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Posts Tagged ‘BetaSP’

AAKK! My master tape snapped! How to deal with very old videotapes

Thursday, September 25th, 2008

Here’s an important tip about playing back very old videotapes, be they BetaSP, BetaMax, 3/4″ U-Matic, digibeta, BetaSX, DVCAM, etc.

For whatever reason, some people don’t rewind their master tapes after working with them. Perhaps they are worried about additional tape wear. Or maybe they just got distracted or… are just plain lazy. If you are worried about tape wear, then at least fast-forward the videotape to the very end so that it is spooled tightly on the take-up reel in side the cassette shell.

If a tape has slack and is set on a shelf for 5-10 years,  the loose part of the tape will harden and become brittle in the air. Then then next time it is played, the tape will snap in two upon insert into the video deck. People often come to us with this problem.

The leaders on the tape at the head and tail are made of a sturdier plastic that can stand up to air, gravity, and the distress of time. But the actual oxide-covered videotape is much more sensitive and can deteriorate rapidly in the wrong conditions.

So if you do come upon an old tape, NEVER pop it right into the machine. Instead, first hand-wind the tape all the way to the end, even if it takes you forever and you have to sit down to watch the big game with the cassette in your hand.  (Just don’t eat Doritos until you’re done because salt and grease from your hands isn’t the best for the tape either.)  Once the tape is rewound, pop it in the deck and DON’T HIT PLAY. Instead, shuttle the tape all the way to the end using fast-forward and then rewind it to the very top. Now eject the tape and reinsert it so it gets a fresh spooling in the system.

Now, you’re all set to play the tape for duplication, digitizing or plain old entertainment.

Editing at the consumer and pro-sumer level

Sunday, June 1st, 2008

Following is an actual email thread from one of our contacts who is mac-based.

Dear Kirk at BetaSPtoDVDcom,

Does final cut pro or final cut studio output to flash format for the web?

I have a client who wants a promo video to do double duty--display on the
web AND to play on DVD at trade shows and such.

But since I have yet to get the software, I thought you may know--maybe even
point me to pro vs. studio--vice versa--or even another video editing
solution.

I'm simply not happy with the image quality of iMovie.  I'm guessing the
slicker programs will produce TV-quality images.

Also, is it possible to grab footage from DVD movies and use them in Final
Cut?  Y'know--grab some war footage from Saving Private Ryan, or something?
Or a full moon shot from a Werewolf movie?

S'all fer now.  Enjoy the rest of the weekend.

Joe

___________

Hi Joe,
First of all, iMovie is TOTALLY broadcast quality. If you are not 
getting great quality, then you either have low resolution source 
footage, have an old version of iMovie, or have are using some incorrect 
settings. In fact, iMovie even supports HD!!! So I wouldn't spend the 
money for Final Cut solely based on the broadcast quality issue.

Final Cut can make .FLC files, but it is not great at it and the files 
are usually bigger than they should be. For making Flash files, I sometimes use a 
program called Sorensen Squeeze and it works pretty well.

As for ripping footage from a copy protected DVD, you are going to need 
a DEMUXING program. Then you are going to need 
a DVD ripping program like Cinamatize. 
Cinematize is a great tool and we use it all the time. It can rip any DVD that is 
not copy protected. If the DVD is copy protected, then you have to start 
with the aforementioned demuxing application.

The other way is to do it analog style. Just patch cables from the dvd 
player though a professional video deck or TBC (timebase corrector). 
Those will strip off the copy protection in real time.

One word of caution though... we do not advocate using any copy-protected material unless you are legally allowed to do so!!

On the issue of Final Cut Studio vs. Final Cut Express, I would go Final 
Cut Express.  The Final Cut Studio has tons of stuff you will never use 
like heavy-duty motion graphics and pro sound editing. The learning curve 
on those tools is huge.

Anyway,  hope I helped a little.

Kirk

The sexiest video I have ever seen! HDCAM SR!!

Monday, March 17th, 2008

HDCAM SR leaves Pamela Anderson’s sex tape in the dust.

Just like the great format wars, Beta vs. VHS and Blu-Ray vs.  HD DVD, another video format has finally pushed its last pixel. Yes, the popular professional tape format D5 has finally been relegated to the digital wasteland of yore like its brethren, the Jazz Drive, Digital 8, and of course, its dark father, D2.

The giant studios like Universal and Disney have onlined many a show on the robust digital format of D5. But now, the majors have fallen in love with HDCAM SR, sexy young digital powerhouse of a tape format. This baby has 4K of the richest digital picture imaginable, and delivers full 4:4:4 at 440 Mbps. Yeah, this baby knows she’s hot.

Supporting 23.98/24/25/29.97/ 30PsF, 1080/50i/59.94/60i, and 720/59.94P, HDCAM SR was created to meet all common worldwide delivery requirements. It’s support the gamut of HD frame/line rates in both 4:4:4 and 4:2:2 formats using the highly efficient MPEG-4 Studio Profile compression scheme. The format supports 10 bit Log or linear, at 2.7:1 compression ratio in 4:2:2, and 4.2:1 compression ratio for 4:4:4. It can also run 12 channels of audio at 24-bit per sample resolution.  So yeah, this baby is about as sexy as they come.

But nobody said it’s cheap.  In fact, it’s painfully expensive and the studios are going to let years of  television disappear into the past without being archived on the HDCAM SR format because it is cost prohibitive unless the show was a hit.

So if you still have a couple  favorite shows on VHS tapes you recorded back in the day via your rabbit ears (also a relic of the past), you better transfer them to DVD yourself because that’s the best quality you will likely ever see again. But boy, that HDCAM SR is pretty damn sexy.

– Kirk

Size Matters! How to create a small Quicktime for pushing across the web

Friday, March 14th, 2008

There are so many codecs for digital movies out there that is becomes really confusing when you are trying to make a small file to place on Youtube, an ftp site or to email to everyone in your address book.  By the way, a codec is the formula used to compress and decompress a digital movie.  For example, you can compress your video clip using H263, H264, Animation, Sorensen, Cinepak, Animated GIF, DV, DV  Stream, MPEG-4, MPEG-2, M4V, FLC, SWF, and on and on.

 

You could literally test and play with settings and parameters for days and you will eventually drive yourself crazy trying to get the perfect file that is small enough to email but vivid and snappy enough to get you the recognition and accolades you deserve.

 

Here’s a fool proof, easy way to do it…

 

Buy Apple’s Quicktime Pro application for  around $40 bucks. Then open your big, uncompressed monster of a movie file, then say “EXPORT” in Quicktime Pro and choose “FOR iPOD.”

 

That’s it. Your file will be tiny and look amazing. Even though you ended up with merely an .M4V file that you could have done that yourself, you would never be able to compete with the genius eggheads at Apple who have spent hundreds of hours in R&D to have the perfect codec settings!

 

This is also a great file to upload to YouTube. Their upload robot LOVES this file. However, if you want to make it absolutely perfect for YouTube, you should create your original big file at 400×300 pixels, because otherwise YouTube will scale your file and cause it to lose some resolution. I understand that 400×300 is a non-standard aspect ration in computer land, but that’s what YouTube is, so you might as well create your original file that size. Be sure to make the file with those dimensions PRIOR to crunching down with the “EXPORT TO iPOD.”

 

-Kirk

Defeat Macrovision DVD piracy protection in 3 seconds!

Friday, February 29th, 2008

Macrovision is a piracy protection system that darkens the video image if it is copied from a standard DVD player.

First off, this is NOT a subversive message to coax anyone to break the law. However, there are plenty of times when it is vital to a project to use “copyrighted” material ripped from a commercially sold DVD. Some examples of when this is important are:

1)    You acted or were crew in a particular film and wish to present a clip of your scene in a montage of  your demo reel.

2)    You are making a “rip-o-matic.”  That’s when, as a filmmaker, you create a fictitious preview trailer using clips and footage from a variety of different movies, since your film is not shot yet. This is useful to use as presentation tool to potential investors. Of course you can never broadcast, sell, or otherwise exploit the original material. The rip-o-matic is also useful for creating a living storyboard from which you can plan shots for your own movie in the style of the original.

3)    You want to use footage in a montage at a wedding or other family occasion. For example, you may want to have famous love scenes (Casablanca, etc.) edited together with your own voices dubbed in for a spoof at your wedding reception.

4)    You may want to digitize the footage into your own edit system so you can practice graphics and editing.

There are probably hundreds of other non-commercial uses where you may need to rip a commercial DVD. Of course, I’m not a lawyer and do not advocate breaking any laws whatsoever, but if you really want that footage without the Macrovision (and if it is legal), all ya gotta do is run it through a time-base corrector. Don’t have one? Many professional video decks have built-in TBCs. Just play your DVD and run the signal through a pro deck or TBC and you’re off to the races.

-Kirk

How to ruin your career and embarrass yourself in half a second flat!

Wednesday, January 2nd, 2008

Here’s something we encounter all the time, a major client with an insane deadline sends us a precious file of their motion picture to be laid off to BetaSP or Digibeta for use in a critical film festival screening where the audience includes top studio scouts and distributors.

At the screening, the lights dim, the projector fires up, and the film hits the silver screen with all its glory and charm. The distribution execs are cracking up at every joke and displaying the perfect body posture for the dramatic parts. The screening is going to be a hit… until… OH MY GOD! THERE’S SCRATCH DIALOGUE COMING FROM THE CHARACTERS’ MOUTHS! AND, WHERE DID THE MUSIC GO IN THAT SCENE? AAAAAK! A TEMP TITLE CARD THAT SAYS “SCENE MISSING”!

Poooof. There goes the distribution deal. There goes my life!! Anyone need a bartender out there?

But how could this have happened? The file was proofed and re-proofed and watched by several people. The film was perfect back in the online bay. And the file that was transferred for the screening was called “LOST IN PARADISE NEW FINAL VERSION REVISED”.

And therein lies the problem: The file name. The wrong file was used to make the transfer.

This is a dramatic illustration of the consequences of naming files without the use of a clear emnaming convention.

I don’t understand why so many actual professionals name there files things like:

My_Film_New_Master.mov
My_Film_New_New_Master.mov
My_Film_New_New_Final_Master.mov
My_Film_New_New_Final_Master_for_Sundance.mov
My_Film_New_New_Final_Master_for_Sundance2.mov
My_Film_New_New_Final_Master_for_Sundance2_Revised.mov
My_Film_New_New_Final_Master_for_Sundance2_Revised2.mov
My_Film_New_New_Final_Master_for_Sundance2_Corrected.mov
My_Film_New_New_Final_Master_for_Sundance2_Corrected_Final.mov

Now when there are a bunch of discs floating around the office with various versions of these “FINAL” masters, it is really easy to see how things could go terribly wrong at the dub house when the incorrect file shows up for transfer.

For that matter, with everyone working from servers and hard drives all over the world, it’s super easy to see that a mis-named file in a folder could be mistaken for the correct one. In fact, people accidentally delete critical files all the time on their very own computer for this exact same reason.

So the trick is, ALWAYS NAME EVERY SINGLE FILE WITH A VALID NAME. Here are some excellent ideas to include in your name:

1) The date the file was made. THIS IS ABSOLUTELY CRITICAL! If there is no other info in the file name, you must use a DATE. With the real date in the file name, it is almost impossible to grab the wrong one since an actual date is so easily cross-referenced by invoices, production schedules, and other records of processes. Also, make the date read in reverse European-style syntax: YEAR/MONTH/DAY/TIME (military). That way, the date will always sort in perfect order and it will be crystal clear which file is the latest one.

Example: 2008_12_31_1325

2) The project name or abbreviation. “Lost in Paradise” becomes ”LIP”.

3) The status of the project, such as “RuffCut_No_Music” or “ColorCorrected_Master”

So your wonderful new, final, final, really truly master corrected revised file will end up looking like this:

2008_12_31_1325_LIP_FOR_SLAMDANCE.mov

Ain’t it a a beautiful thing? And if that file name is too long for a given purpose, you can still get by with:

2008_12_31_LIP.mov

God, that’s clean. MMMMMmmm. It’s delicious to behold and to archive. Oh, and by the way, you will be able to actually keep your job if you name files like this.

Kirk