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TELEVISION IN THE DIGITAL ERA

机译:电视数字时代

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摘要

Some of the most popular discussions and concerns in television these days deal with the potential impact of recently introduced digital compression technologies. This discussion typically ignores the fact that a number of digitally based television enhancements have been with us for many years. One of the very successful early forms was digital graphics. The initial units allowed graphic artists to create still frame text and graphic overlays very quickly and accurately. The early graphics units were essentially limited to stills and frame by frame renditions for program titles, commercials and similar content. Over time, substantially enhanced versions of digital graphics systems have eliminated paint and brushes as tools of the trade at many television studios. The reasons are obvious. Digital graphics can render very consistent, high quality images much faster than hand created art. The digital graphic development work also paved the way for techniques to manipulate and thereby animate graphic images. As more exotic methods evolved, the industry devised ways to capture, merge and manipulate portions of real and graphic generated images on a frame by frame basis. These expanded capabilities are showing up as entirely new forms of film and video. Some of the most successful artists in film and television have learned to merge real and fantasy worlds in exciting new ways. It has become clear that modern graphics systems based upon digital technology have spawned very successful new industry segments while nearly eliminating the labor intensive hand crafted forms of video art. There are likely parallels between the transitions to digital based graphic arts and other more recent transitions to digital in the video industry. The graphic arts changes did not take place over-night, but rather evolved over a period of many years. A number of very successful film and video organizations have emerged as a result of their pioneering uses of digital graphics. A large number of organizations who were slow to invest in digital graphics are no longer in business.
机译:这几天电视中最受欢迎的讨论和关注的一些最受欢迎的讨论和担忧,达到了最近引入的数字压缩技术的潜在影响。该讨论通常忽略了许多数量数字的电视增强功能多年。非常成功的早期形式之一是数字图形。初始单位允许图形艺术家创建静止框架文本和图形叠加,非常快速准确。早期的图形单元基本上限于帧中的程序标题,商业广告和类似内容的帧悔改。随着时间的推移,基本上增强的数字图形系统版本已消除涂料和刷子作为许多电视工作室的贸易的工具。原因是显而易见的。数字图形可以呈现非常一致,高质量的图像比手工艺品更快。数字图形开发工作还为操纵的技术铺平了道路,从而造成了动画图形图像。随着更多的异国情调的方法演变,行业设计了逐帧捕获,合并和操纵帧上的实际和图形生成图像的部分的方法。这些扩展的功能正被展示为完全新的电影和视频形式。电影和电视中的一些最成功的艺术家已经学会了以令人兴奋的新方式合并真实和幻想世界。已经清楚地清楚,基于数字技术的现代图形系统产生了非常成功的新行业细分市场,同时几乎消除了劳动密集型手工制作形式的视频艺术。在数字基于图形艺术的过渡和视频行业中的数字转换之间可能有相似之处。图形艺术的变化没有过夜,而是在多年的时间内进化。由于它们的数字图形的开创性使用,因此出现了许多非常成功的电影和视频组织。在数字图形中投资缓慢的大量组织不再是商业。

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