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CHAPTER ONE
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called perpendicular recording, but it has a flaw relative to the storage of video information: It normally requires recording heads on both sides of a tape, something not possible when tape is wrapped around a spinning drum Perpendicular recording works fine for recording financial data, but it was not designed with stunt modes in mind Disk drives are well suited to the random-access requirements of nonlinear editing, although their capacities are more limited A television commercial or even a scene of a movie might not require an exceptional amount of disk capacity, but a documentary, with hundreds of hours of material to choose from, could Videography, however, also introduces other issues relative to disk drives Disks spin, and always in the same direction Video postproduction sometimes requires imagery to move backwards; financial data never need be read in reverse Editing, depending on system design, can also result in fragments of data being recorded all over a disk, reducing already limited access speed and transfer rate No-moving-parts memories can be used in conjunction with disks to help alleviate some of these problems By themselves they offer certain advantages usually instant access, high transfer rate, no concerns about direction but poor capacities, although they are sometimes used (notably by EVS) as slow-motion recorders and even for broadcast spot playback The concept of mixing digital storage technologies extends beyond RAM and disk Robotic tape libraries are being used to provide what one manufacturer, Storage Tek, referred to as nearline storage Because the tape drives feed only disk drives, they need neither video transfer rates nor stunt modes And, because the robots can select from hundreds of cartridges or cassettes in large libraries, users have access to vast amounts of information capacities measured in terabytes (trillions of eight-bit bytes) The sorts of tape cartridges developed by Digital Equipment Corp and IBM for non moving-image data are now finding themselves in the heart of a number of video facilities Conversely, the helical-scanning technologies developed for videotape recording are proving popular in non moving-image applications Not only are D-1, D-2, D-3/D-5, DCT/DST, and
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Digital Betacam cassettes and transports being used, but even Sony s postage-stamp-sized NT ( Scoopman ) digital audio cassette formed the basis of Datasonix s Pereos data recorder Completing the circle, some moving-image applications use non moving-image digital tape recorders based on movingimage versions Cineon workstations have used DST cassettes; competitor Quantel s Domino has used D-1 The Fox Movietone newsreel library was transferred to a unique electronic format but was recorded on a data-recording version of D-1 cassettes Thus, while there are considerations that make recording digital video not necessarily as simple as recording other forms of data, there are systems, subsystems, and techniques that seem to eliminate or reduce concern about those considerations John Watkinson, who literally wrote the book about digital video (The Art of Digital Video, Focal Press, 1994), once expressed incredulity during a keynote speech to a winter conference of the Society of Motion Picture and Television Engineers that anyone still made special-purpose recorders for specific forms of video In Watkinson s view, all recording should be done in non-specific bit buckets, with a computer figuring out what got recorded where and when Buckets are also used to contain chicken parts at fast-food takeout restaurants A commercial for a fast-food chain some years ago showed a wary customer asking a counter clerk what kind of parts comprised an order of Chicken Parts The clerk s response became a line used widely: Parts is parts Despite video s peculiar requirements, it seems that bits are bits at least when they re not bridle parts in horses mouths, drills, tobacco holders, tong jaws, key fronts, cow markings, watermark makers, eighths of dollars, pieces of material things, or moments of time And one who works with bits, whether on a computer or in digital videography is, of course, bitter for it
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