Rachael Ray (also known as The Rachael Ray Show and Rachael ) is an American television talk show hosted by Rachael Ray that aired in syndication from September 18, 2006 to July 28, 2023. It was taped at Chelsea Television Studios in New York City and her home.
41-491: D-1 or 4:2:2 Component Digital is an SMPTE digital recording video standard, introduced in 1986 through efforts by SMPTE engineering committees. It started as a Sony and Bosch – BTS product and was the first major professional digital video format. SMPTE standardized the format within ITU-R 601 (orig. CCIR-601), also known as Rec. 601 , which was derived from SMPTE 125M and EBU 3246-E standards. D-1 or 4:2:2 D-1 (1986)
82-440: A black-and-white image, but not if only connecting the other two color information channels. The "UV" was a math algorithm of R-Y (red minus luminance) and B-Y (blue minus luminance). The green information was derived by the difference (thus YUV is referred to as color difference processing). For example, if there are five black-and-white panda teddy bears in a box (Y); plus eight red apples (R-Y) and two blueberries (B-Y); and
123-478: A formal document reached by consensus, its first as an accredited Standards Development Organization (SDO), registering the specifications with the United States Bureau of Standards . The SMPTE Centennial Gala took place on Friday, 28 October 2016, following the annual Conference and Exhibition; James Cameron and Douglas Trumbull received SMPTE’s top honors. SMPTE officially bestowed Honorary Membership,
164-533: A library archive for broadcasters using its 1/2-inch tape format (as opposed to the bulkier 19mm D1/D2 cassettes). 1/2-inch Digital Betacam thus became the de facto standard-definition broadcast editing, delivery and archive standard. Even as HD broadcasting and delivery became more commonplace in the U.S. after 2008–2010, networks would often require standard definition copies on Digital Betacam. Television shows such as CBS' The Rachael Ray Show were still recorded and archived on Digital Betacam as late as 2012. D-1
205-419: A single tape to provide both NTSC (525 vertical lines) and PAL (625 lines) masters at one time. While early color television experiments were kept in the component domain of RGB, most color television broadcasting and post production was compromised in the 1960s and 1970s to simplify infrastructure and transmission by combining the color and luminance (composite). However, once the color and luminance information
246-458: Is Y, R-Y and B-Y; not RGB; 4:2:2 is often erroneously quoted as 4 meaning red, and the remaining 2s standing for green and blue. If this were true, it would produce an uneven recording of green and blue data compared to red. In a given small sample of the video picture – for instance the first four pixels going across horizontally in the top-left corner of the screen, the first "4" means that the more important luminance/black-and-white picture detail
287-485: Is also defined in ITU Rec. 601 or Rec. 709 color space. Panasonic 's D-5 format has similar specifications, but sampled at 10-bits as opposed to D-1's 8-bits. It had the advantage of development time as it was released much later than Sony's D-1 and one year after Sony's Digital Betacam format was unveiled. The D-2 format system from Sony and Ampex soon followed two years later, using composite video in order to lower
328-693: Is also used in DVD-Video and standard-definition television . The D1 units are switchable between NTSC and PAL. Luma is sampled at 13.5 MHz and Chroma at 6.75 MHz with an overall data rate of 27 MHz. Sampling at 13.5 MHz was used as it is a common multiple of NTSC/PAL line rate (6 x 2.5 MHz). The first input/output interface was a 25 pin parallel cable (SMPTE 125M) and later updated to serial digital interface on coaxial cable (SDI, SMPTE 259M, 75Ω coax, 270 MHz). Ancillary data can be put in H/V blanking intervals. Color space for Y’ B’-Y’ R’-Y’
369-708: Is open to any individual or organization with an interest in the subject matter. In the US, SMPTE is a 501(c)3 non-profit charitable organization. An informal organizational meeting was held in April 1916 at the Astor Hotel in New York City. Enthusiasm and interest increased, and meetings were held in New York and Chicago, culminating in the founding of the Society of Motion Picture Engineers in
410-479: Is why many machines have a badge of "4:2:2" instead of "D-1." Early D-1 operations were plagued with difficulties, though the format quickly stabilized and is still renowned for its superb standard definition image quality. D-1 was the very first real-time digital broadcast-quality tape format. The original Sony DVR-1000 unveiled in 1986 had a U.S. MSRP (manufacturer suggested retail price) of $ 160,000. A few years later, Sony's engineers were able to drastically reduce
451-469: The D-1 machine allowed 94 minutes of recording on a $ 200 cassette. D-1 resolution is 720 (horizontal) × 486 (vertical) for NTSC systems and 720 × 576 for PAL systems; these resolutions come from Rec. 601 . A small variation removing the top 6 lines to save space was later introduced and made popular in the 1/4-inch DV/DVCAM/DVCPRO formats and for digital broadcasting, which have 720 x 480 pixels for NTSC; and
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#1732859288944492-661: The Oak Room of the Raleigh Hotel, Washington DC on the 24th of July. Ten industry stakeholders attended and signed the Articles of Incorporation. Papers of incorporation, were executed on 24 July 1916, were filed on 10 August in Washington DC. With a second meeting scheduled, invitations were telegraphed to Jenkin’s industry friends, i.e., key players and engineering executives in the motion picture industry. Three months later, 26 attended
533-500: The SMPTE 3D Home Master. In 1999, SMPTE established the DC28 technology committee, for the foundations of Digital Cinema. The SMPTE presents awards to individuals for outstanding contributions in fields of the society. Recipients include: The Progress Medal, instituted in 1935, is SMPTE's oldest and most prestigious medal, and is awarded annually for contributions to engineering aspects of
574-436: The SMPTE website, or other distributors of technical standards. Standards documents may be purchased by the general public. Significant standards promulgated by SMPTE include: SMP(T)E'S first standard was to get everyone using 35-mm film width, four sprocket holes per frame, 1.37:1 picture ratio. Until then, there were competing film formats. With the standard, theaters could all run the same films. SMP(T)E's standard in 1927
615-564: The Society’s highest honor, upon Avatar and Titanic director Cameron in recognition of his work advancing visual effects (VFX), motion capture , and stereoscopic 3D photography, as well as his experimentation in HFR . Presented by Oscar-winning special effects cinematographer Richard Edlund , SMPTE honored Trumbull, who was responsible for the VFX in 2001: A Space Odyssey and Blade Runner , with
656-476: The Society’s most prestigious medal award, the Progress Medal. The award recognized Trumbull’s contributions to VFX, stereoscopic 3D, and HFR cinema, including his current work to enable stereoscopic 3D with his 120-frames-per-second Magi system. SMPTE's educational and professional development activities include technical presentations at regular meetings of its local Sections, annual and biennial conferences in
697-671: The US and Australia and the SMPTE Motion Imaging Journal . The society sponsors many awards, the oldest of which are the SMPTE Progress Medal, the Samuel Warner Memorial Medal, and the David Sarnoff Medal. SMPTE also has a number of Student Chapters and sponsors scholarships for college students in the motion imaging disciplines. SMPTE standards documents are copyrighted and may be purchased from
738-471: The ability to switch between 4:2:2 and full RGB recording for giant-screen motion picture work, thus RGB is sampled at every pixel and branded 4:4:4. SMPTE The Society of Motion Picture and Television Engineers ( SMPTE ) ( / ˈ s ɪ m p t iː / , rarely / ˈ s ʌ m p t iː / ), founded in 1916 as the Society of Motion Picture Engineers or SMPE, is a global professional association of engineers, technologists, and executives working in
779-401: The already two years it had received. In June 2009, Rachael Ray was renewed for two more years, till 2012, making 6 seasons. Rachael Ray was the only one of the four syndicated daytime talk shows that premiered for the 2006–07 season to be renewed. By the show's third season in 2008, ratings had dropped to a 1.8. However, ratings leveled off in 2010 with 1.5 and roughly 2 million viewers for
820-463: The bandwidth needed. This reduced D-2's price tag to half that of D-1. Since D-2 was composite digital as opposed to component, it could easily be dropped into the space and infrastructure of composite analog machines presently used at the time (2-inch Quadruplex, 1-inch Type C and 3/4-inch U-Matic). Since less information was recorded on D-2 than on D-1, tape speed could be reduced and hold a maximum of 208 minutes compared to D-1's 94 minutes. However, D-2
861-544: The black-and-white (luminance) picture detail. You could say that 50% of the color is actually recorded – because for the TV screen, it was good enough for the human eye. The popular 1995/96 1/4-inch DV/DVCAM/DVCPRO format had a component digital YUV sampling of 4:1:1, meaning only 1 out of 4 pixels or 25% of the color is actually recorded, which is why the color looks "muddy" and not as vibrant when compared to any 4:2:2 recording. This further made perfect green screen mattes impossible on
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#1732859288944902-408: The color video lines did not need to be sampled for every converted digital pixel. Sony's 1982 news-gathering 1/2-inch video format Betacam, the first camcorder combination came up with a compromise, known as YUV. The "Y" was luminance , or the detail of the video picture, in black-and-white. It contained the sync 'frame' needed to make a stable picture. If one connects only the "Y" cable, one can see
943-477: The entertainment, sports, and media industries. Ray asks for tips and strategies for staying healthy and safe from various health and lifestyle experts, she includes make-over segments, and features musical performances, all of which are features along the same lines of The Oprah Winfrey Show . She does, however, keep cooking in the forefront by including at least one cooking segment at the end of each episode, and sometimes inviting her celebrity guests to join her in
984-543: The film and/or television industries. Recipients include: The Eastman Kodak Gold Medal, instituted in 1967, recognizes outstanding contributions which lead to new or unique educational programs utilizing motion pictures, television, high-speed and instrumentation photography or other photography sciences. Recent recipients are Related organizations include Rachael Ray (TV series) The concept behind this program showcases Ray's culinary skills. She brings various celebrities on screen to discuss their accomplishments in
1025-554: The first D-1 VTRs, the Sony DVR-1000, required a separate, large video processor. Its successor, the DVR-2000, integrated it into the same chassis as the VTR. The maximum record time on a D-1 tape is 94 minutes. Medium tapes could record up to 34 minutes, and small tapes up to 6 minutes. The format uses helical scan, with an M wrap pattern in which the tape is wrapped around the head drum around
1066-627: The first “official” meeting of the Society, the SMPE, at the Hotel Astor in New York City, on 2 and 3 October 1916. Jenkins was formally elected president, a constitution ratified, an emblem for the Society approved, and six committees established. At the July 1917 Society Convention in Chicago, a set of specifications including the dimensions of 35 mm film, 16 frames per second, etc. were adopted. SMPE set and issued
1107-472: The format. The DV format further compressed the digital data at 5:1, meaning compromising the picture information by 80% to get 25 million bits per second onto a small tape moving at a slow speed. Compare the DV quality to 1986's D1, with 4:2:2, no compression, and 173~226 million bits per second of data preserved. Modern high definition video recorders like Sony's HDCAM-SR format, SR stands for superior resolution, have
1148-474: The kitchen. According to Ray, "People know me for my love of food, but I have so much more I want to share." The set has the audience seated on a large turntable that rotates so that the audience can always see the "action" on the circular stage that surrounds them. At the end of each show, with the exception of a few more guests after Ray's cooking segments, Ray's tagline is, "We'll see you when we see you." On March 9, 2007, Entertainment Tonight revealed that
1189-439: The left and right side. The helical scan head drum rotates at 10,800 RPM for NTSC video, or at 9000 RPM for PAL. It is 75 mm in diameter and the helical tracks, read by video heads mounted on the head drum, are 40 microns wide. Writing speed at the heads is 33.63 m/s, linear tape speeds are 286.588 mm/s for NTSC, 286.875 mm/s for PAL. Because of the uncompromising picture quality, component processing and uncompressed recording, D-1
1230-583: The media and entertainment industry. As an internationally recognized standards organization , SMPTE has published more than 800 technical standards and related documents for broadcast, filmmaking, digital cinema , audio recording , information technology (IT), and medical imaging. SMPTE also publishes the SMPTE Motion Imaging Journal , provides networking opportunities for its members, produces academic conferences and exhibitions, and performs other industry-related functions. SMPTE membership
1271-474: The seventh season, the show relocated to Chelsea Studios in the Chelsea section of New York, the same facility where The Wendy Williams Show and Sherri tape in a second studio. During its first season, the show averaged about 2.6 million views daily, making it one of the highest viewed daytime shows. Not long after it debuted, it was revealed that Rachael Ray was renewed through 2010, adding two years to
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1312-406: The show's theme music was written and recorded by Ray's husband, John Cusimano. The original theme song to the show was performed by R&B, Soul and Jazz group The Neville Brothers . Their song had the same rhythm and melody as their classic hit " Yellow Moon ", but with different lyrics. Aaron Neville sang the song. Starting with the fifth season, the original theme was retired. With the start of
1353-511: The size of the machine by reducing the electronic processing to fit into the main cassette drive chassis, christened the DVR-2000, lowering the U.S. cost to $ 120,000. An external single-rack unit would enable the machine to record an additional key (matte) channel (4:2:2:4) or double the horizontal resolution (8:4:4) by combining two VTRs running simultaneously. Later "SP" and "OS" models ran O ff- S Peed, making them technically friendly for 24-frame telecine film transfers to D1 tape – and allowing
1394-451: The total number of items has to equal 20, one can easily calculate how many remaining green apples there are, as 20 minus 15 would leave a difference of five. When engineers sought to process and record in real time the huge amount of digital data needed to make the first digital video tape format, keeping the Y, R-Y, B-Y or YUV algorithm was key to simplifying and reducing the initial picture information sampled, saving valuable space. 4:2:2
1435-549: Was a major feat in real time, broadcast quality digital video recording. It stores uncompressed digitized component video , encoded at Y'CbCr 4:2:2 using the CCIR 601 raster format with 8 bits, along with PCM audio tracks as well as timecode on a 3/4 inch (19 mm) videocassette tape (though not to be confused with the ubiquitous 3/4-inch U-Matic/U-Matic SP cassette). The uncompressed component video used enormous bandwidth for its time: 167 Mbit/sec (bit rate). One of
1476-423: Was combined, it could never truly be uncombined as cleanly as originated. Component video was rarely processed through a video facility as RGB, as it is in computer displays. There was a historical legacy need to maintain black-and-white signals. Further, as the human eye is more sensitive to black-and-white picture information than color, engineers calculated that with the size of the largest home television screen,
1517-413: Was for speed at which sound film is shown, 24 frames per second. SMPTE's taskforce on "3D to the home" produced a report on the issues and challenges and suggested minimum standards for the 3D home master that would be distributed after post-production to the ingest points of distribution channels for 3D video content. A group within the standards committees has begun to work on the formal definition of
1558-444: Was most popular in high-end graphic and animation production – where multiple layering had previously been done in short run times via hard drives ( Quantel Harry, Henry, Harriet, Hal or Abekas DDR) or via multiple analog machines running at once. Hard drives in the 1980s that stored broadcast-quality video would typically only hold 30 seconds to a few minutes of space, yet the systems that made them work could cost $ 500,000. By contrast,
1599-419: Was notoriously expensive and the equipment required very large infrastructure changes in facilities which upgraded to this digital recording format, because the machines being uncompromising in quality reverted to component processing (where the luminance or black-and-white information of the picture) and its primary colors red, green and blue (RGB) were kept separate in a sampling algorithm known as 4:2:2, which
1640-410: Was sampled in every pixel in that 4-sample. The next two 2s mean that R-Y and B-Y were sampled at every other pixel, skipping the one in-between. The eye should not be able to see the two in-between pixels not having the actual color information that the originating camera recorded – previous color pixel is simply replicated. Thus with 4:2:2, all color, red, green and blue, is sampled at half the rate of
1681-439: Was still a compromise, being composite video. As broadcasters would later convert from analog to digital wiring, component digital infrastructure became feasible. Sony's popular component Digital Betacam supported this transition by keeping the colors separated in component digital space (D1/D5) rather than combined in composite space (D2/D3). Digital Betacam could play previous analog Betacam/Betacam SP tapes which by now had built