Mini dv codec

Latest tool updates. Advanced Codecs DVDFab Passkey 9. NotEnoughAV1Encodes 2. DVDFab K-Lite Codec Pack Standard Recent DVD Hacks. Toshiba SDJ. Pioneer DVAV. LG BP Medion MD Sony UBP-X LG UBK New media comments. Plex Disc BD-R. DV tapes are such high quality that some television broadcasts were filmed on the format, though not on mini DVs. If you have a second to spare, give us a share!

Previous Post. Next Post. About Alex Judge Alex is a consultant and business operations associate at EverPresent and a frequent contributor to our blog and website content. We serve cookies on this site to analyze traffic, remember your preferences, and optimize your experience. The U and V samples are considered to be co-sited with every fourth luminance sample.

Fortunately not! Chroma is sampled times per line, but only on every other line. The theory here is that by evenly subsampling chroma in both H and V dimensions, you get a better image than the seemingly unbalanced , where the vertical color resolution appears to be four times the horizontal color resolution. As PAL DV was intended as a consumer format for off-air recording or camcorder acquisition, multigeneration losses in were considered a less important factor than the optimization of first-generation performance.

Sometimes there is a reason for the higher prices that the poor Europeans are saddled with when it comes time to purchase gear…. Yes indeed. As previously mentioned, BetaSP could be considered a format in terms of component bandwidth, and BetaSP is used for chroma-key applications all the time. True, the chroma performance of formats is superior to formats, especially in multigeneration analog dubbing. Part of the standard JVC sales pitch for Digital-S is the superiority of which is true , and the utter doom and degradation that awaits you should you try to do anything — including chroma-key — with a format which is, shall we say, a wee bit exaggerated.

Just be sure you take the hype with a grain of salt…. Of more concern is that DV artifacts, especially mosquito noise, may become annoyingly prominent when upconverted.

However, the jury is still out on this. You can do cuts-only linear editing over , with no generation loss. You can stick a board into your computer PC or Mac , and transfer DV to and from your hard disk. If your system can support 3. IEEE is a standard communications protocol for high-speed, short-distance data transfer. They appear to have been developed together. The data stored on DV tape appear to reflect the packet structure sent across a link to a frightening degree of exactness.

The minute ceremony was covered by two cameras; we sync-rolled the VTRs and mixed the show in real time as if it were live. So we dubbed it off via to another DV cassette, inserted a fresh DV cassette, and had another bash at the edit. This time, we liked it. We put the tape into the VX and set up the DHR VTR as the recorder, using the built-in editor to drop the second attempt in frame-accurately atop the first across the wire. No generation loss. And we still had the first edit on the backup tape, should we have changed our minds.

A dub is a digital copy. Unfortunately, such precisely-locked audio clocks are expensive. Since DV was designed as a consumer format, unlocked audio was allowed as a cost-saving measure.

Unlocked audio should not cause audio sync to drift away from video over a long period of time. I have shot one-hour continuous takes of talking heads with a consumer DV camcorder DCR-VX and experienced no drift at all between audio and video. Also, many non-linear editors output 16 bit Many thanks to Earl Jamgochian at Sony for filling in and clarifying many of the details in this section! While the theory sounds good, real life is sometimes a bit different.

Sonys, by contrast, seem to average Clocking rates for other cameras were not discussed. Both the audio and video slave to the data samples in each packet; as these are commingled in the DV datastream, the sound and picture will always play back in sync. Final Cut Pro, however, uses file referencing to span the 2 Gig limit, allowing captures limited only by available disk space, and the QuickTime media format used treats audio and video as separate tracks, each with its own time reference.

When capturing long clips, the drift can become apparent; Final Cut can measure this drift and recalculate the audio sample frequency so that QuickTime playback will stay in sync. As far as I can tell, the AVI file format used in some Windows-based NLEs does not allow this sort of long-term slippage to occur, but I may simply lack sufficient data.

Analog is always safe to use for dubbing or editing. It should also be of no concern when taking the audio in via to a DV-based nonlinear editing system. Fortunately, the problem is understood by those in the business at least at Apple and Digital Origin , and corrective measures are taken at capture time: Final Cut Pro measures the actual number of samples captured over time vs.

Unlocked is only a potential problem when doing real-time audio and video editing with digital transfer of the audio between source and recorder. This is true in locked or unlocked audio; it can even occur when working in analog. This is one reason that linear analog audiotape and film fullcoat mag tracks are often spliced at an angle instead of with a straight cut; this mechanically performs a quick crossfade between the two tracks instead of an abrupt transition.

When all you are doing is editing one generation down from camera originals to an edit master, and then making release copies on an analog format such as BetaSP, SVHS, Hi8, VHS, or the like, all you need to be concerned about is audible popping or muting.

The release copies will contain an analog track that records what you hear; there are no hidden gremlins due to asynchronous clocking, jitter, or other nasties that so complicate digital audio. If the receiving gear is trying to derive its audio clock from the unlocked audio datastream, the entire downstream audio chain can be rendered unstable and disfunctional.

Furthermore, playback of unlocked audio including edit-point glitches as discussed above into a DAW or other digital audio system can cause a major commotion when the edit-point glitch is played back.

Ever had a really bad splice go through the gate on a film projector, or past the heads on an analog audiotape recorder? A glitched unlocked audio edit is the digital equivalent of that crummy splice, only worse! This solved your problem at the point of playback. If you need to make a tape with locked audio, then…. Hey presto, locked audio!

The video can be dubbed via SDI for minimal if any losses. This is also the recommended route of your source audio is not 48kHz since you want the dub to have 48kHz audio for best compatibility. Slow and cranky, but it works. How do I intermix locked and unlocked audio? Furthermore, the meta-data stored with the clip can only remember one audio format per clip.

The best thing when doing a linear edit is to use analog audio, or if the only changes you have are between locked and unlocked audio use the digital outputs from a high-end VTR as described above. For non-linear editing, capture clips each containing only a single format of audio; when you render the finished project, all the audio will be converted to a common format.

Sorry, no! Adobe Premiere 4. Premiere audio can drift regardless of whether the source was locked or unlocked. This particular problem is variously attributed to the difference between 30 Hz and the Reportedly Premiere 5. Linear editing Can I use DV in linear editing? What sort of linear editing gear can I get in DV? What sort of machine control is there? How accurate is it? All work fine as edit sources. Out-points may occasionally be off by a frame or two. Mid-range : you can integrate low-end gear with high-end editing systems by using protocol converters, so that the lowly camcorder or VTR appears to be a standard, RS protocol edit source.

Note however that for the most part these protocol converters allow the low-end decks to serve as edit feeders only, not recorders. There are two different aspects of timecode that people mix up: how is it recorded on tape, and how is it used in editing. The second aspect is what really matters: how does your editor see timecode. Back in the dark, early days of linear editing with analog formats the s! Some clever folks came up with the idea of recording a unique code on every frame, so that edit controllers could repeatably reference an exact frame on tape.

Also, these formats already have digital data sectors on tape; why convert digital timecode to analog waveforms when you can record it as digital data to begin with? These are recorded as digital data in the subcode section of a Hi8 track. Are we having fun yet? There are still occasions where having that LTC signal available on a BNC connector can be helpful, or downright necessary. What matters is whether or not you have timecode, period and DV does have timecode.

Any modern-day edit controller should be able to use the timecode available over a serial protocol connection. The same high quality seen on DV tape is maintained in the computer.

Of course, you can spend a lot more, adding onscreen, full-resolution scrubbing; more storage; better machine control and the like. This is a watershed moment in the evolution of affordable desktop editing. These typically allow the use of other formats with real-time transcoding to and from DV; DV is the native format used on-disk. All of these systems are very new, and most still have some bugs and incompatibilities. Careful attention to detail and optimization of system configurations and drivers are often required.

Let them fight IRQ limitations and driver-incompatibility hassles — and be willing to pay for it. If time is money for you, think about how much time it would take to resolve these hassles yourself it took me the better part of three days to get my DPS Spark installed, working, and stable enough for my satisfaction, since Windows decided to reshuffle interrupts every time I rebooted, and I had an old Matrox Millenium driver that hogged the PCI bus.

Their systems work with a minimum of hassles and their prices are very aggressive. Good customer support, too. You can even order a custom-configured JLCooper control panel with jog-shuttle wheel and 20 dedicated Premiere function keys, for the traditionalist button-masher in all of us.

Bloody amazing! Thus a 9 Gig drive works out to about 40 minutes of storage. An array of four such drives yields 2.

MacOS Systems 7. The file format used for the stored video can also have the 2 Gig limit. QuickTime files Mac or PC are also limited to a 2 Gig maximum file size at present, even if the disks the files are stored on can be bigger. There are tricks to get around these limits. Final Cut Pro uses QuickTime reference files for seamless capture and playback without concern for the 2 Gig limit.

As DV requires 3. This is usually acceptable performance for DV capture and playback. There are even faster variants of SCSI, but these are exotic and expensive and are definitely overkill. UDMA allows best-case transfer rates of Apple released an update for the SCSI controller code in June that is supposed to solve these problems. The 2. The Canopus plug-ins for Premiere 5. Render transitions, titles, and effects. Buy a system, and pay for it! Indeo, Cinepak, Sorensen, RealVideo, and vXtreme are trademarks of their respective trademark holders.

You supply power and raw video at one end, and get compressed video out the other end in real time. Flip a switch and pump in compressed video, and raw, uncompressed video comes out. For example, the Sony soft codec used with the version 1. Not all DV codecs are designed the same way, as discussed by codec expert Guy Bonneau.

A DV-based editor stores the same data on disk that travels across the wire; no compression or decompression occurs. Thus, all else being equal, the hard codec systems will offer larger real-time video windows on the computer display, and will allow better real-time jogging, shuttling, and scrubbing.

As processors speed up, so do the soft codecs. Hard codecs also allow scrubbing to the video not computer monitor with no extra equipment: DV data are pumped into the codec as the timeline is traversed, and the codec outputs the raw video and audio to a TV monitor.

The soft codec can also decompress the DV for display on the computer monitor. Rendering transitions, titles, and effects: here the difference between hard and soft codec systems is less pronounced. To add an effect say, a dissolve or wipe between two clips , the system has to take the two source frames, decompress them, perform the mix, and recompress the resulting frame.

The soft codec takes CPU power to run, but the CPU has nothing else to do while waiting for the frames, so it might as well be involved.