Archive
07-03-2003, 02:57 AM
Damien Harland looks at DVC PRO Digital technology.
Doesn't it introduce as many problems as it solves? What happened to all the promises with digital phones for instance. Sure, you don't get crossed lines anymore, instead you just get disconnected!
However the masterminds behind the digital tape format “DVC Pro” seem to have got it right. (Hooray!). On a recent Expo at Lemac I found an impressive range of DVC Pro Tape Machines, Cameras and Portable Laptop edit Suites, all built to withstand the sweat and grunt of the broadcast world. Who’s the manufacturer I hear you say? Panasonic!
Broadcast and Panasonic don't seem all that compatible at first, but seeing is believing. DVC Pro is cheaper on the wallet for purchase and repairs but is not cheap on its result. Once I heard the quality is superior to Betacam SP I decided to sit in on an interesting discussion with Andrew Newton.
DVC Pro is an 'open system'; i.e it is a SMPTE-recognised standard that is available to all manufacturers unlike its competition DVCAM, Digital Betacam or Betacam SX. To keep servicing costs down DVC Pro's transports can be interchanged between VTR's even if they're a different model.
What does it cost?
The portable AJ D230 starts at roughly $8000. The only fallback is this model only has S video and Composite connections and has unbalanced audio. (What do you expect for only 8g's)?
The next in line, the AJ D650 costs approx $16,000. This deck supports both composite, component, and component serial Digital outputs and inputs along with balanced audio connections.
The top of the heap (for the moment) is the AJD750 and at around $40,000 has all of the above and even more features and functionality.
So why would I buy DVCPro if I can get SP decks cheaper?
• Firstly DVC Pro has higher luminance bandwidth than Betacam SP
• DVCPRO features DAT Quality 2 Channel 48khz/16 Bit audio
• Due to extremely clever error correction dropouts are a thing of the past, unlike Beta SP.
• Per hour tape costs are roughly half the cost of Beta SP tape.
• 4 x playback speed for non-linear digitising. (Their goes the assistant's job!)
• And when the recently announced DVC Pro 50 series is released, the quality will be somewhat comparable to Sony’s Digital Betacam.
And for Editors?
Panasonic have also released a Laptop edit suite (pictured) not much larger than a computer Laptop. With LCD screens and in built VTRs you can be editing a roughcut for a documentary in the middle of the Simpson Desert ... with Time Code.
Connect it to your Camera and you have an AB Roll Cuts only Edit Suite and when your finished you may as well uplink it back home for the online or for immediate broadcast.
Surprisingly well featured this Laptop isn't as dear as you may expect. It's actually cheaper than if you bought the VTR's, edit controller and two monitors separately.
So who's currently using DVC Pro?
The Seven Network (Aus) decided in 1997 to totally outfit their network with DVC Pro, Server storage and the whole kit and caboodle. Also using DVC are The ABC, AAV, Complete Post & Lemac just to name a few. Overseas NBC, CBS, FOX, BBC, Universal Studios in France and many more.
My assessment?
Although I haven't visually compared DVCPRO with Digital Betacam it seems to beat the pants of Beta SP with its features, purchase cost, servicing cost and quality. If the new DVCPRO 50 series is comparable to Digital Betacam then DVC Pro seems to be the format to beat.
This brief rundown has been kept as simple as possible but if you would like the Technical specifications and other technical info on DVC Pro, contact Lemac Rentals and Sales, Richmond Victoria.
Congratulations to Lemac for an informative expo that destroyed a lot of myths about DVCPRO that are currently circulating the industry.
* All the prices listed are tax ex and are rough guides only.
Doesn't it introduce as many problems as it solves? What happened to all the promises with digital phones for instance. Sure, you don't get crossed lines anymore, instead you just get disconnected!
However the masterminds behind the digital tape format “DVC Pro” seem to have got it right. (Hooray!). On a recent Expo at Lemac I found an impressive range of DVC Pro Tape Machines, Cameras and Portable Laptop edit Suites, all built to withstand the sweat and grunt of the broadcast world. Who’s the manufacturer I hear you say? Panasonic!
Broadcast and Panasonic don't seem all that compatible at first, but seeing is believing. DVC Pro is cheaper on the wallet for purchase and repairs but is not cheap on its result. Once I heard the quality is superior to Betacam SP I decided to sit in on an interesting discussion with Andrew Newton.
DVC Pro is an 'open system'; i.e it is a SMPTE-recognised standard that is available to all manufacturers unlike its competition DVCAM, Digital Betacam or Betacam SX. To keep servicing costs down DVC Pro's transports can be interchanged between VTR's even if they're a different model.
What does it cost?
The portable AJ D230 starts at roughly $8000. The only fallback is this model only has S video and Composite connections and has unbalanced audio. (What do you expect for only 8g's)?
The next in line, the AJ D650 costs approx $16,000. This deck supports both composite, component, and component serial Digital outputs and inputs along with balanced audio connections.
The top of the heap (for the moment) is the AJD750 and at around $40,000 has all of the above and even more features and functionality.
So why would I buy DVCPro if I can get SP decks cheaper?
• Firstly DVC Pro has higher luminance bandwidth than Betacam SP
• DVCPRO features DAT Quality 2 Channel 48khz/16 Bit audio
• Due to extremely clever error correction dropouts are a thing of the past, unlike Beta SP.
• Per hour tape costs are roughly half the cost of Beta SP tape.
• 4 x playback speed for non-linear digitising. (Their goes the assistant's job!)
• And when the recently announced DVC Pro 50 series is released, the quality will be somewhat comparable to Sony’s Digital Betacam.
And for Editors?
Panasonic have also released a Laptop edit suite (pictured) not much larger than a computer Laptop. With LCD screens and in built VTRs you can be editing a roughcut for a documentary in the middle of the Simpson Desert ... with Time Code.
Connect it to your Camera and you have an AB Roll Cuts only Edit Suite and when your finished you may as well uplink it back home for the online or for immediate broadcast.
Surprisingly well featured this Laptop isn't as dear as you may expect. It's actually cheaper than if you bought the VTR's, edit controller and two monitors separately.
So who's currently using DVC Pro?
The Seven Network (Aus) decided in 1997 to totally outfit their network with DVC Pro, Server storage and the whole kit and caboodle. Also using DVC are The ABC, AAV, Complete Post & Lemac just to name a few. Overseas NBC, CBS, FOX, BBC, Universal Studios in France and many more.
My assessment?
Although I haven't visually compared DVCPRO with Digital Betacam it seems to beat the pants of Beta SP with its features, purchase cost, servicing cost and quality. If the new DVCPRO 50 series is comparable to Digital Betacam then DVC Pro seems to be the format to beat.
This brief rundown has been kept as simple as possible but if you would like the Technical specifications and other technical info on DVC Pro, contact Lemac Rentals and Sales, Richmond Victoria.
Congratulations to Lemac for an informative expo that destroyed a lot of myths about DVCPRO that are currently circulating the industry.
* All the prices listed are tax ex and are rough guides only.