|
A |
| Active Line Time |
| The time, inside one horizontal scan line, during which video is generated. |
| Alternative Content |
| Non-cinema program material such as concerts, plays, sporting events, and potentially corporate training or conferencing, presented in theatres in addition to motion picture exhibition. |
| Ambient Light Rejection |
| The ability of a screen to reflect ambient light in a direction away from the “line of best viewing”. Curved screens usually have good ambient light rejection. Flat screens usually have less ambient light rejection. |
| Analog Video |
| The video output of most computers and videotape machines. Analog video can generate a large number of colors. |
| Anamorphic |
| Having or requiring a linear distortion, generally in the horizontal direction. Anamorphic lenses can restore a 'scope’ (CinemaScope) or ‘flat’ format film frame to the correct wide-screen appearance by increasing its horizontal proportion. |
| ANSI (Lumen) |
| The American National Standards Institute is the organization that denotes the measurement standard for lamp brightness. |
| Aspect Ratio |
| The ratio of the width of an image to its height, such as the 4:3 aspect ratio common in video output. Can also be expressed as a decimal number, such as 1.77, 1.85 or 2.39. The larger the ratio or decimal, the wider and “less square” the image. |
| Auto Source |
| The ability of the projector to automatically recognize and synchronize to the horizontal and vertical scan frequencies of an input signal for proper display. |
| Automation |
A system used in a theatre projection booth that responds to cues, commands or relay switches and then controls various elements of presentation, such as:
* picture format and corresponding lens (flat or scope)
* sound format and corresponding cinema processor settings
* curtain movement and position
* lighting level in the auditorium
* non-sync play and fade in/out
* digital cinema projector |
B |
| Bandwidth |
| The frequency range of the projector’s video amplifier. |
| Baud Rate |
| The speed (bits-per-second) at which serial communications travel from their origin. |
| Blanking Time |
| The time inside one scan line during which video is not generated. The blanking time of the input signal must be equal to or greater than the retrace time of the projector. |
| Brightness |
| In projection, brightness usually describes the amount of light emitted from a surface such as a screen. It is measured in foot-lamberts or candelas per square meter. |
C |
| Candela or Candle |
| Unit of measure for measuring intensity of light. |
| Channel |
| A collection of measurements stored by the projector for a given input source, including frequencies, pulse width, polarity, syncs, channel number and location, useradjustable display settings, etc. Use channels to switch between a variety of setups quickly, automatically recalling previously defined display parameters. |
| Channel List |
| A list/menu of previously-defined channels available in projector memory. |
| Channel Number |
| A number that uniquely identifies a specific channel retained in projector memory. Christie's 3-Chip DLP® projectors can retain up to 99 channels. |
| Chrominance |
| The signal representing the color information (hue and saturation) when the image is represented as separate chrominance and luminance. Same as “chroma”. |
| Color Gamut |
| The range of colors allowed in a specific system, as defined within a triangular area located on the CIE color locus diagram whose corners are the three primaries defined in the system. Also known as color space. |
| Color Shift |
| A change in the tint of a white field across an image. |
