..

Video-recording and Storage Systems

Ahhoughone oftelevision'sgreatassetsisitscapabilitytotransmitanevent "'ive, t hat
is,whiletheeven!isinprogress,mostprogramshave beenprerl'<ordedonsomekind
of video-recording device. Even live newscast s (ontai n it preponderance of prerecorded
materia!. In (orporate video and in independent production houses, almost all program
material originates f rom some kind of video recording.
Becauseoftheimportanceofvideorecording.manufacturersareconstantlystriving
to compress more and more video and audio information onto ever small er storage
devices while making1he retrieval of program malerial as quick and simple as possible.
Section12.1,HowVi deoRecordingWorks, acqua intsyouwiththemajortape-basedand
tapelessvideo-recordingandstorage Atape-basedsystemusesvideOi apeas
thestoragemediumforanalogordigifalvideoandaudiosignals.Tapeless store
onlydigi talvideoandaudiosignalsoncomputerharddisks.read/writeopticaldiscs.or
large-capadtynashmemory devices.Becausetodayalmostall videofootageis captured
wi thdigit alcameras.greatstrideshavebeenmadelowardtapel essrecording,editing.
andplayback.
SectiOn ll.2. HowVideoRecording Is Done, introducesyou tosomeoftheoperatiOl'la!
usesofvideorecordingandthemajorstudiOandENG/EFPrecordingprocedures.
260
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r l L

Section 12.1 How Video Recording Works
(luOOlinaoc:e (e) dlannel (Y) dlanllfi
12.1 COMPOSITE SYSTEM
The composite system uses a video signatlhat (Omblnes the tumi nance I V. or and ( olor (0 information. tt a
wife 10 be tr<lnspot ted <l nd re<orded on <I Sa si ngle signa1.lt is the standard NTSC
LINEAR AN.D NONLINEAR SYSTEMS
Al though the terms !in('ar and nonlinear appl y more to
the way the recorded information is retrieved rather than
stored. you mil Y also hear tape-based systems described
as li nea r recording devices, and di sk-based systems as
nonlineli T ones.
Linear systems Al l tape-based video recordCTs are lin-
ear, rega rdless of \"hecher the signals recorded ,He anal og
o r di gi taL Linear systems record their informat ion seriall y,
which means that during retrieval you need to roll through
shots land 2 before reaching shot 3. Even if a tape-based
records the information digit aJJ y lather than in ana-
log, il is linear and does not allow random JCCeSS. You Gln' t
can up 3 without first rolling through shots I and 2.
Nonlinear systems All disk-based video recorders
(incl uding optical d iscs and Hash memo ry devices) an:
nonlinear, Wllich means that you Ca n randoml y access any
shot without having to roll th rough the previ ous mat e-
rial. For example, you can access shot J directl y by simpl y
calli ng up the shot 3file. Of course you can also wa tch the
recording in li ncar fashion, starting wilh shot I and then
watching shot 2, shot 3, and so on.
Random ;I( C": 55 is especially important when editing
because it leiS you call up instantaneously any video frame
or audi o fi le regardless of where it may be buried on the
disk. (The difference between linea r and nonlinear systems
is explored funher in the cont ext of postproduction edi ti ng
in chapter 13. )
COMPOSITE AND COMPONENT SYSTEMS
The di vision of video recorders il1to composite and com-
pOll ent systems is signifi cit nt because the two systems are
not compatible and Ihey di ffe r in production appl ication.
Analog and digit al recording systems ca n treal thei r SI gnals
in one of four basic ways: (I ) composite, (2) Y/ C com-
ponent , (3) Y/color di ffe rence component , and (4) RGB
component .
Composite system The composite $ystem combine:,>
the color (C. or chrominance) and the brightness (Y, or
luminance) information into a single (composit e) signal.
Only one wi re is nec,,: ssil ry to transport the composit'" sig-
nal. Becall ${' Ihis electronic combinati on was standardi 2.f."d
some ti m!! ago by the National Tel evision System Commit -
tee (NTSC), t he composit e signa l is al so called the NTSe
sigll(l/ or, simpl}', NTSC. The NTSC syste m is differe nt
from olher composi te such the European PAL
system. A standard conversion is necessary wht'n
don't match. Most such standa rd conversions are done in
the satellite that distribut es the signals.
The major disadvant age of the compos ite signal is that
there usuall y is some interference between
and luminance inform,ui on that gets worse and therefore
more noti ceable with each videotape generation. SEl tl.t
ltJmindfKf (Y)
(omposit. NTSC. dgtuIl
263
264 Chapter 12
VIC component system [n the analog YIC component
system, al so called S-I'irieo, the luminance ( Y) and chro-
minance ( e ) signals are kepi separate during the encoding
and the decoding ("read" ) processes. Du ri ng the
record ing process, however, the two signals are combined
and occupy the same track \\l hen slored, that is, when
Jctually laid down on the videotape. The Y/C configu ra-
ti on requi res two wires to transport the Y/ C component
signal. SEE U .I
To mai ntain the adv3nlageso(YIC componenl record-
ing, other equipment used in the system, such as monitors,
must al so keep the Y and C signals sep<lT;l te. Th is means
that you ca nnot playa Y/C component videotape on a
regular VHS recorder but onl y on an S-VHS recorder. The
advantage orthe YI C component system is that it produces
higher-quali ty pictures that I"HI suffer less in
' ape generations than do composite tapes.
V/color difference component system In the ana -
log 'tkolor differe/lcc componelll syS/ttIl, the lu minance
signal, the red signal minus it s luminance (R-Y), and the
blue signal minus its luminance (B- Y) are Ifansported
and stored as three separate signals. The green signal is
regenerated (matrixI' d) from these three signal s. This
system needs three I"i res to transport the three separat e
signals. su: 12.)
RGB component system In the RGB component sys-
lem, the red, green, and blue signals are kept separate and
treated as separat e componenls throughout the recording
and storage process. Each of the three si gnals remains sepa-
rate even Ivhen laid down on the vidrotape. Beca use the
RGBsystem needs th ree wires to transport the component
signal, all other associated equipment. such as switchers,
editors, and monit ors, must also be capable of processing
the three separate RGB sign<l l component s. This means
that they all must have "three wires" H) handle the vi deo
signal of the single wi re of the no rmal composite
system- all in all a rather expensi\'t' requirement. SEE 12.4
The bi g advant age of the three-s ignal component
system is that even its analog recordings maintai n much of
'heir original qualit y th rough many tapt' generations. Such
a feat ure is especiall y imponant if a production requires
many specia l effects, such as animati on scenes, that need
to be built up through several recordings.
Obviously> 'he Y Ie, Y Icolor difference, and RGB com-
ponent systems eventually mUSt combine the separate part s
of their video si gnals into a single NT$C signal
(or traditional analog broadcast or tapt' dist ribu rion.
VIOEORECORDING AND STORAGE SYSTEMS
luminanct (Y)
(DIor()
12.2 VIC COMPONENT SVSTEM
The VIC component system separates the Y (luminance) and (
(color) informil tion durill9 SIgnal ern:oding and transpOJ1. but it
combine) the two 1ignals on the It needs tWO wires
to uim1pon the separate signals.
luminance (y)
Red minos luminall(e (R- Y)
Grem ITIt1tTim(ttgmtrattdJ from R-Yand8- r ___..'
Blut (B- Y)
12.3 V/COlOR OIFFERENCE COMPONENT SVSTEM
The Y/coto. differeoce component system the three
RGB signats th.oughou t the recordi ng needs three
wires to the three component signals: the Y (lumi -
nance) signal, the R_Y (red minus luminance) signal. and the
8-Y {blue minus luminance)1ignat. The grftn signal is then
matrixed (regenerated) (rom these signetls.
Rtd{R)
(ffln (G)
Blue {S]
12.4 RGB COMPONENT SVSTEM
like the Y/color diffluence system, the RG8 component system
(also called the RGB system) the three RG6 signaf1
throughout the recordi ng process. It needs three Wires to trans-
p0(t the signals. It plovides the greatest color quality but tilke1
up an inOldinate amouot of frequency space.
;-
,
T
Section 12.1 How Video Recording Wo r ks
5AMPUNG
You will undoubtedly hear people ul.k about the re!atj ve
benefi ts of 4:2:2 over 4: J: J sampl ing rarias in all forms of
video re<ording. All thai Ihis means is thai in the digitizing
proc.:ss, the C (color) signals are sampled less frequently
than the Y (luminance, or black-and -white) signill. In
fact, in 4:1: I 5.1mpling the Y sign<l J is sil mpled four I,imes,
whereas Ihe C signals are sa mpl ed oill y once. In 4:2: 2sam-
pling the Y signal is sampled twice as oft en th e C signals:
the Y signal is sa mpled four Times, but the C signals only
t\vice during a ' .... rtain peri od of time. TIle luminance signal
receives such privil eged treatment bcc<l use il is a major
contributor \ 0 picture sharpness.
MOSI normal productions look stunning with 4: 1: 1
sampling. If, however, you require high-quality color that
must withstand a variety of special effects, such as various
blue-screen or chroma-key effects (see chapt er 14) or a
greal number of key layers, you \"i1l do well 10 use: equip-
ment that employs the hi gher 4:2:2 sa mpli ng r<ttio.
Confused? Don' t worry. The most important things
to remember about these systems are that , in compa rison,
the vidcosignal of the NTSC coml'0si te system is oflower
qua li ty than that of the '{Ie component system, which is
somewhat inferior to the Vlcolor di ffe rence (Omponent
system or the RGB component system. A 4:2:2 sa mpling
ra tio better pictures than does a 4: 1:1 ratio, al-
tho ugh the laller certainl)' produces good images.. In fact ,
you would nOli ce the diffe rence bet"wccn the two sampling
ratios olll)' when buiJding complex effec1s or when rtcord-
ing under extreme (high-comrast) li ght ing condi tions.
Other important points to remember are Ihal some
of lhese systems are incompatible wit h the others, and aU
need thei.r own r('"(ording and playback equipment. Also,
contrary to analog ones, di gital recordings show no norice-
able deteri oration even after many generati ons.
COMP.RES:SION
As you recall from chapt er 2, compression ref tors to rhe
rearrangement or elimination of redundant picture in-
formation for more-efficient Sl"orage and signal transport.
LossleH compreHiol1 means Ihal we rearrange the data so
that they take up less space. This technique is similar to
repacking a suitcase to make all the stutt fit into it. In lossy
compressioll we throw away some of the unnecessary items
and therefore can use a much smaUer s\utcase.
Digital pictmes require a great amount of time for
transport and considerable di sk space for storage. Be-
cause it is much easier to siore and travel with a smaller
digital mosl compression systems are the lossy
kind- ther throw away redundant data. \hen dealing wi th
video compression, there arc two basic S}'Slems: intr<lframe
a nd interframe.
Intraframe compression This compression system is
designed primarily for still images, but it can also be ap-
plied 10 individual video frames. lnrraframe compression
looks at each frame and throws away alJ video information
that is unnecessary 10 perceiving pretty much tIle same
picture as the original. In technical terms it eliminates
spatial redundancy.
Let's consider our overstuffed suitcase again. To S,lVe
some space, we must look at each part of the packed
suitcase and ask whether we can get along with I1vo shirts
instead of six; then we move to the sIVeater section and take
ou l five of the six swealers we packed, si nce we
are going to go to a warm, sunny location. We continue
to check ali the spaces in the suitcase to see what we ca n
leave behind. Pretty soon we will have discarded enough
llrlll('<:essar y dothing (redundant pixels) to get by with a
much smaller .mitcase. The ]PEG system-a video com-
pression method used mostly for still picrures--employs
this int raframe compression technique.
Interfrilme compression This system was developed
for moving video images. Rather than compress each frame
independent of aD the others, interfm me compTt055ion looks
for redundancies from one frame to the nexL Basicall y,
the system compares each frame with the pre-ceding one
and keeps o nl y the pixels th:1I constitute a change. For
example. if you see a cycli st moving agai nst a cloudless
blue sky, the system will not bother with repeating aU the
informa tion that makes up the blue sky but onl y with the
po, ition change of the cycl ist. As you can St'e, interframe
compression looks for femporal redlwdallcy(change fro m
frame \0 frame) rather than spat.ial redundancy w.i thin a
single frame.
Let's uSt' the suitcase example one last time. We now
have people with suitcases. John has already packed
his big suitcase, and Ellen is ready to begin packing. Before
she however, she checks with John to see what he has
packed (full video frame I). To her delight he has packed
a lot of stuff she wanted to take along, so she needs to ht
only a few more items into a very small suitcase (interframe
compressed frame 2). MPEG-2, the compression stand:lrd
for motion video, uses the intertrame technique. (MPEG is
a compression technique for moving pict ures, developed
by the Moving Picture Experts Group.)
265
266 Chapter 12
The probl em 'I'ith this system is in editing. Beca use
some of the compressed (rol mes are very loS!>y. they can' t
be used as the starli ng or end point of an edit . The
therefore periodicaUy sends a fuU refucnce/ ramc(!'3Y, ('very
fifth or tenth Frame ) rhat is independent and not the result
of a comparison with the previous one. The editor can then
go to the fuIJ Frame to do the actual cut. Bei ng restrict ed to
every fifth Of lenlh frame for a cut dOes nOl please an edi tor
who may need to match each Frame of lip movement wit h
the corresponding sound, but in most cases a fi ve-frame
cuning restriction is not lao much of a handicap. This
is why systems desi gned for editing incl ude these refer -
ence frames as often as feasible. Some more-sophisticated
MPEG-2 editing systems can recakul ate a complete frame
anywhere in the compressed video.
Regardless of the techni que, you can
apply a simple compression/qua lity formula: the
less compressiol' , rhe /Jetter the image quality. Bul Ihen thNe
is anothe r, not so happy, formula: the less compression, the
more ull wieldy the hllge lI mount of informmio" becomes.
TAPE-BASED RECORDING AND STORAGE SYSTEMS
This r.ection explores ( I) how vi deot ape recording works,
(2) the ope rational VTR co nt rols, (3) their electro ni c
features and how they function, and (4) the major analog
and digital VTRs w rrenll y in use.
HOW"VIDEOTAPE. RECORDIN.G WORKS
Genera ll y speaking, a videotape recorder (VTR) is any
ekctfOni c recordi ng device tha t records video and audio
signals on videotape for lat er playback or postproduction
edi ting. During vi deo recording, the vi deota pe moves
past a rot ating head assembly that "writ es" Ihe video and
audi o signals on the tape during the recordi ng process and
the magneticaUy stored information off the tape
duri ng playback. Some VTRs use two or four heads for the
rccordfplay (wrilefread) functions. Some digilal VTRs have
even more read/wri te heads for varjous video, audio, and
control tracks. In the play mode on some VTRs, the same
heads used for recording are also used to read lhe infor ma-
tion off Ih.. tracks and conve rt it back int o video si gnals.
Olhers different heads for the record and playback
functi ons. For a simpl e expl anation of how video recordi.ng
works, the followi.ng discllssion uses an analog vrR wit h
only 1''''0 record/playback heads.
Record/ playback heads The rwo heads are maunie<!
opposite each other eit her on a rapidly spinn ing head drum
or on a bar that spins inside a stationary head drum, in
VIDEO-RECORDING AND STORAGE SYSTEMS
/
12.5 HElICAL SCAN. OR SlANT-TRACK, SYSTEM
The vi deo track is s.lanted to gain a suffi ci ent amount of a rea on
a narrow tape.
which case they make contact with the tape through a sl ot
in the drum. To gain as much tape space as possible (or the
large amount of vi deo information without undue ta pe or
drum speed, the tape is wQtlnd around the head drum in
a slant ed, spiral -li ke configuration. Based Oil helix-the
Greek word for "spiral"-we call thi s ta pe wrap, and oft en
the whole video- recording system, the heliCfl i 5(1/11. or $laIlf-
track, system. SEE u.s r.
Videotape tracks The standard VHS recorder putS
four sepa rate videotape rrack$ on the tape: Ihe "ide{) rrack
containing the pi ct ure information, t\VO audio tracks
containing all sO\tnd informaTi on, and a cO'lt101 t rack Ih al
regulates the videotape and rotation speed of the VTR
heads. SEE 12.6 As we shall soon see, digital VTlts operate
with a totall y different track arrangement. EnD-EDmNG-t
Postproduction guldelines-t tape basin
Analog video track When you record the video signal
in the normal NTSC composite configuration, one pass
of the head records a complete field of video information
(Y + C) . The next pass of the head-or, with a two- head
machine, the second head-lays down the second fiel d
right next to iI, thus completing a singl e vi deo fra me.
Because \ "'''0 fields make up a single frame, the two heads
m\lst write 60 tracks for 60 fi elds, or 30 fra mes, for each
second of NTSC video.
-
SeC Tion 12. I How Video Reeo/ding Works
A.udiO!fad: 1 / A.udio IroKk 2
ContlOl\roKk -, YideotfoKk
12.6 BASIC YIOEOTAPETRA(K SYSTEM
The basicvideotapetracksystemcomistsofaslantedvideo
track, twoOf moreaudiotracks,andacontrol track.
III /C component VTRs, thesepa rat eluminanceand
chrominance si gnals are combi ned and lai d dowll Oil a
singl eIrack each record head.In theRGB
and Y!color di ffere nce component SYSICrllS, three passes
are required10 laythe.hreesignals nextto each ol her.
Audio tracks Anal og audio infor nl.lti o n is gener-
all y recorded on longitudillallracks near lh(' edgeoflhe
tape. Beca useofthedemandforstereoaudi oandfor keep-
ingcerlaln soundsseparateeven in monophonicsound,
allVfRsyslems VHSrecorders) provideatleastfWO
audiotrac ks.
Control track Thecontrol t mck containsevenl yspaced
blips orspikes, called the syll c pld5C:', which mark each
complelc television frame. Tho,ls e pul ses synchronize the
tape speed (f/le speed with which the t ape passes from
the suppl)' reel to the takeup red in thecassette) and the
roralion o{ Int' record heads so Ihat a tape made
..

20Iracks". 1fialm'
onasimilarmachinecan be played backwithout pi cture
breakups. As explainedinchapter 13,thecont roltrack is
also ('sscnt i;.1(or precise video tape editing. Some VTRs
have a sync track ( reserv ingthe<on1(ol track for editi ng
andstill anothertrackfo raddit ionaldata,such
the SMPTE lime code. Because space is so sca rce in a
small videocassette,some squeeze the t ime code
ando ther da ta between Ihe video and audio portionsof
asingle track.
Digital systems Ralhl' r than a vi deo or audio signal,
Jigit ,,1systemsrecordon/off pulses IhataTe usuall ycoded
asO'sand 1'$. Somedigitalsystems, such as thl' DVCPRO
andtheDVCAI\1systems,useverysmall(V.- inch)
lapesfor theirhigh-quality recording.1 nsteadofusingjust
rwo tracksforrecordingafuU frameofvideo.. thesesp>tems
IISC as manyas ten orm Of e tracks to recordasin gle video
frame. For('xaml-' le, Ihehigh-qualityDVCPRO50systeln
uses twent y tracks for {' ach complet.. frame. Excrell1cly
hi gh record-head speeds make up for the lack oftape
width.Theaudio tracksareembeddedin thevideotrack.
Theco nt roll raCK andclle (raCKS (for Ihc limecodc) arC"
longi ludina l,which meansthatt heyru nalo ngtheedg"of
th etap". SEE 11.1
OPE.RATIONAl VTR CONTROLS
The basic operational controls and fea t ures of VTRs
are simiJa r, regardl ess of whether lilt> info rmatio n they
record is analogordigital. A typical VT R has the same
conlrolsasonyourhCl meVCR,exceplthaItheprofessional
model s have a few additional shuttle dnd edit cont rols.
EachofthesebuttonsorknClbslets you canlro1a
VTRfuoclion .
12.7 OY(PRO SO
CUttrack
TRACK PATTERN
Overwrite The digitalOVCPRO SO system
ll\ilgin wlitestwenty tracks to (ecord
Subcode
aSingl evi deoframe.
.re.
'" J
YM!t>o are.!
Go,l
A.udio arta
Gap 1
II I dfea
(on!rol
track
267
268 Ch apter 11
12.8 BASIC VTRCONTROLS
Standard VTR control sMe
10those00a Mm(>
videocassenerecorder.
Rewind
The mostbasic controls on any VTR-regardJess of
type or sophistiGHion, analog o r digi tal-are the pltl)'.
510P, record, fast-forward, rewind, :md eject butt ons and
the audio volume controls. sa12.1 The more sophisti-
cated VTRs have these addit ional functi ons: ( t ) standby,
(2)pauseorSIiU, (3)search orshuttl e,(4)audioCOllirol s,
and (5) Hacking.
Standby InIhe$Ialulltymode,theVTR threadsthetape
and rotat esthevideoheads,butthetapei5 stillsta tionary.
Therotatingvideoht'aruaredi sengagedandnorinOOIUact
with thetape.
Pauseorstili The plum: control will Sl Op the tape
with the heads still moving. In thi s mode the rotating
videoheadsareincontil Cl with thetapeandwill conl inu-
ousl),scantheadjacentvideofleldsandproduceastill --or
freeze-frameonthevideo monitororin thecameraviel "l-
findn.Butdonotkeepthemachinein pausetoolong-the
headsareapttoscrapetheiron-oxidecoatingoffthetape
and leave you with nothingburdogged headsand video
noi seon themonitor.
Most home VCRs switch out of pause mode ifthe
tape has hadenough abuse.Some professional recorders,
however, l.,.iIl notdo thi sautomatically, to avoid int erfef-
ingh' ith the creative process. Don't leave a tape 100 long
inpause mode,especiallyjfyou wanrto use it forediti ng.
VIDEO RECORDING AND STORAGE S YSTEMS
""
fiMt -fOfWam 51.,
or lower thall the normal record/ play speed. The shuttle
(eaturi' isespeciall y import am VI'hen searching (oril par-
ticular shot orscenc on the videotape. You can advance
thevideo frame-by-frameorratttethroughJ wholescene
ulltil you find the ri ght picture. You can alsoslowdown
theshuttleenough to get ajoggingeffect, which shows a
frame-by-framead\'ancementofthevideotape.
Some elaborate recorders have separate shuttle and
jogcontrols.Youshould notethat in(hesearchorshurt le
mode.theheadsare engaged andin cont,let with t he
tape. I(you have arough idea01where aparticularscene
islocated,use Ihefast-forwa rdorrewindcontrolsinstead
orsearch. The fast-forward and rewind modes disengage
the heads. thus preventingexcessive tapeandhead wear;
but becauseyou can no longersee the pictures, you have
\0 watch thetapecounter.
Audio Themain audiocontrol sarethevol umecontrol
andVUmonitori ngforeachaudiochannel.Somerecord-
ershaveseparatevol umecont rols(orsoundrecordingand
playback.Theal fdiQdllQ Control letsyou recordsound in-
formationwi tho uterasingthepi cturesalreadyrecordedon
thevid..:u track. MostprofessionalVTRsgive you achoice
o( regular (analog)andhi- fi (digilal)audio.De-
pendingonhowthesoundont hevideotapewas recorded,
youmayhave\0s\"ilchtoorfrom hi- naudio.Iftheaudio
doesn'tplaybackproperly, tr}'theothermode.
Searchorshuttle Thiscontrollets you advanceor re- Tracking Tmckil1g errors usually show up as a jitt ery
verse thetapeat vari ablespeedsthat maybe muchhigher picture.Ithappenswhentheplaybackheadoftheplayback


VTR is nol exactly ali gned with the heads of the VTR on
which the program was recorded. Most professional YTRs
do Ihis alignment il ut omati cally, but some lower- end
machines have manual cOlilroh.

ELECTRONIC FEATURES
The major elect ronic featu res that you need 10 know to
operate >! VTR aTe: ( I) input and output jacks. (2) the lillie
base corrector, (3) the fr<llllestore synchronizer, and (4) the
all tomati c moisture shutdown.
I Input and output jacks The 1l\ost important jacks
(receptacles) are the vidoo input {camera or any other video
feed, such as thl" signal from a television set) and video
outp/lt (to other VTRs for edi ting and to monitors or televi-
sion sets), Digital recorders have standard ana log SMPT
composit e and component video as wel l as S-video output
jacks. Most consumer VTRs have in and out RF (radio fre
quency)jacks, which let you usc <l regular television SEt as <l
l
monitor. You simply (Onnecl the coaxial cable from the RF
out put of the VTR to the antenna input of t he televisi on set
and switch the set to a particular channel ( usuaUy channel
3 or 4). The RF signaJ also carries the audio.
Besides the RF connect ion, the VTRhas separate vi deo
and ,\Udi o output jacks that operale independent ofthe RF.
They are designed for RCApho no and a re normall y
color-coded white and red for audio and yellow for video.
Good television receivers have si mil ar video and audio
input jacks.
Time base corrector All good-qualit y \' ideotape sys-
tems need some device that stabilizes the pid ure and elimi
nat es jitter d uring playback. Twoof the most common are
the time base corrector( TBe} and the more versatile digi tal
fmrt! cslOresync/l ronizer. Both electronic devices adjust the
scanning of the somce signal to t hat of the playback device
10 keep both scanning in step. This synchrolli za-
t ion of the scanning of bo th vidw sources allo,,'s you to
interface \fIRs with a variely of video equipment without
temporary piclurebreakup. Normall y, you need to provide
the sa me synchroni 'l.3 ti on informat ion- ca ll ed hQI Uf
$>,'I ('-tO ;I II video sou rces ifyou expect t o switch among
thi' m without pict ure gl itches. VVhen YOll import a video
source without such genlock, that is, without supplying
house sync to a U video sources, the TBe will help prevent
picture breakup when switching from one video source
\0 the other. Most high-end VTRs have a built-in TBC to
pri'Vent pi ct ure breakup and jitter- free pictures.
Section 12. I How Video Recording Works
Fr.mestore synchronizer The digit al frames/ ore syn-
chronizer is a mOTe sophisticated digit al version of a TBG.
The framestore synchronizer grabs each digit ized frame of
the "ideo signal and stores it momentaril y until )C;mni uA
is synchronized wi th that of another video Source. This
system is so efficient thai you can swi tch among various
independellivideo sources Ihal are lint senloclccd_ You Illay
have seen a picture freeze moment aril y when watching a
live report from a different cily: when the signal is tem-
porarily interrupTed, the fr amest ore synchronizer hol d,.
everyt hing ullliithe video is in sync ag'lin.
Automatic moisture shutdown Thi s fea t ure ca n
prevent you from los..i ng a hilrd day's work or it Gill dri ve
you crazy. Because the tap" heads and tJle videota pe itself
arc especially sensitive to moist ure, Sia nd-alone VTRs and
Ihose incll mcorders ShUT dOl"n aut omatically if get tOO
damp. \-Vhen in the fi el d, such a shutdo\,' n can be frustrat-
ing and time-consuming. Experienced VTR operators, or
"shooters," therefore carry a battery-powered hair dryer to
dry out the VTRJ nd gd it upand running again.
ANALOG VIDEOTAPE RECORDERS
Professional VTRmodels are as varied and ever-changing
as consumer models. Rather than concent rate on specific
makes, this overvi ew looks ,'II the qualit y differences and
the specific fu nct ions of tape -based analog and d igit O'l I
recordi ng systems.
You can accomplish many production tasks wi th less-
lhan-t0l' -of-the-line VTRs. Even home VCRsaresufficient
if aU )'Ou want to do is look for a part icular shot or scene.
The more po pul ar analog VTRs in tdevision stations
and producti on centers, in desc('nding order of qual-
ity, include (I) Betaea rn SP, (2) S-VHS, and-yes--ev.: n
(3) VHS models.
Betaeam SP The SP of this system stands, quit e aptl y,
for superior performance, This is the improved I' ersion
of t he original Betacam recording process. Despite the
di gital revolution, Betacam SP is still used in quite a few
broadcast stations, independi'llt Pl'OduCl ion companies.
and corporate video operations. This is because it cap-
tures high-qualit y video and audio and because it ishard
to retire such a good and init ially very expensive piece
of equi pment. The Betacam SP keeps the Y (luminance)
signa! and the Y/color difference signals (R-Yand B-Y )
separate throughout the recording process and is, there
fore. a Ylcolor differellce componenl system. T\'IO of its
269
270 Chapte r 11 VIDEO-RECORDING AND STORAGE SYSTEMS
12.9 BETACAM SP
STUDIO VIR Audio controls Editing (QIllroh
This high-quilrity 8el(lcam SP
VTR has all the contr ols of a
standard VTR plus additional
audio, and edil ing
tontrols.
Operational controls Shuttle(onlrols
fo ur audio tracks produce hi gh-fidelit y sound. This V-fR,
which ca n also be att ached to a camcorder, is used mainly
for capt uring video. su 11.t ANO 12.10
S-VHS The $-VHS vi deotape recorder is a greatl y im-
proved version of the ....'etl-known consumer VHS record-
ers. You Gm find S- VH Ssystems in television newsrooms,
in editing suItes of corpo rate product ion houses, and
especiCl lly in school s that leach video productio n or that
produce programs for a local cable sial ion. Some are used
for viewing foot age that has been shot wi th S-VHSc.;!me ras
or dubbt'd fr om digit al tape. su: 12,1'
The SVHS system reco rds vi deo info rmati o n as
Y/C componenl signals. High clld modeh h(lye a built-in
TI3C that ensures picture stability dur ing pl ayback a nd
editing. The S-VHS recorders provide foUl' sound Hacks
(two of which are for high-fidelity and a separate
control track.
VHS The VHS system, which you undoubtedly have in
your home, records the video signals in the NTSC comros-
ite format. Its pictures and sound ar.: noti ceably inferi or
to other anal og and especialJ )' digi tal bOi don' t
throwaway your VHS recorder just yet. The VHS
still serves important producti on functiom. Yo u can use
these inexpensive machines for bask program screening,
previ .>wing and logging of scenes shot for postproduction
/
/
\
Camera 8t'tacamSP rt(or<ie r
12.10 BETACAM SP VIR DOCKED WITH CAMERA
Many professi {)(lat cameo/dels can be docked with a variety of
VrRs. This camela is docked wi th a Betacam SP VfR.
editing, documenting shows for tape archives, and el'en
off- line editi ng. (Logging and editing procedures are ex
plored in chapt er 13.)
DIGITAL VIDEOTAPE RECORDERS
AI this point you m ay wonder why we bother lVith digital
recording systems when the analog VTRs described pro-
duce perfectly acceptable pi ctures (lnd sound. The major
:1dvanlages of di gital VTRs are that they are mure compact
Section 12. ' How Video Recording Works
..,.i /
T8 (__
12.11 S-VHS STUDIO VTR
This S-VHS st udio VTR U!>eS
l"I !nch cassettes to record VIC
component video and four
!>eparale audio tracks. Two of
the audio trackS are for hi gh.
fi delity sound .
\f!deo stlKl time
ItYrI (ontrok (OOfCtOf) <ontroIs
code reset iwnons (ootrok
and thai even inexpensive models produce high-quality press the right buttons. Nevertheless, \0 operate a speci fic
pictures il nd sound that maln tain t hei r quali ty t hrough VTR reli ably and efficient ly, you need to be f3mi li3r with
repealed dubs. Digi tal recordings also do not need \0 be at I ..ast some of t he major digi tal systems and th<!ir basic
converted-unlike analog recording:r-for computer stor- features: ( I ) DV. (2) DVCAM, (3) DVCPRO, (4) BelaOl OI
age on a hard disk for nonlinear editing aT'ld spe<:ial-effects SX, (5) HDV, and (6) HDTV. SUll.U
mani pulat io n.
When operating a \!TR, it doesn' t reaUy miltler what DV AU small di gjtal consumer c3mcorders use the DV
system you are usingso longas you use the proper tape and system, but it q uickly found it s wa), inlo newsrooms and
12.12 DIGITAL RECORDING SYSTEMS
This table lisu the mosl widespread digital video systems.
SYSTEM (ASSEnE PRODUCTION CHARACTERISTICS
DV %-ilKh (6JSmm) mini-m sette Good digit.ll quality.
DV<AM %-in(h t6JSmm) fullsized El(eNent quality. t:.mene not compatible with ov(PRO.
DY(PRD Y1- inch (1 l.6SmmJfuU-sized caS5elle Excellent quality. CaSSE'tte not compatible with OVCAM.
Betacam SX Yl-inch (12.6SmmJ full-sized (assette Excellent qua lity. Sulky.
HDY lAinch (6.3 5mm) mini -<as sttte hcellent quality. Superior resolu tion. Record sonly half the videil
information of HDW
HDTV \4-inch (63Smm) full-sized Superior resolLnion and color.
271
272
12.13 OVCAM
OESKTOPVTR
This OVCAM di9i lalVTR can
record high-qualit ydigit,,1
videoandhlgh.fidelityaudio
ona !I<-inchcassetteaswell
.IS onDV mini-cassettes.II can
be connected directlytoa
computervia aFireWire(Hink
01 IEEE 1394)interface cable.
Chaplt" 12 VIDEO RECORDING AND STORAGE SYSTEMS
InpUlswitch
-,
"
Stop
/ /
Rfwind ./.,--" Play/./
\ PalM Record
independent produclion hou!.eS beca useofIhe aSlOnish-
inSly good quality and Snlall size ofits camcorder and
VTR. Infact, theDV recordingmethod is Ihe forerunner
ofthe DVCPRO and DVCAM systems, and several pro-
sumerca merasuseDV recording. mini-casseHeused
in the DVsystem can recordup to an hourofcontinuous
programming.Note, however, thatextensiveeditingwith
theDVsystemisnotrecommended;in theDV mode.the
audjo/videosynduooi zatioo isnO("Iocked,"whichmeaos
that it is notframe-accurate.
OVCAM The Sony DVCA.J\f VTR has a4.:U sampling
ratiowhenrewrdingYlcolordifferencecompooemsignals.
It usesinlrati-arnecompressionandthe I!!- inch(6.JSmm)
cassette, which is a little larger than the mini -cassette.
The cassettes contain various tape lengths capable of
recordingup tothreehoursofprogramming. Besides the
DVCAM'ssmall sizeandexcellentaudioandvideoqual-
it"Y, the recordingssuffervirt uallynodeteriorationduring
postproducti onbecausetheystaycompressed throughthe
enti reeditingprocess. SEE n_n
OVCPRO This Panasonic DVCPRQ uses a
(6.3Smm) callette that can record about two hours of
programming. Itis similar to rhe DVCAM cassett e but
usesavi deotapewithadifferentcoaling.Likethe DVCAM
system,theDVCPRO uses Y/color difference component
signals,a4:1:!samplingratio,andintraframecompression.
Asyourecall,thismeansthat youcanuseany(rameforan
edit- iooredit-outpoi nt .
The DVCPRO 50 system, for high-end VTRs and
camcorders, usestwiceasmanytracksforeachvideoframe
12.14 OVCPR0505TUOIOVTR
Thi srecorder u!-{'s twenty On a'I.-inch (6.35mm) taPE'
for rr<lme-twi><IS m.)nytr.x:ks<IS the$I.)od.)rdDVCPRQ
VTR. Itc<ln recordninetyminutesofprogram
(twenty insteadof ten),a hi ghersamplingratio(4:2:2 for
interlacedformat sinsteadof4: 1: 1),andalowercompres-
sion ratethanthestandard DVCPROsystem. SEE 11. 14
Be t.cam SX The di git al Bcltlcam SX system uses a
Y/col ordifferencecomponents ignaJandhasa4:2:2sam-
pUng ratio. It uses lh-inch tape cassettes thatcan record
continuouslyfor about three hours. This system never
achievedthepopularityofitsanalogcounterpart,Betacam
SP,mainlybecauseit was upstagedbythelighrerandmOre
fl exi ble: DVCAlvI andDVCPRO systems.
HOV Highdtfi"jtioll videQ(HDV) isaprosumerformal
thatmakeshigh-definitiontele\' isionaccessibletoproduc-
tion compani es that cannot spend tens of thousands of
doll ars on a camcorder. As ca n be ex:pecled, the various
Secrion 12.1 How Video Recording Worb
formats on the markel nave their own recording
and are not compatible, except fOf one thing: the), all record
on standard DV mi ni-cassett es. Some op<:: ratiol1al systems
(JVC and Panasonic) reoord wil h a nop (progressive)
scanning standard; Sony with a 1080i (interlaced) one
(s<!e chapter 2). All use MPEG-2 compression. Although
properly prodUl;ed HDV has the same picture resolution
IIDTV, ).' uri ,ts insist t hat HOV':; colors ;Ind grayscale
still a far cry from those of HDTV.
You will find tha t the real problems of prosunH" r
HDV are not only the lack of color information but al so a
lo....er-qualit y Jens and pl ayback When played
back on $tandard televisi on equipment , )'Ou obviously lose
the resoluli on advantage you gained \" i(h HOV recording.
Much likt' HDTV, HDV requi res large"capacity hard dri ves
to import Ihe massive amo unt of digital in formati on. You
\\' ill also find that your favori te editing Sof' \o,"olre may st ill
I\ot supporl HDV without tirst having to decompress and
reconfi gure the stored H DV da ta.
HDTV The ult imat e in image quali ty IS lIig/l -defi ,liriQ,1
teieviJ'ion (hDTV). Of the many (ecording systems, two
are consi dered sta ndard: VTRs thrtt use the 1080i or tnt'
nop system. As discussed in chapler 2, Ihe 1080i is an
interlaced system that produces 60 fields, or 30 frames, per
second. The nop system produces 720 lI isibk li nes, whi ch
are scanned progressively to produce 30 frames per second.
Like OTV, HDTV needs not onl y HDTV cameras or calli"
corders wi th high-quality HDTV h:nscsand HDTV record-
a s but also HDTV pl a)'back and displ ay equipmmt.
Al though mallY television operat ions are producing
shows in HOTV, it is stil! much too ex.pensive [or most
smaller production houses and indi llidual video produ({,fS.
This is one of the reasons fOf the development of HDV
TAPElESS RECORDING AND STORAGE SYSTEMS
The basi s for nonlinear postproduction editing i$ the
development of large-capacity hard disks and readfwrite
optical discs wit h fast access t imes. All tapel ess digital
vi deo-recording systems operate on the Same principle:
they store di gital data in (;(lmputer fi les [hat can be iden
litied and raudoml y retri eved. If [nat sounds famili a r.
it's because di sk-based systems are, indeed, specialized
computers. This is why yo u can use a desktop com puler
and appro priate soft ware as Ihe kt'y elements for a disk-
based editi ng syste m. This overview looks at ( I ) hard disk
systems, (2) read/ write optical discs. (3) flash memory
devIces, and (4) data transfer.
HARO DISK SYSTEMS
These video- recording systems include: ( I) large-capacity
hard disks, ( 2) port ilble hard drives, and (3) el ectronic still
store (ESS) systems.
large capacity hard disks The simpl est way to store
and retrieve digital video and audio infor mati on for post -
production edi ti ng is with /arge-capt!CifY hard disks. Accel -
erat ed ltard-dri llE' speeds and hi ghly effici ent compression
enable you to sl ore ho urs of video and audio
information and caUup any frame in a (raCi ion of a sa:ond.
Unlike videotape, which inevitabl y degrades aft er repeated
use, the hard di sk has no such probl em- it remai ns like
new even al1er a grea t many recordings and erasures.
In the ongoi ng move to an entirel y lapeless operat io!),
man)' television stati ons use video servers. wh ich arc very
large-capacit), di sk systems that can record" store, and play
many houTs of te\("\'ision programming. These servers are
controlled by that tell them what 10 play at a
panicular time. Sef'Vl?rs are also used in newsrooms so tha t
editors, I"rit ers, and producers have instant access to the
news materidl stored on them. SlE 11, "
12.15 VIDEO SERVER
The lIideo consistS of lalge'Cil paC;ly computeT disks tnal
can Store agleat number of brief program segments. such as
commercials and promoti onal announcements.
273
r-
'--
274 Chapter 11
ENth... Portable hard drives These small hard dri ves,
EtIP'" sometimes called fieldpacks, are designed to be
docked \vith ENG/ EFP cameras. The !kegami Edilcam
cam<.: ordcr, for exampl e, has an 80-gigab)' It' fieldpack and
is about the sizt' of a dockable VTR, yet il can store up
10 hours of DV video and audio. Such porrable IlOrd
drives record high-quality di gi,al vjdeo, l ime code, and
twO- or (OUT-channel audIO. They all have inlom FireWire
connect ions, \,'hich greatly facilitates transferring the
caplUred VIdeo and audio to the editing compliler. There
are portable dri ves that can be connected via FireWire 10
prosumer DV (amcorckrs. Some portable hard dri ves a!low
you to do editing in the field with an externally connected
laptop-a big adl'anl age in .ENG. Some camcorders
" t ape-based as well as a recording system. YOli
{"an ust> both si muhaJleous[y for recording, or use the tape
as a backup in case the hard drive crashes.
EI.ctronic stilt store systems rn effect a large slide col-
lect ion that "Uows you \0 access .my slide in about a tenth
of a second, the ciectrollic s/ill $IQre (ESS) system {"an grab
Jny frame from various video (camera, videotape,
or computer) and store it in digital form on a hard di sk. It is
not unusual to nnd ESS systems tha{ hold several thousand
images. Each still has it s own fi lename (address) and can
therefore accessed randomly and almost instantaneously
during production or in jlost producLion editing. large-
capacit y graphics generators work similarl y with lit les
and a limited amount of stills, stich as the vital stati stics of
spom fi gures or people in the news. Some of the soulier
ESS systems use regular Zip disks. Even a t iny 2-i.nch floppy
call hold up to 200 frames. SEE 11.16
VIDEO-RECORDING AND STORAGE SYSTEMS
REA.D/WRITE OPTIC.AL DISCS
There is a variety of read/ wri te optiCllI discs that can re-
cord and play back a grc;J t amou)lI of digital info rmation.
The optical discs most often used arc CDs il nd DVDs,
although true 10 the nature of digital recording, you may
nOl be able to play back your video masterpi ece f\"Om a
DVD unl l'ss you used cert ai n authoring software for the
rording. SEf. 12. 11
Sonte use read/write opti cal di scs rather
than hard disks as their recording medi a. The great advan -
tages of such optical di.,cs ate that they arc easy to stOre and
they permit eXlremely fast access time. The disadvant age is
that, "ari ous compressioll techniques, the storage
capaci t y is rather limited.
FLA.SH MEMORY DEVICES
Flnsll memorydel'iccs, which are basicallysolid-sl3tedigital
storage are sometimes used in DV reco rders in
stead of hard disks. The advantages of flash drives are that
they are smail, li ghtweight, and ext remel y fasl in capturing
di git al information. The downside is that their storage ca-
pacily is rel.Hivel y limit ed, esp('ciall r in the arena of video
capture, which gives you onl yabou. fOUl" minutes of video
per gigabyte. Flash fhal can record longer
{'vents can be quite costl y, espt'cia Uy when compared with
the cost-per-rncg.loytc of a hard drive.
DATA TRANSFER
The Iransfer of digit al data is important enough to recap
here. When capturing digital video on analog videotape,
you don't Heed to digiti7.e the video and audio informa-
lion for storage. Although thi s is a great timesaver, yOll stilt
12.16 SMAll DISK USED fDR m 12.17 DVD RECORDER
This relatIVely small DVD unit records and plays a great amount of
video and audio inlormauon. It operates with a laser beam, simil a.
to the CD system.
This tiny noppy disk. a little larger than a postCige
stamp, stores up to 200 still pietl/res (video flames).
which can be randomly accessed by the (55 sY5 tem.
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