VIDEO TAPE FORMATS
VIDEO TAPE FORMATS
VIDEO TAPE FORMATS
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<strong>VIDEO</strong> <strong>TAPE</strong> <strong>FORMATS</strong><br />
By Stephen DaVega<br />
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AMPEX (quadraplex format) is an acronym, created by<br />
its founder, Alexander M. Pontiaff. It actually stands for (A)lexander (M).<br />
(P)oniatoff (Ex)cellence. Poniatoff's company was established in San Carlos,<br />
California in 1944 as the Ampex Electric and Manufacturing Company. Now<br />
Ampex Corporation is the parent company of Ampex Data Systems which<br />
manufactures digital archiving systems, principally for the broadcast industry.<br />
Ampex became a leader in magnetic recording technology, in both sound and<br />
video. Ampex was not a recording format, per se, but the company that invented<br />
the quadruplex format that dominated the broadcast industry for decades.<br />
The format was licensed to RCA (Radio Corporation of America) for use in their<br />
"television tape recorders" and Ampex's invention revolutionized the television<br />
industry by eliminating the kinescope process of archiving television programs on<br />
motion picture film (at least in the U.S.; in Britain, the BBC and most of the ITV<br />
companies continued to use kinescoping alongside videotape until the late<br />
1960s; in most developing countries, many television broadcasters continued to<br />
use kinescoping alongside videotape until the mid-1970s).<br />
The Ampex broadcast video tape recorder also facilitated time-zone broadcast<br />
delay so that networks could air programming at the same hour in various time<br />
zones.<br />
One of the key engineers in the development of the quadruplex video recorder<br />
for Ampex was Ray Dolby, who went on to form Dolby Laboratories, a pioneer in<br />
audio noise reduction systems.<br />
The first magnetically-recorded time-delayed network television program using<br />
the new Ampex Quadruplex recording system was CBS's "Douglas Edwards and<br />
the News" on November 30, 1956. CBSs first color logo, which debuted in the fall<br />
of 1965.<br />
Since the early 1950s, Bing Crosby and others tried to record video on very fastmoving<br />
magnetic tape. One semi-successful attempt was the BBC's VERA<br />
format.<br />
Only Ampex had the wisdom to rotate the heads at high speed and keep tape<br />
movement slow. The "Quad" head assembly has 4 heads that rotate at 14,400
pm. They write the video vertically across the width of a tape that is 2 inches (5<br />
cm) wide and runs at 15" (38cm) per second. This allows programs of one hour<br />
to be recorded on one reel of tape. But in 1956 one reel of tape cost $300<br />
(equivalent to $2000 in 2004). The machines themselves cost about $75-100,000<br />
(about a half a million dollars today). So the only videotaped archives that exist<br />
are network programs as the typical television station could not afford an Ampex<br />
VTR.<br />
Ampex had trademarked the name "Video Tape", so competitor RCA called the<br />
medium "TV Tape" or "Television Tape". The terms eventually became<br />
genericized, and "videotape" is commonly used today.<br />
In 1948, ABC used an Ampex Model 200 audio recorder for the first-ever U.S.<br />
tape delay radio broadcast of The Bing Crosby Show.<br />
In 1950, Ampex introduced the first "dedicated" instrumentation recorder, Model<br />
500, built for the U.S. Navy.<br />
In 1967, ABC used the Ampex HS-100 disk recorder for playback of slow-motion<br />
downhill skiing on World Series of Skiing in Vail, Colorado. Thus began the use<br />
of slow motion instant replay in sporting events. Also, that year, Ampex<br />
introduced the Ampex VR-3000 portable broadcast video recorder, which<br />
revolutionized the recording of high-quality television in the field, without the need<br />
for long cables and large support vehicles. Broadcast quality images could now<br />
be shot anywhere, including out of airplanes, helicopters and boats.<br />
In 1970, Ampex introduced the ACR-25, the first automated robotic library<br />
system for the recording and playback of television commercials. Each<br />
commercial was recorded on an individual cartridge. These cartridges were then<br />
loaded into large rotating carousels. Using sophisticated mechanics and<br />
compressed air, the "carts" were able to be loaded into and extracted from the<br />
machine at extremely high speed. This allowed TV stations to re-sequence<br />
commercial breaks at a moments notice, adding, deleting and rearranging<br />
commercials at will. The TV newsroom also began to use the ACR-25 to run<br />
news stories because of its random access capability. From the earliest days of<br />
the medium, television has been used as a vehicle for advertising in some<br />
countries. ...<br />
The Ampex video system is now obsolete. Those machines which still survive<br />
have been pressed into service to transfer recordings onto modern digital video<br />
formats.<br />
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8mm: 8mm (official name: Video8) is a type of video cassette recorder and<br />
video tape format originally developed by EIAJ (Electronic Industries Association<br />
of Japan) and others in 1983. 8mm camcorders often are similar to higher priced<br />
HI-8 units, having compact size, image stabilization, and digital zooms. Regular
8mm tapes are the exact size and shape as their HI8 counterparts, but record<br />
video at a lower resolution level, and therefore, are less expensive. 8mm has a<br />
maximum tape length of 120 minutes in SP mode or 240 minutes in LP mode<br />
and has a resolution of up to 270 lines. The video quality is somewhat better than<br />
that of the VHS format. Kodak released its first 8mm camcorder in 1983/84 w/255<br />
lines of resolution. The tapes generally are either 60 minutes or 120 minutes<br />
long.<br />
One of the major drawbacks of the format is that the tapes are incompatible with<br />
VHS VCRs. 8MM (and Hi-8) tapes cannot be put into a standard VHS video<br />
recorder, a common misconception. Because the tape size is different than a<br />
standard VHS tape, it is not possible to make an adapter for the tapes that would<br />
fit in a VHS VCR. There are no adapters to achieve this. They must be<br />
transferred to VHS in order to be viewed on a regular VCR.<br />
8mm is mainly used with video cameras and was until recently one of the<br />
dominant formats for video cameras. 8mm cameras were popular because the<br />
small tape size meant video cameras using this format could be much smaller<br />
than cameras using the VHS format. The tapes are about the size of an audio<br />
cassette, making the format popular for travel when space is at a premium.<br />
There were attempts to move the format over to the home VCR market as a<br />
replacement for VHS tapes. 8mm VCRs were manufactured, and even some<br />
8mm tape versions of some movies were sold. However these attempts were<br />
generally not successful, and until the price of DVDs fell to reasonable levels,<br />
VHS remained the dominant format for home use.<br />
The 8mm video format was standardized in 1984. Sony introduced the<br />
Handycam, one of the first cameras to record on to 8mm video tapes. This type<br />
of camera soon became more popular than the more bulky VHS camcorder.<br />
8mm is still a fairly popular format for video cameras, however it has currently<br />
been superseded by miniDV, also referred to as DV.<br />
It is also worth noting that 8mm tapes (like all videotape) will eventually<br />
deteriorate and lose their recorded contents over time. Tapes that are older than<br />
10 years may start to degrade. Amongst other problems, they can become sticky<br />
and jam playback units or become brittle and snap. It is recommended that<br />
footage archived on the 8mm format, be transferred to miniDV (for future editing)<br />
or DVD (for long term optical archiving).<br />
Like all videotape, 8mm tapes should be stored vertically out of direct sunlight, in<br />
a dry, cool dust free environment.<br />
: HI- 8 originally developed by Sony in 1989, an analog video<br />
recording and playback format for camcorders that uses enhanced 8mm
videocassettes (metal evaporated or metal particle tape). Hi-8 has an<br />
optional second AFM track for stereo sound and a maximum tape length of 120<br />
minutes in SP mode. HI-8 tapes can be bought in 30, 60, and 120-minute<br />
lengths. HI-8 camcorders record their signal at at 415 lines of resolution, slightly<br />
less than Mini DV, but substantially higher than 8mm or regular VHS formats.<br />
Most often, HI-8 camcorders record sound in hi-fi stereo. Slight quality loss is<br />
suffered when copying or editing from HI-8, but a better than average image is<br />
maintained.<br />
Tapes from HI-8 camcorders generally must be played using the camera as the<br />
source, as Hi-8 tape players are rare. which means the user often must connect<br />
cables to their television or VCR.<br />
With 415 lines of horizontal resolution, Hi8 provides superior quality to the<br />
original 270-line 8mm format as well as VHS tape.<br />
DIGITAL8: Digital8 was originally developed by Sony in 1999. Digital8<br />
records the same digital signal as DV onto less expensive Hi8 tapes. Hi-8<br />
camcorders are backwards compatible and play back Video8 and Hi8 tapes. Hi-8<br />
is forwards compatiable as well, able to use 8mm and Hi-8 cassesttes. Digital8<br />
uses DV compression atop the existing Video8/Hi8 technological base. Digital8<br />
records on Video8 or Hi8 tapes, but these run at twice their normal speed and<br />
thus hold half the time listed on the label. Digitlal8 cameras usually have analog<br />
inputs for digitally archiving existing analog footage. Audio is CD-quality. Only<br />
available as camcorders, not decks. is a format that is far superior to HI-8 or<br />
8MM. Digital8 will records up to 500 lines of resolution.<br />
Digital8 will also play back existing Video8 and Hi8 tapes, even over 1394/i.link,<br />
allowing such tapes to be read into NLEs (at least, those for which the lack of<br />
timecode is not an issue -- batch capture utilities are unlikely to work, since<br />
Video8/Hi8 timecodes are not sent across the 1394 connection).<br />
Digital8 is a camcorder-only format as of Spring 1999; no VTRs are expected. It<br />
appears to be the 8mm division's way of keeping its customer base from<br />
defecting to DV. By leveraging the massive investments of 15 years in 8mm<br />
analog camcorders and transports, the unit cost of Digital8 gear is kept very low,<br />
roughly half of what a comparable DV camcorder would cost, and its ability to<br />
play back legacy analog tapes is worthwhile for those with large libraries of 8mm.<br />
All Digital8 camcorders can record from the analog inputs (at least outside the<br />
EU), and all are equipped with i.link ports for digital dubbing and NLE<br />
connections.<br />
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The Video Home System, better known by its acronym VHS,<br />
is a recording and playing standard for video cassette recorders (VCRs),<br />
developed by JVC (with some of its critical technology under lucrative licensing<br />
agreements with Sony) and launched in 1976. VHS officially stands for Video<br />
Home System, but it initially stood for Vertical Helical Scan, after the relative<br />
head/tape scan technique. Some early reports claim the name originally stood for<br />
Victor Helical Scan system.<br />
VHS became a standard format for consumer recording and viewing in the 1980s<br />
after competing in a fierce format war with Sony's Betamax and, to a lesser<br />
extent, Philips' Video 2000.<br />
A standard T-120 VHS tape has a recording time of 2 hrs, and the resolution is<br />
250 lines. Their appeal, or course, is the convenience of easy playback. The<br />
large VHS camcorders are almost a thing of the past at this point. There are still<br />
a few models available, but their substantial size and weight make them a difficult<br />
sell against smaller camcorders VHS record at a slightly lower resolution than<br />
8MM..<br />
A VHS cassette contains a 12.70 mm (1⁄2-inch) wide magnetic tape wound<br />
between two spools, allowing it to be slowly passed over the various playback<br />
and recording heads of the video cassette recorder. The tape speed is 3.335<br />
cm/s for NTSC, 2.339 cm/s for PAL.<br />
A cassette holds a maximum of about 430 m of tape at the lowest acceptable<br />
tape thickness, giving a maximum playing time of about 3.5 hours for NTSC and<br />
5 hours for PAL at "standard" (SP) quality. Most cassettes have lower recording<br />
times because they use thicker tape, which helps avoiding jams; careful users<br />
generally avoid the thinnest tapes. More recent machines usually allow the<br />
selection of longer recording times by lowering the tape speed even further: LP<br />
mode (for PAL) halves the tape speed and doubles the recording time, while EP<br />
mode (for NTSC, aka SLP mode) drops the tape speed to one-third, for triple the<br />
recording time.<br />
Of course these speed reductions cause corresponding reductions in video<br />
quality, also tapes recorded at the lower speed often don't play well on another<br />
recorder than the one they were produced on. Because of this, commercial<br />
prerecorded tapes were almost always recorded in SP mode. An unofficial LP<br />
mode with one of half the standard speed exists on some NTSC machines but is<br />
not part of the VHS standard.<br />
VHS tapes have approximately 3 MHz of video bandwidth, and a horizontal<br />
resolution of about 240 discernible lines per scanline
The frequency modulation of the luminance signal makes higher resolutions<br />
impossible within the VHS standard, no matter how advanced the recorder's<br />
technology. The vertical resolution of VHS (and all other analog recording<br />
methods) is determined by the TV standard — a maximum of 486 lines are<br />
visible in NTSC and a maximum of 576 lines in PAL.<br />
The video bandwidth is achieved with a relatively low tape speed by the use of<br />
helical scan recording of a frequency modulated luminance (black and white)<br />
signal, to which a frequency-reduced "color under" chroma (hue and saturation)<br />
signal is added. In the original VHS format, audio was recorded unmodulated in a<br />
single (monaural) linear track at the upper edge of the tape, which was limited in<br />
frequency response by the tape speed. More recent hi-fi VCRs add higher-quality<br />
stereo audio tracks which are read and written by heads located on the same<br />
spinning drum that carries the video heads, frequency modulated to the unused<br />
frequency range in between the chroma and luma signals. These audio tracks<br />
take advantage of depth multiplexing: since they use lower frequencies than the<br />
video, their magnetization signals penetrate deeper into the tape. When the video<br />
signal is written by the following video head, it erases and overwrites the audio<br />
signal at the surface of the tape, but leaves the deeper portion of the signal<br />
undisturbed. The excellent sound quality of hi-fi VHS has gained it some<br />
popularity as an audio format in certain applications; in particular, ordinary home<br />
hi-fi VCRs are sometimes used by home recording enthusiasts as a handy and<br />
inexpensive medium for making high-quality stereo mixdowns and master<br />
recordings from multitrack audio tape.<br />
Another linear control track, at the tape's lower edge, holds pulses that mark the<br />
beginning of every frame of video; these are used to fine-tune the tape speed<br />
during playback and to get the rotating heads exactly on their helical tracks rather<br />
than having them end up somewhere between two adjacent tracks (a feature<br />
called tracking). Since good tracking depends on the exact distance between the<br />
rotating drum and the fixed control/audio head reading the linear tracks, which<br />
usually varies by a couple of micrometers between machines due to<br />
manufacturing tolerances, most VCRs offer tracking adjustment, either manual or<br />
automatic, to correct such mismatches.<br />
The control track can additionally hold index marks. These are normally written at<br />
the beginning of each recording session, and can be found using the VCR's<br />
index search function: this will fast-wind forward or backward to the nth specified<br />
index mark, and resume playback from there. There was a time when higher-end<br />
VCRs provided functions for manually removing and adding these index marks-so<br />
that, for example, they coincide with the actual start of the program--but this<br />
feature has become hard to find. A sign, perhaps, of the obsolescence of the<br />
VHS format.
vs.<br />
VHS became a standard format for consumer recording and viewing in the 1980s<br />
after competing in a fierce format war with Sony's Betamax and, to a lesser<br />
extent, Philips' Video 2000. VHS initially offered a longer playing time than the<br />
Betamax system, and it also had the advantage of a far less complex tape<br />
transport mechanism. Early VHS machines could rewind and fast forward the<br />
tape considerably faster than a Betamax VCR since they unthreaded the tape<br />
from the playback heads before commencing any high-speed winding (most<br />
newer VHS machines don't do this any more, as improved engineering has<br />
stopped head-tape contact from being an impediment for fast<br />
Since Betamax's technical specifications are better on paper, it is often stated<br />
that VHS' eventual victory was a victory of marketing over technical excellence.<br />
In fact, however, the root causes of VHS' victory are somewhat more complex.<br />
Betamax held an early lead in the format war, but by 1980 VHS was gaining due<br />
to its longer tape time (2 hours at SP) and JVC's less strict licensing program.<br />
Ultimately Betamax did manage to make up the difference on recording time, but<br />
this was too little too late for Sony, and Sony ultimately conceded the fight in the<br />
late 80s, bringing out a line of VHS VCRs. Beta survived as a professional<br />
format, and VHS had no serious competitors in the home video market until the<br />
arrival of DVD and digital video recorders. (Other formats such as 8mm and<br />
MiniDV have arisen, but have been mainly used for production purposes; neither<br />
has ever mounted a serious challenge to VHS's dominance as the set-top format<br />
of choice, being relegated to secondary roles.)<br />
VHS-C is the compact VHS format used for portable video<br />
recorders. VHS-C (Video Home System - Compact), is/was used in some<br />
camcorders. Since VHS-C tapes are based on the same magnetic tape as full<br />
size VHS tapes, they can be played back in standard VHS players using a<br />
mechanical adapter, without the need of any kind of signal conversion. The<br />
magnetic tape on VHS-C cassettes is wound on one main spool and used a sort<br />
of a gear wheel which moves the tape forward. It can also be moved by hand and<br />
so is the spool. This development hampered the sales of the Betamax system<br />
somewhat, because the Betamax cassette geometry prevented a similar<br />
development.<br />
VHS-C was one of the pioneering formats of the camcorder market, along with<br />
Video8. VHS-C was larger than Video8, but was compatible with VHS tapedecks,<br />
making the choice between the two non-obvious, and splitting the market.
A higher quality version of VHS-C was released, based on S-VHS, known as S-<br />
VHS-C, that competed against Hi8, the higher quality version of Video8.<br />
Camcorder users who prefer to insert their video tapes directly into their VCR<br />
may want to consider using the VHS/C compact format. VHS/C is regular VHS<br />
video tape wound into a smaller cartridge.<br />
Since the cartridge is smaller, the length of VHS/C tape is limited to a maximum<br />
of 45 minutes - though longer times can be achieved using a long play mode,<br />
the quality usually is poor compared to the faster (sp) speed. The compact tapes<br />
are inserted into your VCR using a cassette adapter which comes with each<br />
VHS/C camera. Once inserted, the tape plays just like any other VHS tape<br />
you’ve ever used.<br />
VHS/C compact model Camcorders, on the other hand, remain a popular choice,<br />
offering many of the same key features as 8MM camcorders, at an equally<br />
affordable price. VHS/C records at a slightly lower resolution that 8mm.<br />
The VHS-C format is compatible with regular VCRs through an adapter,<br />
this is because the tape is the same size as a regular tape, it's merely in a<br />
more compact cassette design.<br />
S-VHS or Super VHS was an improved, backward-compatible<br />
version of the VHS standard for domestic video cassette recorders. It was<br />
introduced in Japan in 1987. It offered substantially better color fidelity and<br />
resolution, with approximately 400 dots per line (the standard measure of analog<br />
video resolution). The S stands for super, as the resolution jumps from the VHS<br />
standard of 250 lines to around 400 lines. This means the format could, in theory,<br />
deliver a better picture than broadcast analog television; when viewing material<br />
recorded off-air, a noticeable improvement over standard VHS was discernable.<br />
It is a full-size format with resolution similar to that of HI-8. The format still was a<br />
strong player in the industrial market, but its future is bleak with the release of<br />
newer and better digital formats, namely MiniDV. This format is/was used for<br />
videographers mostly for shooting and editing. Unfortunately, most VCR's will<br />
not play a super VHS tape and has to be transferred to a regular VHS format in<br />
order for it to be viewed on non-S-VHS machines.<br />
To view the better picture that SVHS provides, a direct video connection to the<br />
monitor was required, ideally an S-Video or component video connection as<br />
opposed to a composite or RCA connector. Older television sets tended not to<br />
support this, negating much of the improvement in picture quality, but with the<br />
boom in popularity of DVD appropriate connectors have become common on mid<br />
to large-sized screens.
Home S-VHS decks never became popular outside of Japan, probably mainly<br />
due to their high cost; S-VHS camcorders (S-VHS-C) did become popular for<br />
high-end amateur work, as it allowed for at least second-generation copies<br />
(necessary for editing) to be made at good quality.<br />
W-VHS is a high definition analogue video tape format<br />
created introduced by JVC in the 1994 NAB (National Association of<br />
Broadcasters) show. The recording medium of W-VHS is a half-inch magnetic<br />
metallic tape stored in a cartridge physically identical with VHS. The tape can be<br />
used to store MUSE encoded video at a resolution of 1125 lines, two<br />
simultaneous standard definition NTSC signals, or many hours of NTSC footage.<br />
Audio is stored in the VHS HiFi or S-VHS Digital Audio formats.<br />
Normally records 1125 lines of analog RGB video, but can switch to an NTSC<br />
mode, in which it can either record twice as much high quality NTSC video, or<br />
even two different video signals. The latter function is used for field sequential 3D<br />
video.<br />
D-VHS is a digital video format developed by JVC, in<br />
collaboration with Hitachi, Matsushita and Philips. It uses the same physical<br />
cassette format and recording mechanism as VHS, and is capable of recording<br />
and displaying both standard definition and high definition content.<br />
HD content is stored at 28.2 Mbit/s, while SD content can be stored at bit rates<br />
from 14.2 Mbit/s down to 2.0 Mbit/s. The most capacious D-VHS cassette can<br />
store 3.5 hours of HD content and between 7 and 49 hours of SD content,<br />
equivalent to 44 gigabytes of video data. This cassette contains 1378 feet (420<br />
m) of tape, equivalent to a 3.5 hour NTSC or 4.9 hour PAL VHS cassette.<br />
Although Video8 acquired a digital variant, Digital8, D-VHS has not been adapted<br />
to will be adapted to a compact format, as the industry has moved on to better<br />
formats since first transitioning to digital tapes, during the era of Digital8 et al.<br />
New format by JVC. This is a digital "bit bucket" format which is intended to store<br />
future digital broadcasts directly in its compressed format. Particularly, the<br />
machines will not have conventional video inputs and outputs at all - they work<br />
through a set-top decoder, just like direct digital broadcasts off the air. The<br />
machines will all have IEEE 1394 digital interfaces, like some DV format<br />
equipment do.<br />
Longest tape should be able to store 44.4 GB of data. Recording times depend<br />
on the mode used, ranging from 3.5 hours of HDTV to 49 hours of 2 Mbps video<br />
in LP mode. Standard mode will record seven hours of video at 19.14 Mbps.
Digital S is a digital format downward compatible with S-<br />
VHS. Cassette is basically a W-VHS high coercivity tape in a dust-proof version<br />
of the VHS cassette case. Digital S rivals the much more expensive Digital<br />
Betacam in terms of picture quality because of the mild compression and 4:2:2<br />
quantizing.<br />
JVC's Digital S editing deck sports a rarely seen feature, video pre-read head,<br />
which allows the old video recording to be played back while recording new<br />
signal just after that. This makes A/B roll edits possible with just two decks.<br />
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Video 2000 (V2000) was a video recording standard<br />
developed by Philips and Grundig as a competing format to VHS and Betamax.<br />
Unlike its rivals it used double-sided cassettes. The video cassette recorder (or<br />
VCR, less popularly video tape recorder) is a type of video tape recorder that<br />
uses removable cassettes containing magnetic tape to record audio and video<br />
from a television broadcast so it can be played back later. ... Koninklijke Philips<br />
Electronics N.V. (Royal Dutch Philips Electronics Ltd. ...Manufacturer of home<br />
entertainment equipment, established after WW2 in Nuremberg/ Germany. ...Top<br />
view VHS cassette with US Quarter for scale Bottom view of VHS cassette with<br />
magnetic tape exposed The Video Home System, better known by its acronym<br />
VHS, is a recording and playing standard for video cassette recorders (VCRs),<br />
developed by JVC (with some of its critical technology under lucrative...Sonys<br />
Betamax is the 12. ...<br />
The Video 2000 cassette was slightly bigger than a VHS cassette. Special<br />
features were the possibility to record/play 4 hours of video on each side of the<br />
cassette and most models included a piezoelectric automated system for track<br />
following, known as dynamic track following. Some models used this such that<br />
even still and picture-search pictures were displayed perfectly. Piezoelectricity is<br />
the ability of certain crystals to produce a voltage when subjected to mechanical<br />
stress. ...<br />
Video 2000's predecessor was the Philips Video Compact Cassette (VCC)<br />
Format introduced in 1972. The first Video 2000 video recorder VR2000 was sold<br />
in 1979, and the last V2000 products by Philips were produced in 1988.<br />
[1] (http://home.wanadoo.nl/martijnbelle/Philips/philips.html) Video Compact<br />
Cassette (VCC) was the official name of Philips domestic video format, later (and<br />
much more commonly) known as Video 2000. ... 1972 was a leap year that
started on a Saturday. ...1979 is a common year starting on Monday. ...1988 is a<br />
leap year starting on a Friday of the Gregorian calendar. ...<br />
Video 2000 was in some respects technically superior to both Betamax and VHS,<br />
but the format was introduced late, at the height of the VHS / Betamax war.<br />
Whereas VHS and Betamax were world standards, Video 2000 was marketed<br />
only within Europe. By the mid 1980's VHS was starting to establish itself as the<br />
de facto home video standard, and Video 2000 could never overturn its position.<br />
The position was exacerbated because Philips failed to produce a much<br />
demanded portable recorder early on in the format's life. By the mid-80's Philips<br />
had conceded defeat and began making its own VHS format machines. Sonys<br />
Betamax is the 12. ... Top view VHS cassette with US Quarter for scale Bottom<br />
view of VHS cassette with magnetic tape exposed The Video Home System,<br />
better known by its acronym VHS, is a recording and playing standard for video<br />
cassette recorders (VCRs), developed by JVC (with some of its critical<br />
technology under lucrative...<br />
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U-matic, is an analog videocassette format developed<br />
by Sony in 1969. It was among the first video formats to contain the videotape<br />
inside a cassette, as opposed to the various open-reel formats of the time. The<br />
tape is 3/4" wide - and the format was often known as 'three-quarter-inch'.<br />
The format was introduced in 1971 but it is still used by some videographers<br />
who have been using the format for a long time. It can produce good quality<br />
video and 3/4" decks are still commonly available in duplicating houses. U-Matic<br />
has been used by professionals the world round and found mostly in studios. The<br />
format is slowly being replaced with digital equipment such as DV and Mini DV.<br />
Umatic has three different versions (LB, HB and SP), which differ by the<br />
subcarrier frequencies used for luminance and chrominance recording. U-Matic<br />
LB (Low Band) has been around from the early 70s and is one of the oldest<br />
cassette video formats HB (High Band) has increased chroma subcarrier<br />
frequency, which improves color resolution.<br />
Sony introduced the semi backwards-compatible High-band or BVU (Broadcast<br />
Video U-matic) format, this had an improved color recording system and lower<br />
noise levels. BVU gained immense popularity in ENG (Electronic News<br />
Gathering) and location programme-making, spelling the end of 16mm film in<br />
everyday production. By the early 1990s Sony's 1/2" Betacam SP format had all<br />
but replaced BVU outside of corporate and 'budget' programm making. Sony<br />
made a final improvement to BVU by further improving the recording system and<br />
giving it the same 'SP' suffix as Betacam. First generation BVU-SP and Beta-SP
ecordings were hard to tell apart; despite this the writing was on the wall for the<br />
U-matic family.<br />
In the SP variant, both chroma and luma subcarrier frequencies have been<br />
increased.<br />
U-Matic SP is still a popular production format for those not wealthy enough to<br />
use Beta SP or similar. Although U-Matic doesn't appear much better than Super<br />
VHS on paper, the higher color resolution and much better signal-to-noise ratio<br />
make the picture subjectively far more enjoyable. The U-Matic tape transport is<br />
also much faster in changing modes, which makes editing less frustrating.<br />
LB and HB U-Matic tapes are often used for archiving because of the relatively<br />
low tape costs and low recording density, which makes the tapes robust against<br />
aging.<br />
U-matic is no longer used as a mainstream production format, yet it has such a<br />
lasting appeal as a cheap, well specified, and hard-wearing format that almost<br />
every television facility the world-over still has a U-matic recorder. Nearly 36<br />
years after it was developed the format is still in daily use for the menial tasks of<br />
the industry, being more highly specified and suited to the needs of production<br />
staff than domestic VHS.<br />
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Betamax tapes were a format originally introduced by Sony in the 80's.<br />
Betamax players came first as a consumer product that VHS and in terms of<br />
picture quality was a better format. However, the Beta vs VHS wars took place<br />
and VHS was the victor. There are still a few Beta fans out there though and you<br />
can still get a Betamax machine if you look around.<br />
Betacam is a family of half-inch professional videotape<br />
formats developed by Sony from 1982 onwards. A high-quality analog and digital<br />
video format introduced (in analog) by Sony in 1982. Although heavy by today's<br />
standards, the first Betacam camcorders were considerably lighter than the video<br />
cameras of the era, a welcome breakthrough for cameramen shooting on<br />
location. Designed for professional TV recording, time codes are built into its 1/2"<br />
helical scan format to support precise editing of the recorded material.<br />
Digital versions of Betacam VTRs can typically play back analog cartridges. In<br />
2001, Sony announced it would no longer make analog camcorders. Following<br />
are the Betacam formats.
Model Recording Method<br />
Betacam Component Analog<br />
Betacam SP Component Analog (metal tape)<br />
Digital Betacam 4:2:2 Digital (uses DCT)<br />
Betacam SX MPEG-2 Digital<br />
MpegIMX MPEG-2 Digital (higher Bitrate)<br />
HDCam 10-bit DCT compressed/ 4:2:2 HD res<br />
HDCamSR MPEG-4 Digital 4:4:4/HD res<br />
BetaCam was first introduced in 1982. It is currently geared for broadcast use,<br />
although there have been some less expensive models destined more for<br />
industrial use. Pictures you will get using a BetaCam system (or other<br />
component format) will generally be markedly superior to those you would get<br />
using any of the preceding formats. Colors in particular come out looking much<br />
more vibrant and objects appear three-dimensional. The superiority of BetaCam<br />
shots comes partly from the technical aspects of the tape format but also in large<br />
part because of the use of superior optics and other camcorder and VTR<br />
components (and generally better operators!).<br />
Betacam videotape recorders (VTRs) are not your ordinary home VCRs.<br />
Used in professional studios, they cost from 50 to 100 times that of a<br />
consumer VHS machine. Betacam is the de facto broadcast video format<br />
worldwide, and cartridges come in small and large formats.<br />
All use the same shape cassettes, meaning vaults and other storage<br />
facilities do not have to be changed when upgrading to a new format. The<br />
cassettes come in two sizes, S and L. Betacam cameras can only load the<br />
S tape, while VCRs can play both S and L tapes. The cassette shell and<br />
case for each Betacam cassette is colored differently depending on the<br />
format, this allows for easy visual identification. There is also a mechanical<br />
key that allows a video tape recorder to tell which format has been<br />
inserted.<br />
BetaCam cassettes are large. Ninety minute cassettes measures 5.5 by 10<br />
inches (14 by 25 cm). Typically BetaCam field units (camcorders or dockable<br />
decks) handle only smaller cassettes with shorter lengths of tape (30 minutes<br />
and less). These smaller cassettes are 4 by 6 inches (10 by 16 cm) in size.<br />
The difference between BetaCam and<br />
BetaCam SP, introduced in 1986, is in the tape. BetaCam SP uses a metal tape<br />
and is an improvement over BetaCam.<br />
BetaCam SP is still the de facto standard for professional broadcast videotaping,
partly because of the large number of units out in the professional videotape<br />
community. Some authors assume that over 90% of all professional videotaping<br />
is done using Betacam and Betacam SP.<br />
The original Betacam format launched in 1982. It is an analog component format,<br />
storing the luminance (Y) in one track and the chrominance (R-Y, B-Y) on<br />
another. This splitting of channels provides a crisp, true broadcast quality product<br />
with 300 lines of horizontal resolution.<br />
In 1986 Betacam SP was developed, which increased horizontal resolution to<br />
340 lines. Beta SP (for "Superior Performance") became the industry standard<br />
for most TV stations and high-end production houses until the late 1990s. The<br />
recording time is the same as for Betacam, 30 and 90 minutes for S and L,<br />
respectively.<br />
Betacam and Betacam SP tapes are usually grey.<br />
Digital Betacam (commonly abbreviated to<br />
Digibeta or d-beta) was launched in 1993. It supersedes both Betacam and<br />
Betacam SP, while costing significantly less than the D1 format and providing<br />
high quality and reliability. S tapes are available with up to 40 minutes running<br />
time, and L tapes with up to 124 minutes.<br />
The Digital Betacam format records a DCT-compressed component video signal<br />
at 10-bit YUV 4:2:2 sampling in PAL (720x576) or NTSC (720x480) resolutions at<br />
a bitrate of 90 Mbit/s plus 4 channels of uncompressed 48KHz PCM-encoded<br />
audio. A 5th audio track is available for cueing, and a linear timecode track is<br />
also used on the tape.<br />
Some Digital Betacam equipment can also read Betacam and Betacam SP<br />
tapes. Along with the identical cassette size, this meant for easy upgrading.<br />
Digital Betacam is considered to be the gold standard of formats for standarddefinition<br />
digital video, is capable of outperforming cheaper digital formats such<br />
as DVCAM and DVCPRO, and associated equipment is comparatively<br />
expensive. Panasonic offers the DVCPRO50 competing format, which has<br />
similar technical abilities.<br />
Another key element which aided adoption was Sony's implementation of the<br />
Serial Digital Interface (SDI) coaxial digital connection on Digital Betacam decks.<br />
Facilities could begin using digital signals on their existing coaxial wiring without<br />
having to commit to an expensive re-installation.<br />
Digital Betacam tapes are a muted blue.
Digital successor to the venerable Betacam SP format. Introduced by Sony in<br />
1993, uses physically similar half-inch cassettes. Camcorders with 40-minute<br />
capacity are available, making Digital Betacam the first component digital ENG<br />
(electronic news gathering) format. Digital Betacam units play back, but do not<br />
record analogue Beta SP tapes.<br />
The 2:1 compression is based on DCT (discrete cosine transform), like most<br />
modern video compression techniques. Each field is compressed separately.<br />
Betacam SX is a digital version of<br />
Betacam SP introduced in 1996, positioned as a cheaper alternative to Digital<br />
Betacam. It stores video using MPEG 4:2:2 Profile@ML compression, along with<br />
4 channels of 48 KHz 16 bit PCM audio. All Betacam SX equipment is<br />
compatible with Betacam SP tapes. S tapes have a recording time up to 62<br />
minutes, and L tapes up to 194 minutes.<br />
Hot from the ovens at Sony, Betacam SX is a digital format using a 4:2:2 coded<br />
variant of MPEG. Like DVCPRO, it's capable of accelerated playback/recording<br />
and is part of Sony's new all-digital production concept, targeted especially for<br />
ENG and newsroom use. Some units are 4:3 / 16:9 switchable.<br />
Despite primarily being a tape format, some decks are actually disk/tape hybrids<br />
and provide rudimentary stand alone non-linear editing capabilities. "Briefcase"<br />
field editors resembling laptop computers are available, similar to what<br />
Panasonic has for its DVCPRO format.<br />
Betacam SX tapes are bright yellow.<br />
MPEG IMX is a 2001 development<br />
of the Digital Betacam format. It uses the MPEG compression system, but at a<br />
higher bitrate than Betacam SX. The IMX format allows for a CCIR 601 compliant<br />
video signal, with 8 channels of audio as well as cue and timecode tracks.<br />
With its new IMX VTRs, Sony introduced some new technologies including SDTI<br />
and e-VTR. SDTI allows for audio, video, timecode, and remote control functions<br />
to be transported by a single coaxial cable, while e-VTR technology extends this<br />
by allowing the same data to be transported over IP by way of an ethernet<br />
interface on the VTR itself.<br />
IMX VTRs such as the MSW-2100M are capable of playing back Digital Betacam<br />
cassettes as well as analog Betacam SP cassettes, but can only record to their<br />
native IMX cassettes. S tapes are available with up to 60 minutes capacity, and L<br />
tapes hold up to 184 minutes.
MPEG IMX tapes are a muted green.<br />
HDCAM, introduced in 1997, is a HDTV version of<br />
Digital Betacam, also using 10-bit DCT compressed 4:2:2 recording, but in 1080i<br />
or 720p resolution, and adding 24 and 23.976 PsF modes. The recorded video<br />
bitrate is 144 Mbit/s. Audio is also similar, with 4 channels of AES/EBU 20-bit/48<br />
kHz digital audio. HDCAM tapes are black with an orange lid<br />
HDCAM SR, (Super Resolution) introduced<br />
in 2003, uses a higher particle density tape and is capable of recording in 4:4:4<br />
RGB with a bitrate of 440 Mbit/s. Some HDCAM SR VTRs (SR camcorders are<br />
not available) can also use a 2x mode with a even higher bitrate of 880 Mbit/s,<br />
allowing for a single 4:4:4 stream at a lower compression or two 4:2:2 video<br />
streams simultaniously. HDCAM SR uses the new MPEG-4 Studio Profile for<br />
compression, and expands the number of audio channels up to 12. It is used for<br />
Sony's cinematic CineAlta range of products.<br />
HDCAM VTRs generally play back all older Betacam variants, and tape lengths<br />
are the same as for Digital Betacam, 40 minutes for S and 124 minutes for L<br />
tapes.<br />
HDCAM SR tapes black with a cyan lid.<br />
-----------------------------------------------------------------------------------------------------------<br />
: MII introduced in 1986, is Panasonic's answer to BetaCam SP. All<br />
MII tape is metal. The 90 minute cassette at 4 by 8 inches (11 by 19 cm) is<br />
considerably smaller than the 90 minute BetaCam SP cassette. However the<br />
dockable decks take only a small 20 minute cassette (3.6 by 5 inches - 9 by 13<br />
cm).<br />
Technically, MII is equal to or superior to Betacam SP. Panasonic MII field<br />
equipment includes several small dockable decks usable with a variety of camera<br />
heads and some excellent portable decks.<br />
Be aware if you get into MII that at some point repairs may become an issue and<br />
that few duplicating facilities or clients are likely to have MII. Therefore you will<br />
probably have to copy your MII programs to another format at some stage.
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MicroMV is a new videotape format by Sony. The cassette is<br />
physically smaller than a Digital8 or DV cassette. In fact, MicroMV is the smallest<br />
videotape format.<br />
The MicroMV format does not use the DV format; instead, it uses MPEG-2<br />
compression, like that used for Video CDs (VCDs) and DVDs. This means that<br />
footage recorded on MicroMV format cannot be edited with most computer DV<br />
editing software (though iMovie does support MPEG-4 movies). MicroMV<br />
camcorders have USB 2.0 ports, and Sony supplies its own video editing<br />
software (for Microsoft Windows only). The Moving Picture Experts Group<br />
(MPEG) is a small group charged with the development of video and audio<br />
encoding standards. ... Video CD or VCD is a standard format for storing video<br />
on a Compact Disc. ...DVD is an optical disc storage media format that can be<br />
used for storing data, including movies with high video and sound quality. ...The<br />
title given to this article is incorrect due to technical limitations. ...MPEG-4,<br />
introduced in 1998, is the designation for a group of audio and video coding<br />
standards agreed upon by the Moving Picture Experts Group (MPEG). ...Note:<br />
USB may also mean upper sideband in radio. ...Microsoft Windows is a range of<br />
commercial operating environments for personal computers. ...<br />
It is unknown as yet whether MicroMV will be a successful format. Currently,<br />
Sony is the only electronics manufacturer to sell MicroMV cameras.<br />
-----------------------------------------------------------------------------------------------------------<br />
The better known MiniDV tapes (or “S-size”) are 65 x<br />
48 x 12 mm and hold either an hour or an hour and a half of video depending on<br />
whether the video is recorded at Standard Play (SP) or Extended Play (EP). The<br />
tapes sell for less than USD 5 each as of 2003. DV on SP has a helical scan<br />
track width of 10 micrometres, EP uses a track width of only 6.7 micrometres.<br />
Software is currently available for ordinary home computers which allows users<br />
to record any sort of computer data on MiniDV cassettes using common DV<br />
decks or camcorders. A 60-minute MiniDV tape will hold approximately 13<br />
Gigabytes of data in this form of usage as the DV video format has a constant<br />
data rate of 3.6 Megabytes per second (3.6 MB/s x 60 seconds x 60 minutes =<br />
12,960 MB per hour = 12.9 GB per hour).<br />
Mini DV tapes are the smallest of the video formats. They take and maintain<br />
crystal clear images because of the nature of a digital format. Editing enthusiasts
enefit from Mini DV as well, since copying between two units is done with no<br />
quality loss. That means edited or copied video looks and sounds every bit as<br />
good as the original footage. Mini DV tapes are available in 30, 60,63 and 80<br />
minute lengths. Digital camcorders have the highest resolution of all the<br />
camcorders, starting at 500 lines.<br />
DVCPRO is a professional variant of the DV by<br />
Panasonic. The only major difference is doubled tape speed, which is needed for<br />
better drop-out tolerance and general recording robustness. It is also capable of<br />
4x normal speed playback. This doesn't mean ordinary Fast Forward with picture,<br />
but rather, accelerated transfer of all of the information, for example, into a nonlinear<br />
editing system.<br />
Panasonic's DVCPRO was specifically created for ENG use (NBC's<br />
newsgathering division was a major customer), with better linear editing<br />
capabilities and robustness. It has an even greater track width of 18 micrometres<br />
and uses another tape type (Metal Particle instead of Metal Evaporated).<br />
Additionally, the tape has a longitudinal analog audio cue track. Audio is only<br />
available in the 16 bit/48 kHz variant, there is no EP mode, and DVCPRO always<br />
uses 4:1:1 color subsampling (even in PAL mode). Apart from that, standard<br />
DVCPRO data (also known as DVCPRO25) is the same as DV. However, unlike<br />
Sony, Panasonic chose to promote its DV variant for professional high-end<br />
applications. With two DV codecs running in parallel for a data rate of 50 Mbit/s<br />
and 4:2:2 color sampling, the DVCPRO50 standard was created for ENG<br />
compatibility but with reserves for HDTV upscaling. The HD variant, DVCPRO<br />
HD (also known as DVCPRO100), uses four parallel codecs and even higher<br />
tape speed for a data rate of 100 Mbit/s, at a HDTV resolution of 720p<br />
progressive or 1080i interlaced. A camcorder using as special variable-framerate<br />
(from 4 to 60 fps) variant of DVCPRO HD called VariCam is also available. All<br />
these variants are backward compatible but not forward compatible.<br />
DVCPRO cassettes are always labeled with a pair of run times, the smaller of the<br />
two being the capacity for DVCPRO50. A "M" tape can hold up to 66/33 minutes<br />
of video. The color of the lid indicates the format: DVCPRO tapes have a yellow<br />
lid, longer "L" tapes made specially for DVCPRO50 have a blue lid and DVCPRO<br />
HD tapes have a red lid.<br />
The DVCPRO VCRs can play back DV and DVCAM tapes, but MiniDV tapes<br />
usually require an adaptor.<br />
DVCPRO, DVCPRO 50, and DVCPRO HD refer to digital videotape formats<br />
using the DV codec, and devised by Panasonic. You may also see in older<br />
Panasonic literature references to 'DVCPRO 25' and 'DVCPRO 100'. These were<br />
the original names for DVCPRO and DVCPRO HD respectively.
The numbers refer to the number of megabits per second the tape is designed to<br />
transport. DVCPRO videotape machines were introduced in 1996. The<br />
differences between DV, DVCAM, and DVCPRO are ones of track width and<br />
tape speed. Before the digitized video signal hits the tape, it is the same in all<br />
three formats.<br />
DVCPRO was from the start intended for ENG use, as well as for industrial or<br />
'prosumer' applications. Designers placed as higher priority better error<br />
correction and ease of analog editing. The format quickly found use in NBC's<br />
newsgathering operations, which gave the format a tremendous boost. DVCPRO<br />
videotape machines will play back DV and DVCAM tapes without an adapter.<br />
MiniDV tapes require an adapter for use in a DVCPRO machine. DVCPRO<br />
machines do not record on MiniDV tapes.<br />
DVCPRO 50 was the follow-on format, intended to supplant DVCPRO in uses<br />
where ENG compatibility was required, but higher resolution was desired for<br />
upscaling to HDTV. DVCPRO 50 machines will play back DVCPRO tapes at the<br />
25 Mb data rate. However, DVCPRO machines cannot play back DVCPRO 50<br />
tapes. Panasonic achieved the higher data rate by doubling the tape transport<br />
speed.<br />
DVCPRO HD, formerly called DVCPRO 100, couples four DV codecs in parallel<br />
to achieve a 100 Mb data rate, which is sufficient for 720p progressive scan<br />
digital video, or 1080i interlaced digital video. DVCPRO HD machines will play<br />
back any DVCPRO tape at the recorded data rate, or upconvert it to a 100 Mb<br />
data rate.<br />
At the US National Association of Broadcasters show in 2004, Apple Computer<br />
and Panasonic announced enhancements enabling real-time DVCPRO HD nonlinear<br />
editing with Apple's Final Cut Pro software in 720p or 1080i HD format.<br />
DVCPRO P2 is a professional digital video<br />
format introduced by Panasonic in 2004, and especially tailored to ENG<br />
applications. It features tapeless (non-linear) recording of DVCPRO or<br />
DVCPRO50 streams on a solid state flash memory card. This card, called the P2<br />
card, is essentially a RAID of SD memory cards in the PCMCIA form factor, so<br />
data transfer rate increases as memory capacity increases. The system includes<br />
cameras, decks as drop-in replacement for VCRs, and a special 5.25" computer<br />
drive for random access integration with NLE systems. The cards can also be<br />
used directly where a PCMCIA slot is available, as in most notebook computers.<br />
Since the memory capacity of the P2 card is relatively low (as of February 2005,<br />
2GB and 4GB cards are available), cameras, decks and drives have multiple<br />
slots, with the ability to span the recording over all slots. This way, effective<br />
recording time is multiplied, allowing up to 80 minutes on 5 4GB cards in normal
DVCPRO mode. Cards are recorded in sequence, and when a card is full, it can<br />
be swapped out while another card is recording, allowing unlimited recording<br />
time assuming an adequate supply of cards is available. If a card is partially full,<br />
the deck will record only until it's full. Unlike tape, old video cannot be recorded<br />
over accidentally. Old footage must be manually deleted.<br />
DVCam on the other hand, is Sony's variation of the<br />
theme, sitting somewhere between DV and DVCPRO. Tape speed and track<br />
width have been increased, but not as much as for DVCPRO. Furthermore, it<br />
uses the same metal evaporated tape as DV, while DVCPRO uses metal particle<br />
tape.<br />
Sony's DVCAM is a semiprofessional variant of the DV standard that uses the<br />
same cassettes as DV and MiniDV, but transports the tape 50% faster, leading to<br />
a higher track width of 15 micrometres. The data format is the same as DV, but<br />
because of the greater track width the tapes are much more robust, and the EP<br />
mode of DV is not supported. All DVCAM recorders and cameras can play back<br />
DV material, but DVCPRO support was only recently added to some models.<br />
DVCAM tapes (or DV tapes recorded in DVCAM mode) have their recording time<br />
reduced by one third.<br />
DVCAM is not available in higher bitrates or HD modes. Sony reserves this<br />
market for their digital Betacam and HDCAM product lines.<br />
-----------------------------------------------------------------------------------------------------------<br />
D-series<br />
D-1 was the first major professonal digital format, introduced by Sony in<br />
1986/87. Although still considered a quality reference, D-1 is expensive to buy<br />
and use and has been mostly superseded by the more cost effective later<br />
formats.<br />
D1 stored uncompressed digitized component video, encoded at YUV 4:2:2<br />
using the CCIR 601 raster format, along with PCM audio tracks as well as<br />
timecode on a 19mm (3/4") cassette tape. Uncompressed component video uses<br />
enormous bandwidth, and a simpler D2 system soon followed.<br />
D1 was notoriously expensive and the equipment required very large<br />
infrastructure changes in facilities which upgraded to this format. Early D1<br />
operations were plagued with difficulties, though the format quickly stabilized and<br />
was renowned for its superlative image quality.
D1 is still in some usage as of 2003, and many of the technologies introduced<br />
with this format are still common to more recent digital videotape formats.<br />
Panasonic's D5 format has similar specifications, but was introduced much later.<br />
A format for component digital video tape recording working to the ITU-R 601,<br />
4:2:2 standard using 8-bit sampling. The tape is 19 mm wide and allows up to 94<br />
minutes to be recorded on a cassette. Being a component recording system it is<br />
ideal for studio or post production work with its high chrominance bandwidth<br />
allowing excellent chroma keying. Also multiple generations are possible with<br />
very little degradation and D1 equipment can integrate without transcoding to<br />
most digital effects systems, telecines, graphics devices, disk recorders, etc.<br />
Being component there are no color framing requirements. Despite the<br />
advantages, D1 equipment is not extensively used in general areas of TV<br />
production, at least partly due to its high cost. (Often used incorrectly to indicate<br />
component digital video.)<br />
D-2 was developed by Ampex around the same time as D-1 was introduced<br />
and is meant to be a fully transparent storage for composite video, useful for<br />
composing "spot tapes" for programmes such as news. D2 is a professional<br />
digital video format, created as a lower-cost alternative to D1. The format still<br />
used no digital compression, but saved bandwidth and other costs by sampling a<br />
fully encoded NTSC or PAL composite video signal and storing that directly on to<br />
tape, rather than sampling component video. This is known as digital composite.<br />
D2 used 19mm (3/4") tape loaded into cassettes. PCM-encoded audio and<br />
timecode are also recorded on the tape. The tapes are similar to the more<br />
popular D1 format, though they are not interchangeable.<br />
D2 has always had a mild stigma associated with it, and as of 2003 only a<br />
handful of broadcasters use it, and even then only to access materials recorded<br />
when the format was more popular.<br />
The VTR standard for digital composite (coded) NTSC or PAL signals that uses<br />
data conforming to SMPTE 244M. It uses 19 mm tape and records up to 208<br />
minutes on a single cassette. Neither cassettes nor recording formats are<br />
compatible with D1. D2 has often been used as a direct replacement for 1-inch<br />
analog VTRs. Although offering good stunt modes and multiple generations with<br />
low losses, being a coded system means coded characteristics are present. The<br />
user must be aware of cross-color, transcoding footprints, low chrominance<br />
bandwidths and color framing sequences. Employing an 8-bit format to sample<br />
the whole coded signal results in reduced amplitude resolution making D2 more<br />
susceptible to contouring artifacts. (Often used incorrectly to indicate composite<br />
digital video.)<br />
D3 is the equivalent Panasonic format.
D-3 A composite digital video recording format that uses data conforming to<br />
SMPTE 244M. Uses 1/2-inch tape cassettes for recording digitized composite<br />
(coded) PAL or NTSC signals sampled at 8 bits. Cassettes are available for 50 to<br />
245 minutes. Since this uses a composite signal the characteristics are generally<br />
the same as D2 except that the 1/2-inch cassette size has allowed a full family of<br />
VTR equipment to be realized in one format, including a camcorder. It is<br />
essentially the Panasonics’ version of D-2.<br />
D-5 have both been developed by Matsushita. D-5 units can use two different<br />
sample rate / resolution combinations and are generally capable of playing back<br />
D-3 tapes. While D-5 is still a studio format. D-3 camcorders are available from<br />
Panasonic.<br />
D-4 As a curiosity, D-4 doesn't exist and probably never will, as the number 4<br />
is a major taboo in Asian cultures (4 being pronounced the same as "death" in<br />
Japanese). Rumours go that this even delayed the standardization of D-3 and D-<br />
5.<br />
The number 4 in Eastern cultures has similar bad connotations to the number 13<br />
in Western cultures. Specifically, the Chinese/Japanese character for four is shi<br />
which also sounds much like the word for death.<br />
Many traditionally minded Chinese car owners refuse to accept license plates for<br />
their new cars that end with the number 4. So much so that the authorities in<br />
China have bowed to public demand and do not issue such license plates, much<br />
to the chagrin of reform-minded Chinese who wish to get rid of old superstitions.<br />
D-5: D5 is an professional digital video format introduced by Panasonic in<br />
1994. Like Sony's D1, it is an uncompressed digital component system, but uses<br />
the same half-inch tapes as Panasonic's digital composite D3 format.<br />
A VTR format using the same cassette as D3 but recording component signals<br />
conforming to the ITU-R BT.601-2 (CCIR 601) recommendations at 10-bit<br />
resolution. With internal decoding D5 VTRs can play back D3 tapes and provide<br />
component outputs. Being a non-compressed component digital video recorder<br />
means D5 enjoys all the performance benefits of D1, making it suitable for highend<br />
post production as well as more general studio use. Besides servicing the<br />
current 625 and 525 line TV standards the format also has provision for HDTV<br />
recording by use of about 4:1 compression (HD D5).<br />
D-5 HD A high definition version of has been introduced by Panasonic. It<br />
uses 4:1 compression in order to accomodate the 1.2 Gbps HDTV data rate. It<br />
can work with both 1080 line interlaced or 720 line progressive (American) HDTV<br />
formats.
HD D5 uses standard D5 video tape cassettes to record HD material, using a<br />
intra-frame compression with a 4:1 ratio. HD D5 supports the 1080 and the 1035<br />
interlaced line standards at both 60 Hz and 59.94 Hz field rates, all 720<br />
progressive line standards and the 1080 progressive line standard at 24, 25 and<br />
30 frame rates. Four uncompressed audio channels sampled at 40 kHz, 20 bits<br />
per sample, are also supported.<br />
HD material also is often captured for post production of film projects, especially<br />
on lower budget films, from the Super 16mm film format (15:9 aspect ratio crops<br />
well to 16:9 HDTV widescreen ratio) whereby the HD D5 scanning equipment is<br />
cheaper by the hour than a full resolution 2K film scan. Most importantly the<br />
1920x1080 resolution at 24 progressive frames per second, with MPEG-2 or<br />
MPEG-4 compression, can be edited on high-end desktop computers in 2004.<br />
D-6: is a digital HDTV recording format by Toshiba/BTS. Stores 600 GB worth<br />
of data on a physically huge 64 minute cassette. I was told that this format is<br />
more or less dead and the remaining tape transports were bought out by Toshiba<br />
- but in IBC'97, I saw a D-6 recorder in action, demonstrated as a joint venture<br />
between Toshiba and some other Japanese manufacturer, whose name escapes<br />
me. The picture quality was truly impressive.<br />
A digital tape format which uses a 19mm helical-scan cassette tape to record<br />
uncompressed high definition television material at 1.88 GBps (1.2 Gbps). D6 is<br />
currently the only high definition recording format defined by a recognized<br />
standard. D6 accepts both the European 1250/50 interlaced format and the<br />
Japanese 260M version of the 1125/60 interlaced format which uses 1035 active<br />
lines. It does not accept the ITU format of 1080 active lines. ANSI/SMPTE 277M<br />
and 278M are D6 standards.<br />
D7: ( or DVCPRO). Panasonic's development of native DV component format<br />
which records a 18 micron (18x10-6m, eighteen thousandths of a millimeter)<br />
track on 6.35 mm (0.25-inch) metal particle tape. DVCPRO uses native DCTbased<br />
DV compression at 5:1 from a 4:1:1 8-bit sampled source. It uses 10<br />
tracks per frame for 525/60 sources and 12 tracks per frame for 625/50 sources,<br />
both use 4:1:1 sampling. Tape speed is 33.813mm/s. It includes two 16-bit digital<br />
audio channels sampled at 48 kHz and an analog cue track. Both Linear (LTC)<br />
and Vertical Interval Time Code (VITC) are supported. There is a 4:2:2<br />
(DVCPRO50) and progressive scan 4:2:0 (DVCPRO P) version of the format, as<br />
well as a high definition version (DVCPROHD).<br />
See also: DVCPRO50, DVCPROHD, DVCPRO P.
D8: There is no D8. The Television Recording and Reproduction Technology<br />
Committee of SMPTE decided to skip D8 because of the possibility of confusion<br />
with similarly named digital audio or data recorders.<br />
D9: (Formerly Digital-S) Digital S is a digital format downward compatible<br />
with S-VHS. A 1/2-inch digital tape format developed by JVC which uses a highdensity<br />
metal particle tape running at 57.8mm/s to record a video data rate of 50<br />
Mbps.<br />
The tape can be shuttled and search up to 32x speed. Video sampled at 4:2:2 is<br />
compressed at 3.3:1 using DCT-based intra-frame compression (DV). Two or<br />
four audio channels are recorded at 16-bit, 48 kHz sampling; each is individually<br />
editable. The format also includes two cue tracks. Some machines can play back<br />
analog S-VHS. Digital S rivals the much more expensive Digital Betacam in<br />
terms of picture quality because of the mild compression and 4:2:2 quantizing.<br />
JVC's Digital S editing deck sports a rarely seen feature, video pre-read head,<br />
which allows the old video recording to be played back while recording new<br />
signal just after that. This makes A/B roll edits possible with just two decks.<br />
D9 HD: A high definition digital component format based on D9. Records on<br />
1/2-inch tape with 100 Mbps video.<br />
D16: A recording format for digital film images making use of standard D1<br />
recorders. The scheme was developed<br />
specifically to handle Quantel's Domino (Digital Opticals for Movies) pictures and<br />
record them over the space that sixteen 625 line digital pictures would occupy.<br />
This way three film frames can be recorded or played every two seconds. Playing<br />
the recorder allows the film images to be viewed on a standard monitor; running<br />
at 16x speed shows full motion direct from the tape.<br />
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