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The MXF Book : An Introduction to the Material eXchange Format / / by Nick Wells, Oliver Morgan, Jim Wilkinson and Bruce Devlin
| The MXF Book : An Introduction to the Material eXchange Format / / by Nick Wells, Oliver Morgan, Jim Wilkinson and Bruce Devlin |
| Autore | Wells Nick |
| Edizione | [1st edition] |
| Pubbl/distr/stampa | Boca Raton, FL : , : Routledge, , [2013] |
| Descrizione fisica | 1 online resource (414 p.) |
| Disciplina |
006.7
778.53 |
| Soggetto topico |
Digital video
Digital video - Standards Digital television Metadata Image processing - Digital techniques Sound - Recording and reproducing - Digital techniques Digital media Video compression MPEG (Video coding standard) JPEG (Image coding standard) |
| Soggetto genere / forma | Electronic books. |
| ISBN |
1-136-06837-6
1-136-06838-4 1-280-62875-8 9786610628759 0-08-045727-4 |
| Formato | Materiale a stampa  |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
Cover; Half Title; Title Page; Copyright Page; Table of Contents; Acknowledgements; Author Biographies; Preface; 1 Introduction and Scene Setting; 2 What is an MXF File?; 3 Physical and Logical Structures within an MXF File; 4 Operational Patterns and Constraining MXF; 5 How to Put Essence into an MXF File; 6 Audio in MXF; 7DV, DVC Pro, and DVCam in MXF; 8 D-1O and D-11 in MXF; 9MPEG, MXF, and SMPTE 381M; 10 Generic Data Streams, VBI, and ANC; 11 DMS-1 Metadata Scheme; 12 Index Tables; 13 The MXF Data Model in Context; 14 The MXFLib Open Source Library
15 Practical Examples and Approcaches to Using MXF16 JPEG 2000 Essence Container and Its Application; Index |
| Record Nr. | UNINA-9910457509703321 |
Wells Nick
|
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| Boca Raton, FL : , : Routledge, , [2013] | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
The MXF book / / editor: Nick Wells ; principal authors: Bruce Devlin, Jim Wilkinson ; contributing authors: Matt Beard, Phil Tudor
| The MXF book / / editor: Nick Wells ; principal authors: Bruce Devlin, Jim Wilkinson ; contributing authors: Matt Beard, Phil Tudor |
| Edizione | [1st edition] |
| Pubbl/distr/stampa | Burlington, MA, : Focal Press, ©2006 |
| Descrizione fisica | 1 online resource (414 p.) |
| Disciplina |
006.7
778.53 |
| Altri autori (Persone) |
WellsNick
DevlinBruce WilkinsonJim BeardMatt TudorPhil |
| Soggetto topico |
Digital video
Digital video - Standards Digital television Metadata Image processing - Digital techniques Sound - Recording and reproducing - Digital techniques Digital media Video compression MPEG (Video coding standard) JPEG (Image coding standard) |
| ISBN |
1-136-06837-6
1-136-06838-4 1-280-62875-8 9786610628759 0-08-045727-4 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
Cover; Half Title; Title Page; Copyright Page; Table of Contents; Acknowledgements; Author Biographies; Preface; 1 Introduction and Scene Setting; 2 What is an MXF File?; 3 Physical and Logical Structures within an MXF File; 4 Operational Patterns and Constraining MXF; 5 How to Put Essence into an MXF File; 6 Audio in MXF; 7DV, DVC Pro, and DVCam in MXF; 8 D-1O and D-11 in MXF; 9MPEG, MXF, and SMPTE 381M; 10 Generic Data Streams, VBI, and ANC; 11 DMS-1 Metadata Scheme; 12 Index Tables; 13 The MXF Data Model in Context; 14 The MXFLib Open Source Library
15 Practical Examples and Approcaches to Using MXF16 JPEG 2000 Essence Container and Its Application; Index |
| Record Nr. | UNINA-9910784572403321 |
| Burlington, MA, : Focal Press, ©2006 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
The MXF book / / editor: Nick Wells ; principal authors: Bruce Devlin, Jim Wilkinson ; contributing authors: Matt Beard, Phil Tudor
| The MXF book / / editor: Nick Wells ; principal authors: Bruce Devlin, Jim Wilkinson ; contributing authors: Matt Beard, Phil Tudor |
| Edizione | [1st edition] |
| Pubbl/distr/stampa | Burlington, MA, : Focal Press, ©2006 |
| Descrizione fisica | 1 online resource (414 p.) |
| Disciplina |
006.7
778.53 |
| Altri autori (Persone) |
WellsNick
DevlinBruce WilkinsonJim BeardMatt TudorPhil |
| Soggetto topico |
Digital video
Digital video - Standards Digital television Metadata Image processing - Digital techniques Sound - Recording and reproducing - Digital techniques Digital media Video compression MPEG (Video coding standard) JPEG (Image coding standard) |
| ISBN |
1-136-06837-6
1-136-06838-4 1-280-62875-8 9786610628759 0-08-045727-4 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
Cover; Half Title; Title Page; Copyright Page; Table of Contents; Acknowledgements; Author Biographies; Preface; 1 Introduction and Scene Setting; 2 What is an MXF File?; 3 Physical and Logical Structures within an MXF File; 4 Operational Patterns and Constraining MXF; 5 How to Put Essence into an MXF File; 6 Audio in MXF; 7DV, DVC Pro, and DVCam in MXF; 8 D-1O and D-11 in MXF; 9MPEG, MXF, and SMPTE 381M; 10 Generic Data Streams, VBI, and ANC; 11 DMS-1 Metadata Scheme; 12 Index Tables; 13 The MXF Data Model in Context; 14 The MXFLib Open Source Library
15 Practical Examples and Approcaches to Using MXF16 JPEG 2000 Essence Container and Its Application; Index |
| Record Nr. | UNINA-9910827665503321 |
| Burlington, MA, : Focal Press, ©2006 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
Nel buio della moviola : introduzione alla storia del montaggio / Stefano Masi
| Nel buio della moviola : introduzione alla storia del montaggio / Stefano Masi |
| Autore | MASI, Stefano |
| Pubbl/distr/stampa | L'Aquila : Lanterna Magica, 1985 |
| Descrizione fisica | 289 p. : ill. ; 23 cm |
| Disciplina | 778.53 |
| Collana | Una città in cinema |
| Soggetto topico | Montaggio cinematografico |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | ita |
| Record Nr. | UNISA-990001097010203316 |
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MASI, Stefano
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| L'Aquila : Lanterna Magica, 1985 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. di Salerno | ||
| ||
Ojos bien abiertos : el lenguaje de las imágenes en movimiento / / Ricardo Bedoya, Isaac León Frías
| Ojos bien abiertos : el lenguaje de las imágenes en movimiento / / Ricardo Bedoya, Isaac León Frías |
| Autore | Bedoya Ricardo |
| Edizione | [Segunda edicion.] |
| Pubbl/distr/stampa | Lima, Peru : , : Fondo Editorial, , 2016 |
| Descrizione fisica | 1 online resource (197 pages) : illustrations (some color), photographs |
| Disciplina | 778.53 |
| Soggetto topico |
Cinematography
Cinematography and communication |
| ISBN | 9972-45-330-8 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | spa |
| Record Nr. | UNINA-9910157684003321 |
|
Bedoya Ricardo
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| Lima, Peru : , : Fondo Editorial, , 2016 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
Photography, cinema, memory : the crystal image of time / Damian Sutton
| Photography, cinema, memory : the crystal image of time / Damian Sutton |
| Autore | SUTTON, Damian |
| Pubbl/distr/stampa | Minneapolis : University of Minnesota Press, 2009 |
| Disciplina | 778.53 |
| Soggetto topico | Cinematografia - Tecniche digitali |
| ISBN | 978-0-8166-4739-2 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Record Nr. | UNISA-990003423530203316 |
|
SUTTON, Damian
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| Minneapolis : University of Minnesota Press, 2009 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. di Salerno | ||
| ||
Picture composition for film and television / / Peter Ward
| Picture composition for film and television / / Peter Ward |
| Autore | Ward Peter <1936-, > |
| Edizione | [2nd ed.] |
| Pubbl/distr/stampa | Oxford ; ; Boston : , : Focal Press, , 2003 |
| Descrizione fisica | 1 online resource (281 p.) |
| Disciplina |
778.53
778.53 21 |
| Soggetto topico |
Cinematography
Motion pictures - Production and direction Television - Production and direction Composition (Photography) |
| Soggetto genere / forma | Electronic books. |
| ISBN |
1-136-04505-8
1-136-04506-6 1-281-01252-1 9786611012526 0-08-049769-1 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
Picture Composition for Film and Television; Copyright; Contents; Preface; 1 Invisible technique; Learning the ropes; A moving photograph; Continuity cinema; The shot; The creation of 'invisible' technique; Standard camerwork conventions; Realistic representation; Mechanical reproduction; Framing a shot; Composition; Does the shot work?; Intuition; 'I see what you mean!'; Why composition is important; Control of composition; Visual design techniques; Cultural influences; Changing fashions; Summary; 2 Alternative technique; Jump cuts; Alternatives; It's magic; Realism and imagination
The film moment is always nowWhy people dislike the rejection of standard conventions; Storytelling; Don't wake me up; Definition of alternative conventions; Conventions; Summary; 3 The lens, the eye and perception; Introduction; The imprint of the lens; The eye and a lens; Size constancy; How do we understand what we are looking at?; Characteristics of perception; Summary; 4 The lens and perspective; Perception and depth; Depth indicators and their relationship to the lens; Focal length; Angle of view; Depth-of-field; fno; Zoom; Focus; The structural skeleton of a shot Horizon line and camera height as a compositional deviceControlling space with choice of lens angle/camera distance; The internal space of a shot; Production style and lens angle; Estimating distance; Accentuating depth; Summary; 5 Visual design; Introduction; Movement; Sound; Controlling composition; Design techniques; Grouping and organization; Balance; Figure and ground; Shape; Line; Rhythm and visual beat; Pattern; Interest; Direction; Colour; Scale; Abstraction; Understanding an image; Summary; 6 Frame; Composition and the frame; Frame - an invisible focus of power; Static viewpoint A hard cut-offLimited depth and perspective indicators; Monochrome; The edge of frame as a reference; Frames within frames; A second frame; Frame and divided interest; Summary; 7 The shape of the screen; Aspect ratio; The shape of the screen and composition; Viewfinder as an editing tool; Could it have been different?; The invention of a world format standard; Widescreen returns; Design of the TV aspect ratio; HDTV; The need for a universal video format; 16:9 television widescreen; A reasonable compromise between competing aspect ratios; The divine proportion Widescreen - the shape of a banknoteSummary of film and television formats mentioned; 8 Widescreen composition and film; Finding ways to compose for the new shape; Widescreen advantages; Selling off the redundant format; Pan and scan; Cinematographers alarmed; Boom in shot; The growth of multiplexes; Common topline and super 35; Summary; 9 Widescreen composition and TV; Introduction; Letterboxing; Aspect ratio conversion; Protect and save; Shooting for two formats; Composing for 16:9; Fidgety zooms; Transitional period; The viewer takes control; Inserting 4:3 material into a 16:9 production Compilation programmes |
| Record Nr. | UNINA-9910457511003321 |
|
Ward Peter <1936-, >
|
||
| Oxford ; ; Boston : , : Focal Press, , 2003 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
Picture composition for film and television / / Peter Ward
| Picture composition for film and television / / Peter Ward |
| Autore | Ward Peter <1936-, > |
| Edizione | [2nd ed.] |
| Pubbl/distr/stampa | Oxford ; ; Boston : , : Focal Press, , 2003 |
| Descrizione fisica | 1 online resource (281 p.) |
| Disciplina |
778.53
778.53 21 |
| Soggetto topico |
Cinematography
Motion pictures - Production and direction Television - Production and direction Composition (Photography) |
| ISBN |
1-136-04505-8
1-136-04506-6 1-281-01252-1 9786611012526 0-08-049769-1 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
Picture Composition for Film and Television; Copyright; Contents; Preface; 1 Invisible technique; Learning the ropes; A moving photograph; Continuity cinema; The shot; The creation of 'invisible' technique; Standard camerwork conventions; Realistic representation; Mechanical reproduction; Framing a shot; Composition; Does the shot work?; Intuition; 'I see what you mean!'; Why composition is important; Control of composition; Visual design techniques; Cultural influences; Changing fashions; Summary; 2 Alternative technique; Jump cuts; Alternatives; It's magic; Realism and imagination
The film moment is always nowWhy people dislike the rejection of standard conventions; Storytelling; Don't wake me up; Definition of alternative conventions; Conventions; Summary; 3 The lens, the eye and perception; Introduction; The imprint of the lens; The eye and a lens; Size constancy; How do we understand what we are looking at?; Characteristics of perception; Summary; 4 The lens and perspective; Perception and depth; Depth indicators and their relationship to the lens; Focal length; Angle of view; Depth-of-field; fno; Zoom; Focus; The structural skeleton of a shot Horizon line and camera height as a compositional deviceControlling space with choice of lens angle/camera distance; The internal space of a shot; Production style and lens angle; Estimating distance; Accentuating depth; Summary; 5 Visual design; Introduction; Movement; Sound; Controlling composition; Design techniques; Grouping and organization; Balance; Figure and ground; Shape; Line; Rhythm and visual beat; Pattern; Interest; Direction; Colour; Scale; Abstraction; Understanding an image; Summary; 6 Frame; Composition and the frame; Frame - an invisible focus of power; Static viewpoint A hard cut-offLimited depth and perspective indicators; Monochrome; The edge of frame as a reference; Frames within frames; A second frame; Frame and divided interest; Summary; 7 The shape of the screen; Aspect ratio; The shape of the screen and composition; Viewfinder as an editing tool; Could it have been different?; The invention of a world format standard; Widescreen returns; Design of the TV aspect ratio; HDTV; The need for a universal video format; 16:9 television widescreen; A reasonable compromise between competing aspect ratios; The divine proportion Widescreen - the shape of a banknoteSummary of film and television formats mentioned; 8 Widescreen composition and film; Finding ways to compose for the new shape; Widescreen advantages; Selling off the redundant format; Pan and scan; Cinematographers alarmed; Boom in shot; The growth of multiplexes; Common topline and super 35; Summary; 9 Widescreen composition and TV; Introduction; Letterboxing; Aspect ratio conversion; Protect and save; Shooting for two formats; Composing for 16:9; Fidgety zooms; Transitional period; The viewer takes control; Inserting 4:3 material into a 16:9 production Compilation programmes |
| Record Nr. | UNINA-9910784573203321 |
|
Ward Peter <1936-, >
|
||
| Oxford ; ; Boston : , : Focal Press, , 2003 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
Picture composition for film and television / / Peter Ward
| Picture composition for film and television / / Peter Ward |
| Autore | Ward Peter <1936-, > |
| Edizione | [2nd ed.] |
| Pubbl/distr/stampa | Oxford ; ; Boston : , : Focal Press, , 2003 |
| Descrizione fisica | 1 online resource (281 p.) |
| Disciplina |
778.53
778.53 21 |
| Soggetto topico |
Cinematography
Motion pictures - Production and direction Television - Production and direction Composition (Photography) |
| ISBN |
1-136-04505-8
1-136-04506-6 1-281-01252-1 9786611012526 0-08-049769-1 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
Picture Composition for Film and Television; Copyright; Contents; Preface; 1 Invisible technique; Learning the ropes; A moving photograph; Continuity cinema; The shot; The creation of 'invisible' technique; Standard camerwork conventions; Realistic representation; Mechanical reproduction; Framing a shot; Composition; Does the shot work?; Intuition; 'I see what you mean!'; Why composition is important; Control of composition; Visual design techniques; Cultural influences; Changing fashions; Summary; 2 Alternative technique; Jump cuts; Alternatives; It's magic; Realism and imagination
The film moment is always nowWhy people dislike the rejection of standard conventions; Storytelling; Don't wake me up; Definition of alternative conventions; Conventions; Summary; 3 The lens, the eye and perception; Introduction; The imprint of the lens; The eye and a lens; Size constancy; How do we understand what we are looking at?; Characteristics of perception; Summary; 4 The lens and perspective; Perception and depth; Depth indicators and their relationship to the lens; Focal length; Angle of view; Depth-of-field; fno; Zoom; Focus; The structural skeleton of a shot Horizon line and camera height as a compositional deviceControlling space with choice of lens angle/camera distance; The internal space of a shot; Production style and lens angle; Estimating distance; Accentuating depth; Summary; 5 Visual design; Introduction; Movement; Sound; Controlling composition; Design techniques; Grouping and organization; Balance; Figure and ground; Shape; Line; Rhythm and visual beat; Pattern; Interest; Direction; Colour; Scale; Abstraction; Understanding an image; Summary; 6 Frame; Composition and the frame; Frame - an invisible focus of power; Static viewpoint A hard cut-offLimited depth and perspective indicators; Monochrome; The edge of frame as a reference; Frames within frames; A second frame; Frame and divided interest; Summary; 7 The shape of the screen; Aspect ratio; The shape of the screen and composition; Viewfinder as an editing tool; Could it have been different?; The invention of a world format standard; Widescreen returns; Design of the TV aspect ratio; HDTV; The need for a universal video format; 16:9 television widescreen; A reasonable compromise between competing aspect ratios; The divine proportion Widescreen - the shape of a banknoteSummary of film and television formats mentioned; 8 Widescreen composition and film; Finding ways to compose for the new shape; Widescreen advantages; Selling off the redundant format; Pan and scan; Cinematographers alarmed; Boom in shot; The growth of multiplexes; Common topline and super 35; Summary; 9 Widescreen composition and TV; Introduction; Letterboxing; Aspect ratio conversion; Protect and save; Shooting for two formats; Composing for 16:9; Fidgety zooms; Transitional period; The viewer takes control; Inserting 4:3 material into a 16:9 production Compilation programmes |
| Record Nr. | UNINA-9910827619703321 |
|
Ward Peter <1936-, >
|
||
| Oxford ; ; Boston : , : Focal Press, , 2003 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
Professional Papervision3D [[electronic resource] /] / Michael Lively
| Professional Papervision3D [[electronic resource] /] / Michael Lively |
| Autore | Lively Michael |
| Edizione | [1st edition] |
| Pubbl/distr/stampa | Chichester, U.K., : Wiley, 2010 |
| Descrizione fisica | 1 online resource (751 p.) |
| Disciplina |
006.693
778.53 |
| Collana | Wrox professional guides |
| Soggetto topico |
Object-oriented programming (Computer science)
Web sites - Design Computer animation Computer games - Programming |
| Soggetto genere / forma | Electronic books. |
| ISBN |
0-470-97060-X
1-282-77318-6 9786612773181 0-470-68807-6 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto | pt. 1. Getting started -- pt. 2. Working with models and data -- pt. 3. Building games and websites -- pt. 4. Extending PV3D and beyond. |
| Altri titoli varianti | Papervision3D |
| Record Nr. | UNINA-9910458619403321 |
|
Lively Michael
|
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| Chichester, U.K., : Wiley, 2010 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
