Digital betacam (digi beta)and competing formats,with some emphasis on filmout and film recording.

Firstly if you ever thought that a laptop was insufficient for this job, then think again, and take a look at this laptop offered by Lenovo.... The W541... shop.lenovo.com/gb/en/laptops/thinkpad/w-series/w541/?cid... This W541 laptop from Lenovo is very highly specified i'm sure you'll agree, a real stunner from China. To make it even better an optional sockets attachable port is available catering for usb2 and usb3 together with PCI express 2/4k video compatibility, aswell as thunderbolt connectivity on the unit itself. More recently Lenovo have added the P50 and P70 to the workstation range. Digital betacam raises 720/576 resolution in 10 bit component form,from associated bnc connections on the recorders,with their xlr sound connectivity .The medium was first introduced in 1993 as a mainstream television format.I purchased this cassette on ebay for £2 and the format is still used today by corporations such as the bbc for very high standard commissioning of standard definition content.The sony dvw500s are used for this format and are still popular. You can pick up good used examples on ebay,mine was 125 pounds,a massive saving as opposed to the new purchase price of 50k.I do all of my timeline editing on sony vegas pro 12 version 12 build 770,i can do a single render to dvd-r in main concept mpeg2,then via component rca out on the blue ray player to component bnc inputs on the digi beta deck,a dvw500 supports an sdi output though not an hd one,but optional boards can be inserted enabling a hd upscale re-sample.Although if you pass this onto a film out service it may well be them who possess these boards in their own player/recorders,digi beta will encode 25 interlaced frames per second to tape,and this is its fixed rate in the pal versions,in short 25i. As a format Digital Betacam was introduced into the media world in 1993, and is capable of loss free digital Mpeg2 Editing and duplicating. The definition is Standard Definition 720/576i , but in 1993 this was one hell of a DVD quality format to have on Tape. A very good discipline in tape care is to do what i do,and i do this for all the masters in my vaults,firstly place each tape in the player and spool to the end and let auto rewind bring it back,all the tape should now lay even on the flange,and any sticking messes attempting to form will be ruled out,as will a reduction in any bacteria. As for temperature in general,room temperature,but 70 degrees Fahrenheit ± 4 degrees is recommended,a tape will last many years in these conditions.lastly store end to end so the tape is not lying flat,this will stop possible little nasties from happening.Another format to consider might be hdcam as it is much cheaper to attain than hdcam sr which is at about the height of v;t in the media world.hdcam does a pretty good full hd job,ie-1080/1440 and play re-sample to full hd ,i saw a decent cine alta 2003 deck from ebay bulgaria the other day,and with the same body as my dvw-500p,in fact it was a Sony HDW-F500 for just 3,900 pounds,this supports all major pal/ntsc frame rates including,23.98/24p/25p/30/29.97 ,all supported www.ebay.co.uk/itm/Sony-HDW-F500-HDCAM-High-Definition-Di... DVCAM in SD is a Firewire Contender also, with a firewire 400 port for I/O connectivity on its rear panel, my favourite deck in this range would be the Sony DSR-45P, and sports a Video Monitor on the front panel. And don't rule out hdv,a deck like a sony "HVR 1500" ,as this would do the job very nicely.This sports an sdi hd output,a HVR-M35 U could also be used,as could the sony hvr 25 au as this supports 25p and other progressive suitables,though will not output in hd/sdi.the format records in its known native mpeg2 1080/1440i 1.333 pixel aspect ratio for 16:9 displays,which is sonys version not jvcs, although they are both excellent,ready for direct printing to the positive film on something like a cinevator 5 film recorder,a firewire ieee 1394 lead can be used to connect your computer to a sony hdv recorder,these are in a few variations,including an express card 34 expansion slot,and an express card 54 expansion slot,or a computer with a 4 pin 400 connection,and so on, so be careful,the connection is not hot swappable so make connections while switched off,this in-particularly applies to the i link terminal on the rear panel of the hdv deck ,...with a well structured ultra hd timeline the pack into this format will be very impressive..making a very solid print to tape,more so than if it had been an hd line , the most impressive recorder with a firewire input and HDSDI out has to be the Sony HDW-1800 Hdcam recorder,it really steals the show, here is a link to the 1800 at CVP cvp.com/index.php?t=product/sony_hdw-d1800&gclid=CjwK... . Cinevator Direct-to-Print: A User Experience from Cinevation on Vimeo The HDSDI Cable is advertised in sales outlets as follows (SMPTE 424M 3G-SDI 2006[2] 2.970 Gbit/s, and 2.970/1.001 Gbit/s 1080p60). With one of these Cinevator 5s a spreading resolution of between 1828 x 1556 and 2048 x 1768 is obtainable,and includes full hd-1920/1080,ideal for hdcam and hdv,flat as well as anamorphic resolution prints can be recorded.so a very powerful 2k is within its limit,dependant on what you select,and of course what you come in from. For the cinevator 5 in terms of coming in from true 2k,the best option is to use the DUAL - LINK DVI INTERFACE, some blackmagic boxes facilitate this and it's a sure way to get your timeline to the print in the best way with the cinevator. It , among many others, has a resolution setting of 2048/1080,which is one of the 2k spreads, so if your computer settings tally up, your good to go . Or one of these for higher resolutions,http://www.ccg-digital.com/definity/product-line/definity-ds,the ds will go from 2k and right up to 7680x2048 anamorphic for the 2x squash in 2.35;1 full frame - 21;9 'scope screen situations,and that is 6k.both the cinevator 5 and the definity ds will record image and sound to the same film stock simultaneously which is alot more straightforward than older methods where sound is done separately ,the cinevator ,when printing direct to positive stock is fine for smaller batches or less multiple lengths of super 35 flex,or you would be there forever.Allow a few seconds per frame,the quality obtainable is quite remarkable because it is so direct.It is also worth remembering at this point that s35 can be blown up to 70mm, so this opens up another door too, a DTS disc will usually accompany your length of film.And if you are filming for this purpose it would pay to use 4k camcorders to a 4k timeline so you are coming in from a strong initial height,almost any 4k camcorder and its format will do ,at least for the cinevator and the ds to four k from other suitable deliverables ,like a 4k blackmagic box,or certain files,the 4k blackmagic box is a good link from your computer to the blackmagic box input and the recording vcrs input,...from the box output,and this would also work well for the cinevator,when it is feeding from the vcrs tape encoded material,while being remote controlled by an rs- 422 - sony bvw-75 protocol subset / db9 connector lead of male variety,this sort of positive film stock is ideal for this type of practice.Kodak seem to store relevant stock..

www.kodak.com/GB/en/motion/products/distribution_and_exhi... A more modern equivalent may be a 50mbps xdcam deck like a sony pdw-f70 ,also supporting the sdi hd output,though you would probably need to rely on a fam connection between computer and xdcam recorder.But if your commercials or whatever content your using needs to reach the nation then a direct master negative can be done instead.It is recommended to set the recorder to pal hdv 25p or 24p for a uk transfer, p in this case meaning progressive,ensuring pal is selected in the first stage(at least in the recorder area) for the process of tape recording,encoding with audio channels 1 and 2 for the full spectrum two channel recording with a sampling frequency of 48khz/16 bit.If i were making a short,once edited and polished being 1 minute,(100ft approx or 1440 frames) storyboarded film promoting a local indian restaurant,or taxi business,possibly starring a tv personality,then this could be a method,the final print in 1.85:1 flat with dolby sr sound would then be spliced into the entry reel,which is the final product from the cinevator,and presentable in any 35mm theater worldwide.all of this practice would be excellent for in house use,by a very indulgent theater owner,he may even do a second avi render for an upload to you tube,while a mainconcept mpeg2 at 1080/1440 would be a suitable render for hdv,while hdcam and hdcam sr, have render settings especially designated for them,these renders will take from the camcorder format and properties settings on your timeline ,try to ensure that the material is sharp by making a small adjustment,but don't over do it.Also pay some attention to the colour,and correct if necessary,this can be a vital adjustment on ones timeline before committing a print to tape .Some hdcam recorders also facilitate a firewire input, which is a very nice touch, not just to print from , but also to tape archive.For those of you wanting that 21:9 cinematic look on your videos or video to film this is how to do it. First,while in the situation of shooting mask off the top and bottom of your viewfinder assuming you have a 1:85.1 display,you will need the 21:9 aspect in your viewfinder.When the shoot is done and your back to your suite,set the properties on your timeline to 1920/800 if full hd is around what you need,or 2048/858,if 2k cinema is your goal,certainly good for dcp.Adjust pan/crop to 1,920/804 this will allow your camcorder format with it,s unmasked ratio to fill the new 21:9 ratio,please note this will work for full hd,or 2k,on sony vegas pro 12 anyway.When the job is done a decent avi render can be done,i click match property settings,that way it is full hd or 2k all the way home.Other renders can be made from this very strong render,or renders.A certain amount of resolution real estate is lost in the crop,but if your shooting in 4k this will not notice.Talking of the avi render,i find these settings work rather well.Properties colour space in 422,avi 25fps progressive,1.0000 aspect ratio,sony 10 bit yuv codec,interleave every 0.250 seconds,render quality best,ADX 16 bit colour space.NOW AUDIO; PCM uncompressed,96hz,24 bit stereo.These settings work quite well. It is worth mentioning here that alot of facilities houses or moreover filmout services and certain tv broadcast stations like''the community channel''[though i believe they now accept dvds], will want a cue in and test sequence printed to the first part of the tape,usually consisting of a 1 khz test tone and some sort of colour bar chart,these can be generated by a camcorder ,an edit suite,or the recording edit vcr itself,in my case i prefer installing this code onto my timeline in correct sequence using my cameras tone and my suites bars,so it all gets recorded to tape along with the rest of the programming. The format digital betacam was introduced in 1993,and has multiple applications.This tape is marked L meaning large,as the docking pro camcorders took the small cassette. This was and still is used for transferring onto 35mm,70mm,and 16mm cinematic film gauges,through to the wet/dry printing process with the usual choice of soundtracks.Many transfer facilities (film out) will accomodate almost all major videotape formats.I have read about 2k crt scanning for this purpose,with enhancements,but there are a few options,it's all the complete opposite to telecine which is the purpose of extracting from 35mms,as is scanning which is more recent and now uses the advanced pinning system with scanning machines,to give a more stable result,and therefore does away with recording a swaying side to side movement,this is the link to a modern high quality scanner

www.lasergraphics.com/ .I did find two film recorders on the internet called producer 3 and 4,both using the best method,taking sd to 4k and everything inbetween. Sr sound is probably being most peoples choice,as it is the cheapest,and so would still pump through the jbls of the average dolby pro logic 5.1 cinema complex. www.imagetrendsinc.com/products/index.asp_dMOBU" rel="nofollow">www.youtube.com/watch?v=i8bZI_dMOBU Most of what i have covered here involves getting things onto film which is just as important a subject as getting things off film,involving telecine and more recently scanning.Which can be done for the purpose of professional industry standard restoration of the prints,leading to production and distribution followed by secondary sales of both dvd roms and bd roms,among other things,like broadcast television and you tube uploads etc Here is a look at the Steven Speilberg movie "Jaws" and the restoration that took place, giving a considerable uplift to both image and sound, a quality unthinkable several years prior...... www.youtube.com/watch?v=Lcn06rKJn4s .And remember everything is always on something.

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