Can Mini Hdv Camera Playback Mini Dv

Magnetic tape-based consumer and broadcast videocassette format for camcorders and video codec

DV

DV cassettes: DVCAM-Fifty, DVCPRO-M, MiniDV
Media blazon	Magnetic cassette tape
Encoding	DV
Readmechanism	Helical scan
Writemachinery	Helical scan
Adultpast	Sony Panasonic
Usage	Camcorders, Home movies
Released	1995; 27 years ago  (1995)

DV refers to a family of codecs and record formats used for storing digital video, launched in 1995 past a consortium of video photographic camera manufacturers led past Sony and Panasonic. In the tardily 1990s and early 2000s, DV was strongly associated with the transition from analog to digital desktop video production, and also with several enduring "prosumer" camera designs such as the Sony VX-grand.^[i] DV is sometimes referred to every bit MiniDV, which was the nearly popular tape format using a DV codec during this fourth dimension.

In 2003, DV was joined past a successor format called HDV, which used the same tapes only with an updated video codec; HDV cameras could typically switch betwixt DV and HDV recording modes.^[2] In the 2010s, DV quickly grew obsolete every bit cameras using retention cards and solid-state drives became the norm, recording at higher bitrates and resolutions that were impractical for mechanical record formats. Additionally, as manufacturers switched from interlaced to superior progressive recording methods, they bankrupt the interoperability that had previously been maintained across multiple generations of DV and HDV equipment. In the 2020s, DV codecs are still sometimes used when dealing with legacy standard definition video.

The original DV specification, known equally Blue Book, was standardized within the IEC 61834 family of standards. These standards define mutual features such as concrete videocassettes, recording modulation method, magnetization, and basic system information in part 1. Office two describes the specifics of video systems supporting 525-60 for NTSC and 625-50 for PAL.^[3] The IEC standards are available as publications sold by IEC and ANSI.

DV compression [edit]

DV uses lossy compression of video while sound is stored uncompressed.^[four] An intraframe video compression scheme is used to compress video on a frame-past-frame basis with the discrete cosine transform (DCT).

Closely following the ITU-R Rec. 601 standard, DV video employs interlaced scanning with the luminance sampling frequency of thirteen.5 MHz. This results in 480 scanlines per complete frame for the sixty Hz organisation, and 576 scanlines per consummate frame for the 50 Hz system. In both systems the agile area contains 720 pixels per scanline, with 704 pixels used for content and 16 pixels on the sides left for digital blanking. The same frame size is used for 4:3 and sixteen:9 frame attribute ratios, resulting in different pixel aspect ratios for fullscreen and widescreen video.^{[five] [6]}

Prior to the DCT compression stage, blush subsampling is applied to the source video in guild to reduce the amount of data to exist compressed. Baseline DV uses 4:1:1 subsampling in its 60 Hz variant and four:2:0 subsampling in the 50 Hz variant. Low chroma resolution of DV (compared to college-end digital video formats) is a reason this format is sometimes avoided in chroma keying applications, though advances in blush keying techniques and software have made producing quality keys from DV material possible.^{[7] [viii]}

Audio can be stored in either of two forms: xvi-bit Linear PCM stereo at 48 kHz sampling charge per unit (768 kbit/southward per channel, 1.5 Mbit/s stereo), or four nonlinear 12-bit PCM channels at 32 kHz sampling rate (384 kbit/s per channel, 1.5 MBit/s for four channels). In addition, the DV specification also supports 16-bit audio at 44.i kHz (706 kbit/s per channel, 1.iv Mbit/southward stereo), the same sampling rate used for CD audio.^[9] In practice, the 48 kHz stereo way is used almost exclusively.

Digital Interface Format [edit]

The audio, video, and metadata are packaged into eighty-byte Digital Interface Format (DIF) blocks which are multiplexed into a 150-block sequence. DIF blocks are the basic units of DV streams and can exist stored equally estimator files in raw form or wrapped in such file formats as Audio Video Interleave (AVI), QuickTime (QT) and Material Substitution Format (MXF).^{[10] [xi]} One video frame is formed from either 10 or 12 such sequences, depending on scanning charge per unit, which results in a data rate of about 25 Mbit/s for video, and an additional 1.5 Mbit/s for audio. When written to record, each sequence corresponds to 1 complete track.^[v]

Baseline DV employs unlocked sound. This means that the sound may be +/- ⅓ frame out of sync with the video. However, this is the maximum drift of the audio/video synchronization; it is not compounded throughout the recording.

Variants [edit]

Sony and Panasonic created their proprietary versions of DV aimed toward professional & broadcast users, which apply the same compression scheme, but amend on robustness, linear editing capabilities, color rendition and raster size.

All DV variants except for DVCPRO Progressive are recorded to tape within interlaced video stream. Picture show-like frame rates are possible by using pulldown. DVCPRO HD supports native progressive format when recorded to P2 retentivity cards.

DVCPRO [edit]

DVCPRO compatibility marker

Tracks on DVCPRO tape (in Russian)

DVCPRO, also known every bit DVCPRO25, is a variation of DV developed by Panasonic and introduced in 1995 for use in electronic news gathering (ENG) equipment.

Unlike baseline DV, DVCPRO uses locked audio, meaning the audio sample clock runs in sync with the video sample clock, and iv:ane:i chroma subsampling for both l Hz and 60 Hz variants to decrease generation losses.^[12] Audio is available in 16-bit/48 kHz precision.

When recorded to tape, DVCPRO uses wider track pitch - 18 μm vs. x μm of baseline DV, which reduces the hazard of dropout errors during recording. Two actress longitudinal tracks provide support for audio cue and for timecode control. Tape is transported fourscore% faster compared to baseline DV, resulting in shorter recording time. Long Play mode is non available.

DVCPRO50 [edit]

DVCPRO50 compatibility mark

Panasonic AJ-D950 DVCPRO50 VCR

DVCPRO50 was introduced by Panasonic in 1997 for high-value electronic news gathering and digital movie house, and is often described as two DV codecs working in parallel.

The DVCPRO50 doubles the coded video data rate to l Mbit/s. This has the effect of cut full record time of whatever given storage medium in half. Chroma resolution is improved past using four:ii:2 chroma subsampling.

DVCPRO50 was used in many productions where high definition video was non required. For example, BBC used DVCPRO50 to record high-budget TV series, such as Space Race (2005) and Ancient Rome: The Rise and Autumn of an Empire (2006).

A like format, D-ix (or Digital-Southward), offered past JVC, uses videocassettes with the same form-factor every bit VHS.

Comparable high quality standard definition digital tape formats include Sony's Digital Betacam, launched in 1993, and MPEG IMX, launched in 2001.

DVCPRO Progressive [edit]

DVCPRO Progressive was introduced by Panasonic for news gathering, sports journalism and digital cinema. It offered 480 or 576 lines of progressive scan recording with 4:two:0 chroma subsampling and four xvi-bit 48 kHz PCM audio channels. Like HDV-SD, information technology was meant as an intermediate format during the transition time from standard definition to loftier definition video.^{[thirteen] [14]}

The format offered vi modes for recording and playback: 16:9 progressive (50 Mbit/south), 4:3 progressive (50 Mbit/south), 16:9 interlaced (50 Mbit/southward), 4:3 interlaced (50 Mbit/south), 16:9 interlaced (25 Mbit/south), iv:3 interlaced (25 Mbit/s).^[15]

The format has been superseded with DVCPRO HD.

DVCPRO HD [edit]

DVCPRO Hard disk drive compatibility mark

DVCPRO HD, also known as DVCPRO100 is a high-definition video format that tin exist thought of equally iv DV codecs that piece of work in parallel. Video data rate depends on frame charge per unit and can exist every bit depression as 40 Mbit/southward for 24 frame/s style and every bit high as 100 Mbit/s for 50/sixty frame/due south modes. Like DVCPRO50, DVCPRO HD employs 4:2:ii color sampling.

DVCPRO Hard disk uses smaller raster size than broadcast high definition television: 960x720 pixels for 720p, 1280x1080 for 1080/59.94i and 1440x1080 for 1080/50i. Similar horizontal downsampling (using rectangular pixels) is used in many other magnetic record-based Hd formats such equally HDCAM. To maintain compatibility with Hd-SDI, DVCPRO100 equipment upsamples video during playback.

Variable framerates (from 4 to lx frame/due south) are available on VariCam camcorders. DVCPRO Hd equipment offers backward compatibility with older DV/DVCPRO formats.

When recorded to tape in standard-play fashion, DVCPRO HD uses the same 18 μm track pitch as other DVCPRO flavors. A long play variant, DVCPRO HD-LP, doubles the recording density by using 9 μm track pitch.

DVCPRO HD is codified as SMPTE 370M; the DVCPRO HD tape format is SMPTE 371M, and the MXF Op-Atom format used for DVCPRO Hard disk on P2 cards is SMPTE 390M.

While technically DVCPRO Hard disk drive is a direct descendant of DV, it is used almost exclusively by professionals. Tape-based DVCPRO Hd cameras be only in shoulder mount variant.

A similar format, Digital-S (D-ix Hard disk), was offered by JVC and used videocassettes with the same form-factor as VHS.

The main competitor to DVCPRO Hd was HDCAM, offered by Sony. It uses a similar compression scheme but at higher bitrate.

DVCAM [edit]

In 1996 Sony responded with its own professional version of DV called DVCAM.^[16]

Similar DVCPRO, DVCAM uses locked audio, which prevents audio synchronization drift that may happen on DV if several generations of copies are made.^[17]

When recorded to tape, DVCAM uses fifteen μm runway pitch, which is 50% wider compared to baseline. Appropriately, tape is transported fifty% faster, which reduces recording time by one tertiary compared to regular DV. Because of the wider runway and track pitch, DVCAM has the ability to do a frame-authentic insert edit, while regular DV may vary by a few frames on each edit compared to the preview.

Digital8 [edit]

Digital8 is a combination of the tape transport originally designed for analog Video8 and Hi8 formats with the DV codec. Digital8 equipment records in DV format merely, but usually tin can playback Video8 and Hi8 tapes too. This characteristic is useful in digitizing analog 8mm tapes.

Progressive recording [edit]

Tape-based DV variants, except for DVCPRO Progressive, do not support native progressive recording, therefore progressively acquired video is recorded within interlaced video stream using pulldown. The same technique is used in television industry to broadcast movies. Progressive-scan DV camcorders for 60 Hz marketplace tape 24-frame/s video using 2-three pulldown and thirty-frame/s video using ii-2 pulldown. Progressive-scan DV camcorders for 50 Hz market record 25-frame/due south video using two-2 pulldown.

Progressive video can be recorded with interlaced commitment in listen, in which case loftier-frequency information between fields is blended to suppress interline twitter. If the goal is progressive-browse distribution like Web videos, progressive-scan DVD-video or filmout, then no filtering is applied. Video recorded with 2-2 pulldown and no vertical filtering is conceptually identical to progressive segmented frame.

Consumer-grade DV camcorders capable of progressive recording usually offer simply 2-two pulldown scheme because of its simplicity. Such a video tin exist edited every bit either interlaced or progressive and does not crave additional processing aside of treating every pair of fields as one complete frame. Canon and Panasonic phone call this format Frame Mode, while Sony calls it Progressive Scan recording. 24 frame/southward recording is bachelor only on professional DV camcorders and requires pulldown removal if editing at native frame rate is required.

DVCPRO HD supports native progressive recording at 50 or 60 frame/s in 720p mode. To tape video acquired at 24, 25 or 30 frame/s frame repeating is used. Frame repeating is similar to field repeating used in interlaced video, and is as well called pulldown sometimes.

Recording media [edit]

Magnetic record [edit]

DV was originally designed for recording onto magnetic tape. Tape is enclosed into videocassette of four different sizes: small, medium, large and extra-large. All DV cassettes utilize ¼ inch (6.35 mm) wide tape.

Pocket-sized cassettes, besides known as Southward-size or MiniDV cassettes, had been intended for amateur utilise, but accept get accepted in professional productions as well. MiniDV cassettes are used for recording baseline DV, DVCAM, and HDV. These cassettes come up in lengths up to about thirteen GB for 63 minutes of DV or HDV video.^[18] When recording in DVCAM, these cassettes hold upward to 41 minutes of video. There are some 83-minute versions just these use thinner record than the 63-infinitesimal ones, and Panasonic brash against playing these cassettes in DVCPRO decks.

Medium or M-size cassettes, which are near the size of Video8/Hi8/Digital8 cassettes, are used in professional person Panasonic equipment and are oft called DVCPRO tapes. Panasonic video recorders that accept medium cassette tin play back from and record to medium cassette in different flavors of DVCPRO format; they volition too play pocket-size cassettes containing DV or DVCAM recording via an adapter. These cassettes come in lengths up to 66 minutes for DVCPRO, 33 minutes for DVCPRO50 and DVCPRO HD-LP, and 16 minutes for the original DVCPRO Hard disk drive.

DVCAM cassettes in both miniDV and big size

Large or L-size cassettes are accustomed by almost standalone DV record recorders and are used in many shoulder-mountain camcorders. Consumer DV VCRs were fabricated which could record onto these cassettes, but despite the capabilities of the format, these never gained widespread popularity among consumers. The Fifty-size cassette can exist used in both Sony and Panasonic equipment; nevertheless, they are frequently chosen DVCAM tapes. Older Sony decks would not play big cassettes with DVCPRO recordings, but newer models can play these and M-size DVCPRO cassettes. These cassettes come in lengths upwards to 276 minutes of DV or HDV video (or 184 minutes for DVCAM) which is more data than what VHS, Southward-VHS, D-VHS, Video8, Hi8 and Digital8 are capable of, and unlike the VHS formats and Digital8 which use thinner tape for their longest-length variants, the 276-minute DV cassette is able to use the same tape every bit its shorter-length variants. On the DVCPRO side, these cassettes take nigh double the tape capacity of their 1000-size counterparts, with lengths upwardly to 126 minutes for DVCPRO, 64 minutes for DVCPRO50 and DVCPRO HD-LP, and 32 minutes for the original DVCPRO Hard disk drive. A thin-record 184/92/46-infinitesimal version was too released.

Various DVCPRO cassettes in different sizes

Actress-large cassettes or XL-size have been designed for use in Panasonic equipment and are sometimes chosen DVCPRO Twoscore. These cassettes are not widespread, only a few models of Panasonic tape recorders can have them. Each Xl-size cassette holds nearly double the corporeality of tape equally the full-length Fifty-size cassettes with a capacity of 252 minutes of DVCPRO video or 126 minutes of DVCPRO50 or DVCPRO Hard disk-LP video.

Technically, any DV cassette tin can tape any variant of DV video. Still, manufacturers often label cassettes with DV, DVCAM, DVCPRO, DVCPRO50 or DVCPRO Hard disk drive and betoken recording time with regards to the label posted. Cassettes labeled every bit DV indicate recording time of baseline DV; another number can bespeak recording time of Long Play DV. Cassettes labeled as DVCPRO have a yellow record door and bespeak recording time when DVCPRO25 is used; with DVCPRO50 the recording time is one-half, with DVCPRO HD it is a quarter. Cassettes labeled as DVCPRO50 accept a blue tape door and indicate recording fourth dimension when DVCPRO50 is used. Cassettes labeled equally DVCPRO Hd accept a red tape door and indicate recording fourth dimension when DVCPRO Hard disk-LP format is used; a second number may exist used for DVCPRO HD recording, which volition be one-half equally long.

Panasonic stipulated use of a item magnetic-tape conception—metal particle (MP)—equally an inherent office of its DVCPRO family unit of formats. Regular DV tape uses Metal Evaporate (ME) formulation (which, as the name suggests, uses concrete vapor deposition to deposit metal onto the record^[19]), which was pioneered for utilize in Hi8 camcorders. Early Hi8 ME tape was plagued with excessive dropouts, which forced many shooters to switch to more than expensive MP tape. After the technology improved, the dropout charge per unit was profoundly reduced, nevertheless Panasonic deemed ME formulation not robust enough for professional person use. Record-based professional Panasonic DVCPRO camcorders and decks only record onto DVCPRO-branded cassettes, effectively preventing use of ME tape.

A disassembled MiniDV cassette

Mini-DV tape machinery within an early on 2000s Panasonic Palmcorder. Quarter for scale.

Cassette Formats	DV	DVCPRO	DVCAM
Small S-size / "MiniDV"		Only made MiniDV adapters
Medium One thousand-size	-		-
Large L-size
Extra Large XL-size	-		-

File-based media [edit]

With proliferation of tapeless camcorder video recording, DV video can be recorded on optical discs, solid country flash memory cards and hard disk drives and used as estimator files. In particular:

• Sony XDCAM family of cameras can record DV onto either Professional person Disc or SxS retentivity cards.
• Panasonic DVCPRO Hard disk drive and AVC-Intra camcorders can record DV (too every bit DVCPRO) onto P2 cards.
• Some Panasonic AVCHD camcorders (AG-HMC80, AG-AC130, AG-AC160) record DV video onto Secure Digital memory cards.
• JVC GY-HM750 tin can be prepare to standard definition mode and in this case will record '.AVI or .MOV SD legacy format' video onto SDHC cards. For clarity - and contrary to what has previously been written, the camera does non natively back up SxS retentiveness cards, has no slots for them and requires an optional addition recorder (or 'adapter' equally JVC call it) to reach this - basically this camera is an 'XDCAM EX' High definition unit and the improver SxS recorder was only made available to achieve better compatibility in facilities which were Sony based.
• Well-nigh DV and HDV camcorders can feed live DV stream over IEEE 1394 interface to an external file-based recorder.

Video is stored either as native DIF bitstream or wrapped into an sound/video container such every bit AVI, QuickTime or MXF.

• DV-DIF is the raw form of DV video. The files usually have extensions *.dv or *.dif.
• DV-AVI is Microsoft'south implementation of DV video file, which is wrapped into an AVI container. Two variants of wrapping are available: with Type 1 the multiplexed audio and video is saved into the video section of a single AVI file, with Type two video and audio are saved as split streams in an AVI file (1 video stream and i to 4 audio streams). This container is used primarily on Windows-based computers, though Sony offers two tapeless recorders, the HDD-based HVR-DR60^[20] and the CompactFlash-based HVR-MRC1K,^[21] for employ with DV/HDV camcorders that can record in DV-AVI format either making a file-based re-create of the record or bypassing tape recording altogether. Panasonic AVCHD camcorders use Type 2 DV-AVI for recording DV video onto Secure Digital retention card.^[22]
• QuickTime-DV is DV video wrapped into QuickTime container. This container is used primarily on Apple computers.
• MXF-DV wraps DV video into MXF container, which is shortly used on P2-based camcorders (Panasonic) and on XDCAM/XDCAM EX camcorders (Sony).

Connectivity [edit]

Nearly all DV camcorders and decks have IEEE 1394 (FireWire, i.LINK) ports for digital video transfer. This is usually a ii-mode port, and so that DV video data tin can be output to a calculator (DV-out), or input from either a estimator or another camcorder (DV-in). The DV-in adequacy makes it possible to re-create edited DV video from a computer back onto tape, or brand a lossless copy between ii mutually continued DV camcorders. Even so, models made for sale in the European Spousal relationship usually had the DV-in capability disabled in the firmware past the manufacturer because the camcorder would be classified past the EU every bit a video recorder and would therefore attract higher duty;^[23] a model which just had DV-out could be sold at a lower price in the European union.

When video is captured onto a computer it is stored in a container file, which can exist either raw DV stream, AVI, WMV or QuickTime. Whichever container is used, the video itself is not re-encoded and represents a consummate digital re-create of what has been recorded onto tape. If needed, the video can exist recorded back to record to create a full and lossless copy of the original footage.

Some camcorders as well feature a USB 2.0 port for estimator connection. This port is ordinarily used for transferring yet images, but not for video transfer. Camcorders that offering video transfer over USB usually do not deliver total DV quality - usually it is 320x240 video, except for the Sony DCR-PC1000 camcorder and some Panasonic camcorders that provide transfer of a full-quality DV stream via USB by using the UVC protocol. Full-quality DV can also exist captured via USB past using dissever hardware that receives DV data from the camcorder over a FireWire cablevision and frontwards information technology without any transcoding to the estimator via a USB cable^[24] - this tin be particularly useful for capturing on modern laptop computers which oft do not have a FireWire port or expansion slot only ever have USB ports.

High finish cameras and VTRs may take additional professional outputs such equally SDI, SDTI or analog component video. All DV variants take a time code, but some older or consumer estimator applications fail to have advantage of it.

Usage [edit]

The high quality of DV images, particularly when compared to Video8 and Hi8 which were vulnerable to an unacceptable number of video dropouts and "hits", prompted the acceptance by mainstream broadcasters of material shot on DV. The low costs of DV equipment and their ease of use put such cameras in the easily of a new brood of videojournalists. Programs such as TLC'southward Trauma: Life in the Due east.R. and ABC News'southward Hopkins: 24/7 were shot on DV.^{[ citation needed ]}

DVCPRO Hd was the preferred high definition standard of BBC Factual.^[25]

Films [edit]

Notable films to use the DV format include:

• The Prowl (Bennett Miller—1998)
• The Gleaners and I (Agnès Varda—2000)
• Chuck and Buck (Miguel Arteta—2000)
• The Gleaners and I: Two Years Afterwards (Agnès Varda—2002)
• Inland Empire (David Lynch—2006)
• Republic of iraq in Fragments (James Longley—2006)
• My Starting time Osculation and the People Involved (Luigi Campi & Giacomo Belletti—2016)

Application software support [edit]

Most DV players, editors and encoders simply support the basic DV format, but not its professional versions. The exception to this being that most (not all) consumer Sony miniDV equipment will play mini-DVCAM tapes. DV Audio/Video data can be stored as raw DV data stream file (data is written to a file as the information is received over FireWire, file extensions are .dv and .dif) or the DV data can be packed into container files (ex: Microsoft AVI, Apple MOV). The DV meta-data is preserved in both file types.

Most Windows video software merely supports DV in AVI containers, as they use Microsoft's avifile.dll, which just supports reading avi files. Mac Bone X video software support both AVI and MOV containers.

• Apple tree Inc.'s iMovie: iMovie allows importing from HDV cameras since iMovie HD, which import in full quality, and DV cameras since iMovie 1, which decodes to one-half of the original quality, to preserve processing power.
• Apple Inc.'s Final Cutting Pro: Final Cut Pro allows importing from all DV, HDV, and AVCHD (using the Apple tree Intermediate Codec or ProRes) cameras. It supports rewinding, fast-forwarding, pausing, stopping and playing from the computer.
• Apple Inc.'s QuickTime Player: QuickTime past default but decodes DV to one-half of the resolution to preserve processing ability for editing capabilities. Even so, in the "Pro" version the setting "High Quality" under "Show Motion-picture show Properties" enables full resolution playback.
• The VLC media player (Gratuitous software): full decoding quality
• MPlayer (also with GUI nether Windows and Mac OS X): total decoding quality
• muvee Technologies autoProducer four.0: Allows editing using FireWire IEEE 1394
• Quasar DV codec (libdv) - open source DV codec for Linux
• DVswitch - open source linear editor for DV streams, with live streaming capabilities
• DV Analyzer - open up source tool to analyze and discover errors and inconsistencies in DV streams (also extracts and reports the original recording date/time): [1]

Mixing tapes from different manufacturers [edit]

At that place was considerable controversy solely based on hearsay over whether or not using tapes from different manufacturers could lead to dropouts.^{[26] [27]} Initially this was suggested around the conception of mostly MiniDV tapes in the mid to belatedly 90s equally the only two manufacturers of MiniDV tapes (Sony, who produce their tapes solely nether the Sony brand; and Panasonic, who produce their own tapes nether their Panasonic make and outsources for TDK, Canon, etc.) used two unlike lubrication types for their cameras - Sony uses a 'wet' lubricant ('ME' or 'Metal Evaporated'), while Panasonic uses a 'dry' lubricant ('MP' or 'Metal Particle').

Though the controversy withal remain standard do for encouraging casual and professional camera operators alike not to mix brands of tapes (every bit the different lubrication formulations tin crusade or encourage tape wear if not cleaned by a cleaning cassette), no significant problems take occurred for the last few years - meaning that switching tapes is adequate, though sticking to one brand (and cleaning the heads with a cleaning cassette before doing so) is highly recommended.

A research undertaken past Sony claimed that there was no hard show of the above statement. The just prove claimed was that using ME tapes in equipment designed for MP tapes can cause tape harm and hence dropouts.^{[28] [ unreliable source? ]} Sony has done a pregnant amount of internal testing to simulate head clogs as a event of mixing tape lubricants, and has been unable to recreate the trouble.^{[ dubious – discuss ]} Sony recommends using cleaning cassettes once every l hours of recording or playback. For those who are still skeptical, Sony recommends cleaning video heads with a cleaning cassette before trying another make of tape.

References [edit]

1. ^ "The Consumer Electronics Hall of Fame: Sony DCR-VX1000 - IEEE Spectrum". IEEE Spectrum: Technology, Engineering science, and Science News. 3 Jan 2019. Retrieved 27 June 2021.
2. ^ "HV10 - Canon Photographic camera Museum". global.canon . Retrieved 21 July 2016.
3. ^ Recording – Helical-scan digital videocassette recording arrangement using 6,35 mm magnetic tape for consumer apply
4. ^ "DV Q&A Our Expert Answers Your Questions". Videomaker magazine. Videomaker, Inc. Oct 1999.
5. ^ ^{a b} "DVCAM format overview" (PDF). Archived from the original (PDF) on 28 September 2011.
6. ^ "Digital Video and Field Order". dvmp.co.britain.
7. ^ fxguide.com
8. ^ "The DV, DVCAM, & DVCPRO Formats -- tech details, FAQ, and links". adamwilt.com.
9. ^ Puhovski, Nenad (April 2000). "DV – A SUCCESS STORY". www.stanford.edu . Retrieved 26 Baronial 2013.
10. ^ "DV-DIF (Digital Video Digital Interface Format)". digitalpreservation.gov. 26 December 2011.
11. ^ "DV format". debian.org. Archived from the original on 7 January 2010. Retrieved nine November 2009.
12. ^ "The DV, DVCAM, & DVCPRO Formats -- tech details, FAQ, and links". adamwilt.com.
13. ^ "Caporale Studios Shoots Feature Films with Panasonic 480p DVCPRO50 Camcorder". dvformat.com.
14. ^ 480p production systems Archived 21 November 2010 at the Wayback Machine
15. ^ "AJ-PD900WP Operating instructions" (PDF). Archived from the original (PDF) on 20 July 2011. Retrieved 10 November 2009.
16. ^ https://cvp.com/pdf/sony_dvcam_family.pdf^{[ bare URL PDF ]}
17. ^ "BBC Grooming: DV Record Formats". Archived from the original on 11 June 2011.
18. ^ "Appendix B: Data Rates and Storage Needs for Various Digital Formats". The Filmmaker'southward Handbook: A Comprehensive Guide for the Digital Age (PDF). WestCityFilms.com (fourth ed.).
19. ^ "Trivia and Tips - What is Metal Evaporated Record? :: Full Media Inc. one-201-848-1100 - Blank tape, CDRS, mini dv, sound, video and reckoner recording supplies".
20. ^ "HVR-DR60 HDV hard disk recorder".
21. ^ "HVR-MRC1K Memory Recording Unit".
22. ^ "Panasonic AG-HMC80 operating instructions" (PDF).
23. ^ "Why is the DV input disabled on almost digital camcorders sold in Europe?". 5 April 2001. Retrieved one February 2020.
24. ^ "How to Capture DV video via USB". dvmp.co.united kingdom of great britain and northern ireland.
25. ^ HD at BBC
26. ^ "DV Tape FAQ". zenera.com.
27. ^ Adam J. Wilt. "Adam Wilt's Video Tidbits". adamwilt.com.
28. ^ The Truth Virtually Tape Lubricant

External links [edit]

• Adam Wilt's DV page with in-depth technical information
• Technical Documentation on the storage of DV data in AVI files: [2]
• DV Analyzer - open up source tool to analyze and find errors and inconsistencies in DV streams (also extracts and reports the original recording date/time): [3]

Source: https://en.wikipedia.org/wiki/DV

Posted by: brownsheill.blogspot.com

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