DVL-Digest 620 - Postings: Index can someone PLEASE give me a s DV timecode It's S/C which is Signal-to-Ca New Sony DV deck for ? the VX1000 gives you a choice What device can switch 16:9 to can someone PLEASE give me a s - "Perry" From: Wes Lazara [mailto:wes@myf.org] Sent: Wednesday, September 20, 2000 04:48 To: Undisclosed-Recipient:@earthlink.net; Subject: can someone PLEASE give me a straight answer about megapixel??? Hi, I have been trying in vain to find out exactly the difference between the Sony TRV-20 and TRV-11 dv camcorders... Everyone I talk to tells me something different. The only main difference is that the TRV-20 has the megapixel, the TRV-11 does not. What I want to know is whether or not the megapixel technology affects video in any way, or if it is only for improved stills. Since I really don't care about taking stills with my camcorder, I would rather save the and get the TRV-11 if that is the only difference. Can anyone tell me for sure if the megapixel ONLY affects stills? And/or if there is any other difference between the TRV-20 and TRV-11? Thanks!!!! Wes ------ extPart_000_0005_01C022ED.5F619C80 Content-Type: text/html; charset so-8859-1" Content-Transfer-Encoding: quoted-printable ------ extPart_000_0005_01C022ED.5F619C80-- DV timecode - "Perry" I think there is a lot of confusion between the native DV timecode and SMPTE timecode. Consumer equipment doesn't have an external timecode interface, and usually it is not presettable to any non zero value. Professional DV family products that do allow these features record exactly the same DV timecode but have a SMPTE TC 'translator'. Perry Mitchell Video Facilities http://www.perrybits.co.uk/ It's S/C which is Signal-to-Ca - "Perry" Error Correction is completely transparent and does not change the data. The fact that it is working does indicate that there are mechanical errors but if they are within the EC window then there are no problems. On pro machines like DigiBeta you get an indication of the error rate to warn of possible head clogs pending. Error Concealment is the next stage when Error Correction exceeds the window. It is destructively replacing the drop out area with data that statistically will be similar, e.g. from the previous frame. The data on the tape is shuffled so that a typical tape D/O will be spread out all over the frame. Perry Mitchell Video Facilities http://www.perrybits.co.uk/ New Sony DV deck for ? - "Perry" Bob: I saw a press release somewhere that slated a release in November. It is tiny, about half the size of a DSR-20. I didn't get a chance to play with it at IBC, but I would want to find out how fast it shuttles, to see whether it has a proper deck transport or something 'borrowed' out of a camcorder. There is no technical reason why we couldn't have a basic Firewire DV bit bucket deck for a few hundred dollars, but until the consumer base for NLE devices goes up by an order or two I don't think we'll see them. Perry Mitchell Video Facilities http://www.perrybits.co.uk/ the VX1000 gives you a choice - "Perry" Steve wrote: > In short, in video as in audio, it's best to capture all the > high-frequency you will ever want. You can always roll it off later. Except that it doesn't work like that with normal cameras! The 'soft' picture is as it is captured and it is soft because of what is called the aperture effect. The pixels have a finite size that is significant compared to the smallest 'object' you are trying to see. You can try to cheat the picture by using an 'aperture corrector' which is what we normally call 'detail' or 'sharpness'. This normally uses a 'cosine filter' which does some neat maths to artificially increase the rise time of edges. If you make the 'frequency' of the filter too low, there is a very noticeable edge around objects. If you make it high enough (called 'out of band') then the edge is invisible but the sharpening effect is still happening. The pictures then tend to look too 'flat' for many tastes, although I like them that way. To get the effect that Steve suggests, you need to over sample the image. Anybody that has seen a really good telecine or a down converted high definition on a really good definition monitor will know how good this can look. It will need no aperture correction but some folk still think it looks too flat, especially when viewed on a normal television. The very best studio cameras use over sampling CCD definition and then have both in-band and out of band correction to enable the exact 'look' to be dialed in to taste. Perry Mitchell Video Facilities http://www.perrybits.co.uk/ What device can switch 16:9 to - "Perry" > I have DV footage that was filmed in 16:9 and I need to letterbox it to VHS > (make it technically 4:3 ratio with black on top and bottom). Without having > to wait for After Effects to do it, which I can, but it takes a while, mind > you, is there anyone that has a device that can do it? > > If someone knows of a device for sure, let me know and then I'll rent it. As well as the DSR-30, which I believe is the only deck that can do it, any video facility with a DVE (Digital Video Effects) box can do this. Most of the RT cards can also simulate many DVE effects, so would also be able to create a letterbox video in real time. We've mentioned this before, but you can pick up the early DVE boxes for peanuts in auctions and fire-sales. A friend of mine reported seeing one sold for less than ! Perry Mitchell Video Facilities http://www.perrybits.co.uk/ (diese posts stammen von der DV-L Mailingliste - THX to Adam Wilt and Perry Mitchell :-) [up] |
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