1. Videotape Component RGB--true component 1.5 times bandwidth of Y/Cr/Cb Y/Cr/Cb Luminance and 2 color difference signals S-Video (Y/C) Chroma more limited in bandwidth Composite NTSC, encoded

2. Time Code Time of Day/free run Referenced to clock Dedicated/record run Zero start

3. Time Code Good at high speedHigh speed errors Can post stripeCannot post stripe Poor at slow,stillSlow,still accurate Audio signalPart of video LTC-longitudinalVITC-vertical interval

4. Time Code Non drop frame 30 fps Not accurate length (.03 fps error) 1 hour= +108 frames or 3.6 seconds Drop frame 29.97 Accurate length Drops 00,01 at each new minute except at multiples of 10

5. Digital Un-Compressed D-1--component, 3/4 4 audio tracks Longitudinal SMPTE, CT, Audio cue D-2 Composite, 3/4 Input/output composite D-3 -Composite, 1/2 Smaller, cheaper, lighter D-4--not exist 4 taboo in Japanese, sounds like “death”

6. Digital Un-Compressed D-5--component, 1/2” Smaller than D-1, but high quality D-5 HD 4:1 compression used to deal with 1.2 Gbps D-6, HDTV component D-7, to be DVC PRO

7. Digital Un-Compressed D-9, to be Digital S Sony HDD-1000 1.2 Gbps 1” open reel $350,000 $1300 for 63 min tape)

8. Digital Compressed Ampex DCT 4:2:2 2-1, Digital Betacam 4:2:2 2.3-1, 4 ch 20 bit cue+ tc

9. Digital Compressed Digital S 4:2:2 3.3-1 4 ch 16 bit DVC Pro 50 4:2:2 3.3-1, 4 digital + cue

10. Digital Compressed Betacam SX 4:2:2 10-1 MPEG-2 4 ch 16 bit DV, DVC Pro 4:1:1 5-1, 2 ch 16 bit or 4 12 bit pcm

11. Analog Tape Formats 1” type C (1978) Reel to reel 3 audio, 50-15000 hz 11-13 generations Loud, big, bulky Still frame, slo and fast motion, picture in shuttle composite

12. Analog Tape Formats Betacam (1982) 1/2” from Sony Component Longitudinal and Hi-Fi audio Betacam SP (1987) Metal tape (higher bandwidth Both great for acquisition Quality, size not great for editing durability

13. Analog Tape Formats M and M-II (1986) 1/2” from Panasonic Good quality video and audio Component Equivalent to Betacam More dropout

14. Analog Tape Formats 3/4” (Sony 1972) 2 longitudinal audio channels Low quality Poor generation loss Was workhorse of news and production composite S-VHS, Ed-Beta, Hi8 S-video Separate chroma and luminance Low cost, good quality Not durable, serious generation loss

15. Analog Tape Formats VHS Home format Ubiquitous Low (but acceptable) quality Poor generation loss cheap

16. DVCAM Metal Evaporated Tape DVCAM thicker than Mini-DV Maximum record time 184 mins Sampling (4:1:1) Luminance-13.5 MHz Color Difference 3.375 MHz Quantization 8 bits Compression Ratio 5:1

17. DVCAM  Intra Frame Coding  Shuffling to average detail across the image  Improves compression efficiency  Adaptive Interfield Compression if fields similar, compressed as same  Each Video Frame is written to 10 tracks  480 usable scan lines  480/10 = 48 lines per track

18. DVCAM D-5 (10-bit uncompressed digital) 10 D-1 (8-bit uncompressed digital) 9.9 Digital Betacam, Ampex DCT 9.7 D-9 (Digital-S), DVCPRO50 9.6 DV, DVCAM, DVCPRO (D-7), Digital8 9 MII, Betacam SP 8.9 1" Type C 8.7 3/4" SP 6.5 3/4", Hi8, SVHS 5.5 Video 8, Betamax 4 VHS 3.5

19. DVCAM Audio 2 channel audio 48 kHz -4 channel audio 32kHz

20. DVCAM/DV 1. Enhanced picture quality due to lower dropout rate. 2. Better durability because of the superior DLC (Diamond-Like Carbon) coating. 3. Improved physical stability for better tracking. 4. Tighter width specifications for excellent recorder compatibility. 5. Tracks.015 vs.010 6. Superior stability of picture and sound.