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CHAPTER SEVEN
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All three DV-based formats record component digital signals and provide horizontal resolution of just under 500 lines, putting them in a league with D-1, D-2, and D-3 for quality, and making them superior to analog formats Another key feature of the DVCPRO format is 4 playback (later introduced for DVCAM as well) This is implemented for input into computer-based nonlinear systems utilizing DVCPRO cards for direct input of data Although the format does offer a laptop cut-only linear edit system, the primary applications of DVCPRO have been for news and acquisition DVCPRO 50 The second generation of the DVCPRO family answered many concerns voiced over the first manifestation DVCPRO, the original, sampled at 4:1:1, raised concerns over applications such as chroma key By modifying the format for 4:2:2 sampling at a data rate of 50 Mbps, chroma resolution is enhanced and the format performs on a level comparable to other 4:2:2 formats, such as JVC s Digital-S (D-9) Faster tape speed and a lower compression ratio (33:1 compared to DVCPRO s 5:1) account for better image quality But the speed also reduces recording lengths for cassettes Most decks, camcorders, and cameras can record both DVCPRO50 and DVCPRO signals Although DVCPRO has found its niche in acquisition and news, DVCPRO 50 is much better positioned as an all-around format, including postproduction applications The format s related equipment also allows for 16:9 as well as 4:3 aspect ratio recordings The DVCPRO50 format can also be configured for progressive recording, with a horizontal resolution of 700 lines in 16:9 format DVCAM Sony s professional adaptation of the consumer DV format is named DVCAM It operates at a higher tape speed than DV, but uses the same component digital signal and sampling rate (4:1:1 in NTSC, 4:2:0 for PAL) DVCAM uses metal-evaporated (ME) tape comparable to DV, and at a lesser cost than metal-particle (MP) DVCAM tape moves at a higher speed than DV, but slower than DVCPRO
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Product configurations for DVCAM equipment include emphasis on FireWire (IEEE-1394) for integration into computer-based edit systems With higher-end digital formats from Sony (Digital Betacam, Betacam SX, etc), the positioning of DVCAM in the marketplace is oriented much more toward midrange corporate and small broadcast production But DVCAM has found marketplaces in everything from corporate and event videography, to documentary and even some experimental and feature film production DCT Digital Component Technology (DCT) is Ampex s offering into the high-end digital video arena (not to be confused with discrete cosine transfer as used in the Digital Betacam format) DCT technology is targeted almost exclusively to postproduction and film transfer applications Ampex DCT records compressed (2:1) digital component signals and boasts error correction, as opposed to other formats error concealment processes Decks are switchable from 525 to 625 and can record more than three hours on a single, 19 mm (3/4 -inch) tape DCT may be more in line with data recording machines (a current strength of Ampex s offerings) than in comparison with digital videotape decks Processes of error correction put it more in this realm, although the products do offer error concealment as well Interestingly, Ampex has never strongly referred to its machines as VTRs, preferring to call them tape transports It may be more semantic than technical, but it is an indication of the company s position on the gear DIGITAL BETACAM Introduced by Sony in 1993, Digital Betacam is the digital successor to the popular Betacam SP line Using cassettes that resemble Betacam SP, Digital Betacam offers backwards compatibility thus allowing Betacam SP tapes to be played back, but not recorded on Digital Betacam decks The initial product offerings for Digital Betacam looked to replace Betacam SP in acquisition and postproduction environments More recent products have highlighted the format s capabilities to record widescreen 16:9 imagery for digital television (DTV) and to emulate popular film stocks
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