An amazing DV camera<\/p>\n
JAKARTA (JP): DV is a high-resolution digital video format
\nthat gives exceptional quality. A key difference between DV and
\nother video formats is that the information is stored as digital
\ndata. But, digital video is not necessary DV. DV is digital video
\nbut with a video format which is compressed. Any video that is
\ndigitized becomes digital video but it is not DV unless it is
\ncompressed with a DV codec. The DV format is a commonly agreed on
\nspecification for digital \"domestic\" camcorder format, which will
\neventually replace VHS-C, SVHS-C, 8 mm and Hi8 formats.<\/p>\n
Agreed upon in 1993, 55 camcorder manufacturers support the
\nformat and will release camcorders in time. Two cassette sizes
\nare specified: Standard four hour (125x78x14.6 mm) and a mini
\ncassette (66x48x12 mm -- similar to a DAT tape). DV has
\nspecifications for both 12-bit (32 KHz) and 16-bit (DAT quality
\nbut 48 KHz) audio and has up to four 12-bit audio channels.
\nFrequency response at 16-bit is up to 24 KHz and at 12-bit to 16
\nKHz. Manufacturers can choose which they implement.<\/p>\n
A DV camera (a camcorder, or in Indonesia known better as
\nhandycam) is like Digital 8 (video format by Sony that can record
\nvideo and audio digitally but still play analog 8mm and Hi8
\ncassettes) camera; it uses the \"4:1:1\" format for color
\nrecording. This captures three times as much color information as
\nanalog recording, which means better color intensity and
\naccuracy.<\/p>\n
DV cameras use the same code\/decode algorithm as the Digital
\n8. The result is a gentle 5:1 compression and a 25-Mbps signal.
\nMiniDV systems have a track pitch (spacing) of 10 microns and no
\ncontrol track, making linear editing difficult. For comparison
\npurposes, VHS uses a 58-micron track pitch and 8mm uses 20.5
\nmicrons. DV uses a helical scanning recording head rotating at
\n9000 rpm (as opposed to 1800 rpm) and records to a Metal
\nEvaporated tape (the same as Hi8 uses).<\/p>\n
Standard features of a camcorder are optical and electronic
\nzoom, a color LCD viewfinder, a lens, a steady shot, optical
\nimage stabilization and adjustable shutter speeds, and output for
\ndigital video and audio. Most users currently use the S Video
\noutput for nonlinear editing, with excellent results. For its
\npower, a DVC use lithium ion batteries for longer battery life.
\nIt powers the camera for about an hour's usage.<\/p>\n
DV cameras can tor record 12-bit audio (compared with 16-bit
\nfor CD and most nonlinear systems). Some DV cameras offer a
\n\"progressive scan\" feature. This records each frame as a single
\nnoninterlaced image, instead of two separate interlaced fields.
\nProgressive scan source material often does npt play as smoothly
\non television as interlaced material, but is vastly superior for
\ndesktop delivery because it contains no interlacing artifacts.
\nYou should look for this feature when buying a DV camera and use
\nit when filming for desktop delivery.<\/p>\n
Many people purchased a DV camcorder as a \"disposable\" (for
\nshooting where the camera is at direct risk), or as a second unit
\nand have been surprised by the results. DV has spawned two
\nprofessional variations of the format with backward compatibility
\nto DV -- DVCPRO from Panasonic and DVCAM from Sony. Both
\nprofessional variants offer some advantages in edit capability
\nbut no fundamental change in picture quality.<\/p>\n
However, as the camcorders released will, generally, be based
\non professional standard chassis and use professional quality
\n(removable) lenses, the image quality is somewhat higher.
\nVariations to the digital compressors used may also give quality
\nvariations between brands and subformats. (Gatot)<\/p>",
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