The regions of the video image considered safe from cropping for either the action or on-screen titles, taking into account variations in adjustments for video monitors or television receivers. Safe action is 90ápercent of the screen measured from the center, and safe title is 80ápercent.

The process of adjusting color values in a finished program so that they meet broadcast standards for luminance, composite signal, or RGB gamut.

The media data created by recording or digitizing from a physical source. A sample is a unit of data that the recording or digitizing device can measure. Applications can play digital sample data from files on disk.

The representation of audio as a sample waveform.

The frequency of the sample units.

A unit of measure used in recording or digitizing media data from a physical source, such as a videotape. Media data contains its own sample rate and the size of each sample in bytes.

The process of measuring the value of an analog signal at regular intervals during recording or digitizing. These measurements ("samples") are used to construct a digital representation of the signal.

Recording using LTC timecode of live events, multicamera shows, and video material coming in on routers. Allows you to record to the NewsCutter system from multiple external sources at the same time they are recording to tape.

A measurement of chrominance. Saturation is the intensity of color in the video signal.

See also vectorscope.

A control in the Timeline window that allows you to expand and contract the Timeline area centered around the blue position indicator.

Subcarrier phase. The method used to calibrate the colorburst portion of a composite video signal.

Subcarrier to horizontal phase. The phase relationship between the burst and the horizontal blanking reference point for a video signal. Used to synchronize the timing of two or more video signals.

A showing of a film program, a video program, or raw footage.

A rectangular bar located along the right side or the bottom of a window. Clicking or dragging in the scroll bar allows the user to move or pan through the file.

The process of shuttling through audio at various speeds as the audio pitch changes.

See region of interest.

SΘquential Couleur α Memoire. A color television standard developed in France and used throughout Europe.

See also NTSC, PAL.

Color correction that applies to specific parts of an image defined by hue and saturation values. A secondary color correction can change the green parts of an image to yellow without altering other colors in the image.

See also primary color correction.

Special effects generator. A section of a switcher that provides the capability to perform wipes of various patterns.

A section of a track or clip within a sequence in the Timeline that can be edited.

An edited composition that often includes audio and video clips and rendered effects connected by applied transitions. The Avid system contains a Timeline that graphically represents the edited sequence.

See LTC.

A reference point in the video signal that is the blackest point in the visible picture. Also called black level or pedestal.

See also waveform.

See chunking.

The effect produced by a shelving equalizer in which the response curve for a certain range of the frequency spectrum (high or low frequency, for example) flattens out or "shelves" at the limits of the audio spectrum. In audio equalization, adjustments to the shelf affect all frequencies within the range of the response curve.

A listing of information about a roll of film or a reel of videotape, usually in chronological order.

The viewing of footage at speeds greater than real time.

SystΦme International d'Unites. The French version of the International System of Units. SI is roughly equivalent to the metric system.

The displaying of clips that meet specific criteria in a bin.

The ratio of a wanted signal to an unwanted signal.

Blank (black) space in the audio tracks in a Timeline that contains no audio material.

Film stock that is perforated along one edge only.

See A-roll.

An identification board held briefly in front of the camera at the beginning of a take that displays information about the take. A smart slate also includes a timecode display that is fed from the sound recorder for synchronization purposes.

The synchronizing of decks in computerized editing systems.

The outgoing (A-side) and incoming (B-side) frames change because the clip remains fixed while the footage before and after it is trimmed.

The head and tail frames of the clip change because only the contents of the clip are adjusted. The frames that precede and follow the clip are not affected.

See slate.

Society of Motion Picture and Television Engineers. One of the principal standards organizations for the film and video industry.

See also SMPTE timecode, timecode.

A frame-numbering system developed by the Society of Motion Picture and Television Engineers that is used primarily for electronic editing and timing of video programs. It assigns a number to each frame of video, telling the elapsed number of hours, minutes, seconds, and frames; for example, 01:42:13:26.

See also time-of-day timecode.

A wipe effect from one image to another that has a soft, diffused edge.

The arranging of clips in a bin column in numerical or alphabetical order, depending on the column the user selects.

One of the lowest level building blocks of a sequence composition.

See also clip, master clip, subclip.

A method of assembly that determines in what order the edit controller reads the edit decision list (EDL) and assembles the final tape. There are five different types of source mode: A-mode, B-mode, C-mode, D-mode, and E-mode.

In color correction, the first of two available levels of color adjustment. Corrections made on the Source side typically seek to restore the original color characteristics of a clip or to achieve basic clip-to-clip color consistency among the clips in a sequence.

See also Program side.

An intense highlight caused when light reflects off an object in an image. A specular is not used as the basis for determining the true white point for an image.

The point at which videotape playback reaches a stable speed, all servos are locked, and there is enough preroll time for editing, recording, or digitizing.

An edit in which the material already on the video or audio track is lengthened by the addition of new material spliced in at any point in the sequence.

See also overwrite.

See overlap edit.

The video special effect that displays two images separated by a horizontal or vertical wipe line.

A color adjustment made to a specific part of a video image that is identified using drawing tools.

See also secondary color correction.

A specialized form of motion tracking used to eliminate unwanted motion such as camera movement from a clip. Stabilization works by tracking an inherently unmoving object in the clip and by repositioning each frame or field of video to keep that object stationary.

The disk that contains the operating system files. The computer needs operating system information in order to run.

The movement forward or backward one frame at a time. Also called jogging.

The Avid term for an edited piece. A story is created by editing clips and sequences together.

A series of pictures (traditionally sketches) designed to show how a production will look. Comic books are essentially storyboards. Storyboards and subsequent sequences can be created by manipulating images from the recorded or digitized footage in a bin.

A technology that allows users to watch a video clip or movie over the Internet while the video is being copied to their computers.

See also video stream.

The sine wave used as a color reference signal.

The 16mm film stock produced for a special format with an enlarged picture area. Super 16 is designed to be printed to 35mm film for release.

See audio sweetening.

The portion of SMPTE timecode that indicates the end of each frame and the direction of tape travel.

See also timecode, time-of-day timecode.