Archive for November, 2009

Gunk In Your Tank

Friday, November 27th, 2009

There’s a long held contention that you shouldn’t mix your tape brands, because their chemical make-up can intermingle in an adverse way, causinggunk to build up on your heads. This seems particularly true in the case of DVCam.

While the manufacturers tweaked their formulas way back in 1997 to resolve this issue, there’s plenty of anecdotal evidence to suggest it’s still a problem. It’s said that the two mixtures that cause the most build-up are Panasonic and Sony, and the problem is at its most prevalent when you go from sustained use of one to the other.

Thus, it is good practice to do one of two things:

1. Always stick to the same brand.

2. Constantly switch between brands.

There is one problem with this however, and that’s the complicated OEM arrangements whereby one manufacturer allows another to use their tapes and simply re-brand them. While Sony make all their own tape, you can never be quite sure which tape is inside the cassettes of other brands.

We’re quite pleased that our recycling process can eliminate this problem entirely, but we won’t bore you with that now. We talk about it a lot throughout the site.

Betamax Won The War

Wednesday, November 25th, 2009

Betamax beat VHS. Maybe not in the home, but in the professional video suite, the Beta format wiped the floor, and it’s successors still dominate the market.

While VHS cleared the way in the consumer market, the broadcast versions of both formats went head to head. Remember MII? Maybe not, but there’s no doubt you’ve heard of Betacam SP, Digital Betcam and HDCam. All of these formats are based on the original Betamax cassette, just as the MII is based on the VHS format.

Once Betacam became the de facto standard of the broadcast industry, its position in the professional market mirrored VHS’ dominance in the home video market. On a technical level, Betacam and Betamax are similar in that both share the same videocassette shape, use the same oxide tape formulation with the same coercivity, and both record linear audio tracks on the same location of the videotape.

Betamax also had a significant part to play in the music recording industry, when Sony introduced its PCM (Pulse Code Modulation) digital recording system as an encoding box/PCM adaptor that connected to a Betamax recorder. A lot of raw audio recording on computers now is done using the PCM format.

Sony High Definition Viewfinder

Friday, November 20th, 2009

High-definition acquisition requires extremely precise focusing, allowing the operator to accurately see contrast and colour levels when framing a shot. With the new Sony viewfinder (HDVF-C30WR) you can be sure that what you’re seeing is what you’re recording.

It gives high level colour accuracy and will fit the entire range of Sony HDCam cameras. It has a 2.7-inch LCD screen, a pixel resolution of 960 by 540, and a new image processor – the same one used in Sony’s BVM-L230 LCD Master Monitor. It provides comfortable and accurate framing and focusing operations by enabling more faithful colour reproduction, with newly added and enhanced focus-assist functions.

These focus assist features include 2x (dot by dot) magnification to smooth out diagonal edges and a colour peaking function. Luminance levels are easily indicated by colour. Improved luminance transition (panel gamma compensation) and 3D LUT color space compensation help to provide more natural-looking luminance and color accuracy.

Sony SRW-9000 HDCAM SR

Friday, November 13th, 2009

In April, Sony unveiled the first of its camcorders to be based on the HDCam SR format. It’s designed for television commerical and motion picture production, and it combines the format’s image quality with the versatility of a one piece camcorder.

The SRW-9000 is a full resolution HD recorder, with 2/3 inch CCDs. Rob Willox, director of marketing at Sony Electronics says:

The HDCAM SR format is proven in the most demanding digital cinematography applications. Applying that legacy into a compact one-piece body design adds more flexibility to location work and is more ‘Steadicam®-friendly’ as a B-camera complement to the F23. This mobile and cost-effective acquisition tool can further expand the use of HDCAM SR technology to a much broader audience.

The camera should be available in a few weeks. More details here.

HDV vs HD

Thursday, November 5th, 2009

We often get asked, “What’s the difference between HD and HDV?”

The short answer is that HDV is not true HD, because it’s colour sampling isn’t at a high enough spec, and the image size is too small. On top of that, it aggressively compresses the image, causing artifacts. HDV is a good quality image, especially compared to DV, but it certainly isn’t true HD.

For more information, there’s a great article over on Creative Cow.