DVL-Digest 664 - Postings: Index "Free" ColorBars for Memory St Any DSR-11 reports? FCP audio G4 Mac DVD RAM Drive Pro cameras? - (2) relative qualities Tape brands/mosaics/drop-out Why aint there just 1 firewire "Free" ColorBars for Memory St - "Perry" Coming back to what started this strand, color bars are a terrible thing to fine tune a monitor picture. Even when you are trying to match 2 monitors side by side it can be difficult because we have a very 'non-linear' resolution of colour. In my experience the best subject by far is a well known human face. Presumably due to obvious evolutionary paths we are hyper-sensitive to the exact shade of human skin tone (spotting when your enemy is angry?) and this makes an ideal color target. Unfortunately we have no absolute color memory, so we do a sort of 'auto white balance' on any scene. It is therefore important that the monitor is set up IN THE ENVIRONMENT so that a true grey scale looks grey. The bottom line is that I would suggest an ideal test scene to put on the Memory stick would be a well lit and exposed face on one side and a grey scale on the other. Having got the monitor roughly correct with your color bar signals, cover up the face side and fine tune the colors to make the picture look grey. Then look at the face and fine tune the saturation and color balance controls to make the face look right. We now have a monitor where a known good shot looks right. Clearly if our camera pictures look the same then they WILL be right. Perry Mitchell Video Facilities http://www.perrybits.co.uk/ Any DSR-11 reports? - "Perry" You can catch the brochure now at: http://www.sony.ca/dvcam/brochures.htm Perry Mitchell Video Facilities http://www.perrybits.co.uk/ FCP audio - Adam Wilt > ]The level meters of whatever deck I have connected via FireWire, be it the > >DHR-1000 I have in my studio or the DSR-20 I usually use in the field. > > I also do this, but there's one slight problem. You'll never see > clipping, since the digital data coming our firewire will always max > at 0 dB. It may be clipped, but you have to listen closely for that. A good point. I always treat any peaks at 0 dBfs as potential clippers; if I see the meter above -2 I assume I'm in trouble. Cheers, Adam Wilt G4 Mac DVD RAM Drive - Adam Wilt i have a g3 mac and am looking for dvd-ram to back up projects. can you > tell me how much to expect to spend? Not without doing a Google search or hitting http://www.pricewatch.com, I couldn't. But you can do that just as easily. :-) > also how much space does a dvd have? A DVD-RAM has 2.6 or 4.7 GB per side, and can be recordable on one or two sides. Here's a good site: http://www.disctronics.co.uk/dvd/dvdrecord/dvdr_ram.htm > are you happy with yours? Ask me in two years! AJW Pro cameras? - "Perry" Ned Barber posted: >Big also means more and better glass, better lens controls, more accessible camera controls for use during shooting, more stability because of more mass and the shoulder position, larger tape format (DSR-300), better rear controls for tripod use, and on and on. Let's not get carried away with the old prosumer cameras as as good as professional gear. Under the right circumstances the images will be indistinguishable, but the process of getting them is a lot easier and reliable with a full size professional camera. I've shot with both and its no contest. Anyone out there planning on becoming a pro should still aspire to professional gear.< I'm reviewing a DSR-250P at the moment, I wonder if there are any similar (or opposing) views out there? In my context, the DSR-250 is an identical camera to the DSR-PD150 except that it is in a 'bigger box' and takes a bigger cassette. Same electronics, same lens, just all more spread out and in a heavier case. The UK list is about 50% more than the PD150P and it uses much more expensive batteries. Perry Mitchell Video Facilities http://www.perrybits.co.uk/ Pro cameras? - "Perry" David posted(about DSR-250): >Didn't Sony change the lens from a VX1000 type (built in) to a dockable lens?< No, it's identical to PD150 except that zoom rocker is mounted on lens 'pro' style. They have also rearranged the controls to make them familiar to pro users. Auto/manual iris switch is thus now in front of zoom rocker, and iris 'ring' is at back of lens. All lens controls are uncalibrated with current values shown on screen. There is no doubt Sony have done a superb job at simulating a real pro camera. For not much more though you can get a real pro camera (JVC GY-DV500) but then you lose all the consumer style automatics and the long tape capacity of the DSR-250. I'm interested to know what folks think, it's obviously aimed at Event Videographers and may be exactly what they need? Perry Mitchell Video Facilities http://www.perrybits.co.uk/ relative qualities - Adam Wilt I would agree with everything in your list but the 1". The bandwidth of > 1" is far superior to BetaSP and MII even though its a composite format. But because it's a composite signal, it's branded with that indelible subcarrier-modulated color fingerprint, which (Faroudja SuperNTSC aside) remains with the image forever. Not such a big deal for analog composite broadcasting, perhaps, but every other serious use these days (special venue, projection, DVD, DTV) is going Y/C at least, or analog or digital component. In such uses the damages due to cross-color and cross-luma artifacts are more significant that a lower-bandwidth but cleaner image IMAO (in my arrogant opinion). > Yep....interesting how the list rates SVHS over HI8mm.. its very > heavily processed VHS...where as HI8mm is so muck cleaner... In my own work (I ranked 'em together in my chart) I found that Hi8 was clearly superior in chroma resolution, accuracy, and fidelity, but S-VHS had the edge in horizontal timebase stability and in dropout resistance. Ya take yer pick and choose yer compromises (I chose Hi8 in those days). Cheers, Adam Wilt Tape brands/mosaics/drop-out - Adam Wilt The problem was the dust. It is like nothing I have ever seen before. In > the morning it looks like fog but it isn't. The dust particles are too > small to see. They are blown by a dry wind called the Harmattan (sp?) > from the Sahara desert and every year in that part of Africa the dust > rules. I spoke to a chap shooting in the Sahara a few years back with a VX1000. He said he had horrible dropout problems from dust until he started taping over the seams around the loading door before going out to shoot. By sealing the body this way, he kept the blown dust from infiltrating, and after the first few seconds of videotape rolled past he didn't have any more noticable problems on the entire cassette. Cheers, Adam Wilt Why aint there just 1 firewire - "Perry" Craig posted: >What's up with the 2 different firewire connector sizes? Anyone know how we wound up with 2 firewire "standards".< Because the DV guys (ie Sony) hijacked the IEEE 1394 bus for video use before the Firewire connector was established, or maybe they just thought it was too big to fit in a camcorder. The 6 pin Firewire connector also has power, which is why it needs bigger pins. I've just got a DSR-1500 in for test and review, those rotten Sony wallahs have put the large connector on it so now I'm looking for a large to large too! Now if it had come last week, I had some Firewire equipped laptops with small connectors, but that's Sod's Law as we call the rule pertaining to Mr Murphy. I'm guessing that Sony have found the small connector is 'less than robust enough' for professional use. 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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