Instructional Uses of Videotape;A Symposium
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EMERGENCY REGULATION TEXT Patient Electronic Property
DEPARTMENT OF STATE HOSPITALS EMERGENCY REGULATION TEXT Patient Electronic Property California Code of Regulations Title 9. Rehabilitative and Developmental Services Division 1. Department of Mental Health Chapter 16. State Hospital Operations Article 3. Safety and Security Amend section 4350, title 9, California Code of Regulations to read as follows: [Note: Set forth is the amendments to the proposed emergency regulatory language. The amendments are shown in underline to indicate additions and strikeout to indicate deletions from the existing regulatory text.] § 4350. Contraband Electronic Devices with Communication and Internet Capabilities. (a) Except as provided in subsection (d), patients are prohibited from having personal access to, possession, or on-site storage of the following items: (1) Electronic devices with the capability to connect to a wired (for example, Ethernet, Plain Old Telephone Service (POTS), Fiber Optic) and/or a wireless (for example, Bluetooth, Cellular, Wi-Fi [802.11a/b/g/n], WiMAX) communications network to send and/or receive information including, but not limited to, the following: (A) Desktop computers; laptop computers; tablets; single-board computers or motherboards such as “Raspberry Pi;” cellular or satellite phones; personal digital assistant (PDA); graphing calculators; and satellite, shortwave, CB and GPS radios. (B) Devices without native capabilities that can be modified for network communication. The modification may or may not be supported by the product vendor and may be a hardware and/or software configuration change. (2) Digital media recording devices, including but not limited to CD, DVD, Blu-Ray burners. Page 2 (3) Voice or visual recording devices in any format. (4) Items capable of patient-accessible memory storage, including but not limited to: (A) Any device capable of accessible digital memory or remote memory access. -
Magnetic Tape Storage and Handling a Guide for Libraries and Archives
Magnetic Tape Storage and Handling Guide Magnetic Tape Storage and Handling A Guide for Libraries and Archives June 1995 The Commission on Preservation and Access is a private, nonprofit organization acting on behalf of the nation’s libraries, archives, and universities to develop and encourage collaborative strategies for preserving and providing access to the accumulated human record. Additional copies are available for $10.00 from the Commission on Preservation and Access, 1400 16th St., NW, Ste. 740, Washington, DC 20036-2217. Orders must be prepaid, with checks in U.S. funds made payable to “The Commission on Preservation and Access.” This paper has been submitted to the ERIC Clearinghouse on Information Resources. The paper in this publication meets the minimum requirements of the American National Standard for Information Sciences-Permanence of Paper for Printed Library Materials ANSI Z39.48-1992. ISBN 1-887334-40-8 No part of this publication may be reproduced or transcribed in any form without permission of the publisher. Requests for reproduction for noncommercial purposes, including educational advancement, private study, or research will be granted. Full credit must be given to the author, the Commission on Preservation and Access, and the National Media Laboratory. Sale or use for profit of any part of this document is prohibited by law. Page i Magnetic Tape Storage and Handling Guide Magnetic Tape Storage and Handling A Guide for Libraries and Archives by Dr. John W. C. Van Bogart Principal Investigator, Media Stability Studies National Media Laboratory Published by The Commission on Preservation and Access 1400 16th Street, NW, Suite 740 Washington, DC 20036-2217 and National Media Laboratory Building 235-1N-17 St. -
Color Handout
Caring for Audiovisual Material: Webinar 10/23/13 3 Videotape and Optical Media Identification and Preservation Webinar October 23, 2013 Linda Tadic Audiovisual Archive Network [email protected] 1 What Will be Covered Physical properties of media Preservation issues Formats and identification 2 Heritage Preservation: Caring for Yesterday's Treasures--Today 1 Caring for Audiovisual Material: Webinar 10/23/13 3 What Will Not be Covered Digitization (that’s the webinar on October 30) Cataloging and metadata 3 Additional Resources Bibliography of web-based readings Archival video preservation labs vendor list (USA) List of current video formats 4 Heritage Preservation: Caring for Yesterday's Treasures--Today 2 Caring for Audiovisual Material: Webinar 10/23/13 3 VIDEO 5 Videotape in Brief If it has sprockets, it’s film – not video. 6 Heritage Preservation: Caring for Yesterday's Treasures--Today 3 Caring for Audiovisual Material: Webinar 10/23/13 3 Videotape in Brief Like audiotape, videotape is magnetic media. Video can come in reel or cassette form – like audiotape. It can carry both analog and digital signals – like audiotape. 7 Primary Concerns Multitude of formats (identification can be difficult) Format obsolescence Short Life Expectancy (LE) Environmental, organic, and human factors contributing to signal degradation 8 Heritage Preservation: Caring for Yesterday's Treasures--Today 4 Caring for Audiovisual Material: Webinar 10/23/13 3 How Videotape Started Thank Bing Crosby. First funded development of audiotape. In 1950 gave $50,000 to a start-up called Ampex to develop magnetic videotape. 9 How Videotape Started Original market/users: broadcasting Like other time-based media, formats for the consumer market quickly followed. -
Glossary of Digital Video Terms
Glossary of Digital Video Terms 24P: 24 frame per second, progressive scan. This has been the frame rate of motion picture film since talkies arrived. It is also one of the rates allowed for transmission in the DVB and ATSC television standards – so they can handle film without needing any frame-rate change (3:2 pull-down for 60 fields-per-second systems or running film at 25fps for 50 Hz systems). It is now accepted as a part of television production formats – usually associated with high definition 1080 lines, progressive scan. A major attraction is a relatively easy path from this to all major television formats as well as offering direct electronic support for motion picture film and D-cinema. 24Psf: 24 frame per second, progressive segmented frame. A 24P system in which each frame is segmented – recorded as odd lines followed by even lines. Unlike normal television, the odd and even lines are from the same snapshot in time – exactly as film is shown today on 625/50 TV systems. This way the signal is more compatible (than normal progressive) for use with video systems, e.g. VTRs, SDTI or HD-SDI connections, mixers/switchers etc., which may also handle interlaced scans. It can also easily be viewed without the need to process the pictures to reduce 24-frame flicker. 3:2 pull-down: Method used to map the 24 fps of film onto the 30 fps (60 fields) of 525-line TV, so that one film frame occupies three TV fields, the next two, etc. It means the two fields of every other TV frame come from different film frames making operations such as rotoscoping impossible, and requiring care in editing. -
SMPTE Type C Helical-Scan Recording Format by DAVID K
SMPTE Type C Helical-Scan Recording Format By DAVID K. FIBUSH About two years ago there was little prospect that a 1-in helical-scan videotape recorded marily to eliminate the need to review all on one manufacturer’s machine could ever be played back on another manufacturer’s aspects of the format each time a change VTR. In a single year, however, this situation has changed and the S M P T E Standards is made. Typically, the format documents Committee has approved the basic format documents for high-quality I-in helical-scan include a document showing record loca- VTRs capable of interchanging tapes. Topics covered in detail in the paper include: the tions on the tape, a mechanical configura- process of developing a standard, with a list of the relevant ANSI and S M P T E tion document, and a number of electrical documents; helical video format parameters, with definitions and criteria for their parameter documcnts for video, audio, selection; location of tape tracks; video and sync records, with sources and magnitudes control track, ctc. Many pcoplc are famil- of various time-base errors; limitation of vertical-interval dropout; the requirement for iar with the record location drawing as this six heads; the contraints of video track straightness and longitudinal track dimensions; information is widely publicized to show audio and control-track recording; and video signal processing. I t is expected that the the users the available channels and some new SMPTE Type C format will provide a practical solution to the users’ requirements of the features of the VTR. -
TELEVISION and VIDEO PRESERVATION 1997: a Report on the Current State of American Television and Video Preservation Volume 1
ISBN: 0-8444-0946-4 [Note: This is a PDF version of the report, converted from an ASCII text version. It lacks footnote text and some of the tables. For more information, please contact Steve Leggett via email at "[email protected]"] TELEVISION AND VIDEO PRESERVATION 1997 A Report on the Current State of American Television and Video Preservation Volume 1 October 1997 REPORT OF THE LIBRARIAN OF CONGRESS TELEVISION AND VIDEO PRESERVATION 1997 A Report on the Current State of American Television and Video Preservation Volume 1: Report Library of Congress Washington, D.C. October 1997 Library of Congress Cataloging-in-Publication Data Television and video preservation 1997: A report on the current state of American television and video preservation: report of the Librarian of Congress. p. cm. þThis report was written by William T. Murphy, assigned to the Library of Congress under an inter-agency agreement with the National Archives and Records Administration, effective October 1, 1995 to November 15, 1996"--T.p. verso. þSeptember 1997." Contents: v. 1. Report - ISBN 0-8444-0946-4 1. Television film--Preservation--United States. 2. Video tapes--Preservation--United States. I. Murphy, William Thomas II. Library of Congress. TR886.3 .T45 1997 778.59'7'0973--dc 21 97-31530 CIP Table of Contents List of Figures . Acknowledgements. Preface by James H. Billington, The Librarian of Congress . Executive Summary . 1. Introduction A. Origins of Study . B. Scope of Study . C. Fact-finding Process . D. Urgency. E. Earlier Efforts to Preserve Television . F. Major Issues . 2. The Materials and Their Preservation Needs A. -
DVCPRO PV Series Line-Up Catalog
DVCPRO PV Series Line-up Catalog (NTSC: 525) The DVCPRO PV Series Brings the Incredible Potential of Digital Video to Even More Professionals Panasonic’s DVCPRO equipment has earned wide acclaim, Why Professionals Prefer DVCPRO? durability is well-known. With DVCPRO, as evidenced by its Emmy Awards, and its superior picture The World-Standard Digital 1 the costs for equipment and maintenance Format and sound quality, reliability and cost-performance have are greatly reduced. made it the choice of broadcasters all around the world. DVCPRO’s superb picture and sound quality is recognized the world over. The 3 Reliable Compact Cassettes Now a new line of equipment, the DVCPRO PV series, DVCPRO family extends from a wide line with Extended Recording Time brings DVCPRO’s many advantages to video professionals of broadcasting equipment, to the new DVCPRO’s metal particle tapes are small in in a variety of fields. series that brings broadcast-level quality to size yet offer extended recording time and professionals in any field. Upward long storage life. Both tape costs and Originally developed to meet broadcasting needs, compatibility adds to the convenience of storage space requirements are reduced. DVCPRO combines superior digital performance with low this versatile, future-proof format. The metal particle tapes, which have proven themselves in broadcast use, Small Mechanism and Low maintenance costs. The extended recording time and 2 combine high rigidity and excellent Maintenance Costs compact, lightweight design of DVCPRO camera/recorders resistance to oxidation, to provide DVCPRO’s small mechanism has gained outstanding reliability even after repeated make them ideal not only for news gathering, but for events the recognition of the world’s broadcasters use or long-term storage. -
Strategic Maneuvering and Mass-Market Dynamics: the Triumph of VHS Over Beta
Strategic Maneuvering and Mass-Market Dynamics: The Triumph of VHS Over Beta Michael A. Cusumano, Yiorgos Mylonadis, and Richard S. Rosenbloom Draft: March 25, 1991 WP# BPS-3266-91 ABSTRACT This article deals with the diffusion and standardization rivalry between two similar but incompatible formats for home VCRs (video- cassette recorders): the Betamax, introduced in 1975 by the Sony Corporation, and the VHS (Video Home System), introduced in 1976 by the Victor Company of Japan (Japan Victor or JVC) and then supported by JVC's parent company, Matsushita Electric, as well as the majority of other distributors in Japan, the United States, and Europe. Despite being first to the home market with a viable product, accounting for the majority of VCR production during 1975-1977, and enjoying steadily increasing sales until 1985, the Beta format fell behind theVHS in market share during 1978 and declined thereafter. By the end of the 1980s, Sony and its partners had ceased producing Beta models. This study analyzes the key events and actions that make up the history of this rivalry while examining the context -- a mass consumer market with a dynamic standardization process subject to "bandwagon" effects that took years to unfold and were largely shaped by the strategic maneuvering of the VHS producers. INTRODUCTION The emergence of a new large-scale industry (or segment of one) poses daunting strategic challenges to innovators and potential entrants alike. Long-term competitive positions may be shaped by the initial moves made by rivals, especially in the development of markets subject to standardization contests and dynamic "bandwagon" effects among users or within channels of distribution. -
Direct Digital Copy of ADAT Tapes
Leo Backman/DigiOmmel & Co. DigiOmmel is now using Alesis XT 8-channel recorder, digitally connected to E-MU 1820 audio interface unit for bit-for-bit transfer of ADAT tape recordings into more manageable multi-track file formats. We can also repair dysfunctional cassettes and, if necessary, move tape reels into working shells. The ADAT digital multichannel audio tape recorder uses a standard VHS transport that provides reliable and robust operation based on well-proven helical scan VCR technology. The recording media is a half- inch S-SVHS tape encased in cassette shells. The format is configured to operate with iron oxide magnetic particles instead of more costly pure iron particle, or metal evaporation tapes. An ADAT recording employs relatively low signal density per tape area. A low-density recording provides very reliable readout system, making the recorded tape signal fairly insensitive to dirt and defects such as crumples and cross-tape weaves. VHS cassettes are well protected, and the rotary heads work to wipe off loose particles from the tape surface. The only down- side of reduced signal density, compared to other contemporary DAT formats is the comparatively heavy and bulky cassettes. Helical-scan read/write system ADAT tape runs at a speed of 95.3mm/sec which is about 4 times the speed of standard VHS SP (PAL) format. The initial tape formatting begins with a 15-second 'Lead' segment, followed by a 115-second 'Data' segment of muted audio. Up to 44 minutes of 8-channel/track audio data can be recorded onto a three-hour S-VHS cassette (SE-180). -
A UNIVERSAL FORMAT for ARCHIVAL TAPE I, Proposal by Jim Wheeler December 1996
F A UNIVERSAL FORMAT FOR ARCHIVAL TAPE I, Proposal by Jim Wheeler December 1996 This year is the 40th anniversary of the Ampex Quadraples Videotape Recorder introduced in 1956. The quad format dominated for over 20 years, until it was finally replaced by the one inch type C format in 1978. Now, thousands of Quad tapes are sitting on archive shelves and many of them will probably die on the shelves. I. Introduction For most people in the TV Industry, the new videotape formats introduced at the National Association of Broadcasters Symposium in Las Vegas each year are exciting technological advances. But, for a person responsible for preserving the information recorded on videotapes, growth in the number of formats is a constant headache. Archives have collected vast numbers of videotapes in many different formats. While archivists wish to preserve this information, most institutions only have the resources to operate a few pieces of videotape equipment. Commonly, VHS and 314" U-Matic machines are found in smaller institutions, Betacam in a few others. Most do not have access to older broadcast equipment like Quad or I", and almost none have any of the newer digital equipment. The majority of these institutions are forced to reject acquisitions in formats they can not handle. If they do choose to keep these tapes, it is often without any realistic hope they will ever be able to see the images or preserve them. A national awareness of this problem is needed in the video industry. 11. Obsolete formats Figure 1 gives an idea of how many videotape formats exist in archives today. -
BCT-D Series Digital Betacam® Cassettes
BCT-D Series Digital Betacam® Cassettes The Workhorse. Protecting your assets. • Hyper Lubricant protects the tape surface and controls the Digital Betacam recording • Advanced Metal Particles are 50% coefficient of friction, important for revolutionized field production by smaller and finer than those used optimum tape-to-head contact. putting the beauty of digital in Sony Betacam SP tape, for 2 dB • 75% less shrinkage than Sony component video onto your shoulder. higher output. This is an essential Betacam SP tape for improved Behind this milestone, which earned requirement for the higher archival life, better machine-to- Sony our 20th Emmy Award, stands bandwidths of digital recording. machine compatibility. Sony’s advanced metal tape. Thanks • Advanced calendaring renders • Anti-static lid blocks dust, which to Sony metal expertise, BCT-D Series the surface extremely smooth, an can cause read/write errors. cassettes accommodate the important physical attribute for • Overlapping case edges control demands of digital recording with high carrier-to-noise ratio. dust and minimize errors. extraordinary levels of output, • Hyper Molecular Binder for durability and long-term archival durability compared to compatibility. In fact, Digital Sony Betacam SP tape; denser Betacam tape even exceeds analog cross-linking with 50% fewer Betacam tape in recording time! unlinked oligomers helps the tape stand up to long durations in Pause and Still modes. 282595_BCT-D.indd 1 11/10/08 4:17:32 PM BCT-D Series Digital Betacam® Cassettes BCT-D tape recording times in minutes Model Recording time Tape Length Weight, including case Master Carton Master Carton Weight (1080/59.94i) Quantity Small cassette BCT-D6 6 min. -
ADV7282: 10-Bit, 4× Oversampled SDTV Video Decoder with Differential Inputs and Deinterlacer Data Sheet
10-Bit, 4× Oversampled SDTV Video Decoder with Differential Inputs and Deinterlacer Data Sheet ADV7282 FEATURES GENERAL DESCRIPTION Worldwide NTSC/PAL/SECAM color demodulation support The ADV7282/ADV7282-M are versatile one-chip, multiformat One 10-bit analog-to-digital converter (ADC), 4× oversampling video decoders. The ADV7282/ADV7282-M automatically per channel for CVBS, Y/C, and YPrPb modes detects standard analog baseband video signals compatible with ADV7282: 4 analog video input channels with on-chip worldwide NTSC, PAL, and SECAM standards in the form of antialiasing filter composite, S-Video, and component video. ADV7282-M: 6 analog video input channels with on-chip The ADV7282 converts the analog video signals into a YCrCb antialiasing filter 4:2:2 video data stream that is compatible with the 8-bit ITU-R Video input support for CVBS (composite), Y/C (S-Video), BT.656 interface standard. and YPrPb (component) Fully differential, pseudo differential, and single-ended The ADV7282-M converts the analog video signals into an 8-bit CVBS video input support YCrCb 4:2:2 video data stream that is output over a mobile NTSC/PAL/SECAM autodetection industry processor interface (MIPI®) CSI-2 interface. Short-to-battery (STB) diagnostics on 2 video inputs The analog video inputs of the ADV7282/ADV7282-M accept Up to 4 V common-mode input range solution single-ended, pseudo differential, and fully differential signals. Excellent common-mode noise rejection capabilities The ADV7282/ADV7282-M contain a deinterlacer (I2P con- 5-line adaptive 2D comb filter and CTI video enhancement verter) and short to battery detection capability with two STB Adaptive Digital Line Length Tracking (ADLLT), signal diagnostic pins.