want to understand the implications of their decisions and why broadcasters are often very restrictive about how data is handled and processed.
You need to understand digital video, including sampling structures and data rates, prior to attending this session.
Course Duration: 3 hours.
Course Outcomes
At the end of the course you will:
- understand the importance of intra-frame codecs and the implications for using them.
- appreciate the difference between DCT and Wavelets.
- understand how DCT filtering and blocks can make savings.
- understand how a Quantiser table is used to reduce data further once all ‘lossless’ savings have been made.
- recognise and identify artefacts and losses of quality.
Module Cost £80
Digital Video and Compression (Part 2)
Course Description
The second part of this strand looks in more detail at how prediction has become a key element in the development of the best codecs and the achievement of lower and lower rates. After a quick recap of intra-frame, it moves on to look at inter-frame and how GOPS are created and applied to video to effectively create a third dimension to the data reduction. It reviews the principles of DCT and Wavelets and quantisers, before looking in more detail at prediction in both intra and inter-frame codecs. This will include a review of many of the sophisticated tools which are used to find redundant information and reduce artefacts.
The second half of this session looks at how compressed data can transported, or how it can applied, to file. This includes an overview of statistical multiplexing and variable data rates as well as a look at how a .mxf file is structured.
Who Should Attend
This is a technical session and designed for those who work with digital video, choose, set up and configure codecs and want to understand the implications of their decisions and why broadcasters are often very restrictive about how data is handled and processed.
This session follows directly from part 1 and we would recommend that you attend part 1 before attending this module.
Course Duration: 3 hours.
Course Outcomes
At the end of the course you will:
- understand the differences between intra and inter frame codecs and the implications for using them.
- know about I, B and P frames and their importance in the prediction process.
- understand how prediction is used in both intra and inter-frame codecs.
- know about the more advanced tools which can be used in advanced inter-frame codecs.
- appreciate the complexity of the prediction process and how it has been the main area of development in new codecs.
- recognise and identify artefacts and losses of quality.
- appreciate how compression can be applied to streams and files and how multiplexing becomes essential in the world of broadcast transmission.
Module Cost £80
Video 'Lite'
Course Description
This is a shortened version of our standard video modules which reflects the fact that some people need to know about video, but perhaps will not be first and foremost video technicians. It covers the basics of how an image is scanned, measured and captured into a video signal. It looks at the different standards which have been used at different times and places in history along with the potential issues you might face when handling such content or converting it to a more current standard. The aim is to provide enough detail for an archivist to identify content, understand issues or implications and communicate with specialists who might provide services for their legacy content.
Who Should Attend
This session provides key underpinning knowledge which will help anyone working with AV content to understand, identify and correctly deal with it. There are no prerequisites for attending as it explains everything from beginner level.
Course Duration: 3 hours.
Course Outcomes
At the end of the course you will understand:
- resolution and how it has increased over time and the different common standards used.
- frame rates and how they have differed according to both location and time.
- colour and how different systems have captured it in video signals over time and in different locations.
- the basic implications of moving from one standard to another.
Module Cost: £80.
Analogue Video Standards
(N.B. This Module is a copy from the A/V Archive Modules section)
Course Description
A module which looks at analogue video standards including PAL, SECAM and NTSC composite video standards, which were the mainstay of recording technology from the 1950’s to 1990’s. It also looks at analogue component video which was significant in the late 80’s and 90’s, and heterodyne (colour under) recording systems which heavily modified the PAL and NTSC standards for domestic and lower quality professional systems in the 70’s and 80’s.
Who Should Attend
This session is aimed at those working with legacy analogue content who need to understand more about how legacy video standards work and how to manage and use them. It builds on the topics covered in the Introduction to Video, which we recommend you attend prior to attending this module, or be able to a show a similar level of knowledge.
Course Duration: 3 hours.
Course Outcomes
At the end of the course you will understand:
- how to read composite waveforms.
- the issues created by phase modulated colour.
- the differences between PAL, SECAM and NTSC systems.
- the differences between YIQ and YUV video components.
- the ways in which component and composite signals can be handled and connected.
- the issues which heterodyne recording formats pose for professionals.
