Slobber over this
MediaMan
Powered by loose parts.
Little bit of technological lusting for you home video enthusiasts. One of the cameras I shoot with is Sony's XDCAM. 50 Mb/s MPEG IMX encoding.
Gone are the days of loading BetaSP or DigiBeta tapes. Pop in a cartridge that looks about the size of a normal DVD and you've got 45 minutes at full rez recording time. (85 minutes at DVCAM quality) This is just shy of HD. The camera is switchable 16:9/4:30 24P, 30i, 60i and 24p is "film like" quality.
I disclaimer "film like" as it's not 35mm film but sure produces a very tasty image when you chuck a full crew and a few 10's of thousands of dollars of lighting onto set.
The disk is GUARANTEED re-writable up to 1000 times. Amazing!
BTW...it holds 23 GB of data. Yes...23 GB and costs a measly $55 CND ('bout $40 USD)
Simply pull the disk from the camera and slide it into the playback/record edit deck and you can punch in your take just like you would scan for a song on a CD. Boom...you are at that take near instantly if it is 1 minute in...or 40 minutes in.
Gotta love digital technology.
The deck is highly configurable and delivers 8 single channels of audio. The interface is easily adaptable to any edit suite. (including SDI I/O, analog composite I/O, digital audio I/O, analog audio I/O, time code I/O, headphone output, audio monitor output, Gigabit Ethernet, i.LINK (DV IN/OUT))
tasty...if you can afford it. I can't
Gone are the days of loading BetaSP or DigiBeta tapes. Pop in a cartridge that looks about the size of a normal DVD and you've got 45 minutes at full rez recording time. (85 minutes at DVCAM quality) This is just shy of HD. The camera is switchable 16:9/4:30 24P, 30i, 60i and 24p is "film like" quality.
I disclaimer "film like" as it's not 35mm film but sure produces a very tasty image when you chuck a full crew and a few 10's of thousands of dollars of lighting onto set.
The disk is GUARANTEED re-writable up to 1000 times. Amazing!
BTW...it holds 23 GB of data. Yes...23 GB and costs a measly $55 CND ('bout $40 USD)
Simply pull the disk from the camera and slide it into the playback/record edit deck and you can punch in your take just like you would scan for a song on a CD. Boom...you are at that take near instantly if it is 1 minute in...or 40 minutes in.
Gotta love digital technology.
The deck is highly configurable and delivers 8 single channels of audio. The interface is easily adaptable to any edit suite. (including SDI I/O, analog composite I/O, digital audio I/O, analog audio I/O, time code I/O, headphone output, audio monitor output, Gigabit Ethernet, i.LINK (DV IN/OUT))
tasty...if you can afford it. I can't
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PDW-530 incorporates three 16:9/4:3 switchable CCDs for its image capture device, with a high signal-to-noise ratio of 65dB (NTSC)/63dB (PAL), lower smear level of -140dB (typical), high sensitivity of F11 and a high integrity 12-bit A/D converter.
Toys:
CA701 SDI and Audio Expansion Adapter $6,635.00
CA702 Pool Feed/SDI Output Adaptor $7,370.00
CBKFC01 Pull Down Board for PDW-530/510 series camcorders $2,500.00
CBKNC01 Ethernet Adaptor for PDW-530/510 series camcorders $1,000.00
CBKSC01 Analog Composite Input Board for PDW-530/510 series camcorder $1,500.00
CBKSD01 SDI Output Board for PDW-530/510 series camcorders $1,300.00
The DSR1500 A Deck deck is about $6245 USD
MPEG IMX™ format is based on MPEG-2, 4:2:2 Digital Component Video with I-frames only and is aimed at the high-end production and post-production applications. IMX supports up to 184 minute recording time and supports 30, 40 and 50Mbps formats for both input and output.
IMX series supports 8 x 16 bit digital audio channels, or 4 x 20 bit digital audio channels at 48Khz (for MPEG IMX only). All audio tracks are independently editable.
Can I work for you?
To be honest, I cannot remember what the numbers meant in 4:1:1 or in your case the 4:2:2, I know the 4:2:2 is better if I recall correctly.
MEDIAMAN
How does it feel to be a millionaire???
As long as I can remember I loved to hate that junk mail. There was always on ongoing joke about the guy across town with 12 kids who quit his job because the envelope cover read ..."you're a winner!" or something to that effect. LOL
RWB: 4:2:2 is better than 4:1:1, as you are sampling the colour space (chroma) 4 times as often, but the trade off is that you have more data to encode so your file sizes are bigger. Let me go off on a little side tanget here, as this is an area my career covers so I know a bit about this.
4:2:2 is used a lot in broadcast gear because everything is wired (production switchers, tape decks, etc) and if anything is recorded to disk they usually have tons of storage space to work with. However, 4:2:0 is used more often in MPEG encoding. With 4:2:0, the colour is sampled twice for every 4 elements of luminence. It would seem to make sense that if the colour is not sampled as often in 4:2:0 as it is in 4:2:2, then it would not be as good. But the reality is that the human eye can not perceive subtle changes in colour (chroma) as quickly as it can detect changes in brightness (luma.) So, the 4:2:0 colourspace gives a visual impression very close to what the human eye can detect.
DVD's, digital satellite TV, and even HDTV are normally compressed in 4:2:0 colourspace. Going back to the reasons that 4:2:2 is used at broadcast facilities, the opposite reasons are why 4:2:0 is used in those mediums. WIth DVD's, the difference in the amount of storage space needed to encode at a variable 6 to 8 Mbps 4:2:0 vs 4:2:2 might mean the difference between fighting a movie on 1 DVD or on 2, as a single movie might end up being a few hundred MB's over the DVD's size if done in 4:2:2. Digital satellite needs to keep it's transmission bandwidth optimized, and doing all the channels in 4:2:2 may mean needing another satellite in space to accomodate the same number of channels 4:2:0 allows. HDTV is sent to homes over standard coaxial cable alongside a hundred or so other channels. As more channels go HDTV, more bandwidth will be needed, and coax may not be able to handle all those channels if they are carrying 4:2:2 data. The cable companies are in no hurry to upgrade their cable to every home.....
So, since most people cannot detect differences between 4:2:0 and 4:2:2 in the bitrates used for DVD, satellite and HDTV broadcast, the industries primarily use 4:2:0 to save on physical media or transmission costs.
Since in a broadcast environment, one piece of digital video may get routed and rerouted through dozens of pieces of gear, or dubbed, transferred, edited, re-dubbed and then finally broadcast, the industry tends to use 4:2:2 simply so that extra colour data sticks with the signal throughout the process and ensures that the colour is as true to the original as possible at the end of the production stream. Interestingly though, when it gets broadcast out, it is converted to analog NTSC, and the difference is negligible. But with all the passes and dubs and transfers that can and do happen in production environment, 4:2:2 ensures that the colour is still as true as possible to the original at the point of conversion to analog, where 4:2:0 may not stand up to as many passes, dubs and transfers without losing a bit of the original chroma quality.
90 % of the MPEG files I deal with every day in my job (non broadcast environment) are 4:2:0, even the HD ones.
/tangent