A Comparative Study of Video Tape Recordings. by Wiens, Jacob H
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Introduction to Digitization
IntroductionIntroduction toto Digitization:Digitization: AnAn OverviewOverview JulyJuly 1616thth 2008,2008, FISFIS 2308H2308H AndreaAndrea KosavicKosavic DigitalDigital InitiativesInitiatives Librarian,Librarian, YorkYork UniversityUniversity IntroductionIntroduction toto DigitizationDigitization DigitizationDigitization inin contextcontext WhyWhy digitize?digitize? DigitizationDigitization challengeschallenges DigitizationDigitization ofof imagesimages DigitizationDigitization ofof audioaudio DigitizationDigitization ofof movingmoving imagesimages MetadataMetadata TheThe InuitInuit throughthrough MoravianMoravian EyesEyes DigitizationDigitization inin ContextContext http://www.jisc.ac.uk/media/documents/programmes/preservation/moving_images_and_sound_archiving_study1.pdf WhyWhy Digitize?Digitize? ObsolescenceObsolescence ofof sourcesource devicesdevices (for(for audioaudio andand movingmoving images)images) ContentContent unlockedunlocked fromfrom aa fragilefragile storagestorage andand deliverydelivery formatformat MoreMore convenientconvenient toto deliverdeliver MoreMore easilyeasily accessibleaccessible toto usersusers DoDo notnot dependdepend onon sourcesource devicedevice forfor accessaccess MediaMedia hashas aa limitedlimited lifelife spanspan DigitizationDigitization limitslimits thethe useuse andand handlinghandling ofof originalsoriginals WhyWhy Digitize?Digitize? DigitizedDigitized itemsitems moremore easyeasy toto handlehandle andand manipulatemanipulate DigitalDigital contentcontent cancan bebe copiedcopied -
The Broadcast Flag: Compatible with Copyright Law & Incompatible with Digital Media Consumers
607 THE BROADCAST FLAG: COMPATIBLE WITH COPYRIGHT LAW & INCOMPATIBLE WITH DIGITAL MEDIA CONSUMERS ANDREW W. BAGLEY* & JUSTIN S. BROWN** I. INTRODUCTION Is it illegal to make a high-quality recording of your favorite TV show using your Sony digital video recorder with your Panasonic TV, which you then edit on your Dell computer for use on your Apple iPod? Of course it’s legal, but is it possible to use devices from multiple brands together to accomplish your digital media goal? Yes, well, at least for now. What if the scenario involved high-definition television (“HDTV”) devices? Would the answers be as clear? Not as long as digital-content protection schemes like the Broadcast Flag are implemented. Digital media and Internet connectivity have revolutionized consumer entertainment experiences by offering high-quality portable content.1 Yet these attractive formats also are fueling a copyright infringement onslaught through a proliferation of unauthorized Internet piracy via peer-to-peer (“P2P”) networks.2 As a result, lawmakers,3 administrative agencies,4 and courts5 are confronted * Candidate for J.D., University of Miami School of Law, 2009; M.A. Mass Communication, University of Florida, 2006; B.A. Political Science, University of Florida, 2005; B.S. Public Relations, University of Florida, 2005 ** Assistant Professor of Telecommunication, University of Florida; Ph.D. Mass Communica- tions, The Pennsylvania State University, 2001 1 Andrew Keen, Web 2.0: The Second Generation of the Internet has Arrived. It's Worse Than You Think, WEEKLY STANDARD, Feb. 13, 2006, http://www.weeklystandard.com/ Con- tent/Public/Articles/000/000/006/714fjczq.asp (last visited Jan. -
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. -
History of the Early Days of Ampex Corporation
PAPER History of The Early Days of Ampex Corporation As recalled by JOHN LESLIE and ROSS SNYDER Alexander M. Poniatoff founded Ampex in 1944, primarily to manufacture small motors and generators for military applications. When WWII ended, the military contracts dropped off, and Alex had to search for a new line of business to continue his company’s existence. He and his small group of engineers heard a demonstration of a Magnetophon, a German magnetic tape recorder used by Hitler during WWII. The demonstration quickly convinced Alex to redirect his company and soon it was designing and manufacturing professional-quality magnetic tape recorders. Bing Crosby was a great help in Ampex’s early years. The company grew quickly and, within a short time, dominated the magnetic tape recorder market in radio, television, the record industry, and industrial and military markets for instrumentation recorders . Alex was born in Russia in 1892. His father was well-to- 0 INTRODUCTION do, and sent Alex to Germany for an education in engineering. After college, he returned to Russia only to see his country It has been amazing how many people today are asking become engaged in a civil war. Alex escaped to China, where questions about Ampex and the Company’s contribution to the he went to work for the Shanghai Power Company. He music recording industry, the radio and television broadcast immigrated to the United States in 1927 where he worked for industry and the stereophonic home entertainment field. There General Electric, Pacific Gas & Electric, and the Dalmo Victor is no question that Ampex was a major factor in each of these Corporation in San Carlos, California. -
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. -
Historical Development of Magnetic Recording and Tape Recorder 3 Masanori Kimizuka
Historical Development of Magnetic Recording and Tape Recorder 3 Masanori Kimizuka ■ Abstract The history of sound recording started with the "Phonograph," the machine invented by Thomas Edison in the USA in 1877. Following that invention, Oberlin Smith, an American engineer, announced his idea for magnetic recording in 1888. Ten years later, Valdemar Poulsen, a Danish telephone engineer, invented the world's frst magnetic recorder, called the "Telegraphone," in 1898. The Telegraphone used thin metal wire as the recording material. Though wire recorders like the Telegraphone did not become popular, research on magnetic recording continued all over the world, and a new type of recorder that used tape coated with magnetic powder instead of metal wire as the recording material was invented in the 1920's. The real archetype of the modern tape recorder, the "Magnetophone," which was developed in Germany in the mid-1930's, was based on this recorder.After World War II, the USA conducted extensive research on the technology of the requisitioned Magnetophone and subsequently developed a modern professional tape recorder. Since the functionality of this tape recorder was superior to that of the conventional disc recorder, several broadcast stations immediately introduced new machines to their radio broadcasting operations. The tape recorder was soon introduced to the consumer market also, which led to a very rapid increase in the number of machines produced. In Japan, Tokyo Tsushin Kogyo, which eventually changed its name to Sony, started investigating magnetic recording technology after the end of the war and soon developed their original magnetic tape and recorder. In 1950 they released the frst Japanese tape recorder. -
Digitizing Video for Long-Term Preservation: an RFP Guide And
Digitizing Video for Long-Term Preservation: An RFP Guide and Template Barbara Goldsmith Preservation & Conservation Department New York University Libraries, 2013 Funded by The Andrew W. Mellon Foundation Contributors: Paula De Stefano Kimberly Tarr Melitte Buchman Peter Oleksik Alice Moscoso Ben Moskowitz Table of Contents I. Preface 1 II. Acknowledgements 4 III. Request for Proposals (RFP) Guide and Template 5 1: Introduction 5 2: Technical Requirements 5 3: Vendor Information 13 4: Schedule and Turnaround Time 17 5: Delivery of Completed Work 17 6: Failures 19 7: Special Instructions 20 8: Sub-Contracting 20 9: Insurance 20 10: Details of Proposal Deliverables 21 Appendices Appendix A: Sample Request for Proposals (RFP) 24 Appendix B: Sample Metadata Schema 37 Appendix C: Sample Transfer Notes 39 Appendix D: A Glossary of Terms and Concepts 40 Appendix E: Selected Resources 48 ii I. Preface Digitizing Video for Long-Term Preservation: An RFP Guide and Template is intended to take an institution step-by-step through the process of drafting a Request for Proposals (RFP) for the transfer of analog video formats to digital carriers for preservation. This template can be used by libraries, archives, and other cultural heritage institutions and submitted to qualified transfer vendors. Funded by The Andrew W. Mellon Foundation, the Digitizing Video for Long-Term Preservation publication is part of the Video at Risk project undertaken by New York University and two partner institutions, Loyola University New Orleans and the University of California, Berkeley. The authors of this publication set out to create a template that would identify the key elements integral to the transfer of the video and audio signal from Standard Definition VHS to a preservation-quality digital file. -
Magnetic Recording: Analog Tape
Magnetic Recording: Analog Tape Until recently, there was one dominant way of recording sounds so that they could be reproduced at a later time or in a different location: analog magnetic recording (of course, there were mechanical methods like phonograph records, but they could not be recorded easily). In fact, magnetic recording techniques are still the most common way of recording signals, but the encoding method is digital. Magnetic recording relies on the imposition of a magnetic field, derived from an electrical signal, on a magnetically susceptible medium that becomes magnetized. The magnetic medium employed in analog recording is magnetic tape: a thin plastic ribbon with randomly oriented microscopic magnetic particles glued to the surface. The record head magnetic field alters the magnetic polarization (not the physical orientation) of the tiny particles so that they align their magnetic domains with the imposed field: the stronger the imposed field, the more particles align their orientations with the field, until all of the particles are magnetized. The retained pattern of magnetization stores the representation of the signal. When the magnetized medium is moved past a read head, an electrical signal is produced by induction. Unfortunately, the process is inherently very non-linear, so the resulting playback signal is different from the original signal. Much of the circuitry employed in an analog tape recorder is necessary to undo the distortion introduced by the non-linear physics of the system. Figure 1: In a record head, magnetic flux flows through low-reluctance pathway in the tape’s magnetic coating layer. Magnetic tape Magnetic tape used for audio recording consists of a plastic ribbon onto which a layer of magnetic material is glued. -
Manual for Akai VS-606EA Video Cassette Recorder
AKAi Hi-Fi & Video. ••• Hi-Fi Video Cassette Recorder VS-606EA Operator's Manual PAL •• •••• ••••••••• •• WARNING-------- ••••••••• •• •• •• ••••••••• •• ••••••••• •• •• To prevent fire or shock hazard, do not expose this MULTIF'LEX TUNER •• •••• •• •• appliance to rain or moisture. ITAPE \JIEW SYSTEN\ I WAIT! Caution Moving the video tape recorder from a cold place to a warm place, or using it in a humid place will cause dew condensation on the drum and the video heads inside the unit. If recording or playback is carried out in this state, the heads may become dirty and the tape may be damaged. This could also result in a malfunction of the machine itself. To prevent this from occuring, the VCR should be plugged in for about one hour, with the FUNCTION button ofT, before starting recording or playback of a video cassette tape. This is particularly important when a video cassette is inserted for the first time after purchase of the video cassette recorder. Akai-Creative At Heart. WarningS & Precautions 1. Avoid using the Akai VCR under the following conditions: VOLTAGE SELECTION Extremely hot, cold, humid or dusty places. Power requirements for electrical equipment differ from area to area. Near appliances generating strong magnetic fields. The operating voltage of the Akai VCR is preset at the factory accord Places poorly ventilated or subject to vibration. ing to it's intended destination. However, some models are equipped * Near fluorescent lamps which may shorten the operation range of with a voltage selector. If your VCR is so equipped, before the remote control unit. connecting, check to see that the AC INPUT selector on the rear panel is set to the voltage for your area. -
Ampex Home Video Recorder by JOSEPH Roizeninternational Video Consultant, Ampex Corporation
Top view of the recorder. Control center is at extreme left. Ampex Home Video Recorder By JOSEPH ROIZENInternational Video Consultant, Ampex Corporation Design and operation of this manufacturer's lowest priced full helical scan recorder for in -home, educational, and industrial uses. VIDEO recorders utilizing magnetic tape as a storage tape. A 10 -inch reel of this tape (3000 feet) costs $59.95, medium are beginning to rival the already familiar while a lighter duty tape is expected to cost $39.95 a roll. audio tape units in size, price, and simplicity. The The video head used is expected to have a minimum life of Ampex VR-6000 series, designed for home use, is an example 500 hours with a replacement cost of under $35. A tape of such a device. Its cubic dimensions, weight, and cost are made on one of these recorders can be played back on an- roughly double that of a good -quality audio recorder. other similar Ampex recorder. The Model 6200 consolette, which includes deck, base, The VR-6000 uses the helical -scan principle with a single and video control center, costs $1495; the price of the Model rotating head assembly (Fig. 1), laying down the 3° 6' 6100 basic deck alone is $1095. The control center contains angled tracks containing the picture signal. Two stationary TV receiver front-end circuits for making a recording but heads record the control and audio track signals in normal no display monitor. The center also permits the recorder to longitudinal fashion along the top and bottom edges of the be connected to any TV set's antenna terminals to allow the one -inch -wide tape (Fig. -
United States Patent (19) 11) Patent Number: 4,633,293 Powers 45) Date of Patent: Dec
XR 4 6 33 s 295 United States Patent (19) 11) Patent Number: 4,633,293 Powers 45) Date of Patent: Dec. 30, 1986 54 HIGH DEFINITION TELEVISION SIGNAL Primary Examiner-Michael A. Masinick FOR FILM-TELEVISION STANDARDS Attorney, Agent, or Firm-Eugene M. Whitacre; Paul J. CONVERSION SYSTEM Rasmussen; Joseph J. Laks (75) Inventor: Kerns H. Powers, Princeton, N.J. (57) ABSTRACT 73 Assignee: RCA Corporation, Princeton, N.J. A high definition television production system gener ates a high definition video signal that is easily convert (21) Appl. No.: 639,662 ible to signals formatted in accordance with other tele 22 Filed: Aug. 13, 1984 vision and film standards of release media. Such other standards may include 525/60 and 625/50 formats and 30 Foreign Application Priority Data film formats having a frame rate of 24 film frames per Sep. 26, 1983 GB United Kingdom ................. 8325689 second. The HDTV system employs vertical line scan Apr. 26, 1984 GB) United Kingdom ................. 841.0659 ning in the camera to generate the HDTV signal. The horizontal field scanning rate is chosen to be the lowest 51) Int. Cl........ ... H04N 11/20; H04N 7/01 common integral multiple of the frame rates of the re 52 U.S. Cl. ...................................... 358/11; 358/140; lease standards of interest. The interlace factor is se 358/54; 358/214 lected high enough to provide good temporal sampling 58) Field of Search ................... 358/11, 140, 54, 214, and to result in a vertical line scanning frequency that 358/216 yields an integral number of HDTV scan lines in the field or frame time of the release standards. -
The D-6 Recording Format and Its Implementation As a High Performance Giga-Bit Vlbi Data Storage System
THE D-6 RECORDING FORMAT AND ITS IMPLEMENTATION AS A HIGH PERFORMANCE GIGA-BIT VLBI DATA STORAGE SYSTEM Mikhail Tsinberg, Senior Research Manager, Toshiba America Consumer Products, Inc.Advanced Television Technology Center, 202 Carnegie Center, Suite 102, Princeton, NJ 08540 Phone: +1-609-951-8500, ext 12; FAX: +1-609-951-9172; e-mail:[email protected] Curtis Chan, President, CHAN & ASSOCIATES, Fullerton, CA Minoru Ohkubo, Vice President, YEM America, Inc., Rolling Hills Estates, CA 1. ABSTRACT Significant advances have been made in high-density magnetic recording technologies since the introduction of the D-1 (4:2:2) format in 1986. The D-6 recording format, which was proposed jointly by Toshiba of Japan and BTS of Germany, is the latest advancement in tape/head technology. Based on a 19mm, 11µm thick metal particle tape format, the D-6 format is capable of recording at a data rate of 1.2Gb/s without the use of compression. This paper will explain the D-6 format, the channel coding and error correction schemes utilized within the format, a newly developed magnetic tape and head technology and the format's hardware applicability in recording high resolution video and data. Specifically, this paper will discuss the new GBR-1000 HD-Digital Video Tape Recorder (HD-DVTR) based on the D-6 format and with simple modification, as a high performance instrumentation data recorder. In addition, a new Gigabit data recording system comprising of a VLBI (Very Long Baseline Interferometry) adapter called the DRA-1000 and a modified GBR-1000 will be discussed. The DRA-1000 allows the GBR-1000 to emulate a Gigabit instrumentation recorder, which is suitable for use in the VLBI astronomical observation environment.