|
1.3K/2K/4K resolution
Proposed resolutions for digital cinema projectors. Resolution is one of several factors that influence onscreen quality. The numbers (quoted roughly in thousands) refer to the number of pixels (dots) across the horizontal axis of the image, so 2K is approximately 2,000 pixels across the screen
4:2:4 matrix
A Dolby® technology that enables a four-channel L, C, R, S mix to be matrix-encoded to two channels for transmission by film, broadcast, video, or other media. The original four channels are recreated after matrix decoding.
5.1
Five full-range channels plus the LFE channel.
5.1 mix
A six-channel Dolby Digital discrete mix. The “.1” is used for the sixth channel, as the LFE channel has a bandwidth with an upper limit of 125 Hz.
6.1
Six full-range channels plus the LFE channel.
7.1
Seven full-range channels plus the LFE channel.
Acoustics
The characteristics, such as how sound is reflected and absorbed, that give a space such as a living room, concert hall, or cinema an identifiable sonic "signature."
ADR
ADR (automated dialogue replacement or additional dialogue recording) is a film sound technique involving the rerecording of dialogue after the original film shoot. This process can be used when the original sound was unusable due to background noise on the set such as traffic, or to replace the singing of actors with that of professional singers.
AIM
Ascend Inverse Multiplexing. Ascend Communication's proprietary inverse multiplexing method. Bonding is currently preferred (see below).
Alternative content
Entertainment programming other than movies that can be played in a digital cinema environment. Possibilities include sports and other live events. Alternative sources are usually connected via the second input of a digital cinema projector and a suitable cinema audio adapter.
Ambience
Low-level sounds (including sound reflections) that set a mood or suggest the character of a particular place.
Analog vs. digital soundtrack
The width of an analog soundtrack varies in a way that is directly analogous to the varying soundwaves of the original sound. When played back, the varying width of the track is translated to a varying electrical voltage which ultimately causes the theatre's loudspeaker cones to move back and forth to recreate the original sound. With a digital soundtrack, points along the soundwaves of the original sound are assigned a numeric (or digital) value, consisting of ones and zeroes represented as tiny dots on the track. When a digital track is played back, the numeric values are converted to the varying electrical voltage needed to drive the speakers. (See Optical soundtrack.)
Atmospheres
Low level background sounds, such as wind or traffic noise, on a film's soundtrack which add to the reality of a scene. These sounds are sometimes recorded separately at a shooting location, creating what is called a wild track for mixing into the soundtrack later.
Basic Rate Interface (BRI)
An ISDN interface that provides two 64 kbps digital B (Bearer) channels for voice or data and one 16 kbps signaling D (Delta) channel.
Bonding
Bandwidth ON Demand INteroperability Group, which is an industry inverse multiplexing standard for dialing, establishing, maintaining, and terminating N x 56 and N x 64 kbps calls.
Center Speaker
Firmly anchors the dialogue to the image. Reproduces nearly all of the dialogue and an estimated 70% of all movie sound.
Channel
In communications, any pathway between two devices (e.g. computers, multiplexers). The channel may refer to the physical medium (e.g. coaxial cable) or to a specific carrier frequency (subchannel) within a larger channel. Within the ISDN BRI format there are two B channels.
Channel
An independently processed or recorded audio signal.
Color space
The complete range of colors that can be represented by a given device. Color space can be reprogrammed on some devices, including digital cinema projectors, to enable different looks for different content. During replay in cinemas, the same color space should be selected on the projector as was used during original mastering. Standards are in process for a common color space.
Compression
A way of processing digital images or sound so that they take up less space on a disk, less bandwidth for a transmission, or less time to transfer. Image compression is used in digital cinema so file sizes remain manageable for mastering, distributing, loading, and projecting. The image must be uncompressed in the theatre before it can be displayed.
CPE
Customer Premises Equipment. This equipment is owned by the customer, and includes items such as an audio codec, TA and NT-1. The RBOC does not typically assume any responsibility for this equipment.
Cross-modulation test
A test signal recorded on optical film to ensure the correct density match between a sound negative and a print, thus producing a correct reproduction of a studio print master.
CSU (Channel Service Unit)
A device that interfaces between a communications network and data terminal equipment.
Cyan dye track
A new development in optical sound printing that eliminates the need for the problematic silver redeveloping process. To be played correctly, the soundtrack requires a red LED soundhead on the projector.
|
|
