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Tektronix provides test and measurement instruments, solutions and services for the computer, semiconductor, military/aerospace, consumer electronics and education industries worldwide.
Any cel, drawing or painting used in any part of the making of a film. Many types of art created for the production of the film were not photographed, but instead acted as a guide for artists to follow. Some of the different types of production artwork are:
*Concept Art: Inspirational sketches or paintings used to establish the situations, color choices or mood of a particular sequence. These were rendered in a wide range of media, from pastels and graphite, to watercolor and cut paper.
*Character Models: Standardized renderings of characters, expressions, props and costumes. Character Designs would be created by concept artists or lead animators, and once they were approved, photograhic stats, called Model Sheets would be produced and distributed to the various departments to insure absolute consistency between the sketches of all of the artists working on a project. Hundreds of photostats would be produced from a single paste-up, consisting of various drawings trimmed and applied to a board. Sometimes animators would create their own model sheets, traced from their own or other artist's drawings.
*Storyboards: A series of sketches, similar to a comic strip, which outlines the action and dialogue in a scene. These drawings would be pinned up on a bulletin board and arranged, re-arranged and replaced as the story took shape. Early rough storyboard sketches are referred to as Thumbnails, while more detailed drawings would be called Finished or Final Storyboard Panels.
*Layout Drawings: A detailed pencil drawing that either indicates the fielding, the character's action, or the design of the background which acts as the scenery behind the character. There are two types of layouts: Character Layouts, which outline the character's path of movement, expressions and action within the scene; and the Background Layout, which generally consists of a line drawing of the environment in which the character exists. These layouts are used as reference by the animator, and the background painter, respectively.
*Rough Animation: Drawings The original, first generation sketch by the animators in creating the movement in a scene. Roughs can be divided into three basic types: Key Drawings, which were drawn by the principle animators themselves, Break-Downs, which were drawn by both animator and his assistant, and Inbetweens which were the work of the assistant animators alone. Generally, the animator would sketch out a key drawing for every five or six frames and leave the drawings between his keys for the assistants to fill in. Once the rough animation was approved, the drawings would be delivered to the assisting department for Clean Up. Many collectors prefer roughs to clean ups, because they are often more spontaneous and full of life, and they are more likely to be the work of a lead animator. Clean-Ups Tracings of the original animation roughs which are often more detailed and refined than the drawings which preceded them. Created by the assisting department, these sketched represent the final stage of animation before the image was transferred to the cel via hand inking or xerography. These sketches often include colored lines to indicated different ink colors, color mark-ups to tell the painters which areas to paint which colors, and notes to the ink & paint department about parts of the character that needed to be registered to other characters or background elements.
*Color Model Cels: A cel created by the Ink & Paint Department to act as an example for inkers and painters to follow. Color models may be exact duplicates of the cels appearing in the film, or may be test models, exploring various inking techniques or color palettes. Although many collectors assume that color models are less valuable than cels used under the camera, this is not always the case. Since color model cels acted as an example for the inkers and painters to follow, great care was taken to make them absolutely flawless. Cels under the camera often had flaws due to repairs or corrections quickly done in the heat of production.
*Animation Cels: The individual painting on celluloid which is photographed along with other cels and a background in a setup, creating the complete image for a single frame of film. Every cel is different, but this doesn't mean that every cel is unique. Often multiple copies of a cel were created as color models, gifts or as Inker's Tests, which were created by the inkers in their free time to refine their technique and practice their skills.
*Background Paintings: A painting or other artwork depicting the environment in wich the character operates. First, the Background Sylist made small color sketches called Key Backgrounds, which were created to establish the color scheme and mood. These keys acted as a model for the other background artists to follow. Key backgrounds were also referred to as Preliminary Backgrounds. Backgrounds which were rejected or cut from the film were called N.G. Backgrounds. Although hundreds of animation drawings and cels would be required for a scene, typically there was only one background. A setup featuring a cel and background from the same scene is often incorrectly referred to as a Key Background Setup, but a more accurate description would be a Matching Background Setup. A cel and background from the same film, but not the same scene is often referred to simply as a Background Setup.
Industry:Entertainment
The individual cels that go together to make up a cel setup. Due to technical considerations, it was very rare for two or more separate characters to be included on a single cel level. Usually, each element was on its own cel, with up to a maximum of five levels to a scene. Because of the added density of the multiple cel levels, the paint colors were corrected for the discoloration caused by the plastic, making the colors on a bottom level cel much brighter than those on a top level cel.
Industry:Entertainment
A combination of two or more cels, with or without a background, which work together to form a complete image. These can be either Matching (the way the image appeared in the finished film) or Non-Matching (combinations of elements which are pleasing together, but do not appear together in the film).
Industry:Entertainment
Cell is a compression technique developed by Sun Microsystems. The compression algorithms, the bit stream definition, and the decompression algorithms are open; that is, Sun will tell anybody who is interested about them. Cell compression is similar to MPEG and H.261 in that there is a lot of room for value-add on the compressor end. Getting the highest quality image from a given bit count at a reasonable amount of computation is an art. In addition the bit-stream completely defines the compression format and defines what the decoder must do and there is less art in the decoder. There are two flavors of Cell: the original called Cell or CellA, and a newer flavor called CellB.
Industry:Entertainment
Sheets of clear plastic, containing the images of the characters, which are placed over a background, and then photographed in succession to give the illusion of movement in the completed film. The outline of the image, whether hand-inked or xerographed, is applied to the front of the cel. The colors are painted by hand onto the back of the cel to eliminate brushstrokes. Large areas of black paint were sometimes applied to the front of the cel to reduce glare.
Industry:Entertainment
Device that electronically generates text which can be superimposed over a video signal. Text is usually entered via a keyboard, allowing selection of various fonts, sizes, colors, styles and background colors, then stored as multiple pages for retrieval.
Industry:Entertainment
a) The depth or saturation of color. The saturation control adjusts the amplitude of color of the switcher’s matte and background outputs.
b) The (M) NTSC or (B, D, G, H, I) PAL video signal contains two pieces that make up what you see on the screen: the black and white (luma) part, and the color part. Chroma is the color part. Chroma can be further broken down into two properties of color: hue and saturation.
Chroma can also be described as a matrix, block, or single pel representing one of the two color difference signals related to the primary colors in the manner defined in the bit stream. The symbols used for the color difference signals are Cr and Cb.
Industry:Entertainment
The process of overlaying one video signal over another by replacing a range of colors with the second signal. Typically, the first (foreground) picture is photographed with a person or object against a special, single-color background (the key-color). The second picture is inserted in place of the key-color. The most common example is in broadcast weather segments where pictures of weather maps are inserted "behind" the talent.
Industry:Entertainment
The color portion of a video signal separate from the luminance (or brightness) component, representing the saturation and hue (tint) at a particular point of the image. Black, gray and white have no chrominance, but any colored signal has both chrominance and luminance. The higher the chrominance level, the stronger the color (e.g., a strong signal produces red, and a weak signal, pink).
Industry:Entertainment
The standardization of the structure of the samples that represent the picture information of a single frame in digital HDTV, independent of frame rate and sync/blank structure. The uncompressed bit rates for transmitting CIF at 29.97 frames/sec is 36.45 Mbit/sec.
Industry:Entertainment
