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A DV(L)-FAQ [e]

DVL-Digest 538 - Postings:
Index


12-bit DV
neck mikes
PD150 VX2000 viewfinder questi
Vert Res


12-bit DV - "Adam J. Wilt"

> "Does the DV format actually use a non linear A/D or is this a Sony only
> feature as somebody else claimed?"
>
> Sony introduced this in Hi8 equipment which I think used only 10-bits to
> get 12-bits of dynamic range.
Hi8 PCM used 8-bit recording with "quasi 10 bit sampling" (?) and a roughly
2:1 compression; linear I think (and yes, I know, the numbers don't add up).
> And I think all 12-bit DV uses it!
All 12-bit 32kHz DV does. Amusingly the Blue Book also offers a 16-bit linear
32kHz mode (2 channels only; one stereo pair) but AFAIK no manufacturer has
ever implemented this mode.
Cheers,
Adam Wilt



neck mikes - "Adam J. Wilt"

> Please educate me, What's a "neck" mic?
A neck mic is a standard omnidirectional lavaliere mic inserted into a
chicken neck, available from your local poultry butcher or direct from
Tweedy's farm.
The neck provides an organic, biodegradable cushion to reduce handling and
clothing noise, and it also prevents glints or reflections from the mic body.
Orienting or aiming the chicken neck provides a modicum of directionality,
though frequency response varies with the off-axis nature of the sound source
and the particulars of your chicken.
I prefer to get the neck with the head still attached. By opening or closing
the beak you can match the mic's sensitivity to the camera; with the beak
closed you have an effective substitute for the attenuation switch on the
GL1. The head can also be draped casually on a subject's shoulder giving a
completely naturalistic and undetectable mic placement, important in
close-ups.
Cheers,
Adam Wilt



PD150 VX2000 viewfinder questi - "Perry"

Bob Anderson posted:
>Is there any way to leave both the VF and the LCD screen on the VX2000
and/or the PD150. I know in other Spny cameras there is an option for
doing this.<
I only had a review camera for a day, but you can definitely do it by
flipping the side screen over (goes into 'mirror' mode) but I don't remember
seeing a way of getting them both up when it is in normal mode.
Perry Mitchell
Video Facilities
http://www.perrybits.co.uk/



Vert Res - "Adam J. Wilt"

> THANKS TO ADAM:
>
> 1) VX1000 HORIZ RES = 475 with interlace artifacts
Or without interlace artifacts; on cameras switchable between proscan / frame
mode / pseudo frame mode / interlace, there is no change in horizontal
resolution whether or not the imaging mode shows interlace artifacts.
> 2) XL1 HORIZ RES = 500 with interlace artifacts
This is only a guess based on testing a GL1 and remembering what it looked
like matched to an XL1.
> 13) SHOOTING 4:3 AND USING AFTER EFFECTS (PREMIERE?) TO EXPAND THE
> CENTER 360-LINES IS MUCH BETTER THAN USING EITHER OPTICAL OR ELECTRONIC
> 16:9.
I do not necessarily agree with this. Using an anamorphic adapter and
shooting within the limits of the lens (carefully watching focal length and
f/stop) is likely to give a better result. It is of course possible to shoot
horrible 16:9 pix by exceeding these limits.
There is also some evidence that shooting with electronic anamorphic results
in better pix than post-expansion as the original 360 lines of data are
dispersed across the 480 raster prior to recording, reducing the effects of
DV's lossy codec.
> MY CONCLUSIONS: BY MEASURES THERE IS VERY LITTLE HORIZ RES DIFFERENCE
> BETWEEN VX1000, XL1, AND VX2000. Which is interesting consider how soft
> the XL1 pix is!
Sharpness is a function of the area under the entire MTF curve, not just the
limiting resolution (see my article in the August DV Mag).
> I WONDER HOW PANA'S CAMCORDERS WHICH may USE THE SAME CHIP-SET WILL
> PERFORM. JAN CAN YOU TEST THE AJ-D215?
I haven't put the 215 on the res chart but its images are very similar to the
XL1's (it uses the same chips but with different post-processing, and appears
to implement frame mode in the same way).
Cheers,
Adam Wilt




(diese posts stammen von der DV-L Mailingliste - THX to Adam Wilt and Perry Mitchell :-)


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