All About Home Movie Theatre

A home movie theatre is a simple combination of television, DVD player or video player and a good set of speakers and amplifiers. But home movie theatre can have more accessories other than these simple things. Thus it can be an integration of a relatively high quality video output with surround sound thereby providing you with the ultimate in home entertainment.

It is instructive to note down the different components of a home movie theatre. Normally, home movie theatre is an assemby of video output or a display unit, music system with amplifiers, and processing devices like AV reciever or preamplifiers.A home movie theatre has several speakers, usually a six speaker system, which is placed around the room. This is very much unlike a TV system which has an inbuilt speaker system. The home theatre divides the soundtrack into multiple channels and sends different sounds to different speakers. This, in general, follows the concept of surround sound technology, which is found in the movie theatre. Thus the sound effects feel so real.

While installing the home movie theatre, your room can be treated as the basic and one of the most important components. If the person does not have a perfect room for a home theatre he can make some simple changes to make it ideal. While choosing the room one must keep it in mind that four walls should enclose the room. An enclosed room limits the area that has to be filled with sound, so the listener gets a more powerful effect from the system.

The shape of the room also holds an important place in the home movie theatre, as the shape of the room will influence how the sound will circulate around the room. Thus the most ideal shape is a rectangular one. Wall to wall carpeting is ideal, but a large rug over the floor or a carpeted floor is good enough to serve the purpose. Very little light or even complete darkness is what you need in order to get a vibrant picture.

The general components comprise of centre channels and subwoofers, blue ray players, DVD recorder, projectors, LCD or plasma TV. Placement of speakers for a home movie theatre is significant to get accurate sound reproduction. Speakers should be heard and not seen. The center channel and sub-woofer are the most difficult to place. The shape of the room mostly affects the sub woofers. The size of the sub woofers depends on the size of the room. And if the user wants to install multiple sub woofers the challenge becomes more difficult. The centre channel should be hidden behind a screen.

Screen quality has a direct and marked effect upon the resultant picture quality of the home movie theatre. Thus choosing the screen depends on the lighting, size and other attributes of the room. Each screen material has its own specific attributes in respect of gain, reflection and color shift. There are various manufacturers who make projectors for home movie theatre. There are CRT projectors, LCD projectors, DLP projectors and even light canons.

It all depends on the user how much he will spend on a home movie theatre as all these components of the home movie theatre come in different price ranges. The higher priced equipment is always better, but one should keep in mind that he must buy a system according to his room and budget as well.

Article Tags: Screens, Projectors, Sub Woofers, Home Movie Theatre, Center Channel

Article Source: http://www.articlesbase.com/electronics-articles/all-about-home-movie-theatre-536762.html

Some Points About The Sound Quality Of DVD

DVD or Digital Versatile Disc is a special kind of disc that has a large storage capacity. This disc is mainly used for watching films and music. The sound quality of the Digital Versatile Disc is generally very good. But it depends on the quality of the discs. The more costly the disc you opt for the better will be the sound quality you get from it.

The resolution of DVD sound is better than that of the CD. Even its sound quality is better than that of the CD. It is almost two times better than CD sound. The sound quality of a DVD is very much dependent on the player. To get a good sound you first need a good player. A good player is necessary because only a good player will provide a good sound box. If the sound box is good then it will definitely give a good sound.

DVD sound is mainly of two types. The first is Dolby Digital. It is one of the newest editions in the arena of digital sound. This specific sound is of very good quality. DVDs containing Dolby digital format offer a very realistic sound. This format provides a feeling to the audience that they are experiencing the incident directly, not through a disc.

This format contains one option called surround sound. This gives the listener a feeling that the sound is coming from every direction. Actually in a surround sound format, the sound comes from six different sides. These six sides are, near right, front right, center, near left, front left and the sound that comes from sub woofers. Subwoofers give the sound of low bass. Dolby digital sound is also very popular for films. Many modern cinema halls use this format.

The next is DTS (Digital Theatre Sound). It is a kind of sound that reproduces a theatre like sound. It is almost like Dolby Digital format. However, the sound quality is a bit better than the previous one. This format is mainly of two types. The first is DTS-S which offers four channels. All four of them are matrix encoded. These four channels are, right, left, center, and surround. This system is very much like the standard 35mm optical Dolby stereo. The next is DTS-6 which has six different channels from where sound comes. These six channels are, right, left, right surround, left surround, and subwoofers. This system is very much like 70mm six track magnetic sound.

DTS format is becoming very popular. This format is also used in cinemas. The popularity of the film Jurassic Park also paved the way to its success. The price of this format is also quite reasonable. That is also one reason why people are opting for this system.

If you want very good sound quality from your DVDs, you must have some ideas about the discs. Always buy good discs. Try to opt for the famous brands. The main advantage of good brands is that as they have to maintain a reputation and have to survive in this tough competition, they will never give you any low quality material. It is true that some times they can be a bit expensive. Nevertheless, if you want to get a good output then what is the harm in paying a little more?

Article Tags: Dvd, Dolby Digital, Sound Quality, Dth

Article Source: http://www.articlesbase.com/electronics-articles/some-points-about-the-sound-quality-of-dvd-542131.html

Hard Disk Camcorders - 5 Reasons to Buy One

The recording media for digital camcorders is one of the most important features that concern a camcorder consumer. There are several formats currently available, including, DVD, MiniDV, MicroMV, Flash Drive, Digital 8, VHS and Hard Disk.

There was a time when hard disk was referred to only in terms of computers. These days, hard disk also applies to digital camcorders, and has become one of the best recording formats for several reasons.

Hard Disk Drive digital camcorders are compact and record in MPEG-2 video that are saved to a built-in internal hard disk drive within the camcorder. The video is saved to the internal hard disc within the camcorder and then downloaded to a computer and burnt onto to a DVD.

The Super Qualities of the Hard Disk Camcorder

1. The biggest upside of this type of camcorder, versus other media formats, is the ability of storing huge amounts of video data by using compression. Models with a 30GB internal hard drive can record up to 7 hours of quality video or up to 37.5 hours of footage in extended recording mode. Models with a 20GB hard drive can record up to 5 hours of DVD-quality video or up to 25 hours of extended recording in economy mode. To put this into storage capacity, it would take 22 DVD type camcorder storage disks to hold 7 hours of video.

And, this is on going recording, without having to stop and replace the media, that is very convenient for recording extended footage, like plays, concerts or ballgames. Hard disk camcorders also provide quick random access to scenes for ease of operation.

2. Recording quality of most brands of hard disk camcorders is very high quality and yield a superb DVD quality video.

3. Fast transfer and saving of footage to a computer. Hard disk camcorders transfer recorded video from the camcorder to computer via USB cable and that enables a 10 minute transfer time for each 60 minutes of footage.

4. The hard disk camcorder has no moving parts and so there is less chance of mechanical breakdown.

5. Hard disk camcorders tend to be smaller and more compact than other media types of camcorders.

The first hard disk camcorders were introduced by JVC in 2005, and named the Everio series and there are currently 8 models in the JVC Everio hard disk series.

Today, there are several other manufacturers of these types of camcorders, including, Sony, who offers 9 different models of hard disk camcorders and Panasonic who offers 12 models.

The prices of hard disk camcorders vary, depending on the manufacturer, generally they range from $249 up to $1400 retail, with the ground breaker, JVC Everio series falling in the mid $400 range.

Article Tags: Digital Camcorders, Camcorders, Hard Disk Camcorders

Article Source: http://www.articlesbase.com/electronics-articles/hard-disk-camcorders-5-reasons-to-buy-one-540513.html

Why You Need a Digital Camcorder

By: Jack Sufi

Taking pictures is fun but it is more fun to record events of your life in a movie format. About two years ago it occurred to us how much of not only our lives we are not cataloging but also our kid’s life. We were inspired to buy a digital camcorder and with technology the way it is the idea of buying a digital camcorder today is much different than it was a few years ago.

If you do not have a digital camcorder then you need to get one and before you complain out loud about the idea let me put to rest all of the previous notions I had about buying a digital camcorder which I am certain are the same concerns you have. Missing out on the growth of your family is a difficult thing. You know you were there for the important parts but being able to capture those memories and look back on then years later is what makes a digital camcorder so wonderful.

Myth number one is that a digital camcorder is too expensive. If you have looked lately at the line of digital camcorder that is available you will see that prices have dropped considerably. Technology is strange because as technology advances prices usually drop which is the complete opposite of everything else. When they put new features on a Cadillac they always raise the prices. With technology prices drop. Go check out your local digital camcorder and see what the prices are like now. You will be pleasantly surprised.

Big, Bulky, and Difficult to Store

Remember the digital camcorder of the olden days? And by olden days I mean four or five years ago. They were big and carrying them around was uncomfortable and inconvenient. The new generation of digital camcorder is very small and can easily fit in a pocket or purse. Many of the new lines of regular digital cameras are now also being built as a digital camcorder so they double as a camera and a camcorder and you have seen how small cameras have gotten.

The old camcorders you remember have changed and it is time you looked into getting one of your own. They are not nearly as expensive as they used to be and the features they offer now are far more advanced than they used to be. They are no longer big and bulky to carry and won’t get in the way of you and your family’s vacation.

Find the Right Digital Camcorder

It may seem a bit intimidating when you are trying to decide on something like a digital camcorder, mainly because there are so many different options out there. There are literally hundreds of different makes and models of digital camcorder to choose from, so it can easily become overwhelming.

If you want to find just the right digital camcorder for you, then there are a few things you are going to want to take into consideration when you are out shopping. The make and model of the digital camcorder are going to be very important and it is best to stick to a familiar name. Features of the digital camcorder are also important in finding the right digital camcorder. Maybe you want to focus on optical zoom, or maybe a larger sized screen is what matters to you. Price is another factor that should be taken into consideration. Set out a budget for yourself and then try your best to stick to it.

About the Author

Specialized in review of Digital Camcorder information. Get all the information about Digital Camcorder . If you are looking for Digital Camcorder information please stop in by http://www.digitalcamcordersite.com/ and have a look.

a glossary of terms you'll need to know when buying a laptop

Confused by all all the technological terminology you're seeing while shopping for a laptop? Use this glossary to educate yourself.

For those of us not technologically inclined, or who have never had experience with buying a notebook computer, the task of picking out a suitable laptop can be needlessly confusing. There are some basic terms you will need to know, as well as some helpful hints on understanding the technospeak you may encounter in your research, so familiarize yourself with these before you begin looking at computers:

Notebook - Another term for "laptop".
Hardware - Physical componenets of a computer.

Software - Programs installed on a computer.

USB - Many mice, flylights, external fans and other notebook-powered accessories are powered by USB. Most of the time, the USB port will be what your digital camera, printer or other external devices will interface with. Two USB ports are standard, but with the rising popularity of USB accessories, 3 or 4 may be more appropriate.

Wi-Fi - Wireless Internet. A wi-fi "card" or built-in capabilities will allow your laptop to access wireless Internet access points. In order to set up an access point in your home, you will need a wireless router to plug your Internet cable into.

(PCMCIA) Card - A piece of hardware that you must insert into a side slot of your laptop. It is about the size of a playing card and will perform a function that your computer does not have internally, such as wireless Internet, a firewire port, extra USB ports, or a miniature modem.

Modem - Plug a phone cord into this in order to connect to dial-up Internet. Most laptops have them built-in, or you can get one as a card to insert when you need it.

Network port/card - Serves basically the same purpose as the modem, but the plug is configured for cable Internet or DSL. A network cable is used to connect it.

Processor Type - This will be Celeron, Pentium, AMD, etc. What is advised for a laptop is Pentium (the higher number the better) because the others run at very high speeds and have a tendency to heat up quickly, something you don't want in a laptop.

Screen Size - A measurement of the screen from the bottom left hand corner to the top right.

RAM - Short for Random Access Memory. RAM allows your programs to run smoothly and quickly. 256 MB of RAM is fairly standard; "preloaded" refers to what comes installed in the notebook, "maximum" refers to its capacity to upgrade. If your laptop is a long-term investment, you will want to at least have the potential to upgrade as years pass, to keep your computer fast enough to still be current.

Hard Drive - Physical space on a computer. Usually measured in gigabytes (GB), and 40 is standard for a notebook.

Optical Drives- These read or burn CDs and DVDs. A CD-ROM will just read CDs, a CD-Writer (CD-R) will read and burn, CD-RW (Rewriter) can erase certain types of CDs and re-burn them, a DVD-ROM will play DVDs, and a DVD-R will burn DVDs. The speed (usually 24x or above) refers to how quickly the CDs will be written.

Pointing Device - Touchpad or Trackpoint. A touchpad is a small square located south of the keyboard that serves the same purpose as a mouse, moving the pointer on your screen. A trackpoint is a small raised button in the center of the keyboard that does the same. Some people find one or the other easier to work with, but generally both are very functional.

Preloaded Operating System - Windows XP Home Edition is standard. Professional is usually available for slightly higher cost. An operating system is sometimes abbreviated as an "OS".

Processor speed - The base speed of the computer. Like RAM, it enables you to work quickly and without having to endure long leading times to start programs or use other functions while programs are running.

By becoming familiar with the basic terminology you will encounter while shopping for your laptop, you will be much better prepared to recognize a good deal and assert exactly what you want and need. This is a big investment, so prepare yourself accordingly, and you will feel much better about your purchase!

Written by Lawrence Sharp

If You Are Considering Buying A LCD HD Television Read This

Unless you have been on a desert island for the last few years, you will be aware of the rise of the LCD HDTV format. There are advertisements for them everywhere and you probably know of several friends that have them already. If you have not yet considered buying a LCD HDTV, then perhaps now is the time that you should. Prices are getting lower and if you do your research you can get a great deal.

It is not until you see a LCD HDTV in reality that you realize the difference in visual quality to standard televisions of the past. The market data seems to indicate that LCD HDTV 's are here to stay. In 2007 sales of LCD televisions surpassed the standard format for the first time.

Should you decide to purchase a LCD HDTV then you probably have a few queries. This article will help you understand the most commonly asked questions about them. LCD HDTV means Liquid Crystal Display High Definition Television. These televisions are thinner and flatter than the standard models of the past and are comprised of a fixed number of colors or pixels that shine in front of a light source. High Definition Television is a digital system that has a much higher resolution than standard models.

So as you can see, the LCD HDTV provides a far superior television than the more conventional systems. In comparison to the standard television models there are a great deal of benefits. A LCD HDTV is thinner and flatter and this allows you to place one in a small room without compromising space. Many people like to fix the LCD HDTV to a wall as this helps to maximize the living space even more.

One of the great things about these HDTV 's is that they provide theater-like visual and sound quality. They are almost always in wide screen with the aspect ratio set at 16:9, which is the same as a movie theater screen. All HDTV 's are also capable of using Dolby Digital Surround.

Perhaps the best feature of an LCD HDTV is the picture quality. When you see the picture for the first time you are struck by the sharpness of the picture and the amount of detail in comparison to a standard television. The images in a HDTV are twice as sharp as that of a conventional model. This is because it uses a greater lineal resolution that makes the image appear more lifelike and provides richer colors. This technology also greatly reduces interference as the HDTV signal does not display lines or snowing on the picture.

Should you purchase a HDTV and then plug it in at home you may be disappointed to only get a standard picture. In order to receive the full benefits of an LCD HDTV you will need to get a HD receiver and the HD channels.

The most important factor beforehand is finding out whether you can get a HD source. In order to receive the HD signal you need to check the satellite or cable provider in your city for further details.

Assuming this to be the case, you will then need to purchase a HD box so that you can start to receive the high-definition signal. Most providers are launching new versions of popular channels in high-definition all the time so once you are set up then you will be able to enjoy the complete visual and audio experience that the LCD HDTV provides.

About the Author

If you are looking for LCD TV information or Home Entertainment products Bendot is your one stop shop.

Your Home Cinema; Don't Forget The Popcorn

There used to be a time when you sat down in front of the television and watched television in mono sound on a screen smaller than the one you are viewing this article on. Today televisions have grown in size and capability and the home cinema and home entertainment system has come of age. Televisions come in all sizes from ones on your mobile phone to 150-inches large.

But what is the best way to set up a home cinema system in your living room and what do you need to make it work? Here is a simple check sheet to make sure you don't miss anything out.

Television or projector?

The first decision you are going to have to make is whether or not you want to have a projector or a standard LCD or Plasma television. The advantage of a projector is that you'll get a larger picture, however you'll need to factor in changing the bulbs every couple of thousand hours (not that long considering you probably watch around 20 hours of television a week) and while projector technology has improved drastically over the last couple of years, they still need a fairly dark room and a white wall to be viewed.

LCD or Plasma?

So you've decided to go for a television over a projector, now you need to decide whether or not to go for plasma or LCD technology. The main criteria will be size. Under 46-inches you can't really tell the difference. However your choice will be restricted if you opt for plasma with Pioneer 's Kuro range the one to go for if your plans are to go big. If you are going LCD then there are a number of manufacturers that offer solutions from Samsung, LG, Philips, Sony, Sharp and Toshiba. Philips has Ambilight for those looking for something a bit different. Ambilight fires light out of the back, and with its Aurea model out the front, that matches the colours on the screen. The idea is that it reduces strain on your eyes.

Amp.

Once you've got the visuals out of the way you need to look at the sound and you start with an amp. Amps again come in all shapes and sizes with complete kits offered by companies like Samsung and LG, while companies like Denon and Arcam specialise in a system that you add components like a DVD player or games console to. An amp is also good for controlling all your different devices within your home entertainment system.

Speakers.

You've got an amp, but now you need to hear the music. Yamaha and a couple of other manufacturers make a single speaker that sits under your television called a Soundbar. This saves on cluttering up your lounge with speakers, however for audiophiles it won't beat a 7.1 surround system where there are speakers everywhere you look.

DVD/Blu-ray/Content.

Once you've got a compete system set up you need something to play on its. If you are into movies you'll need to get a good up-scalling DVD or if you're an early adopter a Blu-ray player. Of course you can also get HD movies and TV shows via Sky 's HD service.

Remote controls.

Having all this kit will mean a remote control for virtually every device. Rather than clutter up your armchair 's sofa, make sure you look at getting an all in one offering from either Philips or Logitech.

Hopefully this information will help you to create a home cinema that provides you with an unrivalled viewing

About the Author

Technology expert Thomas Pretty looks into the importance of home cinema reviews when building your own viewing space.

Understanding Streaming Video

Understanding Streaming Video

Downloading
When you download a file the entire file is saved on your computer 's hard drive, which you then open and view at your leisure. The one major advantages is having quicker access to different parts of the file once downloaded, but it has the big disadvantage of you having to wait for the whole file to completely download before any of it can be viewed. If the file is quite small this may not be too much of a problem for you, but for large files it can tax your patience.

The easiest way to provide downloadable video files is to use a simple hyperlink to the file on your site or server. A slightly more advanced method is to embed the file in a web page on your site using special HTML code.

Making video files available this way is known as HTTP streaming or HTTP delivery. HTTP means Hyper Text Transfer Protocol, and is the same protocol used to deliver web pages. For this reason it is easy to set up and use on almost any website, without requiring additional software or special hosting plans.

Streaming
Streaming video works a bit differently, you or your visitors, the end users can start watching the file almost as soon as it begins downloading. The file is sent to the user in a constant stream, ideally, and the user watches it as it arrives. The main advantage with this method is that no waiting is involved, depending on the download speed of your service. Streaming media has additional advantages such as being able to broadcast live events, sometimes referred to as a webcast or netcast.

True streaming video must be delivered from a specialized streaming server.

Progressive Downloading
There is also a hybrid method known as progressive download. In this method the video file is downloaded but begins playing as soon as a portion of the file has been received. This simulates true streaming, but doesn't have all the advantages.

HTTP Streaming Video
This is the simplest and cheapest way to stream video from a website. Small to medium sized websites are more likely to use this method than the more expensive streaming servers.

For this method you don't need any special type of website or host, just a host server which recognises common video file types (most standard hosting accounts do this). Bear in mind you can't stream live video, since the HTTP method only works with complete files stored on the server. This method is very popular and will be used on this site and video syndication sites such as YouTube.

Create a Streaming Video File
There are many streaming video formats and the main one are probably familiar to you already. The most popular are Macromedia Flash, RealMedia, Windows Media, Quicktime and MPEG.

Each format has its pro and cons and people have their own preference. Ideally you should have files in all formats but this is far from practical and it is best to choose one or two at the most. Flash is the format recommended on this site and the Flash Player is usually found on the majority of computers connected to the internet.

There are two ways to create stored streaming video files
Once you have created you video in, let 's say, .avi format then you need to prepare it for uploading to your web site ready for streaming by one of the following methods.

1. Use a conversion utility program. This takes an existing digital video file (avi) and converts it into the streaming format of your choice, in this case Flash video.
2. Export streaming files from video editing software such as Adobe Premiere or Ulead Video Studio.

Conversion Utilities
A conversion utility is a stand alone program which imports a video clip and exports it in a different format. Examples include RealNetworks Real Producer External Link and Sorenson Squeeze External Link. There are simpler, cheaper and even free software programs for converting videos into Flash format which are perfectly adequate for the scope of this web site.

Basically, you simply open a file and select which which format to save it as. You can set various parameters to optimise the final video. The program will then chug away for some time while it makes the conversion.
About the Author

Author: robiyah
Bruce Walls rights about the benefits of using video on your website to increase traffic. Read this article and more at WebsiteVideoGuide
http://websitevideoguide.com/25/streaming-video/

Home Cinema: A Nail In The Coffin Of The Talkies?

Since the Lumiere brothers screened their first cinematograph images in 1895 the world has been involved in a steamy love affair with moving images. It has survived world wars and oppressive regimes, and it has been used for educating and indoctrinating alike. Coinciding with the development of the railways the moving image was always representative of modernity and it is one of the only industries to keep developing its technology constantly through a process of creative problem solving.

It is a unique blend of art and commercialism, with the global industry worth tens of billions worldwide however certain industry professionals still manage to maintain their creative stamp on the films they create within this stringent commercial framework. As the film industry has developed so has many associated industries. As the capture of film became better quality so did the screening processes and it was not long before this was made accessible to the average household.

Starting with 8mm cameras and projection systems home cinema was born in the 1950s and 1960s. This was followed by super 8mm film in the 1970s and then the infamous Laserdiscs and Betamax in the 1980s. These domestic appliances brought the moving images of the cinema into the home and many industry commentators predicted the demise of the cinema or the talkies as they were dubbed post-sound.

Luckily for all home cinema enthusiasts the home cinema industry has developed significantly throughout the last two decades, moving from VHS, super VHS to DVD and pay per view delivering pre-DVD released movies directly into the home at the click of a remote. So how has this affected the film industrys box office takings? The answer is not a great deal.

When scrutinising the British Film Institute figures for cinematic admissions over the last 70 years you can see that in 1946 the attendance peaked with 1,635 million people going to the cinema, however ten years later they had dropped to 1,100.80 million. Then over the next three years the attendances plummeted 581 million, a total decrease of over 1000 million from its peak. When weighing this up against the development of home cinema technology it does not match up.

What it does fit with nicely is the rise of television. BBC 1 first broadcast in 1936 when domestic televisions were not commonplace however by the launch of ITV in 1955 the British economy was recovering and more people had TV sets. Partner this with fact that the majority of the attendances during UK wartime were there to watch news reels which were now being made available through TV then you have a plausible explanation for the drop in cinema attendances.

When examining the more recent cinematic attendances we can see a trough in 1984 at a measly 54 million during the VHS generation of home cinema which was first introduced in 1976. From then on the number of cinema attendances has been on the rise despite massive technological advances in home cinema. Now with DVD, HD, plasma screen and surround sound surely people would have everything they need at home?

The answer is again no. As we see from the Cinema Exhibitors Association, attendances between 2000-2007 have maintained a constant figure of around the 160 million region, a massive increase from the economically turbulent late 80s and early 90s. The fact is that the cinema is so embedded in UK culture and around the globe that it can never be replaced by any affordable home cinema. The psychology of the collective spectator, the confectionary and pure sensory magnitude of the experience will see cinema attendances stretching into the next millennium and beyond.

About the Author

Shaun Parker is a custom designer of home cinema with many years of experience in the home entertainment industry.

The Hitachi Dzhs300a Hybrid Camcorder

The Hitachi Dzhs300a Hybrid Camcorder
Making its public appearance at the Consumer Electronics Association in 2007, the DZHS300A Hybrid Camcorder was the first of its kind not only for Hitachi, but for the whole world. The DZHS300A gives to its owner the opportunity of recording video either directly on an internal 8GB hard disk drive or to DVD-R, -RW or +RW discs or DVD-RAM discs. The DZHS300A Hybrid Camcorder have built-in editing tools and a one-touch dub button which allow cleaning up and sending videos from the internal 8 GB HDD to another media. A SD memory card slot makes possible capturing stills as well, from frames of DVD video or when in a photo mode. With its street price around $400, this is a budget digital camcorder and its video quality shows that. But, the Hitachi DZHS300A Hybrid Camcorder's recording flexibility, easy use and fast startup time make it an excellent choice for people who like to instantly and effortlessly record and share video and/or to move it quickly to a computer for editing and creating more sophisticated projects. Considering the components involved, a hard disk drive and DVD recorder, the DZHS300A Hybrid Camcorder is a fairly compact (3.5×2.4×5.3 inches) and reasonably lightweight (about 1 pound) device. It is not quite small enough to stash it inside a coat pocket, but a shoulder strap is included. The Hitachi DZHS300A comes with a 25x optical zoom lens that smoothly moves in and out without applying much pressure. It has an Electronic Image Stabilizer that eliminates camera shake and there is an option to choose between auto and manual focus. The controls and menu navigation are simple and intuitive and the 2.7-inch color LCD is just big enough. The "record" button is centered in a small dial located by the user's thumb. The dial allow to switch between positions for the SD card, Off, hard drive and the DVD recorder. One of the most outstanding features is the device's startup time. It goes from off to ready to record to the HDD in about a second. There's also a Standby setting that lets the user to wake and record even faster. For those who are addicted to capturing life's more unusual moments to post online, the Hitachi DZHS300A's startup time is ideal. From the image quality point of view, one should not forget that this is a a budget camcorder and Hitachi is pitching it for its recording versatility, not its video performance.Those who need a camcorder for more than casual videos, should probably skip the DZHS300A. This camera gives its best outdoors on sunny and slightly overcast days and indoors under bright light. For low-light situations, the LCD can be used as a light, but only at a short distance. The digital still pictures it captures are at a resolution of 640×480 and are fairly passable, but the still-shot feature is meant as an extra, not to replace a standalone still camera. The Hitachi DZHS300A's strong points are the ease of use, the very fast startup time and its hybrid recording. These strong points makes it a perfect device for the novices that just want to pop a disc in and go, but as well, for those that want to do full-on editing and disc creation. Plus, with the handful of built-in editing tools and the one-touch dub from HDD to DVD, one can give family and friends a quick DVD, completely skipping the PC transfer and without the need for docking like other units. from http://www.articlesbase.com/electronics-articles

Wedding Video Tips By Donna Ennis

Wedding Video Tips
By Donna Ennis

A video of your wedding day will allow you and your family to relive memories for generations to come. The people who mean so much to you, the music, the voices, and the emotions... these memories are priceless. Who do you trust to capture them?

Important considerations when choosing your wedding videographer.

In one word: experience. Too many people in this business get started in video production by doing weddings. Do you want to trust your once in a lifetime moments to someone who is just learning? Making mistakes is inevitable when learning anything new, and it can take years to get it right. Always go with experience.

When hiring a wedding photographer and videographer, communication between the two is important. Each has certain priorities, or what we call the money shots, and we do not want each other in those shots. Videographers expect that, during the vows and rings ceremony, the photographer stays out of the way and does not stand in front of our aisle camera, blocking the view. Both should be talented professionals who understand these issues and try to accommodate each other because we both want the best for you.

Wedding Videographer VS Photographer

While a photo captures a moment in time, video allows you to record time in motion. Professional wedding videographers can record sound and voices as well, which include the vows, one of the most special and meaningful moments of the ceremony. A videographer allows you to relive and hold on to the memories of your wedding day forever! Sometimes, when the wedding budget starts getting high, some choose to settle for one or the other. If the budget is a concern, decide which is going to be the most important to you, but if you would like the advantages of video, you do not need an expensive photography package. Here's why.

High Quality Video Equipment

Any of the new single and 3 chip digital cameras offer excellent quality and low light capabilities that are advantages when bright lighting is not desired. I recommend those using 3 chip digital video cameras first (highest costs), and 1 chip digital cameras second (low to moderate cost). I do not, in this day and age, recommend Super VHS, VHS or 8 mm. With a DVD, you can navigate to any segments you wish, quickly and easily, and they do not wear out.

Shooting and Editing

This is a great question. Sinatra sang, Love and marriage goes together like a horse and carriage. This I tell you brother, you can't have one with out the other. The same is true for videotaping and editing. You cannot edit what was not captured or with poor footage. Positioning, camera angles, lighting and sound all come with experience. Assuming the videographers get adequate footage, I would have to say that editing is more important to the final product. Not all good videographers are good editors, and creative digital editing is what matters most. Today's software programs are amazing for creating, correcting, and improving digital video but require a lot of time and experience to use.

Muti-Camer - Does It Matter?

The most important decision, if you are serious about getting a truly professional DVD, is to use more than one camera. Using two or more cameras has major advantages. For instance, if an inevitable obstruction or guest gets in the way, the second videographer can capture the moment. Extra points of view can only help to get the polished results you deserve during the editing process. More than two cameras are rarely needed.

What About Editing and Special Effects?

The art of wedding videography can be likened to getting colors on a palette; the editing process is the canvas. Editing can be as simple as removing unnecessary footage, but in the hands of a creative and talented editor your finished wedding video will be a memorable one and something to cherish. There is no substitute for good editing because it is not always what you shoot that counts but how you show it. Digital Editing involves getting digital video from one or more cameras into the computer (Capture & Encode). Then the real fun begins. Generally, 4 hours of editing is required per each attended hour. So a 4-hour schedule will take approximately 20 hours of editing, double that for two cameras. Many Videographers just don't put that amount of time into it, but it's that extra time that makes all the difference.

Demo Viewing Tips

It's a good idea to view completed DVDs, not just polished highlights or music video montages. They can be very beautiful, but they only comprise about 5% of your video. What about the other 95%? It's a good idea to take the time to view a complete wedding video from start to finish. A few minor errors during a long form video are common; so don't make them an issue.

At the reception, look for good coverage with smooth, steady pans, zooms and edits. How was the lighting? Were backlit windows washing out the faces? How does it sound? Was it chopped up in editing, distorted, or too loud? Look for clean edits that look and sound well. Watch for good color balance and clarity, camera positions and angles that compose well, capturing not just the bride and groom, but the wedding party as well.

During the ceremony look for the classic shots, like the down the aisle facing the altar view, cut to the here comes the bride view, from the altar area. These two views are hard to get with one camera without some fast repositioning. In this case you cannot be in two places at once. The most important of the classic shots are the close ups during the vows. Were there reaction shots shown? Were the cameras steady and the audio clear?

Your Bottom Line

Expect to pay from $1,000 to $10,000 for your wedding day on Video. It has been said The bitterness of poor quality remains long after the sweetness of a low price is forgotten. There are many fine videographers to choose from, and many travel so keep your options open and book early.

TeamWedding.com - Home of Top Wedding Videos

Article Source: http://EzineArticles.com/?expert=Donna_Ennis

camcorder dv

DV

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A MiniDV Camcorder

For other uses, see DV (disambiguation).

Digital Video (DV) is a digital video format launched in 1994, and, in its smaller tape form factor MiniDV, has since become a standard for home and semiprofessional video production; it is sometimes used for professional purposes as well, such as filmmaking and electronic news gathering. The DV specification (originally known as the Blue Book, current official name IEC 61834) defines both the codec and the tape format. Features include intraframe compression for uncomplicated editing, a standard interface for transfer to non-linear editing systems (FireWire, also known as IEEE 1394), and good video quality, especially compared to earlier consumer analog formats such as 8 mm, Hi8 and VHS-C. DV now enables filmmakers to produce movies inexpensively, and is strongly associated with independent film and citizen journalism.

There have been some variants on the DV standard, most notably Sony's DVCAM and Panasonic's DVCPRO formats targeted at professional use. Sony's consumer Digital8 format is another variant, which is similar to DV but recorded on Hi8 tape. Other formats such as DVCPRO50 utilize DV25 encoders running in parallel.

MiniDV tapes can also be used to record a high-definition format called HDV in cameras designed for this codec, which differs significantly from DV on a technical level as it uses MPEG-2 compression. MPEG-2 is more efficient than the compression used in DV, in large part due to inter-frame/temporal compression.[1] This allows for higher resolution at bitrates similar to DV. On the other hand, the use of inter-frame compression can cause motion artifacts and complications in editing.[2] Nonetheless, HDV is being widely adopted for both consumer and professional purposes and is supported by many editing applications using either the native HDV format or intermediary editing codecs.[3]

Contents [hide] 1 Technical standards 1.1 Before compression 1.2 Video compression 1.3 Chroma subsampling 1.4 Audio 1.5 Connectivity 2 Physical format 2.1 MiniDV 2.2 DVCAM 2.3 DVCPRO 3 Memory in cassette 4 Other digital formats 5 Application software support 6 Mixing tapes from different manufacturers 7 See also 8 External links

[edit] Technical standards

[edit] Before compression

To avoid aliasing, optical low pass filtering is necessary (although not necessarily implemented in all camera designs). Essentially, blurry glass is used to add a small blur to the image. This prevents high-frequency information from getting through and causing aliasing. Low-quality lenses can also be considered a form of optical low pass filtering.

Before arriving at the codec compression stage, light energy hitting the sensor is transduced into analog electrical signals. These signals are then converted into digital signal by an analog to digital converter (ADC or A/D). This signal is then processed by a digital signal processor (DSP) or custom ASIC and undergoes the following processes:

Processing of raw input into (linear) RGB signals: For Bayer pattern-based sensors (i.e. sensors utilizing a single CCD or CMOS and color filters), the raw input has to be demosaiced. For Foveon-based designs, the signal has to be processed to remove cross-talk between the color layers. In pixel-shifted 3CCD designs, a process somewhat similar to de-mosaicing is applied to extract full resolution from the sensor.

Matrix (for colorimetry purposes): The digital values are matrixed to tweak the camera's color response to improve color accuracy and to make the values appropriate for the target colorimetry (SMPTE C, Rec. 709, or EBU phosphor chromaticities). For performance reasons, this matrix may be applied after gamma correction and combined with the matrix that converts R'G'B' to Y'CbCr.

Electronic white balance may be applied in this matrix, or in the matrix operation applied after gamma correction.

Gamma correction: Gamma correction is applied to the linear digital signal, following the Rec. 601 transfer function (a power function of ^1/0.45). Note that this increases the quantization error from before.

Matrix (R'G'B' to Y'CbCr conversion): This matrix converts the gamma-corrected R'G'B' values to Y'CbCr color space. Y'CbCr color space facilitates chroma subsampling. This operation introduces yet more quantization error, in large part due to a difference in the scale factors between the Y' and Cb and Cr components.

Chroma Subsampling: Since human vision has greater acuity for luminance than color, performance can be optimized by devoting greater bandwidth to luminance than color. Chroma subsampling approximates this by converting R'G'B' values into Y'CbCr color space. The Cb and Cr color difference components are stored at a lower resolution than the Y' (luma) component.

Sharpening is often used to counteract the effect of optical low pass filtering. Sharpening can be implemented via finite impulse response filters.

The data is now compressed using one of several algorithms including Discrete Cosine Transform (DCT), Adaptive Quantization (AQ), and Variable Length Coding (VLC).

[edit] Video compression

DV uses DCT intraframe compression at a fixed bitrate of 25 megabits per second (25.146 Mbit/s), which, when added to the sound data (1.536 Mbit/s), the subcode data, error detection, and error correction (approx 8.7 Mbit/s) amounts in all to roughly 36 megabits per second (approx 35.382 Mbit/s) or one Gigabyte every four minutes. At equal bitrates, DV performs somewhat better than the older MJPEG codec, and is comparable to intraframe MPEG-2. (Note that many MPEG-2 encoders for real-time acquisition applications only use intraframe compression [I-frames only], but not interframe compression [P and B frames].) DCT compression is lossy, and sometimes suffers from artifacting around small or complex objects such as text.

[edit] Chroma subsampling

The chroma subsampling is 4:1:1 for NTSC, 4:1:1 for DVCPRO PAL, and 4:2:0 for other PAL. Not all analog formats are outperformed by DV. The Betacam SP format, for example, can still be desirable because it has slightly greater chroma fidelity and no digital artifacts.

Low chroma resolution is a reason why DV is sometimes avoided in applications where chroma-key will be used. Nevertheless, advances in keying software (i.e. the combination of chroma keying with difference keying techniques[4], chroma interpolation[5]) allows for reasonable quality keys from DV material.

[edit] Audio

DV allows either 2 digital audio channels (usually stereo) at 16 bit resolution and 48 kHz sampling rate, or 4 digital audio channels at 12 bit resolution and 32 kHz sampling rate. For professional or broadcast applications, 48 kHz is used almost exclusively. In addition, the DV spec includes the ability to record audio at 44.1 kHz (the same sampling rate used for CD audio), although in practice this option is rarely used. DVCAM and DVCPRO both use locked audio while standard DV does not. This means that at any one point on a DV tape the audio may be +/- ⅓ frame out of sync with the video. However, this is the maximum drift of the audio/video sync; it is not compounded throughout the recording. In DVCAM and DVCPRO recordings the audio sync is permanently linked to the video sync.

[edit] Connectivity

The FireWire (aka IEEE 1394) serial data transfer bus is not a part of the DV specification, but co-evolved with it. Nearly all DV cameras have an IEEE 1394 interface and analog composite video and Y/C outputs. High end DV VTRs may have additional professional outputs such as SDI, SDTI or analog component video. All DV variants have a timecode, but some older or consumer computer applications fail to take advantage of it. Some camcorders also feature a USB2 port for computer connection, but these are sometimes not capable of capturing the DV stream in full detail, and are instead used primarily for transferring certain digital data from the camcorder such as still pictures and computer-format video files (such as MPEG4-encoded video). This carries Audio Video and Control Signals.

On computers, DV streams are usually stored in container formats such as MXF, AVI or QuickTime.

[edit] Physical format

DV cassettes
Left to right: DVCAM-L, DVCPRO-M, MiniDV

The DV format uses "L-size" cassettes, while MiniDV cassettes are called "S-size". Both MiniDV and DV tapes can come with a low capacity embedded memory chip (MIC) (most commonly, a scant 4 Kbit for MiniDV cassettes, but the system supports up to 16 Kbit). This embedded memory can be used to quickly sample stills from edit points (for example, each time the record button on the camcorder is pressed when filming, a new "scene" timecode is entered into memory). DVCPRO has no "S-size", but an additional "M-size" as well as an "XL-size" for use with DVCPRO HD VTRs. All DV variants use a tape that is ¼ inch (6.35 mm) wide.

[edit] MiniDV

A size comparison between video formats
Top to bottom: VHS, VHS-C, MiniDV

The "L" cassette is about 120 × 90 × 12 mm and can record up to 4.6 hours of video (6.9 hours in EP/LP). The better known MiniDV "S" cassettes are 65 × 48 × 12 mm and hold either 60 or 90 minutes of video (11 GB) depending on whether the video is recorded at Standard Play (SP) or Extended Play (sometimes called Long Play) (EP/LP). 80 minute tapes that use thinner tape are also available and can record 120 minutes of video in EP/LP mode. The tapes sell for as little as US$3.00 each in quantity as of 2006. DV on SP has a helical scan track width of 10 micrometres, while EP uses a track width of only 6.7 micrometres. Since the tolerances are much tighter, the recorded tape may not play back properly or at all on other devices.

A miniDV tape that has been taken apart

Software is currently available for ordinary home computers which allows users to record any sort of computer data on MiniDV cassettes using common DV decks or camcorders. A 60-minute MiniDV tape will hold approximately 13 Gigabytes of data in this form of usage as the DV video format has a constant data rate of 3.6 Megabytes per second (3.6 MB/s × 60 seconds × 60 minutes = 12,960 MB per hour, divided by 1024 = 12.66 GB per hour).[6]

Though originally intended for the consumer market as a high-quality replacement for VHS, L-size DV cassettes are largely nonexistent in the consumer market, and are generally used only in professional settings. Even in professional markets, most DV camcorders support only MiniDV, though many professional DV VTRs support both sizes of tape.

[edit] DVCAM

Sony's DVCAM is a professional variant of the DV standard that uses the same cassettes as DV and MiniDV, but transports the tape 50% faster. This leads to a higher track width of 15 micrometres. This variant uses the same codec as regular DV. However, the greater track width lowers the chances of dropout errors. The LP mode of consumer DV is not supported. All DVCAM recorders and cameras can play back DV material, but DVCPRO support was only recently added to some models like DSR-1800, DSR-2000, DSR-1600. DVCAM tapes (or DV tapes recorded in DVCAM mode) have their recording time reduced by one third.

[edit] DVCPRO

Panasonic specifically created the DVCPRO family for electronic news gathering (ENG) use, with better linear editing capabilities and robustness. It has an even greater track width of 18 micrometres and uses another tape type (Metal Particle instead of Metal Evaporated). Additionally, the tape has a longitudinal analog audio cue track. Audio is only available in the 16 bit/48 kHz variant, there is no EP mode, and DVCPRO always uses 4:1:1 color subsampling (even in PAL mode). Apart from that, standard DVCPRO (also known as DVCPRO25) is otherwise identical to DV at a bitstream level. However, unlike Sony, Panasonic chose to promote its DV variant for professional high-end applications.

DVCPRO50 is often described as two DV-codecs in parallel. The DVCPRO50 standard doubles the coded video bitrate from 25 Mbit/s to 50 Mbit/s, and uses 4:2:2 chroma subsampling instead of 4:1:1. DVCPRO50 was created for high-value ENG compatibility. The higher datarate cuts recording time in half (compared to DVCPRO25), but the resulting picture quality is reputed to rival Digital Betacam.

DVCPRO HD, also known as DVCPRO100, uses four parallel codecs and a coded video bitrate of approximately 100 Mbit/s, depending on the format flavour. DVCPRO HD encodes using 4:2:2 color sampling. DVCPRO HD prefilters the 720p image from the DSP to a recorded size of 960x720, and 1080i is prefiltered to 1280x1080 for 59.94i and 1440x1080 for 50i. This is a common technique, utilized in most tape-based HD formats such as HDCam and HDV. The final DCT compression ratio is approximately 6.7:1. To maintain compatibility with HDSDI, DVCPRO100 equipment upsamples video during playback. A camcorder using a special variable-framerate (from 4 to 60 frame/s) variant of DVCPRO HD called VariCam is also available. All these variants are backward compatible but not forward compatible. There is also a DVCPRO HD EX format, which runs the tape at slower speed, resulting in twice as long recording times. DVCPRO-HD is codified as SMPTE 370M; the DVCPRO-HD tape format is SMPTE 371M, and the MXF Op-Atom format used for DVCPRO-HD on P2 cards is SMPTE 390M.

DVCPRO cassettes are always labeled with a pair of run times, the smaller of the two being the capacity for DVCPRO50. A "M" tape can hold up to 66/33 minutes of video. The color of the lid indicates the format: DVCPRO tapes have a yellow lid, longer "L" tapes made specially for DVCPRO50 have a blue lid and DVCPRO HD tapes have a red lid. The formulation of the tape is the same, and the tapes are interchangeable between formats. The running time of each tape is 1x for DVCPRO, 2x for DVCPRO 50, 2x for DVCPRO HD EX, and 4x for DVCPRO HD, since the tape speed changes between formats. Thus a tape made 126 minutes for DVCPRO will last approximately 32 minutes in DVCPRO HD.

[edit] Memory in cassette

Some MiniDV cassettes have a small memory chip referred to as memory in cassette (MIC). Cameras and recording decks can record any data desired onto this chip including a contents list, times and dates of recordings, and camera settings used. It is EEPROM memory using the I²C protocol. The members of the MIC range are available in two forms:

• The MIC-R family

The MIC-R family works with serial EEPROM capacities between 1 Kbit and 8 Kbit (the I²C-compatible EEPROM devices: M24C01, M24C02, M24C04 and M24C08).

• The MIC-S family

The MIC-S family works with serial EEPROM capacities greater or equal to 16 Kbit (the XI2C-compatible EEPROM devices: M24C16, M24C32 and M24C64).

Both families are compliant with the DV standard. For detailed information see datasheet: Serial I²C bus EEPROM (STMicroelectronics).

MIC functionality is not widely used on the consumer level; most tapes available to consumers do not even include the chip, which adds substantially to the price of each cassette.

[edit] Other digital formats

Digital video dates back to 1986, with the creation of the uncompressed D-1 format for professional use (although several professional video manufacturers such as Sony, Ampex, RCA, and Bosch had experimentally developed prototype digital video recorders dating back to the late 1970s).

Sony has several digital specifications for professional use, the most common for standard definition use being Digital Betacam, a distant descendant of the Betamax products of the 1970s thru 1990s from which it received only some mechanical aspects, notably the form of the cassette. (Betamax itself descended from Sony's U-Matic ¾ inch videocassette system.)

JVC's D-9 format (also known as Digital-S) is very similar to DVCPRO50, but records on videocassettes in the S-VHS form factor. (NOTE: D-9 is not to be confused with D-VHS, which uses MPEG-2 compression at a significantly lower bitrate.)

The Digital8 standard uses the DV codec, but replaces the recording medium with the older Hi8 videocassette. Digital8 theoretically offers DV's digital quality, without sacrificing playback of existing analog Video8/Hi8 recordings. However, in practice the maximum quality of the format is unlikely to be achieved, since Digital8 is largely confined to low-end consumer camcorders. It is also a semi-proprietary format, being manufactured exclusively by Sony (although Hitachi also made Digital8 camcorders briefly).

DVD was originally created as a distribution format, but recordable DVDs quickly became available. Camcorders using miniDVD media are fairly common on the consumer level, but due to difficulties with editing the MPEG-2 data stream, they are not widely used in professional settings.

Sony also made a format called MicroMV, which stored MPEG-2 video on a matchbox-sized tape. Due to lack of platform support and the difficulties of editing MPEG-2 video, MicroMV never became popular and was discontinued by 2005.

Ikegami's Editcam System can record in DVCPRO or DVCPRO50 format on a removable hard disk.

Panasonic's P2 system uses recording of DV/ DVCPRO/ DVCPRO50/ DVCPROHD streams in an MXF wrapper on PC card-compatible flash memory cards.

Sony's XDCAM format allows recording of MPEG IMX, DVCAM and low resolution streams in an MXF wrapper on a Sony ProDATA disc, an optical medium similar to a Blu-ray Disc. Sony has also, in cooperation with Panasonic, created AVCHD, a medium-independent codec for consumer high definition video; it is currently used on camcorders containing hard disks and DVD-R drives for storage.

[edit] Application software support

Most DV players, editors and encoders only support the basic DV format, but not its professional versions. DV Audio/Video data can be stored as raw DV data stream file (data is written to a file as the data is received over FireWire, file extensions are .dv and .dif) with all DV meta-information preserved or the DV data can be packed into AVI container files (this only preserves audio and video, not meta data).

Most Windows video software only supports DV packed into AVI containers, as they use Microsoft's avifile.dll, which only supports reading avi files. A few notable exceptions exist:

• The Apple Inc.'s QuickTime Player: QuickTime by default only decodes DV to half of the resolution to preserve processing power for editing capabilities. However, in the "Pro" version the setting "High Quality" under "Show Movie Properties" enables full resolution playback.

• The VLC media player (Free software): full decoding quality
• MPlayer (also with GUI under Windows): full decoding quality
• muvee Technologies autoProducer 4.0: Allows editing using FireWire IEEE 1394

Type 1 and Type 2 DV AVI files

There are two types of DV-AVI files:

• Type 1: The multiplexed Audio-Video is kept in its original multiplexing and saved together into the Video section of the AVI file
  • Does not waste much space (audio is saved uncompressed, but even uncompressed audio is tiny compared to the video part of DV), but Windows applications based on the VfW API do not support it.
• Type 2: Like type 1, but audio is also saved as an additional audio stream into the file.
  • Supported by VfW applications, at the price of little increased file size.

Type 1 is actually the newer of the two types. Microsoft made the "type" designations, and decided to name their older VfW-compatible version "Type 2", which only furthered confusion about the two types. In the late 1990s through early 2000s, most professional-level DV software, including non-linear editing programs, only supported Type 1. One notable exception was Adobe Premiere, which only supported Type 2. High-end FireWire controllers usually captured to Type 1 only, while "consumer" level controllers usually captured to Type 2 only. Software is and was available for converting Type 1 AVIs to Type 2, and vice-versa, but this is a time-consuming process.

Many current FireWire controllers still only capture to one or the other type. However, almost all current DV software supports both Type 1 and Type 2 editing and rendering, including Adobe Premiere. Thus, many of today's users are unaware of the fact that there are two types of DV AVI files. In any event, the debate continues as to which – Type 1 or Type 2 – if either, is better.

[edit] Mixing tapes from different manufacturers

There is controversy over whether or not using tapes from different manufacturers can lead to dropouts.[7][8][9] The problem theoretically occurs when incompatible lubricants on tapes of different types combine to become tacky and deposit on tape heads. This problem was supposedly fixed in 1997 when manufacturers reformulated their lubricants, but users still report problems several years later. Much of the evidence relating to this issue is anecdotal or hearsay. In one case, a representative of a manufacturer (unintentionally) provided incorrect information about their tape products, stating that one of their tape lines used "wet" lubricant instead of "dry" lubricant.[10] The issue is complicated by OEM arrangements: a single manufacturer may make tape for several different brands, and a brand may switch manufacturers.

It is unclear whether or not this issue is still relevant, but as a general rule many DV experts recommend sticking with one brand of tape.

[edit] See also

• Digital8
• Camcorder
• MPEG
• Video quality
• Formats:
  • HDV and its variant, ProHD
  • MicroMV
  • DVD

[edit] External links

• Adam Wilt's DV page with in-depth technical information
• Digital Video Information Network messageboards
• Technical Documentation on the storage of DV data in AVI files: short and in detail

[hide] v • d • e Industrial & home video media
Magnetic tape	Analog VERA (1952) • 2 inch Quadruplex videotape (1956) • 1 inch type A videotape (1965) • 1/4 inch Akai (1967) • U-matic (1969) • Cartrivision (1972) • Video Cassette Recording (aka VCR) (1972) • V-Cord (1974) • VX (aka "The Great Time Machine") (1974) • Betamax (1975) • IVC 2 inch Helical scan (1975) - 1 inch type B videotape (1976) • 1 inch type C videotape (1976) • VHS (1976) • VK (1977) • SVR (1979) • Video 2000 (1980) • CVC (1980) • VHS-C (1982) • M (1982) • Betacam (1982) • Video8 (1985) • MII (1986) • S-VHS (1987) • Hi8 (1989) • S-VHS-C (1987) • W-VHS (1994) Digital D1 (1986) • D2 (1988) • D3 (1991) • D5 (1994) • Digital-S (D9) (199?) • DV (1995) • Betacam HDCAM (1997) • D-VHS (1998) • Digital8 (1999) • D6 HDTV VTR (2000) • HDV (2003)
Optical disc	Analog LaserDisc (1978) • Laserfilm (1984) Digital CD Video • VCD (1993) • MovieCD (1995?) • DVD-Video (1996) • MiniDVD • CVD (1998) • SVCD (1998) • FMD (2000) • EVD (2003) • FVD (2005) • UMD (2005) • VMD (2006) • HD DVD (2006) • Blu-ray Disc (BD) (2006) • DMD (2006?) • AVCHD (2006) • Tapestry Media (2007) • Total Hi Def (2008) • HVD (TBA) • PH-DVD (TBA) • SVOD (TBA) • Protein-coated disc (TBA)
Grooved Videodiscs	Analog Baird Television Record aka Phonovision (1927) • TeD (1974) • Capacitance Electronic Disc aka CED (1981) • VHD (1983)

v • d • e

Sony Corporation[hide]

Products
Technologies and brands: α • Betacam • Blu-ray • BRAVIA • CD • Cyber-shot • DAT • DVD • LocationFree • Memory Stick • MiniDisc • MiniDV • mylo • PlayStation • PSP • VAIO • Video8/Hi8/Digital8 • Walkman• Walkman Phones • XDCAM
Historical products: AIBO • Betamax • Sony CLIÉ • Lissa • Mavica • NEWS • Qualia • TR-55 • Trinitron • U-matic • WEGA

Operating segments
Sony Corp. (Sony Electronics in the US) • Sony Pictures • Sony Computer Entertainment • Sony BMG Music • Sony Financial Holdings

Other
Acquisitions: Columbia Records • Columbia Pictures Entertainment (Columbia Pictures & TriStar Pictures) • Metro-Goldwyn-Mayer (20%) • Aiwa
Joint Ventures: Sony Ericsson • Sony BMG Music • Sony/ATV • S-LCD • STLCD • Sony NEC Optiarc • FeliCa Networks
Key personnel: Harrison • Hirai • Ibuka • Idei • Kuroki • Kutaragi • Lynton • Morita • Ohga • Pascal • Stringer