| 2K |
Generic term for a film with a horizontal resolution of approximately 2,000 px, more than standard HD. Example, 2048 x 1080 (DCI cinema), 2048 x 1152 (16:9).
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| 4K |
Generic term for a film with a horizontal resolution of approximately 4,000 px.
4096 x 2160 (DCI cinema). (See UHD.)
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4:2:0
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A ratio of sampling frequency for a digitized video signal. The first number refers to the luminance part of the signal, the second two refer to the colour. Colour information is highly reduced in this version. Used in DVD/Blu-ray, web
formats etc.
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| 4:2:2 |
A ratio of sampling frequency for a digitized video signal. The first number refers to the luminance part of the signal, the second two refer to the colour. Colour information is reduced by half but this is common standard for broadcast.
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| 4:4:4 |
A ratio of sampling frequency for a digitized video signal. The first number refers to the luminance part of the signal, the second two refer to the colour. In this ratio, all parts of the signal are sampled equally, providing the best
overall quality.
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| 4:3 |
The aspect of an image, width:height. This is the old standard television format.
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| 16:9 |
The aspect of an image, width:height. This is the new standard for widescreen TV.
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| 8-bit |
The number of levels that a pixel has. In this case it is 256 (2x2x2x2x2x2x2x2). For RGB it means 16.7 million colour combinations (256x256x256). (See Bit.)
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| 10-bit |
The number of levels that a pixel has. In this case it is 1024 (2x2x2x2x2x2x2x2 x2x2). For RGB it means 1.07 billion colour combinations (1024x1024x1024). (See Bit.)
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| Anamorphic |
A ratio of sampling frequency for a digitized video signal. The first number refers to the luminance part of the signal, the second two refer to the colour. In this ratio, all parts of the signal are sampled equally, providing the best
overall quality.
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| Artefact |
An undesirable picture element in a film/video. Most commonly used for bad or lossy
compression but also used to describe scratches, dirt, noise, dropouts etc.
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| Aspect ratio |
It explains the width of an image or display in relation to its height (i.e. 16:9 or 4:3).
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| AVI |
Audio Video Interleaved. Old file format can contain many various codecs, both for
lossy and lossless compression.
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| Bit |
Short for binary digit, which has two optional values “0” and “1” (off or on). Eight bits
means 8 binary digits. There are 256 possible combinations for 8 binary digits and
therefore colour depth of 8 bits represents 256 (2x2x2x2x2x2x2x2) possible colours.
Because each pixel of a video picture contains 3 samples Y’, R-Y’, B-Y’, the possible
colours of an 8-bit system would be 16.7 million (256x256x256).
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| Bit rate |
Bit rate is a way of measuring the level of compression in a video. It explains the
amount of data transported in a given amount of time, usually defined in Mega
(Million) bits per second (Mbps). The higher the value is, less compression in the file.
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| Byte |
The name for a group of 8 binary digits (bits) is one byte. A kilobyte of memory
contains 1024 bytes, one megabyte contains 1024 kilobytes and a gigabyte contains
1024 megabytes. These concepts are essential to understanding issues relating to the
storage and format choices of digital materials.
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| Codec |
Stands for compressor/decompressor. A compression format in a file, available in
numerous variants. Even uncompressed can be considered as a codec. (See
Lossy/Lossless.)
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| Compression |
Available in numerous variants. A process to reduce the bit rate of digital video.
Compression algorithms aim to do this in ways that minimize the visible effects with
smaller file sizes. (See codec.)
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| Conversion |
Usually frame conversion from NTSC to PAL (29,97 to 25 fps).
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| Cropping |
It means that the black edges of the visual image are removed. It is common when
digitizing video from tape/cassette media.
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| DCI |
Digital Cinema Initiatives. A standard architecture for digital cinema systems. Black
bars above and below the image are added to be able to show the wide image on a
normal TV. 2048 x 1080 (2K), 4096 x 2160 (4K).
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| De-interlace |
Conversion of two interlaced fields into one progressive frame. (See Interlace.)
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| Digitization |
The process of converting analogue signals or information of any form into a digital
format that can be understood by computer systems or electronic devices.
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| DPI |
Dots Per Inch. Describes the density of dots in a printed image. It’s not relevant for
video but usually 72 dpi is used incorrectly as standard for a digitized video. (See PPI.)
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| Dropout |
Artefact. Momentary signal loss of video during playback on a tape machine caused by
dirt or damaged magnetic tape surface. Can often be fixed with digital restoration. (See
Restoration.)
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| Editing suite |
Editing system using hard- and software in which a film is created. A variety of options
from simple and free software-based to highly advanced professional systems.
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| Field |
Half a video frame in an interlaced video. A field comprises every second horizontal
line of the frame. (See Interlaced & Progressive.)
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| Film |
It essentially means that the material origins from 8, 16 or 35 mm optical film.
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| Flicker |
Artefact. Often caused by problem with interlaced video or when static images are
displayed on the screen, such as computer generated text transferred to video. Can
often be fixed with digital restoration. (See Restoration.)
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| Frame (fps) |
There are 25 frames per second (PAL) and 29,97 fps (NTSC). Film has 24 fps. Older 8
mm film has 16-18 fps.
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| Grading |
Adjustment or improvements of contrast, colours and levels in a film to be more
accurate or perhaps aesthetic appealing. It requires broad knowledge in chromatics.
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| H.264/H.265 |
GMost common codec for the web. Usually very compressed to minimize the file size.
(See Lossy.)
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| HD |
High Definition, HDTV resolution.
1280 x 720 (HD Ready) & 1920 x 1080 (Full-HD).
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| Interlaced |
The method of dividing a video frame into two fields; one made up of the oddnumbered
horizontal lines, the other made up of even-numbered lines. Nowadays
named as 576i, 720i, 1080i. (See Progressive & De-interlace.)
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| Letterbox |
Black bars above and below the image to fill the screen when showing higher aspect
ratio material.
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| Lossless |
A compression technique used in professional codecs. It slightly reduces the file size without ”destroying” the data for further editing/encoding. Larger file sizes.
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| Lossy |
The opposite to Lossless. Destroying compression technique used in codecs aimed for viewing. Removes much data from the original that cannot be recreated. Smaller file sizes. Not a format for archiving (i.e. mp4).
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| Master |
It is used as the source for making all deliverables and other additional versions. Usually it is the first generation of a finished film on tape/cassette or the main digital file in highest resolution and quality.
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| MKV |
File format (Matroska), open source, compressed for viewing (non-editing).
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| Moiré |
An optical artefact resulting in a strange-looking wavy pattern. Can be seen in clothing and sometimes in the grille of a car. The reason is that two or more patterns interfere with each other which generate a new third pattern, called moiré. Can often be fixed with digital restoration. (See Restoration.)
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| MOV |
File format, can contain many various codecs, both for lossy and lossless compression. Has more or less become the standard in film production.
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| MP4 |
File format, compressed for viewing (non-editing).
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| MPEG |
Moving Picture Coding Experts Group. A digital video compression standard.
Various formats available, i.e. mpg, mp3, mp4.
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| Noise |
Usual artefact when a video is copied over and over again from an analogue video source, like older cassette formats. The image becomes more and more blurry and sharpness is eventually lost. No other solution than to go back to the master or find a copy more like the master. Cannot be restored without detail loss.
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| NTSC |
National Television System Committee. TV format i. North- and Central America, parts of South America and also in Japan, Korea and Taiwan, 29,97 fps. Delivers 525 horizontal lines. (See Interlace.)
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| OGG |
File format, open source, compressed for viewing (non-editing).
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| PAL |
Phase Alternating Line. TV format in Europe and most parts of the world, 25 fps. Delivers 625 horizontal lines. (See Interlace.)
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| Pillarbox |
Black bars on each side of the image to fill the widescreen.
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| Pixel |
A digitized image/film is built up with pixels (px). It is the smallest unit that can be displayed. Each pixel is square and contains eight bits or more. (See Bit.)
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| PPI |
Pixels Per Inch. Describes the density of pixels in a digital image or on a screen. (See DPI.)
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| Progressive |
Digital standard where each individual frame is shown in full resolution.
Named as 720p, 1080p. (See Interlace.)
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| ProRes |
Professional codec, available in numerous variants. ProRes 4444 will be used for films from HDCAM SR. ProRes 422(HQ) will be used for all other films. It has to do with the colour depth available in the original tape format. (See Lossless & 4:2:2.)
400 – 700 MB/min for SD resolution and 1,4 – 2 GB/min for HD resolution.
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| QC |
Quality Control (or Quality Check). A process where the digitized film is technically examined by specialized software and visually checked by an operator to secure quality of image and sound. Also naming of the file according to a set naming convention.
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| QuickTime |
Multimedia platform developed and distributed by Apple Inc.
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| Rendering |
A computer process where the all changes made to a film in an editing suite, or restoration suite will be generated in its full quality. Could be very time-consuming.
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| Resolution |
See example image earlier. It describes the amount of pixels horizontally (width) and vertically (height), i.e. 1920 x 1080).
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| Restoration |
Besides normal grading it includes fix of artefacts after digitizing/scanning. Adjustments of unsteadiness, flicker, dust, dirt, scratches, dropouts and more artefacts can be fixed.
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| RGB |
Colour model used for digital devices and displays. Red (R), green (G) and blue (B) are added together at different intensities to produce millions or more of different colours.
(See Bit.)
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| Scanning |
A process where physical film is optically transformed to digital video. It is a highly expensive process which involves many work hours of grading/restoration. Most common is 35 mm , 16 mm and 8 mm.
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| SD |
Standard Definition, ”Old TV”.
720 x 576 (PAL) & 720 x 480 (NTSC) 1024 x 576 (Widescreen).
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| SECAM |
Système Électronique Couleur Avec Mémoire. Old TV format/colour system used in France, 25 fps. Delivers 625 horizontal lines. (See Interlace.)
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| Timecode |
A time counter code which is recorded on all professional tape formats. It shows hours:minutes:seconds:frames. Each individual frame is marked and can thereby be located in an editing system and control the editing/encoding.
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| UHD |
Ultra High Definition, already existing and perhaps future standard TV format, near 4K resolution. 3840 x 2160 px (16:9).
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| Uncompressed |
A kind of “codec” without compression at all. Nowadays it is not used widely due to that many lossless codecs performs equally good but with much less file sizes. Uncompressed equals 9 GB/min film in HD resolution.
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| Video |
Electronically recorded ”film” on tape- or cassette format.
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| WebM |
File format, open source, compressed for viewing (non-editing).
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| Widescreen |
Generally refers to any video aspect ratio greater than 4:3. Before the TV broadcast started in the beginning of the 2000s, black bars above and below the image were added to fill the screen. The earliest widescreen film in the Volvo archive is from 2001.
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| WMV |
Windows Media Video file. File format, compressed for viewing (non-editing).
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