Analog video vs digital video pdf

Continue Analogue vs. digital - the debate seems to be everywhere. The problem is that a lot of people just don't understand what these terms mean. In one 25-minute video - engaging and entertaining to watch right through - the biggest myths all get busted. In short: 1. 16-bit, 44.1 kHz is really good for many tasks. (You save this data for the computer and processing, not your own ears. 2. Digital sound does not include stairs. 3. Digital signals can be stored and used to play sound identical to what is stored in analogue form. The choice between analog and digital as a category, so makes no sense at all. Now, choosing between individual filters, for example, or taking care of the physical design of electronic instruments, or acknowledging that you can spoil digital or analogue recording - all these things matter. In fact, they have such a value that obscuring them with misinformation is very bad. The video is The Work of Monty Montgomery in xiph.org. (See also: and Watch the video, but here are some discussions: Digital technology is pretty easy to define. The system, using a digital signal, simply presents information as discrete, selected values. The analog signal uses an ever-changing electrical signal. Both are a means of coding - neither is a literal sound. The digital system is so named because these discrete values are akin to counting (hence the numbers, as when counting on your fingers), while the analog system uses an electrical signal that is similar - though not literally - to the original, in that it changes in how (for sound) the pressure will be. The problem is, people imagine digital signals to be something other than what they really are. Ubiquity can breed ignorance. Before digital technology became so widespread, recording and photography were the first revolution. And perhaps part of the problem is that our society has become so comfortable with these processes - those that would have seemed magical to someone just over a century ago - that we have not been able to distinguish between representation and the real. But any photo, any entry is different from its original theme. Analog and digital signals, like words and numbers, are a means of encoding information. Each of them has limits. In sound, these limits are measured in sizes that measure sound, frequency and amplitude. Digital is no less real than analog - and because we listen, after all, sound rather than signal, the two can achieve the same results. This means you don't have to choose. It's not a religious issue. This is a detail of the implementation. This does not mean that between analog and digital in itself does not matter - - Details can be very important. If you understand that fundamentally, digital and analog signals can create and capture the same sounds, then you turn instead all the other potential decisions a designer can make. There are many different varieties of filters, for example, each of which has different characteristics. Choosing an analog or digital circuit becomes dependent on what is the most economical, the most logical, and what desired sound characteristics and the convenience of using the circuit will have. And as people over- emphasize the difference in signals and fundamental sound characteristics, they also ignore everything else. For example, the choice of analog control or digital control is important. (In short: without smoothing, digital controls can cause ladder effects, and analog controls may be more limited in terms of features such as automation.) It also puts in a sharper relief to other reasons why people advocate for analog technology. The heat of the analogue, for example, may not be a fundamental characteristic of analog signal, but is typical of other trends in analog design. This tells us in part that having more literal accuracy is not always better. Analog gear also behaves in a unique way, prone to climate change, age, dirt and other features - something that can be positive in some cases and negative in others, but it is harder to model digitally. Most unfortunate is that the term analog has replaced the term physical, especially outside the sound context. No equipment is truly digital. All this includes a number of analog circuits, for example, and this is also the total sum of many design solutions. The fact that we think of computers as having no physical interfaces is perhaps itself a critique of the physical interaction of computer design - we are thus used to the mouse and keyboard that we can forget that we have tangible experience at all. The advantage of other designs may be to remind people of that experience. When people describe the appeal of vinyl records, hardware synths, covered pens and switches, patch cables and modular, and other analog experiences, what they really say they like is the physical qualities of these things. And there's no reason why digital technology can't be involved. Increasingly, this is the case: music is now very often digitally recorded, mixed, and mastered before being pressed to vinyl, and digital instruments use more knobs and switches and even patch cords rather than focusing on virtual screen experiences and the like. Instead of getting stuck in pointless debates like whether analog or better, in other words, we need to have a very meaningful debate about design, sound, music and art. But it sounds, on the contrary, like a good use of time. Spend 25 minutes You won't regret it, even if this material is reviewed. Thank you Chris Randall for the tip. Tags: analog, create-analog-music, digital, DSP, coding, training, opinion, rants, signal processing, theory, video Content Previous Introduction analog vs. digital editing digital information recording is an evolution from analog, which most depends on computers and their popularity and availability. Initially, the production of the video was a large gambit of machines and electronics specifically created for this industry. As computers became more advanced, cheaper and more accessible computer applications spread to almost all industries. Widespread use of computers to manipulate video has been hampered because video requires relatively massive data storage, processing and transmission requirements. As hardware has become cheaper and more powerful, and storage space in particular has become abundant, the use of a computer to manipulate video has become more cost-effective than not. Currently, video production is at the end of the transition of technology from analog system to digital system. Digital Editing Why Use Digital Technology? (editing) Digital has advantages and disadvantages like any tool, but the general consensus is that digital is better, and for good reason. In post-production analog video, there are basically two editing options. There is an assembly (aka linear) editing in which the final product is assembled from different parts in order from start to finish. If changes need to be made at any time, then everything from that moment to the end of the change must be recreated from the source material. This is, of course, problematic if the production needs are the least bit dynamic. Avid was the first popular computer non-linear editing app originally created to edit movies. It was a small step towards moving to professional video editing apps. Nonlineary editing allows the editor to ripple insert so that everything that happens after the change shifts to accommodate the shift. As computer editing became increasingly popular, the choice was either from hardware-driven tape to tape-based linear systems or the digitization of analog frames into a computer for digital editing. Because computers are digital systems, not analogues, the video is translated into a digital signal. The evolutionary step was short to have a video signal recorded digitally. When using an analog system, there are some serious limitations that can be problematic. First, when you edit a video, the process does not take the physical material of the tape, cut it with a razor, and him with other clips as could be with the film. Rather VTP will read the information from the source tape and send send signal on VTR, which will record the signal on the new tape. This is called Generation and the analogue tends not to make a 100% accurate copy during this process. As the video is pushed through more and more generations, the signal worsens until it is substantially unrecognizable. There are tools that help reduce this - like wave-like monitors, signal amplifiers, etc. - but most analog videos are unusable after 5 to 10 generations (for professional standards). On the other hand, as long as the information is not processed (e.g. color correction, transitions, etc.) DV can withstand dozens of generations, and some manufacturers have reported more than 100 generations without noticeable loss in image quality. On the other hand, there are limitations to the digital system, mainly in terms of sample rates and pseudonyms. However, as video signal delivery is not analog in any way (pixels) digital processing of information on these discrete units seems to make the most sense. Next Manufacturing Process of Digital Electronic Presentation moving visual images This article is about the digital techniques applied to video. The standard digital video storage format can be viewed on DV. For other purposes, see Digital Video (disambiguation). Digital video is an electronic representation of moving visual images (video) in the form of coded digital data. This contrasts with analog video, which is a moving visual image with analog signals. Digital video includes a series of digital images displayed in quick succession. Digital video was first commercially introduced in 1986 in Sony D1 format, which recorded a non-repressive standard digital video definition component. In addition to uncompressed formats, today's popular compressed digital video formats include H.264 and MPEG-4. Modern interconnect standards for digital video include HDMI, DisplayPort, Digital Visual Interface (DVI) and Serial Digital Interface (SDI). Digital video can be copied without compromising quality. In contrast, when analog sources are copied, they experience loss of generation. Digital video can be stored in digital media, such as Blu-ray Disc, in computer data storage, or transmitted over the Internet to end users who watch content on a desktop or digital smart TV screen. In everyday practice, digital video content, such as TV shows and movies, also includes a digital audio soundtrack. History Digital Video Cameras Additional Information: Digital Cinematography, Image Sensor, and Video Camera Base for Digital Video Cameras are Metallic (MOS) image sensors. The first practical semiconductor image sensor was a charging device (CCD) invented in 1969 using MOS capacitor technology. After the commercialization of CCD sensors in the late 1970s and early 1980s, the entertainment industry was slow to transition to digital images and digital video over the next two decades. The CCD was followed by the CMOS Active Pixel Sensor (CMOS sensor), developed in the 1990s. with non-dry impulse modulation code (PCM) video requiring high bitrates between 45-140 Mbps for standard definition (SD) content. Practical digital video coding eventually became possible with discrete cosy transformation (DCT), a form of shabby compression. The DCT compression was first proposed by Nasir Ahmed in 1972 and later developed by Ahmed with T. Natarajan and K. R. Rao at the University of Texas in 1973. The DCT has later become the standard for digital video compression since the late 1980s. The H.120 was not practical due to poor performance. H.120 was based on the differential modulation of impulse code (DPCM), without losing the compression algorithm, which was ineffective for video coding. In the late 1980s, a number of companies began experimenting with DCT, a much more efficient form of compression for video coding. CCITT received 14 proposals for DCT-based video compression formats, as opposed to a single proposal based on quantitative evaluation of compression vectors (V). The H.261 standard was designed based on DCT compression. H.261 was the first practical video coding standard. Beginning with H.261, DCT compression was accepted by all the basic video coding standards that followed. MPEG-1, developed by the Film Expert Group (MPEG), followed in 1991 and it was designed to compress VHS-quality video. It was replaced in 1994 by MPEG-2/H.262, which became the standard video format for DVD and SD digital television. In 1999, MPEG-4/H.263 followed, followed by H.264/MPEG-4 AVC in 2003, which became the most widely used videocoding standard. From the late 1970s to the early 1980s, several types of video production equipment were presented, which was digital in internal work. These include time base correctors (TBC) and digital video effects (DVE) units. They acted by taking the standard analog composite video input and digitizing it internally. This made it easier to either correct or improve the video signal, as in the case of TBC, or manipulate and add effects to the video, in the case of the DVE unit. The digitized and processed video information was then converted back into a standard analog video for output. Later, in the 1970s, manufacturers of professional video transmission equipment such as Bosch (through their Fernseh division) and Ampex developed a prototype digital video recorder (VTR) in their research and Lab. The Bosch machine used a modified 1-inch B-type videotape and recorded an early form of the CCIR 601 digital video. The ampex digital video recorder prototype used a modified 2-inch Video Cassette Quadruplex VTR (Ampex AVR-3), but equipped with custom digital video electronics, and a special octplex 8- headed wheel (the usual analogue of 2 quad bikes used only 4 heads). Like the standard 2Cwad, the audio on the prototype of the Ampex digital machine, nicknamed by its developers as Annie, still recorded the sound in analogue as linear tracks on the tape. None of these machines from these manufacturers have ever been on the market commercially. Digital video was first commercially introduced in 1986 in Sony D1 format, which recorded an unsized standard digital video definition component. Component video required 3 cables, and most television objects were connected to composite NTSC or PAL video using a single cable. Because of this incompatibility, and also because of the cost of the voice recorder, the D1 has been used primarily by major television networks and other capable video studio components. In 1988, Sony and Ampex jointly developed and released the D2 digital videotape format, which recorded video digitally without compression in ITU-601, similar to D1. But the D2 had the main difference of coding video in a composite form to the NTSC standard, thus requiring only a single cable composite video message and from the D2 VCR, making it ideal for most television objects at the time. D2 was a successful format in the television broadcasting industry throughout the late 1980s and 1990s. The D2 was also widely used in that era as a master format for laser discs. Eventually, the D1 and D2 will be replaced by cheaper video compression systems, primarily Sony's digital beta cameras, which were introduced into the network's television studios. Other examples of digital video formats using compression were AMPex's DCT (the first to use such when introduced in 1992), the standard DVD and MiniDV and its professional variations, Sony DVCAM and Panasonic dVCPRO, and the Betacam SX, the simpler version of the digital beta camera using MPEG-2 compression. One of the first digital video products to run on personal computers was PACo: PicS Animation Compiler from a science and art company in Providence, RI, which was developed in 1990 and first shipped in May 1991. PACo can stream unlimited video with synchronized audio from a single file (s . CAV file extension) to CD-ROM. Creating requires a Mac; playback was possible on Mac, PC and Sun SPARCstations. Apple Computer multimedia system appeared in June Year. Audio video Interleave from Microsoft followed in 1992. Initial consumer-level content creation tools were rude, demanding a video source that will be digitized into a computer-readable format. While low quality at first, consumer digital video has rapidly increased in quality, first with the introduction of playback standards such as MPEG-1 and MPEG-2 (adopted for use in television and DVD media), and then the introduction of the dv tape format allows recordings in a format that will be transmitted directly to digital video files using the FireWire port on computer editing. This simplified the process by allowing non-linear editing (NLE) to be used cheaply and extensively on desktop computers without the need for external playback or recording equipment. Widespread adoption of digital video and accompanying compression formats has reduced the bandwidth required for high-definition video (with HDV and AVCHD, as well as several commercial options such as DVCPRO-HD, all using less bandwidth than the standard analog definition signal). This savings have increased the number of channels available on cable television and satellite broadcasting systems, created opportunities for the redistribution of terrestrial television frequencies, made possible among other innovations and the effectiveness of a camera without flash-based tapes. Digital video review includes a series of digital images displayed in quick succession. In the context of the video, these images are called frames. The rate of display of frames is known as frame rate and is measured in frames per second (FPS). Each frame is an orthogonal bitmap digital image and therefore consists of a pixel break. Pixels have only one property, their color. The color of the pixel is represented by a fixed number of bits. The more bits, the more subtle variations of colors can be reproduced. This is called the color depth of the video. Weaving In intertwined video each frame consists of two halves of the image. The first half contains only the odd string of full frame. The second half contains only the lines. These halves are called only fields. Two consecutive pitches make up the full frame. If the intertwined video has a frame rate of 30 frames per second, the field speed is 60 fields per second. All the properties discussed here are equally applicable to intertwined videos, but you should be careful not to confuse the fields per second at frame rate per second. The speed of the bit and the BPP by definition, bit speed is a measure of the speed of the information content of the digital video stream. In the case of unsyneed video, the speed of the bit directly corresponds to the quality of the video, as the speed of the bit is proportional to each property that affects the quality of the video. The speed of the bit is an important feature when transmitting video, because the transmission link must be able to maintain speed The speed of the bit is also important when dealing with video storage, because as Above, the video size is proportional to the speed of the bit and the duration. Video compression is used to significantly reduce the speed of the bit, having less impact on quality. Bits per pixel (BPP) is a measure of compression efficiency. A true color video without compression at all can have a BPP of 24 bits/pixel. Chroma sprinkle can reduce BPP to 16 or 12 bits/pixels. Applying jpeg compression on each frame can reduce BPP to 8 or even 1 bit/pixel. The use of video compression algorithms, such as MPEG1, MPEG2 or MPEG4, allows the use of BPP fractional values. The constant bit speed compared to the variable frequency of the BPP bit represents the average bits per pixel. There are compression algorithms that keep BPP almost constant throughout the duration of the video. In this case, we also get a video output with a constant beatrate (CBR). This CBR video is suitable for live video streaming, without a buffer, fixed bandwidth (such as in a video conference). Since not all frames can be compressed at the same level because quality has a more serious impact on high difficulty scenes, some algorithms try to constantly adjust the BPP. They keep it high while compressing complex scenes and low for less demanding scenes. Thus, one gets the best quality at the slightest average bit speed (and the smallest file size, respectively). This method produces a variable bitrate because it tracks BPP variations. A technical review of Standard Film stocks typically records at 24 frames per second. For video, there are two frame rate standards: NTSC, at 30/1.001 (about 29.97) frames per second (about 59.94 fields per second), and PAL, 25 frames per second (50 fields per second). Digital video cameras come in two different formats of image capture: intertwined and progressive scanning. Intertwined cameras record the image in alternating line sets: the odd lines are scanned, and then the even lines are scanned, then the odd lines are scanned again, and so on. One set of odd or even lines is called a field, and a sequential pairing of two fields of opposite parity is called a frame. Progressive scanning cameras record all the lines in each frame as a whole. Thus, the intertwined video captures scenes twice as often as a progressive video for the same frame rate. Progressive scanning usually creates a slightly clearer image. However, the movement may not be as smooth as the intertwined video. Digital video can be copied without loss of generation, which impairs the quality of analog systems. However, changing settings, such as frame size or changing the digital format, can reduce video quality due to loss of image scaling and transcoding. Digital video can be manipulated and non-linear editing systems, often implemented using commercial computer hardware and software. Digital video has a significantly lower cost than 35mm mm Compared to the high cost of film, digital media used for digital video recording, such as flash memory or hard drive used to record digital video, are very inexpensive. Digital video also allows you to view the footage on the spot without the expensive and time-consuming chemical treatment required by the film. The network transmission of digital video makes the physical supply of tapes and movie sets unnecessary. Digital television (including higher quality HDTV) was introduced in most developed countries in the early 2000s. Digital video is used in modern mobile phones and video conferencing systems. Digital video is used to distribute media on the Internet, including streaming video and peer-to-peer distribution of movies. There are many types of video compression to serve digital video over the Internet and on optical discs. The size of the digital video files used for professional editing is generally not practical for this purpose, and the video requires further codecs compression. By 2011, the highest resolution demonstrated for digital video generation was 35 megapixels (8192 x 4320). The highest speed is achieved in industrial and scientific high-speed cameras that are capable of shooting 1024x1024 video at speeds of up to 1 million frames per second for short recording periods. Live digital video uses bandwidth. Recorded digital video consumes data storage. The amount of bandwidth or storage required is determined by the frame size, color depth, and frame rate. Each pixel consumes several bits, determined by the depth of color. The data needed to represent the data frame is determined by multiplying by the number of pixels in the image. Bandwidth is determined by multiplying the requirement to store the frame by the frame rate. The overall storage requirements for the program can be determined by multiplying bandwidth by the duration of the program. These calculations are accurate for uncompressed video, but because of the relatively high speed bit of uncompressed video, compression video is widely used. In the case of compressed video, each frame requires a small percentage of the original bits. Note that you don't have to have all frames squeezed equally with the same percentage. In practice, they are not as useful for considering the average compression factor for all the frames put together. Interfaces and Cables Specially Built Digital Video Interfaces Digital Component Digital Video Digital Visual Interface (DVI) DisplayPort HDBaseT High Definition Multimedia Interface (HDMI) Serial Digital Interface (SDI) Single Interface Display General Purpose Interfaces are used to transport digital video FireWire (IEEE 1394) Universal Serial Bus (USB) The interface was designed to transport MPEG-Transport compressed video: DVB-ASI compressed video is also carried out using UDP-IP over Ethernet. Two Two there to do this: Using RTP as a wrapper for video packages, As with SMPTE 2022 1-7 MPEG Transport packages are placed directly in the UDP Package Other methods of carrying video through IP Network Device Interface SMPTE 2110 Storage Coding Formats See also: Video coding format and video codek CCIR 601 is used to broadcast MPEG-4 stations well for the online distribution of large videos and videos recorded for FLASH memory MPEG-2 , Super-VCDs, and many television formats broadcast MPEG-1 is used for video compact toss H.261 H.263 H.264 also known as MPEG-4 Part 10, or as AVC, used for Blu-ray Discs and some tv formats Theora used for video on Wikipedia Tapes Home article: Video cassette Betacam SX, Betacam IMX, Digital Beta Camera, or DigiBeta - Commercial video systems Sony, based on the original technology Betamax D-VHS - MPEG-2 data format Recorded on tape similar to S-VHS D1 , D2, D3, D5, D9 (also known as Digital-S) - various standards of digital video SMPTE Digital8 - DVD format data recorded on Hi8-compatible cassettes; Largely consumer format DV, MiniDV - used in most of today's video cassettes based on consumer video cameras; Designed for high quality and simple editing. Can also record high-definition (HDV) data in MPEG-2 DVCAM, DVCPRO formats used in professional broadcasting operations; Similar to DV, but generally considered more reliable; Although DV-compatible, these formats have better sound processing. DVCPRO50, DVCPROHD support higher bandwidth compared to DVCPRO Panasonic. HDCAM was introduced by Sony as an alternative to the high definition DigiBeta. MicroMV - MPEG-2 data recorded on a very small cassette the size of a matchbook; устаревшие ProHD - имя, используемое JVC для его MPEG-2 основе профессиональных видеокамер Диски Смотрите также: Оптический диск Blu-Ray Disc DVD VCD Смотрите также цифровой аудио цифровой кинематографии Индекс видео-видео видео онлайн видео платформы Видео кодирования Формат Видео редактирования программного обеспечения Веб-камера Примечания - Например, Thomson-CSF 9100 Цифровой видеопроцессор, внутренне все цифровые полноформатные TBC введены в 1980 году. For example, ADO Ampex and Nippon Electric Corporation (NEC) DVE. Before D2, most laserdiscs were mastered using analog 1 Type C videotapes - the Digital Beta Camera is still widely used as an electronic field production (EFP) recording format by professional television producers - in fact still the images match the footage only in the case of progressive video scanning. In the intertwined videos, they correspond to the fields. See the weave section for clarification. Links - Unknown Media Production: Understanding Video Technology. Media production. Received 2019-06-10. a b Williams, J. B. (2017). The electronics revolution: The invention of the future. Springer. 245-8. ISBN 9783319490885. James R. Janesick (2001). Scientific devices with charges. SPIE SPIE 3-4. ISBN 978-0-8194-3698-6. Stump, David (2014). Digital cinematography: basics, tools, techniques and workflows. CRC Press. 83-5. ISBN 978-1-136- 04042-9. Stump, David (2014). Digital cinematography: basics, tools, techniques and workflows. CRC Press. 19-22. ISBN 978-1-136-04042-9. Eric R. Fossum; Hondongwa, D.B. (2014). Overview of the fixed photodiode for CCD and CMOS image sensors. IEEE Journal of the Electronic Devices Society. 2 (3): 33–43. doi:10.1109/JEDS.2014.2306412. Fossum, Eric R. (July 12, 1993). Bluke, Morley M. SPIE Proceedings Vol. 1900: Charging-Related Devices and The Solid State of Optical Sensors III. 1900: 2–14. Bibkod:1993SPIE.1900.... 2F. CiteSeerX 10.1.1.408.6558. doi:10.1117/12.148585. S2CID 10556755. a b c d Ghanbari, Mohammed (2003). Standard codeks: Compressing images for extended video coding. Institute of Engineering. 1-2. ISBN 9780852967102. Ahmed, Nasir (January 1991). How I came up with the discrete Cosine Transform. Processing a digital signal. 1 (1): 4–5. doi:10.1016/1051-2004 (91)90086-S. Ahmed, Nasir; Natasha, T.; Rao, K. R. (January 1974), Discreet Braid Transformation, IEEE Transactions on Computers, C-23 (1): 90-93, doi:10.1109/T-C.1974.223784 - Rao, C.R.; Yip, P. (1990), Discreet Cosine Transformation: Algorithms, Benefits, Apps, Boston: Academic Press, ISBN 978-0-12-580203-1 - b c d e History of video file formats infographics. RealNetworks. April 22, 2012. Received august 5, 2019. CoSA Lives: The company's history is behind after the effects. Archive from the original 2011-02-27. Received 2009-11-16. External LINKS DVD, DVCAM, DVCPRO Formats - technical details, frequently asked questions, as well as links to Standard Digital TV and video formats. Received from 2Magnet tape-based videotape format for video cameras 8mm VideoA Video8 VideocassetteMedia typeMagnetic tapeEncodingNTSC, PAL, SECAMCapacityVideo8/Hi8:60 Minutes (PAL-SP)90 Minutes (PAL-SP)135 Minutes (PAL-SP)120 Minutes (NTSC-SP)Digital8:60 Minutes (NTSC-SP)190 (PAL-SP)Read the mechanism of the mechanism Of the complexe of scanWriteHest scanStandardInterlaced video Developed by the sony and KodakUsageHome films 8 mm video format applies unofficially to three adjacent formats of videotape for the television systems NTSC and PAL/SECAM. It is the original Video8 format (similar recording) and its improved successor to Hi8 (similar video and analog audio, but with the provision of digital audio), as well as the later digital recording format known as Digital8. Their user base consisted mainly of users of amateur video cameras, although they also saw important applications in professional television production. January 1984 Kodak has announced a new technology. In 1985, Sony, a Japanese company, introduced Handycam, one of the first Video8 cameras with commercial success. Much smaller than the VHS and Betamax video camera competition, Video8 has become very popular in the consumer video camera market. The technical review of the Three formats is physically very similar, showing both the same magnetic tape width and almost identical cluster shells, measuring 95 × 62.5 × 15 mm. This gives a measure of backward compatibility in some cases. One of the differences between them is the quality of the tape itself, but the main differences lie in the coding of the video when it is taped. Video8 was the earliest of the three formats and completely analog. The 8mm tape was chosen as the smaller successor to the 12mm Betamax format, using similar technology (including U-shaped tape loading), but in a smaller configuration in response to the smaller configuration of the VHS-C compact video cameras presented by a competitor. It was followed by Hi8, an improved version. Although this was still analogous, some professional Hi8 hardware could store additional digital PCM stereo sound on a special reserved track. Digital8 is the latest 8mm video format. It retains the same physical cassette shell as its predecessors, and can even record on Video8 (not recommended) or Hi8 cassettes. However, the format in which the video is encoded and stored on the tape itself is a fully digital DV format (and thus very different from analog Video8 and Hi8). Some Digital8 video cameras support Video8 and Hi8 with analog sound (playback only), but this is not required by Digital8 specification. In all three cases, the 8 mm-wide magnetic tape between the two coils is contained in the hard shell cassette. These cassettes have a similar size and appearance to the audio cassette, but their mechanical work is much closer to VHS or Betamax videotapes. The standard recording time is up to 180 minutes for PAL and 120 minutes for the NTSC. (The cassette contains a tape of the same length; the consumption of the tape differs between the pal and the NTSC recorders.) Like most other videotape systems, Video8 uses a helical-scan head drum (it has a small 40mm head) to read and write on tape. The drum rotates at high speed (one or two rotations per frame of the image - about 1800 or 3600 rpm for NTSC and 1500 or 3000 rpm for PAL), while the tape is pulled along the path of the drum. Because the tape and drum are oriented towards a small angular shift, the tracks of the recording are laid out as parallel diagonal bands on the tape. Heads on the DVR drum move around the tape at a speed of 3.75 meters per second. Unlike previous systems, 8mm did not use the control track on the tape to lighten the head after diagonal 8mm recorded a sequence of four sine waves on each video track, so the adjacent tracks will produce one of two heterodin frequencies if the head is wrong. The system automatically adjusted the tracking so that the two frequencies produced were the same. This system was derived from the Dynamic Track After (DTF) used by Philips Video 2000. Sony rechristened the system as an automatic track following (ATF) as the 8mm system lacks the ability of the head to physically move into the head drum. The main drawback of the ATF system was that unlike the control track, an 8mm camera or player could not track where the tape is while fast forward and fast-forwarded (although this may be during the shuttle search). This made editing using a linear editing system problematic. Some later cameras and players tried to get the tape position out of the differential rotation of the reels with limited success. Generations of the Amateur Class Video8 Camcorder since the early 1990s. Video8 Video8 was launched in 1984, and the market is dominated by VHS-C and Betamax formats. The first two models were the Kodak Kodavision 2200 and 2400, both over $1,500. Sony's first video camera capable of recording on a standard 8mm video cassette was the Sony CCD-V8 with a 6th zoom, but only a hand-held focus released in 1985 with a price equivalent to $1175 and a weight of 1.97 kg. In addition, in 1985 Sony released the first of its compact Handycam range: the CCD-M8, which per kilogram was half the mass of the CCD-V8, although it had no scaling and supported only manual focus with three focus settings. In terms of video quality, Video8 and Beta-II offer similar performance in their standard playback modes. In terms of sound, Video8 generally outperforms its older competitors. Standard VHS and beta audio are recorded along a narrow linear track at the edge of the tape, where it is vulnerable to damage. Combined with the slow horizontal speed of the tape, the sound was comparable to the sound of a substandard audio cassette. In contrast, all Video8 machines used sound frequency modulation (AFM) to record sound in the same way as a video signal. This meant that the standard Video8 sound was much higher quality than that of its competitors, although linear sound had the advantage that (unlike any AFM system) it could be rewritten without disrupting the video. (Betamax and VHS Hi-Fi rarely appeared on video cameras, except for high-end models.) Video8 later included true stereo, but the limitations of the video camera microphones at the time meant that there was little practical difference between the two AFM systems for the use of the video camera. Overall, Video8 surpasses non-HiFi VHS/beta. Video8 has one major advantage over the full size of the competition. Thanks to them their Size, Video8 video cameras are small enough to hold the user's palm. Such a feat was impossible with Betamax and full-size VHS video cameras, which work best on strong tripods or strong shoulders. Video8 also has an advantage in terms of time, because although the VHS-C offers the same palmord size as Video8, VHS-C tapes only hold, in a pinch, 45 minutes of tape in SP speed. Thus, the 120-minute Capacity Video8 served well for most users during its peak. (Both machines include longer game modes for 120 and 240 minutes, respectively, but due to poor image quality.) Longer sessions usually require additional infrastructure (power line or more batteries), and therefore longer recording times don't give much advantage in a true travel environment. The main drawback of Video8/Hi8 is that tapes made with Video8 video cameras cannot be played directly on VHS equipment. Although it is possible to transmit tapes (with the help of a VCR re-recording of the original video, as it is reproduced by the video camera), it inevitably leads to the degradation of the analog signal. During the 1990s Sony made the market for several VHS VCRs that also have an 8mm deck to make a convenient transition to VHS. GoldStar also made a similar two-deck car. In the end, Video8's main competitor in the video camera market was VHS-C, with none of them completely dominating the market. However, both formats (along with their improved descendants, Hi8 and S-VHS-C) were nevertheless very successful. Collectively they dominated the video camera market for nearly two decades before they were eventually superseded by digital formats such as the MiniDV and 8cm DVD. Hi8 Sony Hi8 8mm Videocassette To combat the introduction of the Super-VHS format, Sony introduced the video Hi8 (short for high band Video8). Like the S-VHS, Hi8 uses improved voice recorder electronics and media formulations to increase the recorded brightness signal bandwidth. The FM frequency range was increased from 4.2 to 5.4 MHz for a typical Video8 (1.2 MHz bandwidth) to 5.7 to 7.7 MHz for Hi8 (2.0 MHz bandwidth). However, the bandwidth of the chrome signal (color resolution) has not been increased. Both the Hi8 and S-VHS were officially rated with a brightness resolution of 400 lines, which is significantly different from their respective base formats and roughly equals the quality of laserdisc. Chroma's resolution for both remains the same. Both S-VHS and Hi8 retain audio recording systems for their base formats; VHS HiFi Stereo surpasses Video8/Hi8 AFM, but is still limited to high-quality machines. In the late 1980s, digital (PCM) audio was introduced into some higher-grade models Recorders. Hi8 PCM audio runs at a sampling speed of 32 kHz with 16-bit samples-higher fidelity than the monoural linear dubbing offered by VHS/S-VHS. PCM-capable Hi8 recorders can simultaneously record PCM stereo in addition to legacy (AFM analogue) stereo stereo Tracks. The final update to the Video8 format occurred in 1998, when Sony introduced the XR (extended resolution). Video8-XR and Hi8-XR offer a modest 10% improvement in brightness detail. XR hardware plays non-XR records, and XR records are fully reproduced on hardware, not in what is not XR, albeit without the benefits of XR. All Hi8 equipment can record and play in an outdated Video8 format. The reverse is usually not the case, although there are several late Video8 systems that recognize and play Hi8 Records. PCM Multi Audio Sony EV-S900 (Hi8), Sony EV-S800, Sony EV-S700U and Pioneer VE-D77 (Video8) support a mode called PCM Multi Audio Recording. While the other 8mm decks support only one stereo PCM record, these devices provide five additional stereo PCM tracks that are recorded in the video signal area. This allows 8mm tapes to hold 6 parallel audio tracks, each up to 4 hours (in LP mode). Only one stereo track can be recorded or listened to at the same time, and tracks are selected using the PCM Multi Audio selector button. Digital8 Hitachi Digital8 Video Camera. Main article: Digital8 Introduced in 1999, Digital8 is a form of industry standard DV codec recorded on Hi8 MEDIA. From an engineering point of view, Digital8 and MiniDV are indistinguishable at the logical format. To store digital coded audio/video on a standard NTSC Video8 cassette, the tape must run at a double Hi8 speed. Thus, the 120-minute NTSC Hi8 tape gives 60 minutes of Digital8 video. Most Digital8 units offer LP mode, which increases the recording time on the NTSC P6-120 tape to 90 minutes. For PAL, the Digital8 recorder is 11/2 times faster; Thus, the 90-minute tape of PAL Hi8 gives 60 minutes of Digital8 video. PAL LP returns tape speed to Hi8 SP speed, so the 90-minute Hi8 tape gives 90 minutes of Digital8 video. Sony licensed Digital8 technology to at least one other company (Hitachi), which for some time marketed several models; but by 2005, only Sony had sold Digital8 consumer hardware. Digital8's main competitor is the Consumer format MiniDV, which uses a narrower tape and a smaller cassette shell. Since both technologies have the same logical audio/video format, Digital8 could theoretically equal MiniDV or even DVCAM in performance A/V. But by 2005, Digital8 was relegated to the entry-level video camera market. Digital8 records are not interchangeable with analogue recordings, although many Digital8 hardware models can play Hi8/Video8 analog recordings. Tape and record protection switch protection from recording (right) prevents accidental erasure. As with many other videotape formats, 8mm have a tape protection mechanism built into the shell. Unlike those on VHS and VHS-C shells that consist of only one piece of plastic that protects the part of the tape that is readable The player/recorder, the Hi8 tape protection mechanism consists of two pieces of plastic at the top of the shell that come together and form a case that protects both sides of the tape, and a latch that prevents this case from opening and exposing the tape. A play/record device can depress this latch to open the case and gain access to the tape. To prevent the recording from erasing, there is a small tab to protect against the record, which can be moved to one of two positions marked REC and SAVE (sometimes labeled as ERASE ON and OFF, respectively). Comparing a sliding tab to a door, the tape is in the REC position when the door is open and in Save position when it is closed. (Not all cases of tape are labeled for this information.) Tape can only be recorded (or recorded more) when this tab is in the REC position. This is an improved version of the VHS write-protect tab that prevents erasure after it has been torn, requiring duct tape coverage or filling with an obstacle to remove the protection from the record. Video8 outside the market video camera Home Market Canon ES-100A: High-End Video 8 VCR based on Sony EV-S1. Efforts have been made to expand Video8 only from the video camera market to the main home video. But as a replacement for full-size VCRs, Video8 failed. It lacks a long (5 hours) recording time for both VHS and Betamax, does not offer clear audio/video improvements, and costs more than equivalent full-size VCRs. Even with all the advanced features offered in high-end Video8 machines, there was no good reason to switch to Video8 for a home app. Initially, many of the films were pre-recorded in 8 mm format for home use and rental, but the rental market for Video8 never materialized. Sony maintained a line of video8 home video recorders in the 1990s, but unlike VHS, 8mm video recorders with timers were very expensive. Sony has also released a line of Video8 Walkman branded players and recorders, with and without a flip screen designed to play video and limited recording. They have been adapted for Digital8 as well as MiniDV formats, even as portable DVD players have become popular in this app. Such players have seen use in professional applications, especially with airlines, which, during the 1980s, took 8mm as a format for in-flight movies. They remained in use among some airlines until at least 2015. Professional ENG/EFP field Hi8 video camera. Sony EVW-300 Video shooting Among home and amateur videographers, Video8/Hi8 was popular enough for Sony to make equipment for video editing and production. This format has also been used in professional collection news and production of electronic technology on the ground. Professional 8-track audio Hi8 tapes were also used for an 8-track professional digital audio format called DTRS, including the Tascam DA-88 and similar models. These records are records nothing is interchangeable with 8mm video formats. By 2009, the popularity of analog 8mm formats had declined significantly, and new video cameras that support the format were unattainable by being replaced by digital formats, mainly MiniDV and 8 cm DVDs. They, in turn, were largely superseded by high-definition video cameras, which are recorded on flash storage cards. Both Video8 and Hi8 empty media remain accessible and accessible, but less and less common. Tape-based video cameras are still readily available in the used market. The last Hi8 video camera (Sony CCD-TRV238) and the last Digital8 (Sony DCR-TRV285) video camera were discontinued in 2007, ending the 8mm format for 22 years. The various technical problems of Dropout in Video8 and its successors, smaller head drum and tape make recorders more susceptible to the effects of tape dropout, where magnetic particles are blurred from the surface of the tape. Because the audio/video signal is contained in a smaller area on the Video8 tape, one dropout has a more devastating effect. Thus, the dropout compensation in Video8 systems is generally more advanced to mitigate the format's vulnerability to dropouts. In this respect, the big VHS and Betamax drums proved to be profitable. The lifespan of 8mm tapes 8 mm tapes should be stored vertically, from direct sunlight, in a dry, cool, dust-free environment. As with any media, they will deteriorate over time and lose recorded content, resulting in increased image noise and dropout. Tapes over the age of 15 may begin to show signs of degradation. Among other problems, they can become sticky, interference the reproduction of units, or become brittle and snap. Such problems usually require professional attention. However, the 8mm format is no more prone to this than any other magnetic tape format. In fact, the metalwork technology used in Video8 formats is more durable than the metal detector used with MiniDV. Hi8 tapes can be either metal particle (MP) or metal evaporates (ME) formulations. Because 8mm tapes use metallic formulation, they are harder to erase than the oxide tapes used with VHS, S-VHS and Betamax tapes. Thus, carefully stored, they are less susceptible to magnetic fields than older formats. See also Data8 - Data format for very similar media. Ruvi is a unique video camera based on the Hi8 tape. Inquiries: Nmungwun, Aaron Foisi (2012-11-12). Video recording technology: its impact on media and home entertainment. Routledge. ISBN 9781136466045. Archive from the original for 2018-05-15. Michael Schrage; Michael Schrage (1984-01-05). Kodak presents the 8mm video 'Camcorder'. The Washington Post. ISSN 0190-8286. Archive from the original for 2017-08-28. Received 2017-06-07. b Bucking, (2001). Video and Video Camera Service and Technology. The Newnes. ISBN 0-7506-5039-7. ^ ^ b Eastman Kodak Co. Wednesday entered into a home war video... Upi. 1984-01-04. Archive from the original 2015-04-27. Received 2015-04-20. B. B Carter, Roger. 1984_1985. www.digicamhistory.com archive from the original 2014-02-09. Sony Global - Product and technology of a dashing video camera. www.sony.net archive from the original 2015-05-02. Sony's Handycam Camcorder celebrates its 25th anniversary - Sony Insider. sonyinsider.com archive from the original 2015-04-10. Sony Corporation. Sony EV-S7000 Hi8 VCR Operating Instructions, page 79 (PDF). How video cameras work. howstuffworks.com. 10 October 2000. Archive from the original on January 30, 2012. Tomas Romero (October 2013). Far from outdated (PDF). Experience with air passengers. Airline Passenger Service Association. Received on August 30, 2020. The final guide to the Tascam DA-88 and DTRS Format recorders. SilentWay.com 2010. Received 2020-06-03. External links mediacollege.com video8 ubergizmo.com Sony ends up supporting 8mm video howstuffworks.com 8mm tape latimes.com What's wrong with the 8mm tape? : VIDEO 'FORMAT FUTURE' STILL LAGS BEHIND VHS, MARCH 11, 1990 DENNIS HUNT (EN TIMES STAFF WRITER extracted from analog video vs digital video in multimedia

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