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screen mattes impossible on the format. The DV format further compressed the digital data at 5:1, meaning compromising the picture information by 80% to get 25 million bits per second onto a small tape moving at a slow speed. Compare the DV quality to 1986's D1, with 4:2:2, no compression, and 173~226 million bits per second of data preserved.
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Digital
Betacam could play previous analog Betacam/Betacam SP tapes which by now had built a library archive for broadcasters using its 1/2-inch tape format (as opposed to the bulkier 19mm D1/D2 cassettes). 1/2-inch Digital Betacam thus became the de facto standard-definition broadcast editing, delivery and archive standard.
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format, because the machines being uncompromising in quality reverted to component processing (where the luminance or black-and-white information of the picture) and its primary colors red, green and blue (RGB) were kept separate in a sampling algorithm known as 4:2:2, which is why many machines have
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in order to lower the bandwidth needed. This reduced D-2's price tag to half that of D-1. Since D-2 was composite digital as opposed to component, it could easily be dropped into the space and infrastructure of composite analog machines presently used at the time (2-inch
Quadruplex, 1-inch Type C and
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The next two 2s mean that R-Y and B-Y were sampled at every other pixel, skipping the one in-between. The eye should not be able to see the two in-between pixels not having the actual color information that the originating camera recorded – previous color pixel is simply replicated. Thus with 4:2:2,
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The uncompressed component video used enormous bandwidth for its time: 167 Mbit/sec (bit rate). One of the first D-1 VTRs, the Sony DVR-1000, required a separate, large video processor. Its successor, the DVR-2000, integrated it into the same chassis as the VTR. The maximum record time on a D-1
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is referred to as color difference processing). For example, if there are five black-and-white panda teddy bears in a box (Y); plus eight red apples (R-Y) and two blueberries (B-Y); and the total number of items has to equal 20, one can easily calculate how many remaining green apples there are, as
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As broadcasters would later convert from analog to digital wiring, component digital infrastructure became feasible. Sony's popular component
Digital Betacam supported this transition by keeping the colors separated in component digital space (D1/D5) rather than combined in composite space (D2/D3).
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The format uses helical scan, with an M wrap pattern in which the tape is wrapped around the head drum around the left and right side. The helical scan head drum rotates at 10,800 RPM for NTSC video, or at 9000 RPM for PAL. It is 75 mm in diameter and the helical tracks, read by video heads mounted
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Component video was rarely processed through a video facility as RGB, as it is in computer displays. There was a historical legacy need to maintain black-and-white signals. Further, as the human eye is more sensitive to black-and-white picture information than color, engineers calculated that with
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While early color television experiments were kept in the component domain of RGB, most color television broadcasting and post production was compromised in the 1960s and 1970s to simplify infrastructure and transmission by combining the color and luminance (composite). However, once the color and
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The D1 units are switchable between NTSC and PAL. Luma is sampled at 13.5 MHz and Chroma at 6.75 MHz with an overall data rate of 27 MHz. Sampling at 13.5 MHz was used as it is a common multiple of NTSC/PAL line rate (6 x 2.5 MHz). The first input/output interface was a 25
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The popular 1995/96 1/4-inch DV/DVCAM/DVCPRO format had a component digital YUV sampling of 4:1:1, meaning only 1 out of 4 pixels or 25% of the color is actually recorded, which is why the color looks "muddy" and not as vibrant when compared to any 4:2:2 recording. This further made perfect green
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Harry, Henry, Harriet, Hal or Abekas DDR) or via multiple analog machines running at once. Hard drives in the 1980s that stored broadcast-quality video would typically only hold 30 seconds to a few minutes of space, yet the systems that made them work could cost $ 500,000. By contrast, the D-1
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D-1 was the very first real-time digital broadcast-quality tape format. The original Sony DVR-1000 unveiled in 1986 had a U.S. MSRP (manufacturer suggested retail price) of $ 160,000. A few years later, Sony's engineers were able to drastically reduce the size of the machine by reducing the
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When engineers sought to process and record in real time the huge amount of digital data needed to make the first digital video tape format, keeping the Y, R-Y, B-Y or YUV algorithm was key to simplifying and reducing the initial picture information sampled, saving valuable space.
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In a given small sample of the video picture – for instance the first four pixels going across horizontally in the top-left corner of the screen, the first "4" means that the more important luminance/black-and-white picture detail was sampled in every pixel in that 4-sample.
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602:, or the detail of the video picture, in black-and-white. It contained the sync 'frame' needed to make a stable picture. If one connects only the "Y" cable, one can see a black-and-white image, but not if only connecting the other two color information channels.
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Modern high definition video recorders like Sony's HDCAM-SR format, SR stands for superior resolution, have the ability to switch between 4:2:2 and full RGB recording for giant-screen motion picture work, thus RGB is sampled at every pixel and branded 4:4:4.
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Because of the uncompromising picture quality, component processing and uncompressed recording, D-1 was most popular in high-end graphic and animation production – where multiple layering had previously been done in short run times via hard drives
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all color, red, green and blue, is sampled at half the rate of the black-and-white (luminance) picture detail. You could say that 50% of the color is actually recorded – because for the TV screen, it was good enough for the human eye.
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4:2:2 is Y, R-Y and B-Y; not RGB; 4:2:2 is often erroneously quoted as 4 meaning red, and the remaining 2s standing for green and blue. If this were true, it would produce an uneven recording of green and blue data compared to red.
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3/4-inch U-Matic). Since less information was recorded on D-2 than on D-1, tape speed could be reduced and hold a maximum of 208 minutes compared to D-1's 94 minutes. However, D-2 was still a compromise, being composite video.
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A small variation removing the top 6 lines to save space was later introduced and made popular in the 1/4-inch DV/DVCAM/DVCPRO formats and for digital broadcasting, which have 720 x 480 pixels for NTSC; and is also used in
865:(Larcher, D. (2011). Digital Video Tape Recorder. Objects of Knowledge, of Art and of Friendship. A Small Technical Encyclopaedia. For Siegfried Zielinski. D. Lynk and N. Röller. Leipzig, Institut für Buchkunst: 30-31.)
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Peed, making them technically friendly for 24-frame telecine film transfers to D1 tape – and allowing a single tape to provide both NTSC (525 vertical lines) and PAL (625 lines) masters at one time.
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format has similar specifications, but sampled at 10-bits as opposed to D-1's 8-bits. It had the advantage of development time as it was released much later than Sony's D-1 and one year after Sony's
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An external single-rack unit would enable the machine to record an additional key (matte) channel (4:2:2:4) or double the horizontal resolution (8:4:4) by combining two VTRs running simultaneously.
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Even as HD broadcasting and delivery became more commonplace in the U.S. after 2008–2010, networks would often require standard definition copies on
Digital Betacam. Television shows such as CBS'
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Early D-1 operations were plagued with difficulties, though the format quickly stabilized and is still renowned for its superb standard definition image quality.
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on the head drum, are 40 microns wide. Writing speed at the heads is 33.63 m/s, linear tape speeds are 286.588 mm/s for NTSC, 286.875 mm/s for PAL.
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Sony's 1982 news-gathering 1/2-inch video format
Betacam, the first camcorder combination came up with a compromise, known as YUV. The "Y" was
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the size of the largest home television screen, the color video lines did not need to be sampled for every converted digital pixel.
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electronic processing to fit into the main cassette drive chassis, christened the DVR-2000, lowering the U.S. cost to $ 120,000.
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D-1 was notoriously expensive and the equipment required very large infrastructure changes in facilities which upgraded to this
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D-1 or 4:2:2 D-1 (1986) was a major feat in real time, broadcast quality digital video recording. It stores
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The filmmaker's handbook: a comprehensive guide for the digital age, By Steven Ascher, Edward Pincus
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luminance information was combined, it could never truly be uncombined as cleanly as originated.
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tape is 94 minutes. Medium tapes could record up to 34 minutes, and small tapes up to 6 minutes.
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505:(SDI, SMPTE 259M, 75Ω coax, 270 MHz). Ancillary data can be put in H/V blanking intervals.
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Multidimensional signal, image, and video processing and coding, page 381, By John
William Wood
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smpte.org, The User
Requirements for the 4:2:2 Component Digital VTR, by William C. Nicholls
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tape (though not to be confused with the ubiquitous 3/4-inch U-Matic/U-Matic SP cassette).
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TI CLC021 SMPTE 259M Digital Video
Serializer with EDH Generation and Insertion
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for Y’ B’-Y’ R’-Y’ is also defined in ITU Rec. 601 or Rec. 709 color space.
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https://archive.org/details/manual_DVR1000_SM_SONY_EN/page/n79/mode/1up
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https://archive.org/details/manual_DVR1000_SM_SONY_EN/page/n76/mode/1up
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format system from Sony and Ampex soon followed two years later, using
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were still recorded and archived on
Digital Betacam as late as 2012.
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nfsa.gov.au The
National Film and Sound Archive of Australia, TV
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machine allowed 94 minutes of recording on a $ 200 cassette.
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tech.ebu.ch Rec 601 the origins of the 4:2:2 DTV standard
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D-1 resolution is 720 (horizontal) × 486 (vertical) for
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video standard, introduced in 1986 through efforts by
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898:Sony History: The Beginning of the Digital Age
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401:format. SMPTE standardized the format within
397:product and was the first major professional
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89:introducing citations to additional sources
50:Learn how and when to remove these messages
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220:Learn how and when to remove this message
202:Learn how and when to remove this message
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385:engineering committees. It started as a
232:Magnetic tape-based videocassette format
79:Relevant discussion may be found on the
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1549:CBHD (China Blue High-definition Disc)
880:American Cinematographer Video Manual.
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433:raster format with 8 bits, along with
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561:a badge of "4:2:2" instead of "D-1."
473:systems; these resolutions come from
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1506:HVD (High-Definition Versatile Disc)
699:Tozer, E. P. J. (12 November 2012).
405:601 (orig. CCIR-601), also known as
815:Broadcast Engineer's Reference Book
702:Broadcast Engineer's Reference Book
238:D1 (a.k.a. 4:2:2 Component Digital)
878:Grotticelli, Michael, ed. (2001).
497:(SMPTE 125M) and later updated to
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605:The "UV" was a math algorithm of
31:This article has multiple issues.
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441:on a 3/4 inch (19 mm)
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72:relies largely or entirely on a
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574:Later "SP" and "OS" models ran
39:or discuss these issues on the
882:The ASC Press, Hollywood, CA.
487:standard-definition television
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841:Sony DVR-1000 service manual
728:Sony DVR-1000 service manual
1779:Products introduced in 1986
182:the claims made and adding
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1752:Electronic Video Recording
609:(red minus luminance) and
469:systems and 720 × 576 for
355:Sony D-1 VTR control panel
1568:UHD-BD (Ultra HD Blu-ray)
1465:PVD (Personal Video Disc)
715:– via Google Books.
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1001:Ampex 2 inch helical VTR
818:. Taylor & Francis.
499:serial digital interface
437:audio tracks as well as
1500:Professional Disc (PFD)
1007:Sony 2 inch helical VTR
853:"Digital signal coding"
740:"Digital signal coding"
586:Relation to other tapes
372:4:2:2 Component Digital
1746:Electronicam kinescope
1733:Video recorded to film
893:Sony.com DVR-1000 page
851:Gaunt, R. (May 1997).
738:Gaunt, R. (May 1997).
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1789:Videocassette formats
1560:Ultra-High Definition
964:Video storage formats
523:format was unveiled.
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545:The Rachael Ray Show
85:improve this article
1784:Japanese inventions
812:Tozer, EPJ (2012).
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33:Please help
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1699:Solid state
1537: 2006
1441: 1996
1351:Phonovision
1309:D6 HDTV VTR
1049:Philips VCR
507:Color space
1768:Categories
1236:Betacam SX
1145:Betacam SP
1109:Video 2000
989:Quadruplex
785:"DVR 2000"
757:"DVR 1000"
683:References
429:using the
421:digitized
255:Media type
176:improve it
141:April 2023
111:newspapers
36:improve it
1740:Kinescope
1670:AVC-Intra
1637:CamCutter
1620:DVCPRO HD
1387:Laserfilm
1369:LaserDisc
1336:Videodisc
1273:Sony HDVS
972:Videotape
600:luminance
513:Panasonic
483:DVD-Video
322:Developed
300:mechanism
286:mechanism
180:verifying
81:talk page
42:talk page
1630:Tapeless
1614:DVCPRO50
1393:CD Video
1357:Ampex-HS
1321:HDCAM SR
1285:BCH 1000
1248:MPEG IMX
1242:Digital8
662:DVR-2100
659:DVR-2000
656:DVR-1000
475:Rec. 601
439:timecode
431:CCIR 601
407:Rec. 601
311:Standard
267:Encoding
261:, ¾-inch
192:May 2023
1748:(1950s)
1719:MicroP2
1640:Editcam
1582:Virtual
1434:MiniDVD
1422:MovieCD
1409:Digital
1254:MicroMV
1186:Digital
1163:S-VHS-C
1133:Betacam
1067:Betamax
1037:U-matic
1019:CV-2000
797:18 July
769:18 July
678:DCR-500
675:DCR-300
672:DCR-100
459:Quantel
174:Please
125:scholar
1754:(1967)
1742:(1947)
1721:(2012)
1715:(2007)
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1684:(2009)
1682:iFrame
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1652:GBA-TV
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1055:V-Cord
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1031:EIAJ-1
1027:(1967)
1021:(1965)
1015:(1965)
1013:Type A
1009:(1961)
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991:(1956)
981:Analog
886:
822:
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646:Models
413:Format
374:is an
324:
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127:
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1664:AVCHD
1646:XDCAM
1608:DVCAM
1303:D-VHS
1297:HDCAM
1291:W-VHS
1279:UniHi
1157:S-VHS
1121:VHS-C
788:(PDF)
760:(PDF)
403:ITU-R
391:Bosch
383:SMPTE
376:SMPTE
340:Usage
296:Write
132:JSTOR
118:books
1688:XAVC
1453:SVCD
1175:Ruvi
1025:Akai
995:VERA
884:ISBN
820:ISBN
799:2023
771:2023
707:ISBN
651:Sony
526:The
493:pin
485:and
467:NTSC
389:and
387:Sony
334:Sony
282:Read
272:NTSC
104:news
1713:SxS
1676:TOD
1658:MOD
1512:VMD
1477:FVD
1471:UMD
1459:EVD
1447:CVD
1428:DVD
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1399:VSD
1381:VHD
1375:CED
1363:TeD
1315:HDV
1212:DCT
1169:Hi8
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1103:SVR
1091:VHS
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515:'s
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471:PAL
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395:BTS
370:or
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330:BTS
276:PAL
178:by
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1770::
1707:P2
1596:DV
1534:c.
1438:c.
1224:D5
1206:D3
1200:D2
1194:D1
1097:VK
1061:VX
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326:by
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