Northwestern University

Laoag City

UNIT 8 – DIGITAL VIDEO

Digital Video means moving images that have been captured or created electronically by a computer.
Video in multimedia helps to convey realism and movement. Video enhances common applications of
multimedia. Digital media is used in education, information, entertainment, and advertising. Other uses
of video in multimedia are:

• Video simulations show procedures and interactions that would be dangerous to perform in
actuality
• Games use video to simulate flight, car racing, and other action
• Web sites and CD-ROMs use videos as reference material
• Videoconferences enable participants to see each other and witness demonstrations

HISTORY OF DIGITAL VIDEO

Some Important Milestones:

1986 – Professional digital video introduced

1990 – Quicktime format introduced as a consumer digital format by Apple computers
1995 – Professional and consumer digital videotape (DV) format released
1996 – DVD (Digital Video Disks) players introduced
1996 – WRAL-TV becomes the first television station to broadcast
in HDTV (high-definition television)
2009 – All television stations nationwide in the US began broadcasting exclusively
in a digital format (DTV)

CHARACTERISTICS OF VIDEO

Broadcasting Formats:

• NTSC (National Television System Committee) – Television broadcasting system used

in the US
• PAL (Phase Alternating Line) – Television broadcasting system used in large parts of
the world outside the US
• SECAM (Sequential Color with Memory) – Television broadcasting system first used in
France

• Analog - A non-digital representation of information in a continuous flow, rather than as individual

pieces of data
• Digital - A representation of information as individual pieces of data
• Aspect Ratio - Dimension of width to height
• Frame Rate - Speed at which video frames appear; Measured in frames per second (fps)
• Streaming - process of transmitting audio/video files over the Internet that begin playing as the
remaining data is temporarily transferring to your computer. User friendly because video can be
viewed as the file is loading without having to wait for the completed file to load.

MULTIMEDIA - Unit 8 Digital Video P a g e 1 | 15

 Northwestern University
Laoag City

VIDEO FILE FORMATS

A video file’s format determines:

• Which programs can open and play it?

• How much space it occupies on a disk?
• How fast it travels over an Internet connection?

Common File Formats Include:

• MOV (Movie) - Developed by Apple computers for the Quicktime video player; Best used
for streaming; Also known as Quicktime or movie format
• WMV (Windows Media Video) - Developed by Microsoft for streaming video
• AVI (Audio Video Interleave) - Developed by Microsoft for Windows media player; Not
good for streaming
• MPEG-2 (Motion Picture Experts Group) - Standard file format for DVD
• MPEG-4 (Motion Picture Experts Group) - Standard file format for Blu-ray disk; Uses
a greater compression and achieves a higher quality video on the Internet
• FLV (Flash video) - File format used to deliver video over the Internet using Adobe
Flash Player

DIGITAL VIDEO EQUIPMENT

• Computer
• Video Camera
• Microphones
• Tripods
• Lighting
• Recordable media
• Video switcher
• Cables/connectors

Common Video Cables Include:

• RCA
• BNC
• HDMI
• Coaxial (F-connector)
• RGB
• Firewire

MULTIMEDIA - Unit 8 Digital Video P a g e 2 | 15

 Northwestern University
Laoag City

DIGITAL VIDEO SOFTWARE

There are programs for playing video and audio, as well as editing and distributing video.

• A number of video players are available on the Internet for free or at nominal cost.

• Video editing software allows you to edit video.

• Deciding which video editing software to use is not easy. There is a huge range available,
from very basic applications such as Windows Movie Maker to professional packages
such as Final Cut Pro, ULead MediaStudio and Adobe Premiere.

• For most people, the main constraint is money. Good editing software is expensive and
often requires a high-priced computer to run effectively. Obviously, the more money you
can spend the better, but you can achieve reasonable results with software costing less
than $US500.

• Very cheap or free software (e.g. Windows Movie Maker) tends to be very limited and
somewhat impractical. If you are at all serious you will need to spend some money.

• Note that many capture devices and cameras come with their own editing software, or
perhaps a limited version of a professional package. This can be a cost-effective way to
get started.

RESOLUTION

In digital video, resolution means the number of pixels displayed on screen. Technically speaking there
are two types of resolution:

1. Spatial resolution means the width and height of the displayed image, measured in pixels. In
other words, the total number of pixels contained in each individual frame.
2. Temporal resolution means the frame rate (number of frames shown per second), i.e. "resolution
over time".

Unless otherwise stated, it's safe to assume that the term resolution by itself means spatial resolution.

Common resolutions

There are many different resolutions available for video, television and cinemas—the table below shows
some of them.

MULTIMEDIA - Unit 8 Digital Video P a g e 3 | 15

 Northwestern University
Laoag City

Name Pixels (width x height) Aspect Ratio Notes

Standard Definition (SD)

480p / 480i 720×480 (or 704×480) 4:3 (approx) NTSC
576p / 576i 720×576 (or 704×576) 4:3 (approx) PAL
High Definition (HDTV)
720p 1280×720 16:9
1080p / 1080i 1920×1080 16:9
Ultra-High Definition (UHDTV)
4K (2160p) 3840×2160 16:9 Exactly 4 × 1080p
8K (4320p) 7680×4320 16:9 Exactly 16 × 1080p
8640p 15360×8640 16:9 Exactly 32 × 1080p
Digital Cinema (DCI)
The first generation of digital cinema
2K 2048 × 1080 1.90:1
projectors.
4K 4096 × 2160 1.90:1 2nd generation digital cinema.

Notes
• "i" refers to a TV standard that uses interlaced frames. "p" means progressive frames.
• In some older systems, some pixels are reserved for technical display information and are not part
of the visible image.
• Digital cinema formats have variations for archiving and other purposes.

The image below shows some of these resolutions in relation to each other. Remember that higher
resolution doesn't necessarily mean a "bigger picture", it just means more pixels in the displayed image—
whatever size that happens to be. Of course, higher resolutions are generally suited to larger displays.

MULTIMEDIA - Unit 8 Digital Video P a g e 4 | 15

 Northwestern University
Laoag City

TERMINOLOGY

Shot: All video is made up of shots. A shot is basically from when you press record to when you stop
recording. Like the individual photos which make up an album, the shots get put together to make a
video.

Framing & Composition: The frame is the picture you see in the viewfinder (or on a
monitor). Composition refers to the layout of everything within a picture frame — what the subject is,
where it is in the frame, which way it's facing/looking, the background, the foreground, lighting, etc.

When you "frame" a shot, you adjust the camera position and zoom lens until your shot has the desired
composition.

Transition: Shots are linked (edited) in a sequence to tell a larger story. The way in which any two
shots are joined together is called the transition.

Usually this is a simple cut, in which one shot changes instantly to the next. More complex transitions
include mixing, wipes and digital effects. A moving shot (e.g. pan) can also be thought of as a transition
from one shot to a new one.

The transition is very important in camera work, and you need to think constantly about how every shot
will fit in with the ones before and after it. The key is not so much how the transition is achieved
technically, but how the composition of each shot fits together

MULTIMEDIA - Unit 8 Digital Video P a g e 5 | 15

 Northwestern University
Laoag City

FRAMING

Shots are all about composition. Rather than pointing the camera at the subject, you need to compose an
image. As mentioned previously, framing is the process of creating composition.

Notes:
• Framing technique is very subjective. What one person finds dramatic, another may find pointless.
What we're looking at here are a few accepted industry guidelines which you should use as rules
of thumb.
• The rules of framing video images are essentially the same as those for still photography.

Camera Angles

The term camera angle means slightly different things to different people but it always refers to the way
a shot is composed.

• Eye-Level
This is the most common view, being the real-world angle that we are all used to. It shows
subjects as we would expect to see them in real life. It is a fairly neutral shot.

• High Angle
A high angle shows the subject from above, i.e. the camera is angled down towards the subject.
This has the effect of diminishing the subject, making them appear less powerful, less significant
or even submissive.

• Low Angle
This shows the subject from below, giving them the impression of being more powerful or
dominant.

• Bird's Eye
The scene is shown from directly above. This is a completely different and somewhat unnatural
point of view which can be used for dramatic effect or for showing a different spatial perspective.

In drama it can be used to show the positions and motions of different characters and objects,
enabling the viewer to see things the characters can't.

The bird's-eye view is also very useful in sports, documentaries, etc.

• Slanted
Also known as a dutch tilt, this is where the camera is purposely tilted to one side so the horizon
is on an angle. This creates an interesting and dramatic effect. Famous examples include Carol
Reed's The Third Man, Orson Welles' Citizen Kane and the Batman series.

Dutch tilts are also popular in MTV-style video production, where unusual angles and lots of
camera movement play a big part.

MULTIMEDIA - Unit 8 Digital Video P a g e 6 | 15

 Northwestern University
Laoag City

Camera Shot Types

There is a convention in the video, film and television industries which assigns names and guidelines to
common types of shots, framing and picture composition. The list below briefly describes the most
common shot types

Notes:
• The exact terminology varies between production environments but the basic principles are the
same.
• Shots are usually described in relation to a particular subject. In most of the examples below, the
subject is the boy.

EWS (Extreme Wide Shot) VWS (Very Wide Shot)

The view is so far from the subject that he The subject is visible (barely), but the
isn't even visible. Often used as an emphasis is still on placing him in his
establishing shot. environment.

WS (Wide Shot)
MS (Mid Shot)

Also known as long shot, full shot. The

Shows some part of the subject in more detail
subject takes up the full frame, or at least as
while still giving an impression of the whole
much as comfortably possible. This is a shot
subject. A medium shot (MS) is normally a shot
from the top of their heads to at least their
from the waist up.
feet.

MULTIMEDIA - Unit 8 Digital Video P a g e 7 | 15

 Northwestern University
Laoag City

CU (Close Up)
MCU (Medium Close Up)

A certain feature or part of the subject takes up

Half way between a MS and a CU. A medium the whole frame. A closeup (CU) is the most
closeup (MCU) is a shot cropped between desirable to catch changing facial expressions,
the shoulders and the belt line. Also called a which are important to following a conversation.
bust shot. It is used to create intimacy or to show
emotional responses from characters

Cut-In
ECU (Extreme Close Up)

Shows some (other) part of the subject in

The ECU gets right in and shows extreme
detail. Can be used purely as an edit point, or
detail. Extreme closeups (XCUs) are
to emphasize emotion etc. For example, hand
reserved for dramatic impact. The XCU shot
movements can show enthusiasm, agitation,
may show just the eyes of an individual.
nervousness, etc.

MULTIMEDIA - Unit 8 Digital Video P a g e 8 | 15

 Northwestern University
Laoag City

CA (Cutaway) Two-Shot
A shot of something other than the subject.
A cutaway is a shot that's usually of A shot of two people, framed similarly to a
something other than the current action. It mid shot. Two-shots are good for establishing
could be a different subject (eg. this cat when
the main subject is its owner), a close up of a a relationship between subjects. A two-shot
different part of the subject (eg. the subject's could also involve movement or action. It is a
hands), or just about anything else. good way to follow the interaction between
The cutaway is used as a "buffer" between two people without getting distracted by their
shots (to help the editing process), or to add surroundings.
interest/information.

(OSS) Over-the-Shoulder Shot Noddy Shot

Looking from behind a person at the subject. Usually refers to a shot of the interviewer
This shows the camera looking at someone listening and reacting to the subject. Common
over the shoulder of another person nearer in interviews, this is a shot of the person
the camera. listening and reacting to the subject.

MULTIMEDIA - Unit 8 Digital Video P a g e 9 | 15

 Northwestern University
Laoag City

Weather Shot
Point-of-View Shot (POV) The subject is the weather. Can be used
Shows a view from the subject's for other purposes, e.g. background for
perspective. It is usually edited in such a graphics.
way that it is obvious whose POV it is

Cross-shot (X/S)

This is a shot sequence in which the camera looks alternately at one or the other person, with the
camera-near person completely out of the shot.

MULTIMEDIA - Unit 8 Digital Video P a g e 10 | 15

 Northwestern University
Laoag City

Composition

When you shoot a scene, where do you place people and/or important objects? They need to be placed
so either attention is directed towards them or they share the scene with something or someone else.

1. Rule of Thirds
Place objects within an imaginary grid such as you see on the right. Notice in the picture on
the far right how the faces are within the center grid sections

GRID FOR RULE OF THIRDS CORRECT USE OF THE RULE OF THIRDS

Rule of Thirds : Still Object

This tree image uses the Rule of Thirds,

First image of the tree is incorrectly framed.
framing the tree to the left third of the frame.
Rule of Thirds: Person

This image of the person is incorrectly framed. This image of the girl uses the Rule of Thirds,
The girl is centered in the picture. moving the girl to the right. Don't center
people unless you need to (such as in a
news broadcast.)

MULTIMEDIA - Unit 8 Digital Video P a g e 11 | 15

 Northwestern University
Laoag City

2. Headroom:

No Headroom: Too Much Headroom: Proper Headroom:

The person may seem to be The person may look like they are The person has adequate space
glued to the top of the screen! sinking in the frame! above the head.

3. Framing (faces)

Give people "eye room" in the frame towards the direction they are
looking.
Do NOT center a person looking to one side of the frame.

4. Background

Look to see what is behind the person or object. Don't let the background take over or
alter the look of the person or object. Allow the background to give the main subject
some depth and dimension but don't allow people or objects in the background to
distract from the scene.

Depth and "not boring" are two very important things to think about in a scene. You
don't want flat looking pictures. Have some background but try to control what is going
on at all times. Use people in your shots to add interest and to add more depth.

MULTIMEDIA - Unit 8 Digital Video P a g e 12 | 15

 Northwestern University
Laoag City

Basic Camera Moves

As with camera framing, there are standard descriptions for the basic camera moves. These are the main
ones:

Pan: The framing moves left & right, with no vertical movement. Directions are “pan right” or “pan left”.

Tilt: The framing moves up & down, with no horizontal movement. Directions are “tilt up” or “tilt down”.

Truck: Camera physically moves side to side (left and right). Directions are “truck right” or “truck left”.

Dolly: Camera physically moves towards or away from the subject. Directions are “dolly in” or “dolly out”.

Zoom: Uses the mechanics of the camera lens to make the subject appear closer. Directions are “zoom
in” or “zoom out”. When a shot zooms in closer to the subject, it is said to be getting "tighter". As
the shot zooms out, it is getting "looser".

Follow: Any sort of shot when you are holding the camera (or have it mounted on your shoulder), and
you follow the action while walking. Hard to keep steady, but very effective when done well.

Panning: Try NOT to pan when shooting. But, if you must:

1. Use it to show a wide panorama that you can't fit into the camera frame such as landscapes
and moving objects.
2. Make the pan last at least 6-7 seconds but no more.
3. Try to start still for 5 seconds, then do the 6-7 second pan, then hold the shot for 5 more
seconds.
4. Practice panning to get a smooth move or to follow someone or something moving in a smooth
manner. Most of the time "cut" to a close-up or long-shot, don't zoom.

Zooming: Zooming in and out is a sign of someone just begriming to use a video camera. Try to NEVER
use the zoom for a shot. Can your eyes zoom? No. So zooming is not a natural type of shot.
But IF you do zoom, make it meaningful. So why have a zoom? To get closer to something
when you can't physically closer to it.

1. Zoom in on something or someone specific to make a point, like a dramatic zoom in to see an
expression of surprise.
2. Use zoom to frame up a shot. Use it to frame up the next shot. In other words, shoot a scene,
stop filming, zoom in, and film again.
3. A very slow zoom might work if you need to move closer to a subject who is busy doing
something.

MULTIMEDIA - Unit 8 Digital Video P a g e 13 | 15

 Northwestern University
Laoag City

SHOOTING TECHNIQUE

1. Position yourself and your camera.

− If you're using a tripod, make sure it's stable and level (unless you have a reason for it to be
tilted).

− If the tripod has a spirit level, check it.

− If you're going to be panning and/or tilting, make sure that you'll be comfortably positioned
throughout the whole move.

− You don't want to start a pan, and then realize you can't reach around far enough to get the
end of it.

− If it's going to be difficult, you're better off finding the position which is most comfortable at
the end of the move, so that you start in the more awkward position and become more
comfortable as you complete the move.

− If the tripod head doesn't have a bowl (this includes most cheaper tripods), it's very important
to check that the framing still looks level as you pan - it may be okay in one direction but
become horribly slanted as you pan left and right.

− If you're not using a tripod, stabilize yourself and your camera as best you can. Keep your
arms and elbows close to your body (you can use your arms as "braces" against your torso).
Breathe steadily.

− For static shots, place your feet at shoulder width (if you're standing), or try bracing yourself
against some solid object (furniture, walls, or anything).

2. Frame your shot.

− Then do a quick mental check: white balance; focus; iris; framing (vertical and horizontal
lines, background, etc.).

3. Think about your audio.

− Audio is just as important as vision, so don't forget about it.

4. Press "record".

− Once you're recording, make sure that you are actually recording. There's no worse
frustration than realizing that you were accidentally recording all the time you were setting
the shot up, then stopped recording when you thought you were starting.

− Many cameras have a tape "roll-in time", which means that there is a delay between the
time you press record and when the camera begins recording. Do some tests and find out
what your camera's roll-in time is, so you can then compensate for it.

5. Keep checking the status displays in the viewfinder.

− Learn what all the indicators mean — they can give you valuable information.

MULTIMEDIA - Unit 8 Digital Video P a g e 14 | 15

 Northwestern University
Laoag City

6. Use both eyes.

− A valuable skill is the ability to use one eye to look through the viewfinder, and the other eye
to watch your surroundings. It takes a while to get used to it, but it means that you can walk
around while shooting without tripping over, as well as keeping an eye out for where the
action is happening. It's also easier on your eyes during long shoots.

7. Learn to walk backwards.

− Have someone place their hand in the middle of your back and guide you. These shots can
look great.

− You'll often see television presenters walking and talking, as the camera operator walks
backwards shooting them.

8. Keep thinking "Framing...Audio..."

• As long as you're recording, think about how the frame composition is changing, and what's
happening to the sound.

9. Press "record stop" before moving.

• Just as in still photography, you should wait until one second after you've finished recording
(or taken the photo) before you move. Too many home videos end every shot with a jerky
movement as the operator hits the stop button.

Here are a few more tips to finish off with...

Be diplomatic while shooting. Think about the people you're shooting. Remember that people are often
uncomfortable about being filmed, so try to be discreet and unobtrusive (for example, you might want to
position yourself some distance from the subjects and zoom in on them, rather than being "in their faces").

Many people find the red recording light on the camera intimidating, and freeze whenever they see it. Try
covering the light with a piece of tape to alleviate this problem.

Learn to judge when it's worth making a nuisance of you for the sake of the shot, and when it's not. If it's
an important shot, it might be necessary to inconvenience a few people to get it right. But if you're going
to make enemies over something that doesn't matter, forget it and move on.

Use the "date/time stamp" feature sparingly. It's unnecessary to have the time and date displayed
throughout your video, and it looks cheap. If you must have it there, bring it up for a few seconds, and
then get rid of it.

Modern digital cameras have the ability to show or hide this display at any time after recording.

Be prepared to experiment. Think about some of the things you'd like to try doing, then try them at a
time that doesn't matter (i.e. don't experiment while shooting a wedding). Most new techniques take
practice and experimentation to achieve success, and good camera work requires experience.

If you want to be good, you'll have to invest some time

MULTIMEDIA - Unit 8 Digital Video P a g e 15 | 15