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	<title>Digital Chromatics  abc</title>
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	<description>Creative Ingenuity. Technical Prowess.</description>
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		<title>AAF</title>
		<link>http://www.digitalchromatics.com/posts/aaf/</link>
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		<pubDate>Sun, 16 Dec 2012 14:00:03 +0000</pubDate>
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		<guid isPermaLink="false">http://www.digitalchromatics.com/?p=1188</guid>
		<description><![CDATA[<p>Advanced Authoring Format (AAF) &#8211; Professional file interchange format designed for the video post production and authoring environment. AAF files help address the problem of multi-vendor, cross-platform accessibility for computer based digital video production</p>
<p>The post <a rel="nofollow" href="http://www.digitalchromatics.com/posts/aaf/">AAF</a> appeared first on <a rel="nofollow" href="http://www.digitalchromatics.com">Digital Chromatics</a>.</p>
]]></description>
				<content:encoded><![CDATA[<p><strong><span style="text-decoration: underline;">Advanced Authoring Format (AAF)</span></strong> &#8211; Professional file interchange format designed for the video post production and authoring environment. AAF files help address the problem of multi-vendor, cross-platform accessibility for computer based digital video production</p>
<p>The post <a rel="nofollow" href="http://www.digitalchromatics.com/posts/aaf/">AAF</a> appeared first on <a rel="nofollow" href="http://www.digitalchromatics.com">Digital Chromatics</a>.</p>
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		<title>Aces</title>
		<link>http://www.digitalchromatics.com/posts/aces/</link>
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		<pubDate>Sat, 15 Dec 2012 16:50:39 +0000</pubDate>
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		<guid isPermaLink="false">http://www.digitalchromatics.com/?p=2604</guid>
		<description><![CDATA[<p>Aces- Short for Academy Color Encoding System. ACES is a postproduction specification that helps ensure that the color the cinematographer intends is the color the audience sees. The system uses 16-bit linear storage. The benefits of Sony S-Gamut, S-Log 2 and 16-bit linear RAW recording become very clear as the transform into ACES color space works [&#8230;]</p>
<p>The post <a rel="nofollow" href="http://www.digitalchromatics.com/posts/aces/">Aces</a> appeared first on <a rel="nofollow" href="http://www.digitalchromatics.com">Digital Chromatics</a>.</p>
]]></description>
				<content:encoded><![CDATA[<p><strong>Aces</strong>- Short for Academy Color Encoding System. ACES is a postproduction specification that helps ensure that the color the cinematographer intends is the color the audience sees. The system uses 16-bit linear storage. The benefits of Sony S-Gamut, S-Log 2 and 16-bit linear RAW recording become very clear as the transform into ACES color space works beautifully.</p>
<p>The post <a rel="nofollow" href="http://www.digitalchromatics.com/posts/aces/">Aces</a> appeared first on <a rel="nofollow" href="http://www.digitalchromatics.com">Digital Chromatics</a>.</p>
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		<title>ADR</title>
		<link>http://www.digitalchromatics.com/posts/adr/</link>
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		<pubDate>Sat, 15 Dec 2012 14:00:01 +0000</pubDate>
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		<guid isPermaLink="false">http://www.digitalchromatics.com/?p=1194</guid>
		<description><![CDATA[<p>Additional Dialogue Replacement (ADR) &#8211; Post production process where the actor substitutes the recorded audio on set with dialogue recorded in studio. This is mainly used to improve audio quality as well as dubbing to another language.</p>
<p>The post <a rel="nofollow" href="http://www.digitalchromatics.com/posts/adr/">ADR</a> appeared first on <a rel="nofollow" href="http://www.digitalchromatics.com">Digital Chromatics</a>.</p>
]]></description>
				<content:encoded><![CDATA[<p><strong><span style="text-decoration: underline;">Additional Dialogue Replacement (ADR)</span></strong> &#8211; Post production process where the actor substitutes the recorded audio on set with dialogue recorded in studio. This is mainly used to improve audio quality as well as dubbing to another language.</p>
<p>The post <a rel="nofollow" href="http://www.digitalchromatics.com/posts/adr/">ADR</a> appeared first on <a rel="nofollow" href="http://www.digitalchromatics.com">Digital Chromatics</a>.</p>
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		<title>Alpha Channel</title>
		<link>http://www.digitalchromatics.com/posts/alpha-channel/</link>
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		<pubDate>Sat, 15 Dec 2012 00:08:12 +0000</pubDate>
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		<guid isPermaLink="false">http://www.digitalchromatics.com/?p=1393</guid>
		<description><![CDATA[<p>Alpha Channel &#8211; Another name for key channel – a channel to carry a key signal.</p>
<p>The post <a rel="nofollow" href="http://www.digitalchromatics.com/posts/alpha-channel/">Alpha Channel</a> appeared first on <a rel="nofollow" href="http://www.digitalchromatics.com">Digital Chromatics</a>.</p>
]]></description>
				<content:encoded><![CDATA[<p><strong>Alpha Channel</strong> &#8211; Another name for key channel – a channel to carry a key signal.</p>
<p>The post <a rel="nofollow" href="http://www.digitalchromatics.com/posts/alpha-channel/">Alpha Channel</a> appeared first on <a rel="nofollow" href="http://www.digitalchromatics.com">Digital Chromatics</a>.</p>
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		<title>Archive</title>
		<link>http://www.digitalchromatics.com/posts/archive/</link>
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		<pubDate>Sat, 15 Dec 2012 00:07:16 +0000</pubDate>
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		<guid isPermaLink="false">http://www.digitalchromatics.com/?p=1391</guid>
		<description><![CDATA[<p>Archive - Long-term storage of information. Video, audio and metadata stored in digital form can be archived and recovered without loss or distortion.</p>
<p>The post <a rel="nofollow" href="http://www.digitalchromatics.com/posts/archive/">Archive</a> appeared first on <a rel="nofollow" href="http://www.digitalchromatics.com">Digital Chromatics</a>.</p>
]]></description>
				<content:encoded><![CDATA[<p><strong>Archive </strong>- Long-term storage of information. Video, audio and metadata stored in digital form can be archived and recovered without loss or distortion.</p>
<p>The post <a rel="nofollow" href="http://www.digitalchromatics.com/posts/archive/">Archive</a> appeared first on <a rel="nofollow" href="http://www.digitalchromatics.com">Digital Chromatics</a>.</p>
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		<title>ASC CDL</title>
		<link>http://www.digitalchromatics.com/posts/asc-cdl/</link>
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		<pubDate>Sat, 15 Dec 2012 00:06:07 +0000</pubDate>
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		<guid isPermaLink="false">http://www.digitalchromatics.com/?p=2614</guid>
		<description><![CDATA[<p>ASC CDL- Short for American Society of Cinematographers Color Decision List. A tool that enables color decisions early in the workflow to be accurately communicated to subsequent stages. For example, decisions made during On-Set Look Management can be sent to Dailies and Color Grading.</p>
<p>The post <a rel="nofollow" href="http://www.digitalchromatics.com/posts/asc-cdl/">ASC CDL</a> appeared first on <a rel="nofollow" href="http://www.digitalchromatics.com">Digital Chromatics</a>.</p>
]]></description>
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<p><strong>ASC CDL</strong>- Short for American Society of Cinematographers Color Decision List. A tool that enables color decisions early in the workflow to be accurately communicated to subsequent stages. For example, decisions made during On-Set Look Management can be sent to Dailies and Color Grading.</p>
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<p>The post <a rel="nofollow" href="http://www.digitalchromatics.com/posts/asc-cdl/">ASC CDL</a> appeared first on <a rel="nofollow" href="http://www.digitalchromatics.com">Digital Chromatics</a>.</p>
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		<title>Aspect Ratio</title>
		<link>http://www.digitalchromatics.com/posts/aspect-ratio/</link>
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		<pubDate>Sat, 15 Dec 2012 00:05:20 +0000</pubDate>
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		<guid isPermaLink="false">http://www.digitalchromatics.com/?p=1389</guid>
		<description><![CDATA[<p>Aspect Ratio - The ratio of length to height of pictures. All TV screens used to be 4:3 (4 units across to 3 units in height), but now almost all new models, especially where there is digital television, are widescreen, 16:9. Pictures presented this way are believed to absorb more of our attention and have obvious advantages in [&#8230;]</p>
<p>The post <a rel="nofollow" href="http://www.digitalchromatics.com/posts/aspect-ratio/">Aspect Ratio</a> appeared first on <a rel="nofollow" href="http://www.digitalchromatics.com">Digital Chromatics</a>.</p>
]]></description>
				<content:encoded><![CDATA[<p><strong>Aspect Ratio </strong>- The ratio of length to height of pictures. All TV screens used to be 4:3 (4 units across to 3 units in height), but now almost all new models, especially where there is digital television, are widescreen, 16:9. Pictures presented this way are believed to absorb more of our attention and have obvious advantages in certain productions, such as sport. In the change towards 16:9 some in-between ratios have been used for transmission, such as 14:9.</p>
<p>The post <a rel="nofollow" href="http://www.digitalchromatics.com/posts/aspect-ratio/">Aspect Ratio</a> appeared first on <a rel="nofollow" href="http://www.digitalchromatics.com">Digital Chromatics</a>.</p>
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		<title>Avid Log Exchange (ALE)</title>
		<link>http://www.digitalchromatics.com/posts/avid-log-exchange/</link>
		<comments>http://www.digitalchromatics.com/posts/avid-log-exchange/#comments</comments>
		<pubDate>Sat, 15 Dec 2012 00:00:35 +0000</pubDate>
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		<guid isPermaLink="false">http://www.digitalchromatics.com/?p=1199</guid>
		<description><![CDATA[<p>Avid Log Exchange (ALE) &#8211; File format primarily intended for exchanging video logging data between programs.</p>
<p>The post <a rel="nofollow" href="http://www.digitalchromatics.com/posts/avid-log-exchange/">Avid Log Exchange (ALE)</a> appeared first on <a rel="nofollow" href="http://www.digitalchromatics.com">Digital Chromatics</a>.</p>
]]></description>
				<content:encoded><![CDATA[<p><strong><span style="text-decoration: underline;">Avid Log Exchange (ALE)</span></strong> &#8211; File format primarily intended for exchanging video logging data between programs.</p>
<p>The post <a rel="nofollow" href="http://www.digitalchromatics.com/posts/avid-log-exchange/">Avid Log Exchange (ALE)</a> appeared first on <a rel="nofollow" href="http://www.digitalchromatics.com">Digital Chromatics</a>.</p>
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		<title>Bayer Filter / Mask Array</title>
		<link>http://www.digitalchromatics.com/posts/baye-filter-mask-array/</link>
		<comments>http://www.digitalchromatics.com/posts/baye-filter-mask-array/#comments</comments>
		<pubDate>Fri, 14 Dec 2012 23:59:18 +0000</pubDate>
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		<guid isPermaLink="false">http://www.digitalchromatics.com/?p=1385</guid>
		<description><![CDATA[<p>Bayer Filter / Mask Array - A Bayer array is a pattern of red, green and blue non co-sited filters placed onto an imaging chip (CCD, CMOS) so that it can capture the separate red, blue and green primary colors of the image to make up a color digital image. As our eyes have more resolution for green [&#8230;]</p>
<p>The post <a rel="nofollow" href="http://www.digitalchromatics.com/posts/baye-filter-mask-array/">Bayer Filter / Mask Array</a> appeared first on <a rel="nofollow" href="http://www.digitalchromatics.com">Digital Chromatics</a>.</p>
]]></description>
				<content:encoded><![CDATA[<p><strong>Bayer Filter / Mask Array </strong>- A Bayer array is a pattern of red, green and blue non co-sited filters placed onto an imaging chip (CCD, CMOS) so that it can capture the separate red, blue and green primary colors of the image to make up a color digital image. As our eyes have more resolution for green light than red or blue, there are twice as many green cells as there are red and blue. Some redundancy of the green pixels produces an image which is less noisy and has finer detail than would be achieved if there were and equal number of red, green and blue cells.</p>
<div title="Page 31">
<p>The R, G and B pixels generated by the Bayer filter need to be ‘unmasked’ using a complex algorithm to produce white.</p>
<p>Traditionally professional TV cameras have used three image sensors, one to pick up each primary color. This arrangement demands that the three are finely registered together and involves a considerably more bulky construction and cost than the still digital cameras and consumer camcorders that use a single chip sensor with a Bayer, or other similar filter. However most new high-end professional cameras now have just one sensor.</p>
<p>&nbsp;</p>
<p>&nbsp;</p>
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<p>The post <a rel="nofollow" href="http://www.digitalchromatics.com/posts/baye-filter-mask-array/">Bayer Filter / Mask Array</a> appeared first on <a rel="nofollow" href="http://www.digitalchromatics.com">Digital Chromatics</a>.</p>
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		<title>Checksum</title>
		<link>http://www.digitalchromatics.com/posts/checksum/</link>
		<comments>http://www.digitalchromatics.com/posts/checksum/#comments</comments>
		<pubDate>Fri, 14 Dec 2012 23:57:06 +0000</pubDate>
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		<guid isPermaLink="false">http://www.digitalchromatics.com/?p=1383</guid>
		<description><![CDATA[<p>Checksum &#8211; A simple check value of a block of data intended to recognized when data bits are wrongly presented. It is calculated by adding all the bytes in a block. It is fairly easily fooled by typical errors in data transmission systems so that, for most applications, a more sophisticated system is preferred.</p>
<p>The post <a rel="nofollow" href="http://www.digitalchromatics.com/posts/checksum/">Checksum</a> appeared first on <a rel="nofollow" href="http://www.digitalchromatics.com">Digital Chromatics</a>.</p>
]]></description>
				<content:encoded><![CDATA[<p><strong>Checksum</strong> &#8211; A simple check value of a block of data intended to recognized when data bits are wrongly presented. It is calculated by adding all the bytes in a block. It is fairly easily fooled by typical errors in data transmission systems so that, for most applications, a more sophisticated system is preferred.</p>
<p>The post <a rel="nofollow" href="http://www.digitalchromatics.com/posts/checksum/">Checksum</a> appeared first on <a rel="nofollow" href="http://www.digitalchromatics.com">Digital Chromatics</a>.</p>
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