Price: $14.95
This 63-page tutorial provides both new and experienced ENG videographers, technicians and engineers with an in-depth understanding of compression, editing MPEG and the proper setup of color monitors - all key to creating high-quality content for today's demanding audiences.
In this eBook, Mullen provides an easy to understand tutorial on these systems, which are used in much of today's digital equipment. Armed with this information, those working in production, broadcast, cable and satellite facilities will better understand how MPEG works and will be able to work effectively to maximize the quality of the content they create.
Chapter one provides an in-depth tutorial on the basics of MPEG-2. You will learn about the basic underpinnings of MPEG-2: color sampling, Profiles and Levels, I-frames, P-frames and B-frames.
Mullen then reviews the basics of digital color sampling. You will learn about the various levels of color sampling and the difference between 4:1:1 and 4:2:2.
This discussion concludes with a review of motion vectors. You'll learn about specific MPEG implementations, including Sony's XDCAM, JVC's ProHD and Panasonic's DVC Pro.
Chapter two focuses on a newer compression technology, MPEG-4. The MPEG-4, Part 10, H.264/AVC codec is currently available in nine implementations. You'll learn about similarities, conversions and differences. You'll also learn about Panasonic's AVC-Intra and Sony's HDCAM-SR codecs.
Chapter three is devoted to debunking some of the many myths about editing long-GOP content. While MPEG-2 was originally said to be "not editable," Mullen explains why that is untrue. He examines how the myth started and reviews some of today's long-GOP editing solutions.
Chapter four provides the background to understanding "smart editing." Mullen explains mistakes editors often make when exporting their content to other formats and the consequence that can have on video quality. One solution is smart GOP splicing, which is discussed at an engineering level. This chapter helps both editors and technicians ensure that their equipment is properly configured to minimize re-encoding errors.
The final eBook chapter, "Choosing a post-production monitor," concludes with a solid tutorial on the use and selection of post-production video monitors. Because of their low-cost, many editors rely on consumer-grade HDTVs for production monitoring. The author asks, "Are consumer LCD monitors really a good value for post-production?" His answer may surprise you.
This chapter emphasizes the importance of making wise choices when purchasing a production monitor. Topics covered include: deinterlacing, line-doubling deinterlacing, weave deinterlacing, motion adaptive deinterlacing, frame-based motion adaptive deinterlacing, regional-based motion adaptive deinterlacing and pixel-based adaptive deinterlacing. Mullen explains how 2:3 pulldown affects the quality of a displayed image.
In addition, you'll learn about other key video monitor parameters that affect image quality, including judder, refresh-rate and image formats. The data in this chapter will enable you to make an informed purchase decision when it comes time to replace that old CRT monitor.
This information-packed tutorial is filled with highly-specific and professional first-hand information to help you become a better ENG videographer, technician or engineer. If it's your job to operate or maintain compression-based equipment, the information contained in Steve Mullen's "Video compression, editing and displays" will help ensure your success.
