DV-L Tue, 1 May 2001 Volume 1 : Number 842
In this issue:
Re Audio S/N & quality
Re Audio S/N & quality
Which Camera?
MiniDisk
RE: MiniDisk
RE: MiniDisk
Re: Audio S/N & quality for Sony VX2000, PD-150, DSR-50, DAT, MiniDisc
Re: Audio in Premier 6
Re: Audio S/N & quality for Sony VX2000, PD-150, DSR-50, DAT, MiniDisc
RtMac and Edit DV
Re: Audio S/N & quality for Sony VX2000, PD-150, DSR-50, DAT, MiniDisc
Re: Which Camera?
DV300 / JVC SR-VS10
Re: DV300 / JVC SR-VS10
Re Audio S/N & quality
Re: FCP help
DV.now.AV w/ Premiere 6!
Re: Re Audio S/N & quality
Laptop recommendations for use with premier and or Cinestream
PC Laptop recommendations for use with premier and or Cinestream
Re: PC Laptop recommendations for use with premier and or Cinestream
Re: Laptop recommendations for use with premier and or Cinestream
Re: Those cute 'lil mini-CDs
RE: DV tape problem
Re: Audio S/N & quality - DV camcorders vs DAT/MD
Re: color bars/NTSC monitor confusion
OT: HiDef MPEG Compression software
Re: DV300 / JVC SR-VS10: Solved.
FireWire using JVC SRS-V10 recorder Player
RE: HiDef MPEG Compression software
Calculating a Video Camera's ISO-equivqlent rating
Re: Audio S/N & quality - DV camcorders vs DAT/MD
pro video distributors
Re: color bars/NTSC monitor confusion - DV to VHS dubs
Re: color bars/NTSC monitor confusion - DV to VHS dubs
Re: color bars/NTSC monitor confusion - DV to VHS dubs
Re: color bars/NTSC monitor confusion - DV to VHS dubs
Re: DV300 / JVC SR-VS10: Solved.
Video dynamic range of VX2000 vs XL1
DV hard drive storage
Re: Re Audio S/N & quality
Re: Re Audio S/N & quality
Re: Re Audio S/N & quality
Re: Re Audio S/N & quality
----------------------------------------------------------------------
Date: Mon, 30 Apr 2001 02:25:02 -0500
From: "Mr Gremlin"
To: DV-L@dvcentral.org
Subject: Re Audio S/N & quality
Message-ID:
On 29 Apr 2001, at 22:31, ron wrote:
>If I could afford a 35 mm movie camera and the film stock to go along with
>it, I'd certainly be using it instead of a DV cam -- and dv doesn't even
>approach film's quality -- but money-wise dv is the way to go.
>And so is minidisc. Which, to my ears, does NOT suck.
I believe you said, none but the most discerning ears could tell the
difference. My response was, ANY ear could tell the difference. And as I
stated, when you downsample or covert it makes a bigger difference. Another
poster stated why. (Correctly I might add)..data compressors compress
everything. Depending on where the noise floor is, and what the audio
program is comprised of, the perceived loudness of the noise as compared to
the sound you want in the over all compressed signal, can actually be
higher.
>I'm reminded of a fraternity of magicians who try like hell to impress each
>other with their knuckle-busting sleight of hand, when the truth is, the
>audience doesn't give a hoot about such skills.
>All the audience really cares about is what they see.
I'll be sure to tell that to John Williams and Hans Zimmer..also better say
something to the estimated 11 million people who are going to be investing
in surround sound packages for their homes THIS year.
My point is and was, put the best quality content possible on tape, film, or
hard drive. If your idea or client is good enough to film, it is worth doing
as well as you can. If you have an $800.00 DV camera, a $200.00 minidisk
makes sense. If you have $4,000.00 tied up in an XL1, it might be plausible
to think $1,000.00 for a DAT seems reasonable.
_________________________________________________________________
Get your FREE download of MSN Explorer at http://explorer.msn.com
------------------------------
Date: Mon, 30 Apr 2001 01:20:50 -0700
From: rob@gregorybrowne.com
To: DV-L@dvcentral.org
Subject: Re Audio S/N & quality
Message-ID: <3AECBDF2.25384.2CD385C@localhost>
On 30 Apr 2001, at 2:25, Mr Gremlin wrote:
> My point is and was, put the best quality content possible on tape,
> film, or hard drive. If your idea or client is good enough to film, it
> is worth doing as well as you can. If you have an $800.00 DV camera, a
> $200.00 minidisk makes sense. If you have $4,000.00 tied up in an XL1,
> it might be plausible to think $1,000.00 for a DAT seems reasonable.
And MY point is, in the end it doesn't matter a bit WHAT
equipment you have, as long as the final product passes muster.
Which means finding and connecting with its audience.
And you're sadly mistaken if you think ANY ears can hear the
difference between mindisc and dat. You give people too much
credit. If the song is good, people don't care what it was recorded
on. Which explains why there are so many crappy MP3s flooding
the Internet.
If you've spent 4 grand on an XL1 and can afford that extra grand for
a dat, by all means, go for it. But putting two or three hundred into
a minidisc instead will not make a noticable difference. And just
think what you could buy with that extra $800.
rgb
------------------------------
Date: Mon, 30 Apr 2001 14:11:05 +0530
From: "Soumitra"
To:
Subject: Which Camera?
Message-ID:
Hi everybody!
I am planning to set up a very-very basic DV production studio at home(no
bigtime stuff)...........so that I can work as an independent
filmmaker..........I am looking for broadcast quality output at the most
rockbottom cost. I basically want to work on documentaries and shorts.
The problem is, since I am from India (Mumbai), I don't have too many
choices of DV Camcorders here(not all the camera models r available)
Though I was looking for a Canon XL 1 Camcorder and a G4 machine for
editing, I think it will be too expensive for me to start with. So may be I
will get a cheaper Camera and an assembled PC....... and depending on,
whether I can atleast sustain myself by making documentaries........I will
probably buy a second camera and other accessories n stuff.
The cameras that are available here are: SONY VX 2000, SONY DSR PD 100A and
CANON XM1 and of course CANON XL1(though it don't fit my budget) It will be
great if anyone has any suggestion on which one shud I go for.......since
all these are almost in the same range(in Rupees).......VX 2000 is almost
30k (rupees) higher than the other two.
I am a little confused because I read that XM1 has a better lens whereas VX
2000 has more pixel count on its CCD's and PD 100 with its DV as well as
DVCAM mode of recordings, and I have no real life experience with any DV
camera so far.
Please help.
Thanks in advance
Soumitra
------------------------------
Date: Mon, 30 Apr 2001 12:29:57 +0100
From: "Perry"
To: "DV-L"
Subject: MiniDisk
Message-ID:
My old colleagues in Sony Professional Audio tell me that the MiniDisk
compression algorithm has improved a lot, so make sure you judge it on a
recent model. I also don't know whether this would apply to the consumer
versions as well. (for those that don't know, MiniDisk is used a lot as a
'Jingle Play' machine in broadcast studios)
My problem is I can't find an affordable portable with S/PDIF in and out.
Perry Mitchell
Video Consultant
http://www.perrybits.co.uk
------------------------------
Date: Mon, 30 Apr 2001 08:40:03 -0400
From: "Christopher Van Nest"
To:
Subject: RE: MiniDisk
Message-ID:
HHB's PORTADISC MDP500 has SPDIF digital I/O-- anyone know what it costs in
$US?
-Christopher
____________________________
Host/Producer FREESPORT-TV
http://www.freesport-tv.com/
> -----Original Message-----
> From: Perry [mailto:perry.mitchell@btinternet.com]
> Sent: Monday, April 30, 2001 7:30 AM
> To: DV-L
> Subject: MiniDisk
>
>
> My old colleagues in Sony Professional Audio tell me that the MiniDisk
> compression algorithm has improved a lot, so make sure you judge it on a
> recent model. I also don't know whether this would apply to the consumer
> versions as well. (for those that don't know, MiniDisk is used a lot as a
> 'Jingle Play' machine in broadcast studios)
> My problem is I can't find an affordable portable with S/PDIF in and out.
> Perry Mitchell
> Video Consultant
> http://www.perrybits.co.uk
------------------------------
Date: Mon, 30 Apr 2001 08:43:05 -0400
From: Geoff Amthor
To: DV-L@dvcentral.org
Subject: RE: MiniDisk
Message-ID: <5.0.0.25.2.20010430084221.0185d608@mail.mindspring.com>
>HHB's PORTADISC MDP500 has SPDIF digital I/O-- anyone know what it costs in
>$US?
>
>-Christopher
$1,299 at B&H Photo/Video. http://www.bhphotovideo.com
Geoff
------------------------------
Date: Mon, 30 Apr 2001 09:38:58 -0400
From: "Walt"
To:
Subject: Re: Audio S/N & quality for Sony VX2000, PD-150, DSR-50, DAT, MiniDisc
Message-ID: <005701c0d17b$9a563f20$6401a8c0@design1>
If you must go through very many decompress recompress cycles on minidisk
the differences will show up very quickly compared to DAT.
In a blindfold test it will depend on what you're recording and what you're
listening with just like it does with compressed video versus uncompressed.
If you're listening to voice or the most common forms of music it's pretty
hard tell the difference but if you are using any complex orchestrations
with lots of intricate parts minidisk will not reproduce those recordings
accurately. The brightness and transparency will be lost due to compression
compromises. As with most other things it depends largely on your final
product whether it's good enough or not. I am seldom disappointed when I
spend the extra on top quality equipment and it usually meets my needs for a
longer time than something that was barely adequate to start. The final
product is no better than the weakest step in the process.
Walt
----- Original Message -----
From:
>
> I'd say minidisc is definitely superior to MP3. And just a half-step
> below DAT.
>
> Truth is, I don't think many people could tell the difference between
> DAT and minidisc in a blindfold test. The DAT specs are better, no
> question, but can anyone but the most discerning listener hear
> them?
>
> So, again, it comes down to cost. If you've got money to burn, by
> all means, get a DAT. I certainly would. But if you're saving
> pennies to buy equipment and want something ALMOST as good,
> get the minidisc. Nobody will know the difference but you.
>
> rgb
------------------------------
Date: Mon, 30 Apr 2001 09:43:28 -0400
From: "Walt"
To:
Subject: Re: Audio in Premier 6
Message-ID: <005801c0d17b$9a91c180$6401a8c0@design1>
Monitor the audio from your camera if the Firewire is connected. My Orange
Micro card works the same way in with Premiere 6. If you have an external
audio input you can patch the camera back to the computer sound unit and use
the same speakers.
Walt
----- Original Message -----
From: "Professor Yedidyah Langsam"
To:
Sent: Sunday, April 29, 2001 7:59 PM
Subject: Audio in Premier 6
> Hi,
>
> I have updated my system:
>
> Toshiba laptop 8100 650MHz 256Mb
> VST Firewire Cardbus Card
> Sony DCR-PC1 miniDV
>
> to Adobe Premier 6.0 and notice the following:
>
> When the firewire card is connected and the camera is on (VTR mode) I can
> capture fine using Premier. However the following strange thing happens:
>
> If I import a video/audio file onto the timeline, or use the avi that was
> just imported, and then play it from within the program monitor, -- just
the
> video plays, no audio. BUT the audio is obviously there, since if I use
the
> scrub control either forward or backwards, both the video and audio tracks
> play fine.
>
> If I disconnect the firewire card and camera then both tracks play fine
from
> within the program monitor.
>
> Am I overlooking something trivial? Any help would be appreciated.
>
> ==============================================================
> Professor Yedidyah Langsam
> Department of Computer and Information Science
> Brooklyn College of CUNY
> 2900 Bedford Avenue
> Brooklyn, NY 11210
>
> email: langsam@sci.brooklyn.cuny.edu
> Web: http://eilat.sci.brooklyn.cuny.edu
> ICQ: 10661149
> AOL IM: BCCISProf
> voice: (718) 951-4161
> ==============================================================
------------------------------
Date: Mon, 30 Apr 2001 09:14:32 -0400
From: "Walt"
To:
Subject: Re: Audio S/N & quality for Sony VX2000, PD-150, DSR-50, DAT, MiniDisc
Message-ID: <005601c0d17b$9a23e480$6401a8c0@design1>
Bob,
You're comparing apples and oranges. The discussion was not based on the
lowest cost but the best match. There's little comparison between a PRO
portable DAT or minidisk machine and a consumer DAT or minidisk. I'll agree
that the sound quality is very good on any of the choices but from a
convenience standpoint units with built-in XLR's, phantom power, manual
level controls, real VU meters, and limiters beat the consumer units with a
fistful of adapters and kludges to make them work. If you find a situation
where you can use a consumer unit effectively go for it but in the broader
scope your job will frequently be easier if you use PRO equipment. The best
reason to choose DAT over minidisk is still DAT's DV compatible sample rate.
I hate to resample my audio the same way I hate to recompress my video. Even
though the losses are small they are cumulative.
Walt
----- Original Message -----
From: "Robert C. Fisher"
To:
Sent: Sunday, April 29, 2001 7:10 PM
Subject: Re: Audio S/N & quality for Sony VX2000, PD-150, DSR-50, DAT,
MiniDisc
>
>
> Walt wrote:
>
> > I'd go with the DAT recorder because of the higher recording quality and
the
> > fact the sample rate is 48 KHz versus the minidisk which is 44.1 KHz.
The 48
> > KHz sample rate audio is a natural for use with any DV or pro digital
> > recording system. With the minidisk you'll lose both with the
compression
> > and the sample rate conversion, a double loss. The only downside to DAT
is
> > that it's not random access but then I typically transfer it all to a
hard
> > drive as soon as I get back from the field anyway so it's not much of an
> > issue. I'm using the pro portable Tascam DAT recorder.
> >
> > Walt
> >
>
> Right now nothing can beat the cost/performance of the minidisc. The HHB
minidisc is a great machine and it provides USB output to your computer so
there is no need for a digital audio
> card. Also at $200 for a decent consumer minidisc recorder they can become
expendable if need be and they are small enough to put in the subjects
pocket negating the need for wireless mics
> and their problems. I have used minidisc for several music shows and the
audio quality is excelent, since the show ended up on tape there was no
difference in the end products audio
> quality. It's really hard to tell the difference between DAT and Minidisc.
Under extream conditions the minidisc can be more reliable than the DAT
which operates similar to a VCR(recording
> to the tape via helical scanning). It would be very easy to put one of the
portable machines in a plastic ziplock bag for protection. The one thing DAT
has going for it is the Timecode
> recording abilities of many DAT machines and its large installed base in
the post production industry.
>
> Cheers
> Bob Fisher
> FishPond Digital
>
------------------------------
Date: Mon, 30 Apr 2001 15:15:32 +0100
From: Tom Fox
To: "DV-L@dvcentral.org"
Subject: RtMac and Edit DV
Message-ID:
Does anybody know how the Rtmac's realtime techology works? It apparently
works with FCP 2 and premiere 6 (I think.) Is there anything that will stop
it from working with Edit DV
I'm sure there is. I'm just holding out as I really like working with edit
DV
--
Tom Fox
foxy@--delete--tripledub.com
------------------------------
Date: Mon, 30 Apr 2001 09:57:45 -0400
From: "Walt"
To:
Subject: Re: Audio S/N & quality for Sony VX2000, PD-150, DSR-50, DAT, MiniDisc
Message-ID: <008201c0d17f$d6a89c80$6401a8c0@design1>
I use Sound Forge to do sample rate conversions and I find it to be pretty
good. Being able to use the DAT files directly without converting them saves
a step in post. As far as compression goes unless it's lossless compression
you give up something that was there that someone decided you wouldn't miss.
Simply put with DAT you get all that's available at the recorded sample
rate. None of the original recording has been eliminated whether you notice
it or not. While it's true you can mix sample rates on a Premiere timeline
I've always had better results using an external sample rate conversion
process than relying on Premiere to do it on the fly. The Sound Forge
resampled results are noticeably lower in distortion.
Walt
----- Original Message -----
From: "Geoff Amthor"
To:
Sent: Sunday, April 29, 2001 8:34 PM
Subject: Re: Audio S/N & quality for Sony VX2000, PD-150, DSR-50, DAT,
MiniDisc
>
> >I'd go with the DAT recorder because of the higher recording quality and
the
> >fact the sample rate is 48 KHz versus the minidisk which is 44.1 KHz. The
48
> >KHz sample rate audio is a natural for use with any DV or pro digital
> >recording system. With the minidisk you'll lose both with the compression
> >and the sample rate conversion, a double loss. The only downside to DAT
is
> >that it's not random access but then I typically transfer it all to a
hard
> >drive as soon as I get back from the field anyway so it's not much of an
> >issue. I'm using the pro portable Tascam DAT recorder.
> >
> >Walt
>
> Remember that the perception of MD sound quality has been made with
> consumer units and in some cases earlier compression algorithms. The HHB
> PortaDisc uses pro preamps and pro A/D converters, balanced XLR connectors
> (enabling pro mics), and presumably some attention to quiet electronics.
> (I'm also willing to bet that these HHB electronics are superior to those
> found in most DV or DVCAM camcorders, which is why I'm investigating this
> issue at all.)
>
> Also, quantity of bits does not equal audio quality. It is possible to
> develop a compression algorithm that uses fewer bits but achieves higher
> quality. The DAT standard is a fixture in time, but MD's ATRAC algorithm
> has evolved over a decade. I can't claim to know that MD's ATRAC algorithm
> has achieved DAT quality (to human perception), but scientifically the
> possibility is reasonable. If MD is at all close to DAT, I certainly would
> appreciate the saving in media cost (MD vs DAT) and cost of
> players/recorders for casual use, to say nothing of all the advantages of
> MD for non-linear editing.
>
> The HHB PortaDAT was a leader in portable sound recording. HHB apparently
> felt so strongly about the MD PortaDisc that they discontinued the
PortaDAT
> upon introduction of the PortaDisc. To me, that's a pretty powerful
> statement about how they feel about the sound quality of their MD product.
>
> The issue of conversion from 44 KHz (MD) to 48 KHz (DV) is of course
> something to look at. Can anyone recommend the best software to perform
> this conversion? It seems that the quality of conversion may vary
> significantly.
>
> Geoff
------------------------------
Date: Mon, 30 Apr 2001 10:28:46 -0400
From: "Walt"
To:
Subject: Re: Which Camera?
Message-ID: <008b01c0d181$e64bfd60$6401a8c0@design1>
The camera differences in the models you have mentioned are going to be more
about what you like than their quality. Make sure that the camera you choose
has all of the manual adjustments that you will need. Some models don't have
manual audio controls for example and I find that unacceptable. Both of the
Sony's and the XL-1 have those manual capabilities but I don't know about
the XM-1.
When choosing a computer I'd plan to stick with one platform rather than
changing later when you have more money. There is virtually no difference in
DV NLE quality regardless of the platform. The bottom line is pick the
software you want to use and then buy a computer that works with that
software. I use PC's and I went that way because of a previously installed
base of PC systems. All systems have some problems from time to time and
when properly configured they can all work well. Choose the one you're most
comfortable with and you'll be happy. Unless you have substantial computer
experience choosing a turnkey system with everything already setup for video
will make the learning curve easier.
Walt
----- Original Message -----
From: "Soumitra"
To:
Sent: Monday, April 30, 2001 4:41 AM
Subject: Which Camera?
>
>
> Hi everybody!
>
> I am planning to set up a very-very basic DV production studio at home(no
> bigtime stuff)...........so that I can work as an independent
> filmmaker..........I am looking for broadcast quality output at the most
> rockbottom cost. I basically want to work on documentaries and shorts.
>
> The problem is, since I am from India (Mumbai), I don't have too many
> choices of DV Camcorders here(not all the camera models r available)
>
> Though I was looking for a Canon XL 1 Camcorder and a G4 machine for
> editing, I think it will be too expensive for me to start with. So may be
I
> will get a cheaper Camera and an assembled PC....... and depending on,
> whether I can atleast sustain myself by making documentaries........I will
> probably buy a second camera and other accessories n stuff.
>
> The cameras that are available here are: SONY VX 2000, SONY DSR PD 100A
and
> CANON XM1 and of course CANON XL1(though it don't fit my budget) It will
be
> great if anyone has any suggestion on which one shud I go for.......since
> all these are almost in the same range(in Rupees).......VX 2000 is almost
> 30k (rupees) higher than the other two.
>
> I am a little confused because I read that XM1 has a better lens whereas
VX
> 2000 has more pixel count on its CCD's and PD 100 with its DV as well as
> DVCAM mode of recordings, and I have no real life experience with any DV
> camera so far.
>
> Please help.
>
> Thanks in advance
>
> Soumitra
>
------------------------------
Date: Mon, 30 Apr 2001 10:44:10 -0400
From: "Dr. Yedidyah Langsam"
To:
Subject: DV300 / JVC SR-VS10
Message-ID: <002b01c0d184$0563f8e0$3901f592@sci.brooklyn.cuny.edu>
Prior to updating to Adobe 6 and the latest Pinnacle Miro DV300 software, I
was able to access the video deck using the Miro DV300 Tools. Now that I
have updated, each time I turn on the deck it attempts to install a driver
for new hardware: 1394/A02D&1001.
The 1394 board itself is installed, but the video deck apparently is not.
Any idea where to find the drivers it is looking for?
Any help would be greatly appreciated.
========================================================
Professor Yedidyah Langsam
Department of Computer & Information Science
Brooklyn College
2900 Bedford Avenue
Brooklyn, NY 11210
voice: (718) 951-4161
email: langsam@sci.brooklyn.cuny.edu
icq: 10661149
AOL IM: BCCISProf
web page: http://eilat.sci.brooklyn.cuny.edu
========================================================
------------------------------
Date: Mon, 30 Apr 2001 10:52:35 -0400
From: "Dr. Yedidyah Langsam"
To:
Subject: Re: DV300 / JVC SR-VS10
Message-ID: <003701c0d185$331bf660$3901f592@sci.brooklyn.cuny.edu>
Addition to the question below: The same driver is requested when I attach
my Sony DCR-PC1. Apparantly, the miro tools can't be used with any device I
attach.
----- Original Message -----
From: "Dr. Yedidyah Langsam"
To:
Sent: Monday, April 30, 2001 10:44 AM
Subject: DV300 / JVC SR-VS10
> Prior to updating to Adobe 6 and the latest Pinnacle Miro DV300 software,
I
> was able to access the video deck using the Miro DV300 Tools. Now that I
> have updated, each time I turn on the deck it attempts to install a driver
> for new hardware: 1394/A02D&1001.
>
> The 1394 board itself is installed, but the video deck apparently is not.
> Any idea where to find the drivers it is looking for?
>
> Any help would be greatly appreciated.
> ========================================================
> Professor Yedidyah Langsam
> Department of Computer & Information Science
> Brooklyn College
> 2900 Bedford Avenue
> Brooklyn, NY 11210
>
> voice: (718) 951-4161
> email: langsam@sci.brooklyn.cuny.edu
> icq: 10661149
> AOL IM: BCCISProf
> web page: http://eilat.sci.brooklyn.cuny.edu
> ========================================================
>
> -- (cut off when replying)-----------------
> This list is made possible by Lifetime DV-L Benefactors such as
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>
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>
------------------------------
Date: Mon, 30 Apr 2001 09:55:58 -0500
From: "Mr Gremlin"
To: DV-L@dvcentral.org
Subject: Re Audio S/N & quality
Message-ID:
On 30 Apr 2001, at 3:20, rob wrote:
>And MY point is, in the end it doesn't matter a bit WHAT equipment you
>have, as long as the final product passes muster.
Ok, I give up. I am confused. I thought one of the reasons for this forum,
was to compare and share data regarding the best choices for gear and
software, because it does matter. Also I would never let a project out my
doors that ONLY passes muster.
>And you're sadly mistaken if you think ANY ears can hear the difference
>between mindisc and dat.
Again I am confused.EVERYONE in the biz that I have asked, can hear the
difference. In one of your earlier posts you said you had never personally
done a side by side comparison yourself. How can you then, make such a
claim??
>If the song is good, people don't care what it was recorded on. Which
>explains why there are so many crappy MP3s flooding the Internet.
The reason there are so many Mp3's, is because they are free...beats $17.99
at Tower Records any day. Also, if sound quality didn't count to the
consumer, cassette tapes and 8 tracks would still sell great..they are much
cheaper.
>If you've spent 4 grand on an XL1 and can afford that extra grand for a
>dat, by all means, go for it.
>But putting two or three hundred into a minidisc instead will not make a
>noticeable difference.
Again, based on what testing standard? The one where you telepathically gain
the firsthand knowledge, and then speak as if you know? Or the one where I
took the time to become personally informed by A/B testing the different
decks and formats in my studio and then tried to lend a little of my
experience to the forum?
>And just think what you could buy with that extra $800.
Maybe some classes in sound and audio engineering, so you can learn what you
are missing.
Think small, is small. Be big, BE BIG.
regards
Jack
_________________________________________________________________
Get your FREE download of MSN Explorer at http://explorer.msn.com
------------------------------
Date: Mon, 30 Apr 2001 07:58:52 -0700
From: "Robert C. Fisher"
To: DV-L@dvcentral.org
Subject: Re: FCP help
Message-ID: <3AED7DAD.249897E8@pacbell.net>
"E. Mitchell" wrote:
> At 4:45 PM -0400 4/28/2001, steve sanacore wrote:
>
> >I am attempting to sweeten up some sound tracks. I can open the FCP clips in
> >the Peak software and run the sound through it which really improves the
> >balance of it from clip to clip - but when I save it as a aiff file and
> >re-import it into FCP I of course loose sync.
>
> I hate it when sync gets loosed :{)
>
> After having seen your question, I installed my copy of PeakDV, just
> to satisfy my own curiosity. Being a strict Mac user I refused to
> look at the documentation and simply ploughed ahead with a couple of
> tests. Here's what I found: If a clip is imported into PeakDV and
> then saved as aiff, you lose the timecode, which is your absolute
> sync reference. However if, after sweetening, you save your work as
> a quicktime movie, your timecode stays intact. Of course, it will
> take more disk real estate to save full QT movies, but if you can
> live with that, it should work for you. And me too, now that I've
> found out about it, thanks for asking the question!
> --
> Elliott
>
> <>< < < < < < < < < < < < < < < < < < < < < < < < < < < < < < <
> | Elliott Mitchell
> | Learning Technology Center, Vanderbilt University
> | Peabody Mail Stop 45 - Nashville, Tennessee 37203
> | V: 615-343-4521 F :615-343-7556
Double check the sampling rate in Peak and make sure all the settings are the same! The most likly culpret is when you export the file out the sampling freq is not set properly to 48khz.
Cheers
Bob Fisher
FishPond Digital
------------------------------
Date: Mon, 30 Apr 2001 11:15:31 -0400
From: "Gary Bettan, The Electronic Mailbox"
To: DV-L@dvcentral.org
Subject: DV.now.AV w/ Premiere 6!
Message-ID: <5.0.2.1.2.20010430111133.0336f870@pop3.concentric.net>
The Dazzle/Fast DV.now.AV is now Premiere 6 certified and our inventory now
includes Premiere 6 in the box.
DV.now.AV is the lowest cost analog & DV solution around with Premiere. You
also get Fasts top noth DV CODEC and fast.forward scanning/ batch capture
utility.
For more info, check out our website
Gary
The Electronic Mailbox 800 323-2325
The Desk Top Video Handbook On Line http://www.videoguys.com
All DTV purchases come with our exclusive 30 day customer
assurance program and FREE Tech Support (516) 759-1615
------------------------------
Date: Mon, 30 Apr 2001 11:55:06 -0400
From: Phil Pratt
To:
Subject: Re: Re Audio S/N & quality
Message-ID:
on 4/30/01 10:55 AM, Mr Gremlin at mogwaidude@hotmail.com wrote:
> I would never let a project out my
> doors that ONLY passes muster.
I believe we all strive to exceed expectations but there is a point at which
considerations of time and cost force us to decide a project meets the
clients needs, especially if the client agrees.
>.EVERYONE in the biz that I have asked, can hear the
> difference. (between DAT and minidisk)
Sure, the trained ear of an audiophile will hear it, but if the sound is
clear and crisp with no obvious hum or hiss it's fine for most video
intended for the general consumer.
> Think small, is small. Be big, BE BIG.
I think many of us are intentionally small in the scope of the operations we
run and the projects we are interested in. If I'm happy and my clients are
happy, why do I need to sweat the difference between minidisk and DAT?
Phil
------------------------------
Date: Mon, 2 Apr 2001 21:37:42 -0700
From: "Jon DeMaria"
To: "DV list"
Subject: Laptop recommendations for use with premier and or Cinestream
Message-ID:
I need a laptop for use with Cinestream or premier, any feedback based on
personal experience would be greatly appreciated.
Thanks in advance,
Jon DeMaria
Jon@Raw-News.tv
------------------------------
Date: Mon, 2 Apr 2001 21:40:28 -0700
From: "Jon DeMaria"
To: "DV list"
Subject: PC Laptop recommendations for use with premier and or Cinestream
Message-ID:
I need a PC laptop for use with Cinestream or premier, any feedback based on
personal experience would be greatly appreciated.
Thanks in advance,
Jon DeMaria
Jon@Raw-News.tv
------------------------------
Date: Mon, 30 Apr 2001 09:54:22 -0700
From: "Wes Lazara"
To:
Subject: Re: PC Laptop recommendations for use with premier and or Cinestream
Message-ID: <006701c0d196$351b8730$320c10ac@schwabfoundation.org>
Dell inspiron 8000. built-in firewire. works great with premiere 6.
regards,
Wes
----- Original Message -----
From: "Jon DeMaria"
To: "DV list"
Sent: Monday, April 02, 2001 9:40 PM
Subject: PC Laptop recommendations for use with premier and or Cinestream
> I need a PC laptop for use with Cinestream or premier, any feedback based
on
> personal experience would be greatly appreciated.
>
> Thanks in advance,
>
> Jon DeMaria
> Jon@Raw-News.tv
> -- (cut off when replying)-----------------
> This list is made possible by Lifetime DV-L Benefactors such as
http://www.promax.com, http://www.videoguys.com,
http://www.panasonic.com/broadcast and the contributions of its members.
>
> To contribute money: http://www.computervicestore.com/dvl.html
> All about DV-L, to subscribe & unsubscribe:
http://www.DVCentral.org/thelist.html
> DV-L archive at http://groups.yahoo.com/group/DV-List/messages
>
------------------------------
Date: Mon, 30 Apr 2001 10:50:47 -0700
From: "George Loch"
To:
Subject: Re: Laptop recommendations for use with premier and or Cinestream
Message-ID: <000f01c0d19e$7ba32020$10b6bad0@csolutions.net>
Dell
----- Original Message -----
From: Jon DeMaria
To: DV list
Sent: Monday, April 02, 2001 9:37 PM
Subject: Laptop recommendations for use with premier and or Cinestream
> I need a laptop for use with Cinestream or premier, any feedback based on
> personal experience would be greatly appreciated.
>
> Thanks in advance,
>
> Jon DeMaria
> Jon@Raw-News.tv
>
> -- (cut off when replying)-----------------
> This list is made possible by Lifetime DV-L Benefactors such as
http://www.promax.com, http://www.videoguys.com,
http://www.panasonic.com/broadcast and the contributions of its members.
>
> To contribute money: http://www.computervicestore.com/dvl.html
> All about DV-L, to subscribe & unsubscribe:
http://www.DVCentral.org/thelist.html
> DV-L archive at http://groups.yahoo.com/group/DV-List/messages
>
------------------------------
Date: Mon, 30 Apr 2001 10:02:39 -0700
From: kabbage
To:
Subject: Re: Those cute 'lil mini-CDs
Message-ID:
If you're doing quantities of 3000 or more email this guy:
Adam Somers - adam@outsidethesystem.com
I got referred to him by a friend and he can get REALLY low pricing on CD,
DVD and special media (like your 3" disc). I was using Rainbo and DiscMakers
before and he undercut them both. Quality and service were excellent.
Rock on,
kabbage
---------------------------------
From: "Jeff Hammond"
Reply-To: DV-L@dvcentral.org
Date: Fri, 27 Apr 2001 17:13:47 -0600
To: "DV List"
Subject: Those cute 'lil mini-CDs
Hey all,
Does anyone out there have a line on who is producing and duplicating these
media-containing mini-CDs that are all the rage???
I have a client who is asking. I can do the video part, but the rest of the
mini-cd food chain is foggy for me. Any info appreciated!
Jeff Hammond, President
Copper Moon Digital, Inc.
www.coppermoondigital.com
------------------------------
Date: Mon, 30 Apr 2001 13:00:19 -0400
From: "Crittenden, Jan"
To: "'DV-L@dvcentral.org'"
Subject: RE: DV tape problem
Message-ID: <8FF8AAED9EE8D411836F0003472487A4AE78FE@mecasecu007.meca.panasonic.com>
There is no substitute for cleaning your cameras. Metal Evaporated tape
leaves a residue in the machine and it accumulates. Manual cleaning is the
only way to get it off of all tape contact areas. Dry lubricant tape side
steps this problem, but it is 1. more expensive, and 2. made only by
Panasonic.
FWIW,
Jan
> -----Original Message-----
> From: Walt [mailto:wwimberly@cfl.rr.com]
> Sent: Friday, April 27, 2001 6:09 AM
> To: DV-L@dvcentral.org
> Subject: Re: DV tape problem
>
>
> This problem has shown up from time to time since the beginning of DV.
> Mixing tape brands can lead to head clogs do to
> incompatibilities in the
> lubricates used on the tape. There are two solutions, first
> pick one brand
> of tape and stick to it or second clean the heads when
> changing tape brands.
> Due to the abrasive nature of head cleaning most users stick
> to one brand of
> tape.
>
> Walt
>
> ----- Original Message -----
> From: "BODENHAM GARRY"
> To:
> Sent: Friday, April 27, 2001 7:07 AM
> Subject: DV tape problem
>
>
> > Hi folks
> > I'm new to the list but I wondered if anybody has come across this
> > problem:
> > Several Fuji miniDV tapes I bought recently are causing our JVC
> > DV600 feeder deck to indicate a head clog. The picture exhibits
> > blockiness asociated with a poor signal. When the same tape is
> > played back on a VX1000 cancorder, it plays fine. When I play our
> > usual Panasonic tapes on the the feeder JVC immediately after,
> > they play fine, with head clog warning disappearing immediately.
> > I've never had head clog problems with Panasonic tapes, but these
> > Fujis are suspect (but I'm told that all DV tapes originate
> from only
> > two factories anyway - true?).
> > Any ideas?
> > Garry Bodenham, University of Greenwich, London.
>
>
> -- (cut off when replying)-----------------
> This list is made possible by Lifetime DV-L Benefactors such
> as http://www.promax.com, http://www.videoguys.com,
> http://www.panasonic.com/broadcast and the contributions of
> its members.
>
> To contribute money: http://www.computervicestore.com/dvl.html
> All about DV-L, to subscribe & unsubscribe:
> http://www.DVCentral.org/thelist.html
> DV-L archive at http://groups.yahoo.com/group/DV-List/messages
>
------------------------------
Date: Mon, 30 Apr 2001 14:19:18 -0400
From: Geoff Amthor
To: DV-L@dvcentral.org
Subject: Re: Audio S/N & quality - DV camcorders vs DAT/MD
Message-ID: <5.0.0.25.2.20010430135849.0274ec80@mail.mindspring.com>
OK, now that we've beaten DAT vs MiniDisc to death, I'd like to return to
the point of my original post, which was: is the audio capture quality
likely to be better or worse when captured using the camera audio inputs vs
external dedicated units (pro DAT or pro MD), assuming the same external
mics? As a third option, how much would it improve things (if at all) to
use an external preamp (please suggest models) or the preamp in the
portable pro DAT/MD (Tascam or HHB) to run line in instead of mic in to the
camcorder?
In my case, I'm thinking about the following camcorders:
Sony VX2000 (unbalanced inputs)
JVC GY-DV500U (balanced XLR inputs)
Sony PD150 (balanced XLR inputs)
The offline recorders I'm considering are:
HHB PortaDisc MDP500
Tascam DA-P1 DAT
Sony DSR-50 portable DVCAM VTR
(all of the above have balanced XLR inputs and unbalanced line out)
Please don't split hairs about DAT vs MD for now -- that's been covered.
I'm trying to compare three basic alternatives:
1. Mic connected directly to camcorder
2. Mic connected to external DAT/MD
3. Mic run through external preamp or DAT/MD to line in on camcorder
I understand the differences between unbalanced and balanced XLR
connectors, so please don't waste too much time on the distinction between
the VX2000 (unbalanced) and the XLRs on the PD150 and GY-DV500U. I'm trying
to focus on the quality of preamps, A/D converters and general electronics
in these devices.
Geoff
------------------------------
Date: Mon, 30 Apr 2001 11:37:13 -0700
From: "Pam Partee"
To:
Subject: Re: color bars/NTSC monitor confusion
Message-ID: <000201c0d1a4$ee6c71a0$caf1a23f@pamela>
I don't have a great deal of trouble with monitor setup using SMPTE bars
because the blue switch takes the guesswork out. Otherwise I use the old
broadcast eye the magenta method, which is of course somewhat subjective.
The problem is with TV receivers that may favor one hue over another as seen
in facial reds/tans.
My current question concerns SMPTE bars and setup. Currently I put SMPTE
bars w/o setup (generated from the dv output of my JVC GY-DV500) at the
front of dv master tapes made exclusively with dv material, along with a
slate stating that setup is at 0 IRE; and I put SMPTE bars with 7.5 IRE
setup at the front of dv masters that have been made with analog tape
material. I am assuming that the dub house/broadcaster will adjust the
setup after referring to the slate and the bars. My question: am I right
to use the dv color bars for the dv material, even though the setup is 0
IRE, or is it best to always use true SMPTE bars with 7.5 IRE black?
Also, in terms of mixing analog and dv material--Canopus NLE has a nice
analog input feature that allows the user to lower the setup to 0 in order
to match dv video. I don't know if other systems have this choice, but it
does make mixing video easier.
Pam Partee
Video Services
------------------------------
Date: Mon, 30 Apr 2001 14:42:11 -0500
From: paul
To: "Paul @ Hubner"
Subject: OT: HiDef MPEG Compression software
Message-ID:
Hello All,
I just got back from NAB, and while I found a great number of useful items
for me, I could not locate a piece of software for compressing to HiDef into
MPEG-2 (that's 1920 x 1080 resolution uncompressed into a 20Mbps file). A
plugin to Premiere is best, but I'll look at anything that can do this.
Ideas?
These are the vendors I know of:
- Hueris: NO
- Sony: NO
- Ligos: NO
- Panasonic: NO
- Xing NO
- Canopus ?
- CinemaCraft ?
- Pinnacle ?
Can you help provide a software solution to this problem? Thanks for you
assistance
Thanks to all,
paul@hubner.net
------------------------------
Date: Mon, 30 Apr 2001 16:21:42 -0400
From: "Dr. Yedidyah Langsam"
To:
Subject: Re: DV300 / JVC SR-VS10: Solved.
Message-ID: <005a01c0d1b3$2d5266a0$3901f592@sci.brooklyn.cuny.edu>
Perhaps someone else will befit from the following:
With the help of Pinnacle Micro I solved the problem below. Apparently. the
Miro DV300 firewire board needs to install its own drivers rather than the
generic Adaptec 1394 drivers. Thus the solution was to remove the Adaptec
1394 device from the device manager, Uninstall all earlier DV200/300
software, delete all Pinnacle folders, then install the 1.7 version of the
software, which installs the drivers for the Pinnacle DV300 1394 board. You
can then install the 2.0 software upgrade on top of that, BUT do not allow
win98 to install the Adaptec 1394 drivers, rather select the newer DV200/300
drivers with the 2001 date. All works after that.
----- Original Message -----
From: "Dr. Yedidyah Langsam"
To:
Sent: Monday, April 30, 2001 10:52 AM
Subject: Re: DV300 / JVC SR-VS10
> Addition to the question below: The same driver is requested when I
attach
> my Sony DCR-PC1. Apparantly, the miro tools can't be used with any device
I
> attach.
>
>
> ----- Original Message -----
> From: "Dr. Yedidyah Langsam"
> To:
> Sent: Monday, April 30, 2001 10:44 AM
> Subject: DV300 / JVC SR-VS10
>
>
> > Prior to updating to Adobe 6 and the latest Pinnacle Miro DV300
software,
> I
> > was able to access the video deck using the Miro DV300 Tools. Now that I
> > have updated, each time I turn on the deck it attempts to install a
driver
> > for new hardware: 1394/A02D&1001.
> >
> > The 1394 board itself is installed, but the video deck apparently is
not.
> > Any idea where to find the drivers it is looking for?
> >
> > Any help would be greatly appreciated.
> > ========================================================
> > Professor Yedidyah Langsam
> > Department of Computer & Information Science
> > Brooklyn College
> > 2900 Bedford Avenue
> > Brooklyn, NY 11210
> >
> > voice: (718) 951-4161
> > email: langsam@sci.brooklyn.cuny.edu
> > icq: 10661149
> > AOL IM: BCCISProf
> > web page: http://eilat.sci.brooklyn.cuny.edu
> > ========================================================
> >
> > -- (cut off when replying)-----------------
> > This list is made possible by Lifetime DV-L Benefactors such as
> http://www.promax.com, http://www.videoguys.com,
> http://www.panasonic.com/broadcast and the contributions of its members.
> >
> > To contribute money: http://www.computervicestore.com/dvl.html
> > All about DV-L, to subscribe & unsubscribe:
> http://www.DVCentral.org/thelist.html
> > DV-L archive at http://groups.yahoo.com/group/DV-List/messages
> >
>
> -- (cut off when replying)-----------------
> This list is made possible by Lifetime DV-L Benefactors such as
http://www.promax.com, http://www.videoguys.com,
http://www.panasonic.com/broadcast and the contributions of its members.
>
> To contribute money: http://www.computervicestore.com/dvl.html
> All about DV-L, to subscribe & unsubscribe:
http://www.DVCentral.org/thelist.html
> DV-L archive at http://groups.yahoo.com/group/DV-List/messages
>
------------------------------
Date: Mon, 30 Apr 2001 16:24:53 -0400
From: "Daniel Schwob"
To:
Subject: FireWire using JVC SRS-V10 recorder Player
Message-ID:
April 30,01
Computer: PC Pentium III 450
Capture Card: Sudio DV from Pinnacle
Firewire connection works OK for Capture and "Make Movie (= records to the
Camcorder) with the Sony TRV-6 MiniDV Camcorder.
Problem: when using the JVC SRS-V10, the FireWire connection is OK for
Capture, but on Make Movie the JVC gets the Record command from the FireWire
connection but the video does not reach the recorder: it remains on the L1
input(input located on bacck of the VCR).
Any suggestions? Your input and comments will be appreciated.
Daniel Schwob, ICC Dept- McGill University, Montreal Canada
e-mail: daniel.schwob@mcgill.ca
------------------------------
Date: Mon, 30 Apr 2001 16:35:22 -0400
From: "Crittenden, Jan"
To: "'DV-L@dvcentral.org'"
Subject: RE: HiDef MPEG Compression software
Message-ID: <8FF8AAED9EE8D411836F0003472487A4AE7906@mecasecu007.meca.panasonic.com>
Paul Hubner wrote:
>
> I just got back from NAB, and while I found a great number of useful items
> for me, I could not locate a piece of software for compressing to HiDef
into
> MPEG-2 (that's 1920 x 1080 resolution uncompressed into a 20Mbps file).
I think that your desired output data rate is the problem at this point in
time. At 19.4Mbps the quality of the 720P product is far superior to the
artifacting from the 1080i compressed to that level. (There is twice the
amount of info and the interlace reality to deal with when compressing
1080i) The software we were showing, both the Panasonic and the Heuris will
do 1080i but not at 20Mbs.
Not that that solves your problem,
Jan
------------------------------
Date: Mon, 30 Apr 2001 16:43:00 -0400
From: Wayne Folta
To: DV-L@dvcentral.org
Subject: Calculating a Video Camera's ISO-equivqlent rating
Message-ID:
What formula or procedure do you use to assign an ISO rating to a
video camera? I've estimated that our DSR-500 is approximately ISO
400, but it was more of a guestimate than anything. Any tips?
--
Wayne Folta
wfolta@netmail.to
------------------------------
Date: Mon, 30 Apr 2001 18:47:07 -0400
From: "Walt"
To:
Subject: Re: Audio S/N & quality - DV camcorders vs DAT/MD
Message-ID: <003701c0d1c7$81938640$6401a8c0@design1>
I don't have specs to back up my comments but based on user experiences on
this and other forums the VX-2000 and the very early PD150's had some noise
problems particularly when using manual audio control. Sony corrected this
on the later PD-150's. The audio on my Sony DSR-300 is very good and I
generally use it rather than go to an external recorder. I would expect the
JVC to be similar but I haven't had a chance to try it. If you have help
shooting and there's someone available to monitor the audio a separate mixer
or recorder will probably be a bit easier to use than trying to adjust the
levels on the camera while shooting. I mostly use my Tascam DAT for
recording wild sounds and voiceovers in the field. For recording dialog with
the DSR-300 I just go straight to the XLR's on the camera and it's never
been a problem.
Walt
----- Original Message -----
From: "Geoff Amthor"
To:
Sent: Monday, April 30, 2001 2:19 PM
Subject: Re: Audio S/N & quality - DV camcorders vs DAT/MD
> OK, now that we've beaten DAT vs MiniDisc to death, I'd like to return to
> the point of my original post, which was: is the audio capture quality
> likely to be better or worse when captured using the camera audio inputs
vs
> external dedicated units (pro DAT or pro MD), assuming the same external
> mics? As a third option, how much would it improve things (if at all) to
> use an external preamp (please suggest models) or the preamp in the
> portable pro DAT/MD (Tascam or HHB) to run line in instead of mic in to
the
> camcorder?
>
> In my case, I'm thinking about the following camcorders:
> Sony VX2000 (unbalanced inputs)
> JVC GY-DV500U (balanced XLR inputs)
> Sony PD150 (balanced XLR inputs)
>
> The offline recorders I'm considering are:
> HHB PortaDisc MDP500
> Tascam DA-P1 DAT
> Sony DSR-50 portable DVCAM VTR
> (all of the above have balanced XLR inputs and unbalanced line out)
>
> Please don't split hairs about DAT vs MD for now -- that's been covered.
> I'm trying to compare three basic alternatives:
> 1. Mic connected directly to camcorder
> 2. Mic connected to external DAT/MD
> 3. Mic run through external preamp or DAT/MD to line in on camcorder
>
> I understand the differences between unbalanced and balanced XLR
> connectors, so please don't waste too much time on the distinction between
> the VX2000 (unbalanced) and the XLRs on the PD150 and GY-DV500U. I'm
trying
> to focus on the quality of preamps, A/D converters and general electronics
> in these devices.
>
> Geoff
>
------------------------------
Date: Mon, 30 Apr 2001 16:33:04 -0700
From: "Lone Orchard Productions"
To:
Subject: pro video distributors
Message-ID:
I am setting up video labs for my clients and reselling a lot of gear and
haven't found a good distributor for ALL of my equipment for wholesale
prices.
If anyone has any URL's that would make my day.
I have a CA resellers certificate.
Thanks,
Derek
------------------------------
Date: Mon, 30 Apr 2001 22:14:36 EDT
From: Triglyph@aol.com
To: DV-L@dvcentral.org
Subject: Re: color bars/NTSC monitor confusion - DV to VHS dubs
Message-ID: <1e.15175482.281f760c@aol.com>
I think this may be the answer to a problem I've been having. When I dub
something from my Canon Elura to VHS, the dubs are always a little hot - I'm
assuming it's because it's of the DV to VHS setup confusion. The solution
I've been using is to run them through an old TBC I have that I use as a proc
amp. I set up to bars on my monitor (the bars are generated by Adobe
Premiere).
Unfortunately, in order to do this I have to output from the AV plug on the
Elura, not the S-video output, as the TBC has no S-video. Two questions:
would I be better off adjusting the level in Premiere?
Two: I don't really want to spring for an S-video capable proc amp, but I do
need a "macrovision defeater" so that I can watch DVDs which are routed
through my VCR and thus don't play right. The SIMA SCC version also appears
to work as a simple sort of proc amp. Does this sound like a viable
alternative or is it not up to professional standards? These are simple
one-off dubs to VHS, not a production facility. My main requirment is that I
don't lose any quality in the dub.
Thoughts?
b.
------------------------------
Date: Mon, 30 Apr 2001 21:19:04 -0500 (CDT)
From: Vidiot
To: DV-L@dvcentral.org
Subject: Re: color bars/NTSC monitor confusion - DV to VHS dubs
Message-ID: <200105010219.VAA03768@mrvideo.vidiot.com>
>Two: I don't really want to spring for an S-video capable proc amp, but I do
>need a "macrovision defeater" so that I can watch DVDs which are routed
>through my VCR and thus don't play right.
Have you tried using your TBC to get rid of the Macrovision?
MB
--
e-mail: vidiot@vidiot.com
Bart: Hey, why is it destroying other toys? Lisa: They must have
programmed it to eliminate the competition. Bart: You mean like
Microsoft? Lisa: Exactly. [The Simpsons - 12/18/99]
Visit - URL:http://www.vidiot.com/ (Your link to Star Trek and UPN)
------------------------------
Date: Mon, 30 Apr 2001 22:44:06 EDT
From: Triglyph@aol.com
To: DV-L@dvcentral.org
Subject: Re: color bars/NTSC monitor confusion - DV to VHS dubs
Message-ID:
<< >Two: I don't really want to spring for an S-video capable proc amp, but I
do
>need a "macrovision defeater" so that I can watch DVDs which are routed
>through my VCR and thus don't play right.
Have you tried using your TBC to get rid of the Macrovision? >>
I'm sure it would work, but two problems: it's huge and won't fit on the
living room shelves and two: I want to be able to use y/c connections
instead of RCA to BNC adapters (the TBC doesn't have a y/c input).
Thanks,
blain
------------------------------
Date: Mon, 30 Apr 2001 21:53:06 -0500 (CDT)
From: Vidiot
To: DV-L@dvcentral.org
Subject: Re: color bars/NTSC monitor confusion - DV to VHS dubs
Message-ID: <200105010253.VAA03936@mrvideo.vidiot.com>
>I'm sure it would work, but two problems: it's huge and won't fit on the
>living room shelves and two: I want to be able to use y/c connections
>instead of RCA to BNC adapters (the TBC doesn't have a y/c input).
>blain
OK, that answers that. All of my gear is in the same room, so the TBC
is available if I need it. But, it too doesn't have S-video. Doesn't
make much of a difference to me, since I route everything through an
8x8 router.
MB
--
e-mail: vidiot@vidiot.com
Bart: Hey, why is it destroying other toys? Lisa: They must have
programmed it to eliminate the competition. Bart: You mean like
Microsoft? Lisa: Exactly. [The Simpsons - 12/18/99]
Visit - URL:http://www.vidiot.com/ (Your link to Star Trek and UPN)
------------------------------
Date: Mon, 30 Apr 2001 20:07:47 -0700
From: "Dick Lague"
To:
Subject: Re: DV300 / JVC SR-VS10: Solved.
Message-ID: <000f01c0d1eb$e6e28ae0$0400a8c0@charterpipeline.com>
This makes sense. I had thi same problem years ago with Win 98 and a
DV-300.
dick
----- Original Message -----
From: Dr. Yedidyah Langsam
To:
Sent: Monday, April 30, 2001 1:21 PM
Subject: Re: DV300 / JVC SR-VS10: Solved.
> Perhaps someone else will befit from the following:
>
> With the help of Pinnacle Micro I solved the problem below. Apparently.
the
> Miro DV300 firewire board needs to install its own drivers rather than the
> generic Adaptec 1394 drivers. Thus the solution was to remove the Adaptec
> 1394 device from the device manager, Uninstall all earlier DV200/300
> software, delete all Pinnacle folders, then install the 1.7 version of the
> software, which installs the drivers for the Pinnacle DV300 1394 board.
You
> can then install the 2.0 software upgrade on top of that, BUT do not allow
> win98 to install the Adaptec 1394 drivers, rather select the newer
DV200/300
> drivers with the 2001 date. All works after that.
>
> ----- Original Message -----
> From: "Dr. Yedidyah Langsam"
> To:
> Sent: Monday, April 30, 2001 10:52 AM
> Subject: Re: DV300 / JVC SR-VS10
>
>
> > Addition to the question below: The same driver is requested when I
> attach
> > my Sony DCR-PC1. Apparantly, the miro tools can't be used with any
device
> I
> > attach.
> >
> >
> > ----- Original Message -----
> > From: "Dr. Yedidyah Langsam"
> > To:
> > Sent: Monday, April 30, 2001 10:44 AM
> > Subject: DV300 / JVC SR-VS10
> >
> >
> > > Prior to updating to Adobe 6 and the latest Pinnacle Miro DV300
> software,
> > I
> > > was able to access the video deck using the Miro DV300 Tools. Now that
I
> > > have updated, each time I turn on the deck it attempts to install a
> driver
> > > for new hardware: 1394/A02D&1001.
> > >
> > > The 1394 board itself is installed, but the video deck apparently is
> not.
> > > Any idea where to find the drivers it is looking for?
> > >
> > > Any help would be greatly appreciated.
> > > ========================================================
> > > Professor Yedidyah Langsam
> > > Department of Computer & Information Science
> > > Brooklyn College
> > > 2900 Bedford Avenue
> > > Brooklyn, NY 11210
> > >
> > > voice: (718) 951-4161
> > > email: langsam@sci.brooklyn.cuny.edu
> > > icq: 10661149
> > > AOL IM: BCCISProf
> > > web page: http://eilat.sci.brooklyn.cuny.edu
> > > ========================================================
> > >
> > > -- (cut off when replying)-----------------
> > > This list is made possible by Lifetime DV-L Benefactors such as
> > http://www.promax.com, http://www.videoguys.com,
> > http://www.panasonic.com/broadcast and the contributions of its members.
> > >
> > > To contribute money: http://www.computervicestore.com/dvl.html
> > > All about DV-L, to subscribe & unsubscribe:
> > http://www.DVCentral.org/thelist.html
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> > >
> >
> > -- (cut off when replying)-----------------
> > This list is made possible by Lifetime DV-L Benefactors such as
> http://www.promax.com, http://www.videoguys.com,
> http://www.panasonic.com/broadcast and the contributions of its members.
> >
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> >
>
> -- (cut off when replying)-----------------
> This list is made possible by Lifetime DV-L Benefactors such as
http://www.promax.com, http://www.videoguys.com,
http://www.panasonic.com/broadcast and the contributions of its members.
>
> To contribute money: http://www.computervicestore.com/dvl.html
> All about DV-L, to subscribe & unsubscribe:
http://www.DVCentral.org/thelist.html
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------------------------------
Date: Mon, 30 Apr 2001 23:31:52 -0400
From: John Jackman
To: DV-L@dvcentral.org
Subject: Video dynamic range of VX2000 vs XL1
Message-ID: <3AEE2E27.EDD35411@compuserve.com>
Geoff Amthor wrote:
>I ran across the following comment in a web page on film look:
"...since
>CCD imagers' dynamic range is several stops less than negative film,
unless
>you can completely control your lighting ratio (through the appropriate
use
>of silks, HMIs, etc.), significant ranges of highlight and shadow
detail
>will inevitably be lost in daylight exteriors. Low key lighting, and
scenes
>photographed with contrast ratios no higher than the exposure dynamic
range
>of the specific camera head makes optimum use of the medium."
This is true and sort of not true. The top and bottom end exposure
latitude of film is more complicated than video. For the cameras you
are talking about, there is truth to this. Suggest you experiment with
polarizing filter, which dramatically improves the situation in many
cases.
In more expensive cameras, esp with DSP, this statement is not so true.
Pro cameras that have knee and black stretch can create a response curve
similar to film and do very well. Most pro cameras now have a latitude
that rivals negative film of a few years back.
John Jackman
------------------------------
Date: Mon, 30 Apr 2001 21:31:23 -0700
From: "Brian Nokell"
To:
Subject: DV hard drive storage
Message-ID: <009801c0d1f7$94fe1260$e98e520c@RACK1>
Has anyone used this unit, or seen it at a show?
http://www.adtx.co.jp/english/prod/1394/1394drd2.html
Thanks,
Brian Nokell
Silverdale Media
Silverdale, WA
------------------------------
Date: Tue, 01 May 2001 00:54:59 -0400
From: Dave Haynie
To: DV-L@dvcentral.org
Subject: Re: Re Audio S/N & quality
Message-ID: <20010501002148.4DA3.DHAYNIE@jersey.net>
On Mon, 30 Apr 2001 09:55:58 -0500, "Mr Gremlin" jammed all night, and by sunrise was heard saying:
> On 30 Apr 2001, at 3:20, rob wrote:
> >And MY point is, in the end it doesn't matter a bit WHAT equipment you
> >have, as long as the final product passes muster.
> Also I would never let a project out my doors that ONLY passes muster.
I think the point some of the other folks are making is a basic one:
sometimes "good enough" is good enough. More to the point, sometimes
good enough, today, is much better than "really good" next week. Sure,
you're talking about a craft at worse, an art at best, but also a
business.
Another simple point is that your audience, or your customer's audience,
isn't sitting in front of an A/B switch listening to a DAT vs. MD test.
They're listening to the audio presented, they'll accept or reject it
based wholly on that. You, as the creator, may easily spot the flaws.
Most people don't know precisely what you envisioned, so they do not.
I have found this true of every creative endeavor I've taken on: video,
photography, carpentry, computer design, software design, etc.
That's not to say you can't set your own threshold of excellence. Only
that you may well be the only person who notices. While it's probably
the case that most of the folks on this list could pick out DAT in an
A/B test, most would also find the MD audio just dandy, given no
comparison. Especially if you're taking it to broadcast, where the
audio's getting massacred anyway by things far more heinous than ATRAC.
> >And you're sadly mistaken if you think ANY ears can hear the difference
> >between mindisc and dat.
> Again I am confused. EVERYONE in the biz that I have asked, can hear the
> difference. In one of your earlier posts you said you had never personally
> done a side by side comparison yourself. How can you then, make such a
> claim??
It's not the A/B test that's at issue. Play 20 sound bites, half on DAT,
half on MD. How many of your "folks in the biz" ID them correctly? Then
consider the audience -- will Joe Sixpack and Sally Trailerpark,
basically content with snowy NTSC and VHS, hear this different? Will the
folks listening in MPEG Layer II on a DBS system hear this difference? I
got nothing against art for art's sake, and obviously, we all have to
sleep at night, but there really are times it Just Doesn't Matter.
> >If the song is good, people don't care what it was recorded on. Which
> >explains why there are so many crappy MP3s flooding the Internet.
> The reason there are so many Mp3's, is because they are free...beats $17.99
> at Tower Records any day. Also, if sound quality didn't count to the
> consumer, cassette tapes and 8 tracks would still sell great..they are much
> cheaper.
It has yet to be acertained if regular consumers care all that much. CDs
have numerous other advantages: no rewind, no mechanical parts, last
virtually forever, CD changer/jukeboxes. You'll also notice that both
stand-alone and CD-based MP3 players are getting really popular. I have
both, and not even slightly because of free MP3s, which I've never used.
The Flash-based MP3 player is simply ideal for sports like jogging and
cycling. The MP3 format lets me take a whole shelf or two of CDs on
business trips, without risking any of the originals. Outside of a
listening room, the sound of a well encoded MP3 vs. 16-bit original in
the ambient environment is rarely a big problem. It certainly hasn't
killed FM radio (we'll leave that to Clear Channel and folks of that ilk),
much less AM.
Over time, consumer demands include better sound, but again, it's
likely to happen anyway, simply because [a] it can, and [b] we gotta sel
them something new. Is there really a demand (outside of media content
creation, CAD, weather forcasting, data mining, etc) for bigger and
better CPUs every year, or simply an abundance? Groups spend millions to
figure out just what element of a successful product is THE key to
consumer acceptance, if there really is a key. Quality hasn't usually
won out over ease of use or just blind market luck (see VHS, see Windows,
etc).
> >And just think what you could buy with that extra $800.
> Maybe some classes in sound and audio engineering, so you can learn what you
> are missing.
Everyone could use a little more of that.
I've written from time to time, mostly on the PC-DAW group, about the
importance of your knowledge of the tools vs. the tools themselves. We
can all easily afford better sound recording than pretty much any
musician had access to from the 70s back to good old Tom Edison, and
desktop video tools doing things unheard of in Hollywood not so long ago.
That doesn't mean you can be another Alan Parsons or Akira Kurosawa, ever. But
you certainly won't by brute force of technology.
--
Dave Haynie dhaynie@metaboxusa.com http://www.metaboxusa.com
Chief Technology Officer, Metabox Corporation
"Too bad dark languages... rarely survive" -Poe
------------------------------
Date: Tue, 1 May 2001 01:11:09 -0400
From: Robert E Lamm
To: DV-L@dvcentral.org
Subject: Re: Re Audio S/N & quality
Message-ID:
It's easy to become preoccupied with weights and measures, but the
customer is often measuring your output on the basis of effectiveness.
Impact is rarely a function of sample rate or accuracy - more a case of
insight and occasionally inspiration...
The most common shortcoming of the productions I see is not signal
quality, but the lack of time and preparation to light and mike the shoot
properly. A bit more time spent here would have a lot more impact than any
improvement in mere recording quality.
-Bob Lamm
CYNC Corp.
Video/Multimedia Equipment Dealership
Brookline, MA
USA-617-277-4317
www.cync.com
On Tue, 1 May 2001, Dave Haynie wrote:
>
> On Mon, 30 Apr 2001 09:55:58 -0500, "Mr Gremlin" jammed all night, and by sunrise was heard saying:
>
> > On 30 Apr 2001, at 3:20, rob wrote:
>
> > >And MY point is, in the end it doesn't matter a bit WHAT equipment you
> > >have, as long as the final product passes muster.
>
> > Also I would never let a project out my doors that ONLY passes muster.
>
> I think the point some of the other folks are making is a basic one:
> sometimes "good enough" is good enough. More to the point, sometimes
> good enough, today, is much better than "really good" next week. Sure,
> you're talking about a craft at worse, an art at best, but also a
> business.
>
> Another simple point is that your audience, or your customer's audience,
> isn't sitting in front of an A/B switch listening to a DAT vs. MD test.
> They're listening to the audio presented, they'll accept or reject it
> based wholly on that. You, as the creator, may easily spot the flaws.
> Most people don't know precisely what you envisioned, so they do not.
> I have found this true of every creative endeavor I've taken on: video,
> photography, carpentry, computer design, software design, etc.
>
> That's not to say you can't set your own threshold of excellence. Only
> that you may well be the only person who notices. While it's probably
> the case that most of the folks on this list could pick out DAT in an
> A/B test, most would also find the MD audio just dandy, given no
> comparison. Especially if you're taking it to broadcast, where the
> audio's getting massacred anyway by things far more heinous than ATRAC.
>
> > >And you're sadly mistaken if you think ANY ears can hear the difference
> > >between mindisc and dat.
>
> > Again I am confused. EVERYONE in the biz that I have asked, can hear the
> > difference. In one of your earlier posts you said you had never personally
> > done a side by side comparison yourself. How can you then, make such a
> > claim??
>
> It's not the A/B test that's at issue. Play 20 sound bites, half on DAT,
> half on MD. How many of your "folks in the biz" ID them correctly? Then
> consider the audience -- will Joe Sixpack and Sally Trailerpark,
> basically content with snowy NTSC and VHS, hear this different? Will the
> folks listening in MPEG Layer II on a DBS system hear this difference? I
> got nothing against art for art's sake, and obviously, we all have to
> sleep at night, but there really are times it Just Doesn't Matter.
>
> > >If the song is good, people don't care what it was recorded on. Which
> > >explains why there are so many crappy MP3s flooding the Internet.
>
> > The reason there are so many Mp3's, is because they are free...beats $17.99
> > at Tower Records any day. Also, if sound quality didn't count to the
> > consumer, cassette tapes and 8 tracks would still sell great..they are much
> > cheaper.
>
> It has yet to be acertained if regular consumers care all that much. CDs
> have numerous other advantages: no rewind, no mechanical parts, last
> virtually forever, CD changer/jukeboxes. You'll also notice that both
> stand-alone and CD-based MP3 players are getting really popular. I have
> both, and not even slightly because of free MP3s, which I've never used.
> The Flash-based MP3 player is simply ideal for sports like jogging and
> cycling. The MP3 format lets me take a whole shelf or two of CDs on
> business trips, without risking any of the originals. Outside of a
> listening room, the sound of a well encoded MP3 vs. 16-bit original in
> the ambient environment is rarely a big problem. It certainly hasn't
> killed FM radio (we'll leave that to Clear Channel and folks of that ilk),
> much less AM.
>
> Over time, consumer demands include better sound, but again, it's
> likely to happen anyway, simply because [a] it can, and [b] we gotta sel
> them something new. Is there really a demand (outside of media content
> creation, CAD, weather forcasting, data mining, etc) for bigger and
> better CPUs every year, or simply an abundance? Groups spend millions to
> figure out just what element of a successful product is THE key to
> consumer acceptance, if there really is a key. Quality hasn't usually
> won out over ease of use or just blind market luck (see VHS, see Windows,
> etc).
>
> > >And just think what you could buy with that extra $800.
>
> > Maybe some classes in sound and audio engineering, so you can learn what you
> > are missing.
>
> Everyone could use a little more of that.
>
> I've written from time to time, mostly on the PC-DAW group, about the
> importance of your knowledge of the tools vs. the tools themselves. We
> can all easily afford better sound recording than pretty much any
> musician had access to from the 70s back to good old Tom Edison, and
> desktop video tools doing things unheard of in Hollywood not so long ago.
> That doesn't mean you can be another Alan Parsons or Akira Kurosawa, ever. But
> you certainly won't by brute force of technology.
>
> --
> Dave Haynie dhaynie@metaboxusa.com http://www.metaboxusa.com
> Chief Technology Officer, Metabox Corporation
> "Too bad dark languages... rarely survive" -Poe
>
> -- (cut off when replying)-----------------
> This list is made possible by Lifetime DV-L Benefactors such as http://www.promax.com, http://www.videoguys.com, http://www.panasonic.com/broadcast and the contributions of its members.
>
> To contribute money: http://www.computervicestore.com/dvl.html
> All about DV-L, to subscribe & unsubscribe: http://www.DVCentral.org/thelist.html
> DV-L archive at http://groups.yahoo.com/group/DV-List/messages
>
------------------------------
Date: Mon, 30 Apr 2001 22:43:01 -0700
From: rob@gregorybrowne.com
To: DV-L@dvcentral.org
Subject: Re: Re Audio S/N & quality
Message-ID: <3AEDEA75.25873.763443A@localhost>
I guess I have no need to respond. Dave has already done it and
done it well...
rgb
On 1 May 2001, at 0:54, Dave Haynie wrote:
> I think the point some of the other folks are making is a basic one:
> sometimes "good enough" is good enough. More to the point, sometimes
> good enough, today, is much better than "really good" next week. Sure,
> you're talking about a craft at worse, an art at best, but also a
> business.
>
------------------------------
Date: Mon, 30 Apr 2001 23:03:56 -0700
From: rob@gregorybrowne.com
To: DV-L@dvcentral.org
Subject: Re: Re Audio S/N & quality
Message-ID: <3AEDEF5C.2549.7766BAA@localhost>
I'm a screenwriter by profession. And this discussion reminds me
of a time, many years ago, when I was struggling to break into the
industry and I would often run into literary types who turned their
noses up at "commercial" cinema because it's too crass and
corrupt to have any worth. Literary types who couldn't write their
way out of a paper bag.
Worth comes from execution, not the tools you use. In one man's
hands an MD recorder will be a piece of shit. In another, it'll be
pure gold. The same goes for DAT.
In the end, that's ALL that counts.
And we can't afford to turn our noses up at ANYTHING.
rgb
------------------------------
End of DV-L V1 #842
*******************
-- (cut off when replying)-----------------
This list is made possible by Lifetime DV-L Benefactors such as http://www.promax.com, http://www.videoguys.com, http://www.panasonic.com/broadcast and the contributions of its members.
To contribute money: http://www.computervicestore.com/dvl.html
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