DOCSLIB.ORG

Guidelines for the Preservation of Video Recordings IASA-TC 06

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Guidelines for the Preservation of Video Recordings IASA-TC 06 Technical Committee Standards, Recommended Practices, and Strategies Guidelines for the Preservation of Video Recordings IASA-TC 06 Part C. Introduction From IASA-TC 06, Edition 1 Version for comment, 2018 C-1 Version for comment, March 2018 Guidelines for the Preservation of Video Recordings Table of Contents C.1 Introduction to carriers: assessment, preparation, and cleaning C-8 C.1.1 Background C-8 C.1.2 Videotape formats, standards, and specifications C-8 C.1.3 Videotape assessment, prep, cleaning, and hydrolysis treatment: general discussion C-10 C.1.3.1 Introduction C-10 C.1.3.2 Inspection and physical assessment C-11 C.1.3.2.1 Case, flange, and enclosure C-11 C.1.3.2.2 Tape and pack C-11 C.1.3.2.3 Hydrolysis/binder degradation C-12 C.1.3.2.4 Loss of lubricant C-12 C.1.3.2.5 Mould C-13 C.1.3.3 Cleaning C-13 C.1.3.3.1 The cleaning environment C-13 C.1.3.3.2 Initial manual cleaning C-13 C.1.3.3.3 Mould removal (safety warning) C-13 C.1.3.3.4 Cassette shell disassembly C-14 C.1.3.3.5 Machine cleaning C-14 C.1.3.4 Baking tapes: treating tape hydrolysis C-15 C.1.3.4.1 Background C-15 C.1.3.4.2 Heat treatment of sticky-shed videotapes C-16 C.2 Quadruplex 2-inch Videotapes C-18 C.2.1 Introduction C-18 C.2.1.1 Format history and featured technology C-18 C.2.1.2 The use of frequency modulation C-18 C.2.1.3 Introduction to recording specifications or modes C-19 C.2.1.4 Initial cost of acquisition C-19 C.2.2 Extent of 2-inch quadruplex holdings and urgency of preservation C-20 C.2.3 Selection of best copy C-21 C.2.4 Cleaning and carrier restoration C-22 C.2.4.1 Physical inspection of the housing C-22 C.2.4.2 Tape formulation C-27 C.2.4.3 Cleaning C-27 C.2.4.4 Baking tapes C-28 C.2.4.5 Other factors, especially humidity C-29 C-2 Guidelines for the Preservation of Video Recordings Version for comment, March 2018 C.2.5 Replay equipment (playback VTRs) C-29 C.2.5.1 Background C-29 C.2.5.2 Modes of operation, additional information C-32 C.2.6 Equipment maintenance for quadruplex VTRs C-32 C.2.7 Equipment alignment for quadruplex VTRs C-33 C.2.7.1 Calibration tapes and test media C-33 C.2.7.2 Correction and adjustment for satisfactory replay C-33 C.2.7.2.1 Tracking C-33 C.2.7.2.2 Ampex illustrations of visual artefacts relating to VTR adjustments C-39 C.2.7.2.3 Colour lock C-42 C.2.7.2.4 Skew C-42 C.2.8 Sound tracks C-42 C.2.9 Time code and control track on quadruplex videotape C-43 C.2.10 Time factor for transfer of quadruplex video tapes C-43 C.2.11 Time base and related forms of correction for quadruplex tapes C-43 C.2.11.1 Dubbing via radio frequency (RF) transfer C-43 C.2.11.2 Monitoring options C-44 C.2.11.3 Time base correction and enhancement functions C-44 C.2.11.4 Dropout compensation C-46 C.2.11.5 Noise reduction C-46 C.3 C.3 EIAJ and Sony CV ½-inch open reel videotapes C-47 C.3.1 Introduction C-47 C.3.2 Selection of best copy C-48 C.3.3 Cleaning and carrier restoration C-49 C.3.4 Replay equipment (playback VTRs) C-51 C.3.5 Use of time base correctors (TBCs) for ½-inch open reel videotapes C-52 C.3.6 ½-inch open reel recording formats C-53 C.3.6.1 List of ½-inch formats C-53 C.3.6.2 Feature comparison for CV, EIAJ type 1, and EIAJ type 2 videotapes C-53 C.3.7 Maintenance of ½-inch playback VTRs C-54 C-3 Version for comment, March 2018 Guidelines for the Preservation of Video Recordings C.3.8 Equipment alignment and calibration tapes and test media C-55 C.3.9 Sound tracks C-55 C.3.10 Time code and external control C-55 C.4 1-inch helical-scan open reel videotapes C-58 C.4.1 Background C-58 C.4.2 Type A C-60 C.4.2.1 Introduction C-60 C.4.2.2 Selection of best copy C-60 C.4.2.3 Replay equipment (playback VTRs) C-61 C.4.2.4 Recording formats C-61 C.4.2.5 Sound tracks C-62 C.4.2.6 Equipment maintenance C-62 C.4.2.7 Equipment alignment C-62 C.4.3 Type B C-63 C.4.3.1 C.4.3.1 Introduction C-63 C.4.3.2 Selection of best copy C-64 C.4.3.3 Replay equipment (playback VTRs) C-64 C.4.3.3.1 VTRs and time base correctors C-64 C.4.3.3.2 Dropout compensation C-64 C.4.3.3.3 Waveform monitors, vectorscopes, and calibrated monitors C-65 C.4.3.4 Recording formats C-65 C.4.3.5 Equipment maintenance C-66 C.4.3.6 Equipment alignment C-66 C.4.4 Type C C-67 C.4.4.1 Introduction C-67 C.4.4.2 Selection of best copy C-68 C.4.4.3 Replay equipment (playback VTRs) C-69 C.4.4.3.1 VTRs and time base correctors C-69 C.4.4.3.2 Dropout compensation C-69 C.4.4.3.3 Waveform monitors, vectorscopes, and calibrated monitors C-69 C.4.4.4 Recording formats C-70 C.4.4.5 Equipment maintenance C-70 C.4.4.6 Equipment alignment C-70 C.4.4.7 Calibration tapes and test media C-71 C-4 Guidelines for the Preservation of Video Recordings Version for comment, March 2018 C.4.5 Cleaning and restoring 1-inch tape formats C-71 C.4.5.1 Tape cleaning and cleaning machines C-71 C.4.5.2 Correction for sub-optimal transfers caused by misaligned equipment C-72 C.4.6 Time code C-72 C.4.7 Distinguishing 1-inch tape types C-72 C.5 U-matic ¾-inch videocassettes C-78 C.5.1 Introduction C-78 C.5.2 Extent of U-matic holdings and urgency of digitising C-79 C.5.3 Selection of best copy C-80 C.5.4 Cleaning and carrier restoration C-80 C.5.4.1 Physical inspection of the cassette housing C-80 C.5.4.2 Tape formulation C-81 C.5.4.3 Cleaning C-82 C.5.4.4 Baking tapes C-83 C.5.5 Replay equipment (playback VTRs) C-83 C.5.6 Recording formats C-84 C.5.6.1 Low-band C-84 C.5.6.2 High-band C-84 C.5.6.3 SP C-84 C.5.7 Equipment maintenance for U-matic VTRs C-84 C.5.8 Equipment alignment for U-matic VTRs C-85 C.5.8.1 Calibration tapes and test media C-85 C.5.8.2 Correction and adjustment for satisfactory replay C-85 C.5.8.2.1 Tracking C-85 C.5.8.2.2 Colour lock C-85 C.5.8.2.3 Skew C-85 C.5.9 Sound tracks C-86 C.5.10 Time code for U-matic videocassettes C-86 C.5.11 Time factor for transfer of U-matic videocassettes C-86 C.5.12 Time base correction for U-matic videocassettes C-86 C.5.12.1 Radio frequency (RF) support C-86 C.5.12.2 Enhancement functions of the TBC C-87 C.5.12.2.1 Dropout compensation C-87 C.5.12.2.2 Noise reduction C-87 C-5 Version for comment, March 2018 Guidelines for the Preservation of Video Recordings C.6 ½-inch analogue consumer and semi-professional videocassettes C-89 C.6.1 Introduction C-89 C.6.2 Selection of best copy C-90 C.6.3 Cleaning and carrier restoration C-91 C.6.4 Typology of ½-inch formats and replay equipment (playback VTRs) C-92 C.6.4.1 Philips VCR cassette format C-93 C.6.4.1.1 History C-93 C.6.4.1.2 Recording formats C-93 C.6.4.1.3 Sound tracks C-93 C.6.4.2 National/Panasonic Cartridge Format C-94 C.6.4.2.1 Recording formats C-94 C.6.4.2.2 Sound tracks C-94 C.6.4.3 Avco Cartrivision format C-94 C.6.4.3.1 History C-94 C.6.4.3.2 Recording formats C-94 C.6.4.3.3 Sound tracks C-94 C.6.4.4 Sanyo-Toshiba V-Cord I and II formats C-94 C.6.4.4.1 History C-94 C.6.4.4.2 Recording formats C-94 C.6.4.4.3 Sound tracks C-95 C.6.4.5 Quasar VX Cartridge Format C-95 C.6.4.5.1 History C-95 C.6.4.5.2 Recording formats C-95 C.6.4.5.3 Sound tracks C-95 C.6.4.6 Akai VK Videocassette Format C-95 C.6.4.6.1 History C-95 C.6.4.6.2 Recording formats C-95 C.6.4.6.3 Sound tracks C-95 C.6.4.7 Sony Betamax videocassette format C-96 C.6.4.7.1 History C-96 C.6.4.7.2 Recording formats C-96 C.6.4.7.3 Sound tracks C-97 C.6.4.8 VHS (Video Home System) videocassette format C-98 C.6.4.8.1 History C-98 C.6.4.8.2 Recording formats C-98 C.6.4.8.3 Sound tracks C-101 C.6.4.9 Philips-Grundig Video Compact Cassette, Video 2000/V2000XL/VCC C-102 C.6.4.9.1 History C-102 C.6.4.9.2 Recording formats C-102 C.6.4.9.3 Sound tracks C-103 C-6 Guidelines for the Preservation of Video Recordings Version for comment, March 2018 C.6.5 Feature comparison for VHS, Betamax, and V2000 formats C-104 C.6.6 Maintenance and testing of ½-inch VTRs used for playback C-104 C.6.7 Alignment of ½-inch VTRs used for playback C-106 C.6.7.1 Correction for sub-optimal transfers caused by misaligned equipment C-106 C.6.7.2 Correction for sub-optimal transfers caused by carrier degradation and storage artefacts C-107 C.6.8 Time code for ½-inch consumer and semi-professional videocassettes C-108 C.6.9 Time factor for transfer of ½-inch consumer and semi-professional videocassettes C-108 C.7 Betacam ½-inch professional videocassette family C-109 C.7.1 Introduction C-109 C.7.2 Selection of best copy C-109 C.7.3 Typology of Betacam formats and replay equipment (playback VTRs) C-111 C.7.3.1 Betacam C-111 C.7.3.2 Betacam SP C-111 C.7.3.3 Digital Betacam C-111 C.7.3.4 Betacam SX C-112 C.7.3.5 MPEG IMX C-112 C.7.3.6 HDCAM C-112 C.7.3.7 HDCAM SR C-113 C.7.4 Compatibility of Betacam videocassette types on different Betacam VTRs C-113 C.7.5 Availability of Betacam VTRs C-114 C.7.6 Betacam videocassette types and tape formulations C-116 C.7.7 Maintenance of Betacam-family VTRs C-117 C.7.8 Alignment of Betacam-family VTRs C-118 C.7.8.1 Normal alignment, calibration, and related actions C-118 C.7.8.2 Testing, maintenance, and playback with some do-it-yourself actions C-119 C.7.9 Sound tracks C-120 C.7.9.1 Noise reduction C-120 C.7.10 Time code on selected Betacam-family videocassettes C-120 C.7.11 Time factor for transfer of Betacam-family videocassettes C-121 C-7 Version for comment, March 2018 Guidelines for the Preservation of Video Recordings C.1 INTRODUCTION TO CARRIERS: ASSESSMENT, PREPARATION, AND CLEANING C.1.1 Background This section of IASA-TC 06 provides advice on how to replay obsolete videotapes.
Load more

Recommended publications
  • Sony Recorder
    Sony Recorder www.ctlny.com 24 All prices subject to change DVCAM, J-Series, Portable & Betacam Recorders DVCAM Recorders J-Series Betacam Recorders SP Betacam Recorders Sony Model# DSR1500A Sony Model# J1/901 Sony Model# PVW2600 Sales price $5,680.08 Sales price $5,735.80 Sales price $12,183.36 Editing recorder also play Beta/SP/SX Player w/ Betacam SP Video Editing DVCPRO,SDI-YUV Component Output Player with TBC & TC optional 8-3/8 x 5-1/8 x 16-5/8 16-7/8 x 7-5/8 x 19-3/8 Model # List Sales price Model # List Sales price Model # List Sales price DSR1500A $7,245.00 $5,680.08 J1/901 $6,025.00 $5,735.80 PVW2600 $15,540.00 $12,183.3 Editing recorder also play DVCPRO,SDI-YUV optional Beta/SP/SX Player w/ Component Output Betacam SP Video Editing Player with TBC & TC 6 DSR1600 $6,975.00 $5,468.40 J1/902 $7,050.00 $6,711.60 PVW2650 $22,089.00 $17,317.7 Edit Player w/ DVCPRO playback, RS-422 & DV Output Beta/SP/SX Editing Player w/ SDI Output Betacam SP Editing Player w. Dynamic Tracking, TBC & TC8 DSR1800 $9,970.00 $7,816.48 J2/901 $10,175.00 $9,686.60 PVW2800 $23,199.00 $18,188.0 Edit Recorder w/DVCPRO playback,RS422 & DV Output IMX/SP/SX Editing Player w/ Component Output Betacam SP Video Editing Recorder with TBC & TC 2 DSR2000 $15,750.00 $13,229.4 J2/902 $11,400.00 $10,852.8 UVW1200 $6,634.00 $5,572.56 DVCAM/DVCPRO Recorder w/Motion Control,SDI/RS422 4 IMX/SP/SX Editing Player w/ SDI Output 0 Betacam Player w/ RGB & Auto Repeat Function DSR2000P $1,770.00 $14,868.0 J3/901 $12,400.00 $11,804.8 UVW1400A $8,988.00 $7,549.92 PAL DVCAM/DVCPRO
    [Show full text]
  • DVD/CD Rewritable Drive
    IT 2-636-779-12 (1) 4F.B5U12.012 DVD/CD Rewritable Drive Operating Instructions JP FR DE ES IT CS DRU-810A © 2005 Sony Corporation Safety Regulations WARNING You are cautioned that any changes or modifications not expressly approved in this manual could void your authority to operate this equipment. To reduce the risk of fire or electric shock, do not expose this apparatus to rain or moisture. To avoid electrical shock, do not open the cabinet. Refer servicing to qualified personnel only. CAUTION: As the laser beam in the DRU-810A is harmful to the eyes, do not attempt to disassemble the cabinet. Refer servicing to qualified personnel only. The use of optical instruments with this product will increase eye hazard. The use of controls or adjustments or performance of procedures other than those specified herein may result in hazardous radiation exposure. This label is located on the bottom of the drive unit enclosure. Dieses Etikett befindet sich auf der Unterseite des Laufwerksgehäuses. 2 The DRU-810A is classified as a CLASS 1 LASER PRODUCT. The CLASS 1 LASER PRODUCT label is located at the bottom of the enclosure. Bei diesem DRU-810A handelt es sich um ein Laser-Produkt der Klasse 1. Das Etikett mit der Aufschrift LASER KLASSE 1 PRODUKT befindet sich auf der Unterseite des Gehäses. CLASS 1 LUOKAN 1 LASERLAITE LASER PRODUCT LASER KLASSE 1 KLASS 1 LASER APPARAT PRODUKT Compliance Statements Disposal of Old Electrical & Electronic Equipment (Applicable in the European Union and other European countries with separate collection systems) This symbol on the product or on its packaging indicates that this product shall not be treated as household waste.
    [Show full text]
  • Order on Reconsideration and Further Notice of Proposed Rulemaking
    Federal Communications Commission FCC 13-84 Before the Federal Communications Commission Washington, D.C. 20554 In the Matter of ) ) Closed Captioning of Internet Protocol-Delivered ) MB Docket No. 11-154 Video Programming: Implementation of the ) Twenty-First Century Communications and Video ) Accessibility Act of 2010 ) ORDER ON RECONSIDERATION AND FURTHER NOTICE OF PROPOSED RULEMAKING Adopted: June 13, 2013 Released: June 14, 2013 Comment Date: (60 days after date of publication in the Federal Register) Reply Comment Date: (90 days after date of publication in the Federal Register) By the Commission: Commissioner Pai approving in part, concurring in part and issuing a statement. TABLE OF CONTENTS Heading Paragraph # I. INTRODUCTION.................................................................................................................................. 2 II. BACKGROUND.................................................................................................................................... 3 III. ORDER ON RECONSIDERATION ..................................................................................................... 5 A. Petition for Reconsideration of the Consumer Electronics Association .......................................... 5 1. Scope of the Apparatus Closed Captioning Rules..................................................................... 5 2. Application of the Apparatus Rules to Removable Media Players ......................................... 16 3. Application of the January 1, 2014 Deadline Only
    [Show full text]
  • Will Sonyâ•Žs Fourth Playstation Lead to a Second Sony V. Universal?
    WILL SONY’S FOURTH PLAYSTATION LEAD TO A SECOND SONY V. UNIVERSAL? † SETH ASCHER ABSTRACT Sony has included a “share” button on the next version of their popular PlayStation video game system. This feature is meant to allow players to record and share videos of their gameplay. This service shares similarities with the controversial “record” button that Sony included with its Betamax players over thirty years ago. The Betamax player was the subject of the landmark case Sony v. Universal, a foundational case for the modern application of copyright law to new technology. This Issue Brief examines how this “share” feature would fare under the framework laid out by Sony v. Universal and other evolutions in copyright law. INTRODUCTION On February 20, 2013, Sony announced their newest videogame system, predictably named the PlayStation 4.1 Chief among its new features is the share button displayed prominently on its controller.2 Microsoft’s newest offering also has a similar feature.3 Pressing the share button will allow a player to post images or videos of their gameplay to the internet, sharing them with their friends and complete strangers.4 The PlayStation 4 even buffers the last few minutes of gameplay so that a player can share their gameplay video after the fact.5 Sony’s intention is to provide an easy way for players to share images and videos online. Copyright © 2014 by Seth Ascher. † Duke University School of Law, J.D. 2014. 1 Video of the press announcement is available on numerous websites. E.g., Sony PlayStation 4 Press Conference, GAMESPOT (Feb.
    [Show full text]
  • DV-983H 1080P Up-Converting Universal DVD Player with VRS by Anchor Bay Video Processing and 7.1CH Audio
    DV-983H 1080p Up-Converting Universal DVD Player with VRS by Anchor Bay Video Processing and 7.1CH Audio DV-983H is the new flagship model in OPPO's line of award-winning up-converting DVD players. Featuring Anchor Bay's leading video processing technologies, 7.1-channel audio, and 1080p HDMI up-conversion, the DV-983H Universal DVD Player delivers the breath-taking audio and video performance needed to make standard DVDs look their best on today's large screen, high resolution displays. The DV-983H provides a rich array of features for serious home theater enthusiasts. By applying source-adaptive, motion-adaptive, and edge-adaptive techniques, the DV-983H produces an outstanding image for any DVD, whether it’s mastered from an original theatrical release film or from a TV series. Aspect ratio conversion and multi-level zooming enable users to take full control of the viewing experience – maintain the original aspect ratio, stretch to full screen, or crop the unsightly black borders. Special stretch modes make it possible to utilize the full resolution of ultra high-end projectors with anamorphic lens. For users with an international taste, the frame rate conversion feature converts PAL movies for NTSC output without any loss of resolution or tearing. Custom home theater installers will find the DV-983H easy to integrate into whole-house control systems, thanks to its RS-232 and IR IN/OUT control ports. To complete the home theatre experience, the DV-983H produces stunning sound quality. Its 7.1 channel audio with Dolby Digital Surround EX decoding offers more depth, spacious ambience, and sound localization.
    [Show full text]
  • Understanding Digital Video
    chapter1 Understanding Digital Video Are you ready to learn more about how digital video works? This chapter introduces you to the concept of digital video, the benefits of going digital, the different types of digital video cameras, the digital video workflow, and essential digital video terms. COPYRIGHTED MATERIAL What Is Digital Video? ........................................ 4 Understanding the Benefits of Going Digital ................................................6 Discover Digital Video Cameras .......................8 The Digital Video Workflow ............................10 Essential Digital Video Terms .........................12 What Is Digital Video? Digital video is a relatively inexpensive, high-quality video format that utilizes a digital video signal rather than an analog video signal. Consumers and professionals use digital video to create video for the Web and mobile devices, and even to create feature-length movies. Analog versus Digital Video Recording Media versus Format Analog video is variable data represented as The recording medium is essentially the physical electronic pulses. In digital video, the data is broken device on which the digital video is recorded, like down into a binary format as a series of ones and a tape or solid-state medium (a medium without zeros. A major weakness of analog recordings is that moving parts, such as flash memory). The format every time analog video is copied from tape to tape, refers to the way in which video and audio data is some of the data is lost and the image is degraded, coded and organized on the media. Three popular which is referred to as generation loss. Digital video examples of digital video formats are DV (Digital is less susceptible to deterioration when copied.
    [Show full text]
  • Minimum Charqe F25.00 Minimum Charqe €20.00
    We have specialisedin the preservationof familymemories since 1988.We are dedicated to reproducing your precious memories to the highest standard possiblefor you and your future generationsto enjoy. We are consciousof the responsibilityentrusted to us and take this responsibility seriously.All prices includeVAT. All ordersare processedto the U.K. PAL FromStandard Bmm, Super Bmm, 9.5mm & 16mmwith or withoutsound. format(except where the USA NTSCformat is requested). Standard Film Transfer to DVD: Each film is assessed, repaired(if needed) and transferredto DVD. The DVD will contain a basic menu pagewith chaplerbuttons that link to the startof each reel of film. Premium Film Transfer to DVD or Blu-rav: Each film is assessed, These DVD's are for playback on DVD-R compatible players. Your cleaned,repaired (if needed),colour corrected and edited as necessary. DVD'swill containregular chapter points throughout. DVD or Blu-raymenu pages and chapterbuttons are createdspecific to your production. FROM:VHS -VHS-C - S-VHS-VideoB - HiB- DigitalB- MiniDV Editinq. Streaminq and Storaqe Formats: Cine can be transferredto MinimumCharqe €20.00 computerfile formatsfor Editing,Storage and Streaming.The file format Firsthour of order....€20.00 - Additionalhours.... €7.00 per hour we supply is MP4, if you require a differenttype of file format simply informus when you place your order. Note: Additional to the Telecine price below will be the the Hard Drive Memory FROM:Mini DVD - DVD RAM - MicroMV - Hard DriveCamcorder - High cost of or Stick that your Definition- BelacamSP - DVCPRO- DVCAM- U-Matic- Betamax- V2000. files can be delivered on. You will be advised of this cost once we have received your order and calculated the data space needed.
    [Show full text]
  • Digital Video Quality Handbook (May 2013
    Digital Video Quality Handbook May 2013 This page intentionally left blank. Executive Summary Under the direction of the Department of Homeland Security (DHS) Science and Technology Directorate (S&T), First Responders Group (FRG), Office for Interoperability and Compatibility (OIC), the Johns Hopkins University Applied Physics Laboratory (JHU/APL), worked with the Security Industry Association (including Steve Surfaro) and members of the Video Quality in Public Safety (VQiPS) Working Group to develop the May 2013 Video Quality Handbook. This document provides voluntary guidance for providing levels of video quality in public safety applications for network video surveillance. Several video surveillance use cases are presented to help illustrate how to relate video component and system performance to the intended application of video surveillance, while meeting the basic requirements of federal, state, tribal and local government authorities. Characteristics of video surveillance equipment are described in terms of how they may influence the design of video surveillance systems. In order for the video surveillance system to meet the needs of the user, the technology provider must consider the following factors that impact video quality: 1) Device categories; 2) Component and system performance level; 3) Verification of intended use; 4) Component and system performance specification; and 5) Best fit and link to use case(s). An appendix is also provided that presents content related to topics not covered in the original document (especially information related to video standards) and to update the material as needed to reflect innovation and changes in the video environment. The emphasis is on the implications of digital video data being exchanged across networks with large numbers of components or participants.
    [Show full text]
  • Paramount Theatre Sherry Lansing Theatre Screening Room #5 Marathon Theatre Gower Theatre
    PARAMOUNT THEATRE SHERRY LANSING THEATRE SCREENING ROOM #5 MARATHON THEATRE GOWER THEATRE ith rooms that seat from 33 to 516 people, The Studios at Paramount has a screening room to accommodate an intimate screening with your production team, a full premiere gala, or anything in between. We also offer a complete range of projection and audio equipment to handle any feature, including 2K, 4K DLP projection in 2D and 3D, as well as 35mm and 70mm film projection. On top of that, all our theaters are staffed with skilled projectionists and exceptional engineering teams, to give you a perfect presentation every time. 2 PARAMOUNT THEATRE CUTTING-EDGE FEATURES, LAVISH DESIGN, PERFECT FOR PREMIERES FEATURES • VIP Green Room • Multimedia Capabilities • Huge Rotunda Lobby • Performance Stage in front of Screen • Reception Area • Ample Parking and Valet Service SPECIFICATIONS • 4K – Barco DP4K-60L • 2K – Christie CP2230 • 35mm and 70mm Norelco AA II Film Projection • Dolby Surround 7.1 • 16-Channel Mackie Mixer 1604-VLZ4 • Screen: 51’ x 24’ - Stewart White Ultra Matt 150-SP CAPACITY • Seats 516 DIGITAL CINEMA PROJECTION • DCP - Barco Alchemy ICMP • DCP – Doremi DCP-2K4 • XpanD Active 3D System • Barco Passive 3D System • Avid Media Composer • HDCAM SR and D5 • Blu-ray and DVD • 8 Sennheiser Wireless Microphones – Hand-held and Lavalier • 10 Clear-Com Tempest 2400 RF PL • PIX ADDITIONAL SERVICES AVAILABLE • Catering • Event Planning POST PRODUCTION SERVICES 10 • SecurityScreening Rooms 3 SCREENING ROOMS SHERRY LANSING THEATRE THE ULTIMATE REFERENCE
    [Show full text]
  • New Product Special Full-Sized Tape VHS Camcorder, Super Beta
    Sword and Sandal Sagas The #1 Magazine of Home Vu New Product Special Full-sized Tape VHS Camcorder, Super Beta Heard Anv Grind MnvieQ? BERGER-BRAITHWAITE VIDEOTESTS Sansui VHS Hi-Fi VCR Canon Portable 8mm VCR Canon 8mm Color Camera Bib VHS Video Alarm £ ^eX Vietnam V>1 ,‘--^og^onf6«ed ca^*e^ iSi*'"*'*'" i MGM/UA Home Video, 1350 Ave. of the Americas, New York, NY 10019. ;tna\\-^ettjv . Can they I Available ‘n racked iollo^-np lheW"j“’‘^,Svd«‘ron^ D»e?Xe‘»yirien<i'*tt’e i raiders fi^rroitK.FiM«'lessiv into* t$s*#** sssi^SS*- %£03(2£$2* S&tS* April 1985 Contents Volume IX, Number 1 Features Program Guide Columns The Greatest Stories Ever Told News & Views Channel One Our critic makes a selective By Ken Winslow.43 The Digital Class.6 survey of ‘the epic, ’ the film Top 10 Fast Forward genre in which too much is enough. Tape & Disc Sales & Rentals.45 Dr. Jekyll & Mr. Sony.8 By Tom Soter.66 Reviews Feedback What's New Film & Video Clips/Quick Takes.46 Who’s the Sucker?.10 We’ll tell you what’s new. Super New Products Beta! Korean VCRs! Camcorders! Directory NEC’s Quadruplets: 2 Beta, 2 VHS.. 14 And accessories are multiplying What’s New on Tape & Disc.57 like Rabbits (which is the name Fine Tuning of one of ’em). Yes, we have seen The Proper Dub the future of video—or at least Videotests By Roderick Woodcock.26 this year’s version of it. Videogram Sansui SV-R9900HF VHS Hi-Fi VCR By Richard Jaccoma.70 Flying Blind? Canon VR-E10 Portable 8mm VCR By William Wolfe.30 Found Sound Canon VC-200A 8mm Color Camera Those who take the trouble can Bib VHS Video Alarm TV Den find free multichannel riches By Berger-Braithwaite Labs.92 Resolution Resolved buried in movie soundtracks.
    [Show full text]
  • Randomized Lempel-Ziv Compression for Anti-Compression Side-Channel Attacks
    Randomized Lempel-Ziv Compression for Anti-Compression Side-Channel Attacks by Meng Yang A thesis presented to the University of Waterloo in fulfillment of the thesis requirement for the degree of Master of Applied Science in Electrical and Computer Engineering Waterloo, Ontario, Canada, 2018 c Meng Yang 2018 I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. ii Abstract Security experts confront new attacks on TLS/SSL every year. Ever since the compres- sion side-channel attacks CRIME and BREACH were presented during security conferences in 2012 and 2013, online users connecting to HTTP servers that run TLS version 1.2 are susceptible of being impersonated. We set up three Randomized Lempel-Ziv Models, which are built on Lempel-Ziv77, to confront this attack. Our three models change the determin- istic characteristic of the compression algorithm: each compression with the same input gives output of different lengths. We implemented SSL/TLS protocol and the Lempel- Ziv77 compression algorithm, and used them as a base for our simulations of compression side-channel attack. After performing the simulations, all three models successfully pre- vented the attack. However, we demonstrate that our randomized models can still be broken by a stronger version of compression side-channel attack that we created. But this latter attack has a greater time complexity and is easily detectable. Finally, from the results, we conclude that our models couldn't compress as well as Lempel-Ziv77, but they can be used against compression side-channel attacks.
    [Show full text]
  • PROFESSIONAL VIDEO 315 800-947-1175 | 212-444-6675 Blackmagic • Canon
    PROFESSIONAL VIDEO 315 800-947-1175 | 212-444-6675 Blackmagic • Canon VIDEO TAPE Fuji Film PRO-T120 VHS Video Cassette (FUPROT120)............................3.29 XA10 Professional HD Camcorder DVC-60 Mini DV Cassette (FUDVC60) .......................................3.35 Pocket Cinema Camera Ultra-compact, the XA10 DVC-80 Mini DV Cassette (FUDVC80)........................................7.99 shares nearly all the Pocket Cinema Camera is a HDV Cassette, 63 Minute (FUHDVDVM63) .................................6.99 functionality of the XF100, true Super 16 digital film DV141HD63S HDV (FUDV14163S) ............................................7.95 but in an even smaller, camera that’s small enough run-and-gun form factor. to keep with you at all times. Maxell 64GB internal flash drive Remarkably compact (5 x 2.6 DV-60 Mini DV Cassette (MADVM60SE) .................................3.99 and two SDXC-compatible x 1.5”) and lightweight (12.5 M-DV63PRO Mini DV Cassette (MADVM63PRO)......................5.50 card slots allow non-stop oz) with a magnesium alloy chassis, it features 13 stops of T-120 VHS Cassette (MAGXT120) ..........................................2.39 recording. Able to capture dynamic range, Super 16 sensor size, and and records 1080HD STD-160 VHS Cassette (MAGXT160).....................................2.69 AVCHD video at bitrates up to lossless CinemaDNG RAW and Apple ProRes 422 (HQ) files to fast STD-180 VHS Cassette (MAGXT180)......................................3.09 24Mbps, the camcorder’s native 1920 x1080 CMOS sensor also SDXC cards, so you can immediately edit or color correct your HG-T120 VHS Cassette (MAHGT120) .....................................1.99 lets you choose 60i, 24p, PF30, and PF24 frame rates for media on your laptop. Active Micro Four Thirds lens mount can HG-T160 VHS Video Cassette (MAHGT160) ............................2.59 customizing the look of your footage.
    [Show full text]