A Case for Archival Episodic Content as Technical Evaluative Material

Metadata

Publisher: SMPTE — White Plains, NY, USA
Doc Type: Journal Article
Content Type: Original Research
Abbreviated Title: SMPTE Mot. Imag. J
Volume: 130, No. 10, pp. 16–23
Abstract: Within an hour-long TV episode, viewers will typically experience somewhere between 600 and 900 edit points. This means that viewers will experience a unique composition featuring a unique combination of spatial phenomena 600 to 900 times. On top of this, these shots must lead into one another, allowing for changes from the start of a shot to the end of the shot and confronting the “temporal contrast” that comes from having edit points at all. During any season of a show’s thousands of shots, production encounters specific technical imaging and perceptual failures and finds ways to work around them to get the image “good enough” for a general audience. However, these images remain valuable even after production is complete, and in fact the archive of ten episodes per season or more represents a treasure trove of naturally occurring perceptual phenomena. This paper presents guidelines and examples for harvesting challenging images from real production and ways in which these images can be analyzed to further a better end-user experience.
Publication Date: 2021-11-01
DOI: 10.5594/JMI.2021.3117095
ISSN: Print: 1545-0279 | Electronic: 2160-2492
Link: https://doi.org/10.5594/JMI.2021.3117095
Author(s): Aurora Gordon
bio
Aurora Gordon is a senior colorist at Arsenal, Santa Monica, CA. She has a life-long passion for the science and art of image capture; this passion has taken her from makeshift basement darkrooms in her home state of Oklahoma, to the Munsell Color Laboratory at Rochester Institute of Technology, Rochester, NY, where she earned a BFA in film production, to Hollywood, where she has worked steadily for the last nine years. She has worked on 20 shows as a colorist, executing many different styles and always working in support of the choices made by the show’s creative team—from cinematographers, to directors, to producers. She has finished about 100 episodes of HDR content, including both HDR-10 and Dolbyvision. She lives in Los Angeles with her partner James Gibson and two cats. In her spare time, she enjoys making hand-painted wood clocks, messily cooking, and doing lazy yoga.
Keyword(s): Archive, Image Analysis, Perceptual Phenomena, Quality Control, Streaming, User Experience
Copyright: © 2021 SMPTE

Bibliographic Reference(s)

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Aurora Gordon; A Case for Archival Episodic Content as Technical Evaluative Material, SMPTE Motion Imaging Journal ( Volume: 130, Issue: 10, 2021); SMPTE, 2021. Available at https://doi.org/10.5594/JMI.2021.3117095

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Aurora Gordon; A Case for Archival Episodic Content as Technical Evaluative Material, SMPTE Motion Imaging Journal ( Volume: 130, Issue: 10, 2021); SMPTE, 2021. Available at https://doi.org/10.5594/JMI.2021.3117095

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<span class="citation">Aurora Gordon; <cite>A Case for Archival Episodic Content as Technical Evaluative Material</cite>, SMPTE Motion Imaging Journal ( Volume: 130, Issue: 10, 2021); SMPTE, 2021. Available at <a href="https://doi.org/10.5594/JMI.2021.3117095" target="_blank" rel="noopener">https://doi.org/10.5594/JMI.2021.3117095</a></span>

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Aurora Gordon; A Case for Archival Episodic Content as Technical Evaluative Material, SMPTE Motion Imaging Journal ( Volume: 130, Issue: 10, 2021); SMPTE, 2021
doi: 10.5594/JMI.2021.3117095
url: https://doi.org/10.5594/JMI.2021.3117095

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<li>
Aurora Gordon; <cite id="bib-10-5594-jmi-2021-3117095">A Case for Archival Episodic Content as Technical Evaluative Material</cite>, SMPTE Motion Imaging Journal ( Volume: 130, Issue: 10, 2021); SMPTE, 2021
<span class="doi">10.5594/JMI.2021.3117095</span>
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