Vaporware Software or hardware that is promised or talked about but is not yet completed - and may never be released. See also: RSN
Variable bit rate (VBR) compression While many video compression schemes are 'constant bit rate' - designed to produce fixed data rates irrespective of the complexity of the picture, VBR offers the possibility of fixing a constant picture quality by varying the bit-rate according to the needs of the picture. This allows the images that require little data, like still frames in MPEG-2, to use little data and to use more for those that need it, to maintain quality. The result is an overall saving in storage, as on DVDs, better overall quality, or more efficient allocation of total available bit-rate in a multi-channel broadcast multiplex. See also: Constant bit rate, DVD, Statistical multiplexing
Varicam Panasonic camcorder based on DVCPRO HD that was the first to offer variable frame rates from 4to 60Hz at1280 x 720P. So, if working at a nominal 24 fps, the system offers x 6 speed up (undercranking) to x 2.5 slow down (overcranking). The system works by continuously recording 60 f/s to tape while the images are captured at the appropriate rate. Then the relevant useful frames are flagged. See also: VFR V VC-1 VC-1 is a video codec specification (SMPTE 421M-2006) and implemented by Microsoft as Windows Media Video (WMV) 9, and specified in HD DVD and Blu-ray Disc, and many others. It is designed to achieve state-of-the- art compressed video quality at bit rates ranging from very low to very high with low computational complexity for it to run well on PC platforms. Individual opinions differ but broadly speaking VC-1 offers at least similar performance and efficiency to H.264/AVC - some say it looks better. VC-1 offers a number of profiles for coding features, and levels of quality combinations defining maximum bit rates. These have a wide range from 176 x 144/15P which may be used for mobile phones, to 2K (2048 x 1536/24P) for movie production.
VC-2 See also: Dirac
VC-3 Avid's DNxHD codec currently undergoing standardization by SMPTE may be given this designation. See also: DNxHD
Vector fonts Fonts that are stored as vector information - sets of lengths and angles to describe each character. This offers the benefits of using relatively little storage and the type can be cleanly displayed at virtually any size. However it does require that the type is RIPped before it can be used - requiring significant processing power if it is to be used interactively for sizing and composing into a graphic. See also: TrueType
Versioning In recent times demand for producing the required versions of a finished production has ballooned. Historically this used to involve making copies from the edited and graded master to various videotape formats and, via a standards converter, to other video standards (e.g. NTSC to PAL). Now technical variations involve many more formats being supplied, including Web, mobile, HD and SD TV, DVD and film, as well as a variety of display systems including CRT, LED, Plasma and digital cinema. Aside from the technical needs, other requirements such as commercial, language and religious influences are among the many factors that can be causes for more versions. Today versioning is big business, as the number of versions can run to many tens and involve much more than simply making copies of the master. For example, work may involve re-grading to suit different viewing conditions, grain management to suit different compression and display technologies, re-insertion of text or images to suit different regions or countries, pricing (for commercials) adding or removing shots or scenes for censoring, etc. Generally, for this to be done efficiently and effectively requires nonlinear editing in an uncommitted environment; where original footage and all the post processes that produced the master are available for recall and allow further adjustment, to re-make the result in a short time.
VFR Variable Frame Rate shooting has, until recently, only been possible with film cameras as all electronic cameras work at fixed frame rates. Panasonic's HD Varicam was the first to offer variable speeds, with frame rates from 4 to 60 f/s in one-frame increments. There are also more specialized cameras and recorders able to capture HD frame rates up to 1000 f/s, or more. VFR is seen as a significant step forward for digital cinematography. See also: Varicam, Digital cinematography Website: www.nacinc.eu  www.panasonic.com/pbds
Video over IP See DVB over IP
Video projection Video projector technology can now show up to 4K images (4096 x 2160) on large cinema screens. Such technology is a major part of Digital Cinema development. There are two major technologies used for large- scale projection, D-ILA and DLP Cinema. See D-ILA, DLP cinema
Viper See Digital Cinematography
Virtual telecine See Telecine
VITC Vertical Interval Timecode (pronounced 'vitsy'). Timecode information in digital form, added into the vertical blanking of a TV signal. This can be read by the video heads from tape at any time pictures are displayed, even during jogging and freeze but not during spooling. This effectively complements LTC ensuring timecode can be read at any time. See also: LTC
VSB Vestigial Sideband modulation - an established modulation technique which is used in the RF (radio frequency) transmission subsystem of the ATSC Digital Television Standard. E-VSB, Enhanced-VSB, was approved by ATSC in 2004 as an amendment to the A/53C DTV Standard. This was responding to the wishes broadcasters for more flexibility in DTV. E-VSB allows broadcasters to trade-off data rate for a lower carrier-to- noise threshold for some services, e.g. 'fall back' audio, and targeted at receivers with indoor antennas, non-realtime transmissions of file-based information, and more. Website: www.atsc.org and search for VSB on www.broadcast.harris.com