Deprecated: Function eregi() is deprecated in D:\Projects\phpxxx\libraries\plugin_interface.lib.php on line 30
Deprecated: Function eregi() is deprecated in D:\Projects\phpxxx\libraries\plugin_interface.lib.php on line 30
Deprecated: Function eregi() is deprecated in D:\Projects\phpxxx\libraries\plugin_interface.lib.php on line 30
Deprecated: Function eregi() is deprecated in D:\Projects\phpxxx\libraries\plugin_interface.lib.php on line 30
Deprecated: Function eregi() is deprecated in D:\Projects\phpxxx\libraries\plugin_interface.lib.php on line 30
Deprecated: Function eregi() is deprecated in D:\Projects\phpxxx\libraries\plugin_interface.lib.php on line 30
Deprecated: Function eregi() is deprecated in D:\Projects\phpxxx\libraries\plugin_interface.lib.php on line 30
Deprecated: Function eregi() is deprecated in D:\Projects\phpxxx\libraries\plugin_interface.lib.php on line 30
Deprecated: Function eregi() is deprecated in D:\Projects\phpxxx\libraries\plugin_interface.lib.php on line 30
Deprecated: Function eregi() is deprecated in D:\Projects\phpxxx\libraries\plugin_interface.lib.php on line 30
Deprecated: Function eregi() is deprecated in D:\Projects\phpxxx\libraries\plugin_interface.lib.php on line 30
-- phpMyAdmin SQL Dump
-- version 2.10.2
-- http://www.phpmyadmin.net
--
-- Host: localhost
-- Generation Time: Mar 06, 2011 at 06:02 PM
-- Server version: 5.1.36
-- PHP Version: 5.3.0
SET SQL_MODE="NO_AUTO_VALUE_ON_ZERO";
--
-- Database: `betasptodvd`
--
-- --------------------------------------------------------
--
-- Table structure for table `wp_commentmeta`
--
CREATE TABLE `wp_commentmeta` (
`meta_id` bigint(20) unsigned NOT NULL AUTO_INCREMENT,
`comment_id` bigint(20) unsigned NOT NULL DEFAULT '0',
`meta_key` varchar(255) DEFAULT NULL,
`meta_value` longtext,
PRIMARY KEY (`meta_id`),
KEY `comment_id` (`comment_id`),
KEY `meta_key` (`meta_key`)
) ENGINE=MyISAM DEFAULT CHARSET=utf8 AUTO_INCREMENT=1 ;
--
-- Dumping data for table `wp_commentmeta`
--
-- --------------------------------------------------------
--
-- Table structure for table `wp_comments`
--
CREATE TABLE `wp_comments` (
`comment_ID` bigint(20) unsigned NOT NULL AUTO_INCREMENT,
`comment_post_ID` bigint(20) unsigned NOT NULL DEFAULT '0',
`comment_author` tinytext NOT NULL,
`comment_author_email` varchar(100) NOT NULL DEFAULT '',
`comment_author_url` varchar(200) NOT NULL DEFAULT '',
`comment_author_IP` varchar(100) NOT NULL DEFAULT '',
`comment_date` datetime NOT NULL DEFAULT '0000-00-00 00:00:00',
`comment_date_gmt` datetime NOT NULL DEFAULT '0000-00-00 00:00:00',
`comment_content` text NOT NULL,
`comment_karma` int(11) NOT NULL DEFAULT '0',
`comment_approved` varchar(20) NOT NULL DEFAULT '1',
`comment_agent` varchar(255) NOT NULL DEFAULT '',
`comment_type` varchar(20) NOT NULL DEFAULT '',
`comment_parent` bigint(20) unsigned NOT NULL DEFAULT '0',
`user_id` bigint(20) unsigned NOT NULL DEFAULT '0',
PRIMARY KEY (`comment_ID`),
KEY `comment_approved` (`comment_approved`),
KEY `comment_post_ID` (`comment_post_ID`),
KEY `comment_approved_date_gmt` (`comment_approved`,`comment_date_gmt`),
KEY `comment_date_gmt` (`comment_date_gmt`),
KEY `comment_parent` (`comment_parent`)
) ENGINE=MyISAM DEFAULT CHARSET=utf8 AUTO_INCREMENT=2 ;
--
-- Dumping data for table `wp_comments`
--
-- --------------------------------------------------------
--
-- Table structure for table `wp_links`
--
CREATE TABLE `wp_links` (
`link_id` bigint(20) unsigned NOT NULL AUTO_INCREMENT,
`link_url` varchar(255) NOT NULL DEFAULT '',
`link_name` varchar(255) NOT NULL DEFAULT '',
`link_image` varchar(255) NOT NULL DEFAULT '',
`link_target` varchar(25) NOT NULL DEFAULT '',
`link_description` varchar(255) NOT NULL DEFAULT '',
`link_visible` varchar(20) NOT NULL DEFAULT 'Y',
`link_owner` bigint(20) unsigned NOT NULL DEFAULT '1',
`link_rating` int(11) NOT NULL DEFAULT '0',
`link_updated` datetime NOT NULL DEFAULT '0000-00-00 00:00:00',
`link_rel` varchar(255) NOT NULL DEFAULT '',
`link_notes` mediumtext NOT NULL,
`link_rss` varchar(255) NOT NULL DEFAULT '',
PRIMARY KEY (`link_id`),
KEY `link_visible` (`link_visible`)
) ENGINE=MyISAM DEFAULT CHARSET=utf8 AUTO_INCREMENT=8 ;
--
-- Dumping data for table `wp_links`
--
INSERT INTO `wp_links` (`link_id`, `link_url`, `link_name`, `link_image`, `link_target`, `link_description`, `link_visible`, `link_owner`, `link_rating`, `link_updated`, `link_rel`, `link_notes`, `link_rss`) VALUES
(1, 'http://codex.wordpress.org/', 'Documentation', '', '', '', 'Y', 1, 0, '0000-00-00 00:00:00', '', '', ''),
(2, 'http://wordpress.org/news/', 'WordPress Blog', '', '', '', 'Y', 1, 0, '0000-00-00 00:00:00', '', '', 'http://wordpress.org/news/feed/'),
(3, 'http://wordpress.org/extend/ideas/', 'Suggest Ideas', '', '', '', 'Y', 1, 0, '0000-00-00 00:00:00', '', '', ''),
(4, 'http://wordpress.org/support/', 'Support Forum', '', '', '', 'Y', 1, 0, '0000-00-00 00:00:00', '', '', ''),
(5, 'http://wordpress.org/extend/plugins/', 'Plugins', '', '', '', 'Y', 1, 0, '0000-00-00 00:00:00', '', '', ''),
(6, 'http://wordpress.org/extend/themes/', 'Themes', '', '', '', 'Y', 1, 0, '0000-00-00 00:00:00', '', '', ''),
(7, 'http://planet.wordpress.org/', 'WordPress Planet', '', '', '', 'Y', 1, 0, '0000-00-00 00:00:00', '', '', '');
-- --------------------------------------------------------
--
-- Table structure for table `wp_options`
--
CREATE TABLE `wp_options` (
`option_id` bigint(20) unsigned NOT NULL AUTO_INCREMENT,
`blog_id` int(11) NOT NULL DEFAULT '0',
`option_name` varchar(64) NOT NULL DEFAULT '',
`option_value` longtext NOT NULL,
`autoload` varchar(20) NOT NULL DEFAULT 'yes',
PRIMARY KEY (`option_id`),
UNIQUE KEY `option_name` (`option_name`)
) ENGINE=MyISAM DEFAULT CHARSET=utf8 AUTO_INCREMENT=1131 ;
--
-- Dumping data for table `wp_options`
--
INSERT INTO `wp_options` (`option_id`, `blog_id`, `option_name`, `option_value`, `autoload`) VALUES
(1, 0, 'siteurl', 'http://jlahijani.homeip.net:3010/betasptodvd.com', 'yes'),
(2, 0, 'blogname', 'Beta SP to DVD', 'yes'),
(3, 0, 'blogdescription', 'Video Transfers, Conversions, Digitizing & Encoding', 'yes'),
(4, 0, 'users_can_register', '0', 'yes'),
(5, 0, 'admin_email', 'jlahijani@gmail.com', 'yes'),
(6, 0, 'start_of_week', '1', 'yes'),
(7, 0, 'use_balanceTags', '0', 'yes'),
(8, 0, 'use_smilies', '1', 'yes'),
(9, 0, 'require_name_email', '1', 'yes'),
(10, 0, 'comments_notify', '1', 'yes'),
(11, 0, 'posts_per_rss', '10', 'yes'),
(12, 0, 'rss_use_excerpt', '0', 'yes'),
(13, 0, 'mailserver_url', 'mail.example.com', 'yes'),
(14, 0, 'mailserver_login', 'login@example.com', 'yes'),
(15, 0, 'mailserver_pass', 'password', 'yes'),
(16, 0, 'mailserver_port', '110', 'yes'),
(17, 0, 'default_category', '1', 'yes'),
(18, 0, 'default_comment_status', 'closed', 'yes'),
(19, 0, 'default_ping_status', 'closed', 'yes'),
(20, 0, 'default_pingback_flag', '', 'yes'),
(21, 0, 'default_post_edit_rows', '10', 'yes'),
(22, 0, 'posts_per_page', '10', 'yes'),
(23, 0, 'date_format', 'F j, Y', 'yes'),
(24, 0, 'time_format', 'g:i a', 'yes'),
(25, 0, 'links_updated_date_format', 'F j, Y g:i a', 'yes'),
(26, 0, 'links_recently_updated_prepend', '', 'yes'),
(27, 0, 'links_recently_updated_append', '', 'yes'),
(28, 0, 'links_recently_updated_time', '120', 'yes'),
(29, 0, 'comment_moderation', '', 'yes'),
(30, 0, 'moderation_notify', '1', 'yes'),
(31, 0, 'permalink_structure', '/%postname%/', 'yes'),
(32, 0, 'gzipcompression', '0', 'yes'),
(33, 0, 'hack_file', '0', 'yes'),
(34, 0, 'blog_charset', 'UTF-8', 'yes'),
(35, 0, 'moderation_keys', '', 'no'),
(36, 0, 'active_plugins', 'a:4:{i:0;s:43:"all-in-one-seo-pack/all_in_one_seo_pack.php";i:1;s:17:"cforms/cforms.php";i:2;s:47:"custom-field-template/custom-field-template.php";i:3;s:29:"my-page-order/mypageorder.php";}', 'yes'),
(37, 0, 'home', 'http://jlahijani.homeip.net:3010/betasptodvd.com', 'yes'),
(38, 0, 'category_base', '', 'yes'),
(39, 0, 'ping_sites', 'http://rpc.pingomatic.com/', 'yes'),
(40, 0, 'advanced_edit', '0', 'yes'),
(41, 0, 'comment_max_links', '2', 'yes'),
(42, 0, 'gmt_offset', '0', 'yes'),
(43, 0, 'default_email_category', '1', 'yes'),
(44, 0, 'recently_edited', '', 'no'),
(45, 0, 'template', 'betasptodvd', 'yes'),
(46, 0, 'stylesheet', 'betasptodvd', 'yes'),
(47, 0, 'comment_whitelist', '1', 'yes'),
(48, 0, 'blacklist_keys', '', 'no'),
(49, 0, 'comment_registration', '', 'yes'),
(50, 0, 'rss_language', 'en', 'yes'),
(51, 0, 'html_type', 'text/html', 'yes'),
(52, 0, 'use_trackback', '0', 'yes'),
(53, 0, 'default_role', 'subscriber', 'yes'),
(54, 0, 'db_version', '17056', 'yes'),
(55, 0, 'uploads_use_yearmonth_folders', '', 'yes'),
(56, 0, 'upload_path', '', 'yes'),
(57, 0, 'blog_public', '1', 'yes'),
(58, 0, 'default_link_category', '2', 'yes'),
(59, 0, 'show_on_front', 'page', 'yes'),
(60, 0, 'tag_base', '', 'yes'),
(61, 0, 'show_avatars', '1', 'yes'),
(62, 0, 'avatar_rating', 'G', 'yes'),
(63, 0, 'upload_url_path', '', 'yes'),
(64, 0, 'thumbnail_size_w', '150', 'yes'),
(65, 0, 'thumbnail_size_h', '150', 'yes'),
(66, 0, 'thumbnail_crop', '1', 'yes'),
(67, 0, 'medium_size_w', '300', 'yes'),
(68, 0, 'medium_size_h', '300', 'yes'),
(69, 0, 'avatar_default', 'mystery', 'yes'),
(70, 0, 'enable_app', '0', 'yes'),
(71, 0, 'enable_xmlrpc', '0', 'yes'),
(72, 0, 'large_size_w', '1024', 'yes'),
(73, 0, 'large_size_h', '1024', 'yes'),
(74, 0, 'image_default_link_type', '', 'yes'),
(75, 0, 'image_default_size', '', 'yes'),
(76, 0, 'image_default_align', '', 'yes'),
(77, 0, 'close_comments_for_old_posts', '', 'yes'),
(78, 0, 'close_comments_days_old', '14', 'yes'),
(79, 0, 'thread_comments', '1', 'yes'),
(80, 0, 'thread_comments_depth', '5', 'yes'),
(81, 0, 'page_comments', '', 'yes'),
(82, 0, 'comments_per_page', '50', 'yes'),
(83, 0, 'default_comments_page', 'newest', 'yes'),
(84, 0, 'comment_order', 'asc', 'yes'),
(85, 0, 'sticky_posts', 'a:0:{}', 'yes'),
(86, 0, 'widget_categories', 'a:2:{i:2;a:4:{s:5:"title";s:0:"";s:5:"count";i:0;s:12:"hierarchical";i:0;s:8:"dropdown";i:0;}s:12:"_multiwidget";i:1;}', 'yes'),
(87, 0, 'widget_text', 'a:2:{i:2;a:0:{}s:12:"_multiwidget";i:1;}', 'yes'),
(88, 0, 'widget_rss', 'a:2:{i:2;a:0:{}s:12:"_multiwidget";i:1;}', 'yes'),
(89, 0, 'timezone_string', '', 'yes'),
(90, 0, 'embed_autourls', '1', 'yes'),
(91, 0, 'embed_size_w', '', 'yes'),
(92, 0, 'embed_size_h', '600', 'yes'),
(93, 0, 'page_for_posts', '7', 'yes'),
(94, 0, 'page_on_front', '5', 'yes'),
(95, 0, 'wp_user_roles', 'a:5:{s:13:"administrator";a:2:{s:4:"name";s:13:"Administrator";s:12:"capabilities";a:64:{s:13:"switch_themes";b:1;s:11:"edit_themes";b:1;s:16:"activate_plugins";b:1;s:12:"edit_plugins";b:1;s:10:"edit_users";b:1;s:10:"edit_files";b:1;s:14:"manage_options";b:1;s:17:"moderate_comments";b:1;s:17:"manage_categories";b:1;s:12:"manage_links";b:1;s:12:"upload_files";b:1;s:6:"import";b:1;s:15:"unfiltered_html";b:1;s:10:"edit_posts";b:1;s:17:"edit_others_posts";b:1;s:20:"edit_published_posts";b:1;s:13:"publish_posts";b:1;s:10:"edit_pages";b:1;s:4:"read";b:1;s:8:"level_10";b:1;s:7:"level_9";b:1;s:7:"level_8";b:1;s:7:"level_7";b:1;s:7:"level_6";b:1;s:7:"level_5";b:1;s:7:"level_4";b:1;s:7:"level_3";b:1;s:7:"level_2";b:1;s:7:"level_1";b:1;s:7:"level_0";b:1;s:17:"edit_others_pages";b:1;s:20:"edit_published_pages";b:1;s:13:"publish_pages";b:1;s:12:"delete_pages";b:1;s:19:"delete_others_pages";b:1;s:22:"delete_published_pages";b:1;s:12:"delete_posts";b:1;s:19:"delete_others_posts";b:1;s:22:"delete_published_posts";b:1;s:20:"delete_private_posts";b:1;s:18:"edit_private_posts";b:1;s:18:"read_private_posts";b:1;s:20:"delete_private_pages";b:1;s:18:"edit_private_pages";b:1;s:18:"read_private_pages";b:1;s:12:"delete_users";b:1;s:12:"create_users";b:1;s:17:"unfiltered_upload";b:1;s:14:"edit_dashboard";b:1;s:14:"update_plugins";b:1;s:14:"delete_plugins";b:1;s:15:"install_plugins";b:1;s:13:"update_themes";b:1;s:14:"install_themes";b:1;s:11:"update_core";b:1;s:10:"list_users";b:1;s:12:"remove_users";b:1;s:9:"add_users";b:1;s:13:"promote_users";b:1;s:18:"edit_theme_options";b:1;s:13:"delete_themes";b:1;s:6:"export";b:1;s:13:"manage_cforms";b:1;s:12:"track_cforms";b:1;}}s:6:"editor";a:2:{s:4:"name";s:6:"Editor";s:12:"capabilities";a:34:{s:17:"moderate_comments";b:1;s:17:"manage_categories";b:1;s:12:"manage_links";b:1;s:12:"upload_files";b:1;s:15:"unfiltered_html";b:1;s:10:"edit_posts";b:1;s:17:"edit_others_posts";b:1;s:20:"edit_published_posts";b:1;s:13:"publish_posts";b:1;s:10:"edit_pages";b:1;s:4:"read";b:1;s:7:"level_7";b:1;s:7:"level_6";b:1;s:7:"level_5";b:1;s:7:"level_4";b:1;s:7:"level_3";b:1;s:7:"level_2";b:1;s:7:"level_1";b:1;s:7:"level_0";b:1;s:17:"edit_others_pages";b:1;s:20:"edit_published_pages";b:1;s:13:"publish_pages";b:1;s:12:"delete_pages";b:1;s:19:"delete_others_pages";b:1;s:22:"delete_published_pages";b:1;s:12:"delete_posts";b:1;s:19:"delete_others_posts";b:1;s:22:"delete_published_posts";b:1;s:20:"delete_private_posts";b:1;s:18:"edit_private_posts";b:1;s:18:"read_private_posts";b:1;s:20:"delete_private_pages";b:1;s:18:"edit_private_pages";b:1;s:18:"read_private_pages";b:1;}}s:6:"author";a:2:{s:4:"name";s:6:"Author";s:12:"capabilities";a:10:{s:12:"upload_files";b:1;s:10:"edit_posts";b:1;s:20:"edit_published_posts";b:1;s:13:"publish_posts";b:1;s:4:"read";b:1;s:7:"level_2";b:1;s:7:"level_1";b:1;s:7:"level_0";b:1;s:12:"delete_posts";b:1;s:22:"delete_published_posts";b:1;}}s:11:"contributor";a:2:{s:4:"name";s:11:"Contributor";s:12:"capabilities";a:5:{s:10:"edit_posts";b:1;s:4:"read";b:1;s:7:"level_1";b:1;s:7:"level_0";b:1;s:12:"delete_posts";b:1;}}s:10:"subscriber";a:2:{s:4:"name";s:10:"Subscriber";s:12:"capabilities";a:2:{s:4:"read";b:1;s:7:"level_0";b:1;}}}', 'yes'),
(96, 0, 'widget_search', 'a:2:{i:2;a:1:{s:5:"title";s:0:"";}s:12:"_multiwidget";i:1;}', 'yes'),
(97, 0, 'widget_recent-posts', 'a:2:{i:2;a:2:{s:5:"title";s:0:"";s:6:"number";i:5;}s:12:"_multiwidget";i:1;}', 'yes'),
(98, 0, 'widget_recent-comments', 'a:2:{i:2;a:2:{s:5:"title";s:0:"";s:6:"number";i:5;}s:12:"_multiwidget";i:1;}', 'yes'),
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(100, 0, 'widget_meta', 'a:2:{i:2;a:1:{s:5:"title";s:0:"";}s:12:"_multiwidget";i:1;}', 'yes'),
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(102, 0, 'cron', 'a:3:{i:1299461567;a:1:{s:19:"wp_scheduled_delete";a:1:{s:32:"40cd750bba9870f18aada2478b24840a";a:3:{s:8:"schedule";s:5:"daily";s:4:"args";a:0:{}s:8:"interval";i:86400;}}}i:1299464812;a:3:{s:16:"wp_version_check";a:1:{s:32:"40cd750bba9870f18aada2478b24840a";a:3:{s:8:"schedule";s:10:"twicedaily";s:4:"args";a:0:{}s:8:"interval";i:43200;}}s:17:"wp_update_plugins";a:1:{s:32:"40cd750bba9870f18aada2478b24840a";a:3:{s:8:"schedule";s:10:"twicedaily";s:4:"args";a:0:{}s:8:"interval";i:43200;}}s:16:"wp_update_themes";a:1:{s:32:"40cd750bba9870f18aada2478b24840a";a:3:{s:8:"schedule";s:10:"twicedaily";s:4:"args";a:0:{}s:8:"interval";i:43200;}}}s:7:"version";i:2;}', 'yes'),
(103, 0, '_transient_doing_cron', '1299431949', 'yes'),
(1129, 0, '_site_transient_timeout_theme_roots', '1299439152', 'yes'),
(1130, 0, '_site_transient_theme_roots', 'a:2:{s:11:"betasptodvd";s:7:"/themes";s:9:"twentyten";s:7:"/themes";}', 'yes'),
(990, 0, 'default_post_format', '0', 'yes'),
(186, 0, 'category_children', 'a:0:{}', 'yes'),
(108, 0, '_site_transient_update_themes', 'O:8:"stdClass":1:{s:12:"last_checked";i:1299431952;}', 'yes'),
(116, 0, 'widget_links', 'a:2:{i:2;a:0:{}s:12:"_multiwidget";i:1;}', 'yes'),
(163, 0, 'current_theme', 'betasptodvd', 'yes'),
(115, 0, 'widget_calendar', 'a:2:{i:2;a:0:{}s:12:"_multiwidget";i:1;}', 'yes'),
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(117, 0, 'widget_tag_cloud', 'a:2:{i:2;a:0:{}s:12:"_multiwidget";i:1;}', 'yes'),
(118, 0, 'widget_nav_menu', 'a:2:{i:2;a:0:{}s:12:"_multiwidget";i:1;}', 'yes'),
(119, 0, 'dashboard_widget_options', 'a:4:{s:25:"dashboard_recent_comments";a:1:{s:5:"items";i:5;}s:24:"dashboard_incoming_links";a:5:{s:4:"home";s:48:"http://jlahijani.homeip.net:3010/betasptodvd.com";s:4:"link";s:124:"http://blogsearch.google.com/blogsearch?scoring=d&partner=wordpress&q=link:http://jlahijani.homeip.net:3010/betasptodvd.com/";s:3:"url";s:157:"http://blogsearch.google.com/blogsearch_feeds?scoring=d&ie=utf-8&num=10&output=rss&partner=wordpress&q=link:http://jlahijani.homeip.net:3010/betasptodvd.com/";s:5:"items";i:10;s:9:"show_date";b:0;}s:17:"dashboard_primary";a:7:{s:4:"link";s:26:"http://wordpress.org/news/";s:3:"url";s:31:"http://wordpress.org/news/feed/";s:5:"title";s:14:"WordPress Blog";s:5:"items";i:2;s:12:"show_summary";i:1;s:11:"show_author";i:0;s:9:"show_date";i:1;}s:19:"dashboard_secondary";a:7:{s:4:"link";s:28:"http://planet.wordpress.org/";s:3:"url";s:33:"http://planet.wordpress.org/feed/";s:5:"title";s:20:"Other WordPress News";s:5:"items";i:5;s:12:"show_summary";i:0;s:11:"show_author";i:0;s:9:"show_date";i:0;}}', 'yes'),
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";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:7:"pubDate";a:1:{i:0;a:5:{s:4:"data";s:31:"Wed, 02 Mar 2011 17:00:16 +0000";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:32:"http://purl.org/dc/elements/1.1/";a:1:{s:7:"creator";a:1:{i:0;a:5:{s:4:"data";s:14:"blazestreaming";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}}}i:5;a:6:{s:4:"data";s:13:"\n \n \n \n \n \n \n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";s:5:"child";a:2:{s:0:"";a:5:{s:5:"title";a:1:{i:0;a:5:{s:4:"data";s:58:"Weblog Tools Collection: WordPress Theme Releases for 3/02";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"guid";a:1:{i:0;a:5:{s:4:"data";s:40:"http://weblogtoolscollection.com/?p=9732";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"link";a:1:{i:0;a:5:{s:4:"data";s:88:"http://weblogtoolscollection.com/archives/2011/03/02/wordpress-theme-releases-for-302-2/";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:11:"description";a:1:{i:0;a:5:{s:4:"data";s:2014:"
\nKeep Calm And Drink Tea is a grunge type theme with a retro based feel.
\n
\nMinimo is a next generation WordPress 3.1 theme that comes jam-packed with all the awesome new wp features. Plus, it has a clean and minimal design perfect for all sorts of blogs.
\n
\nPongsari is a simple and clean WP Theme, modified from TwentyTen.
\n
\nSimple Blog is a theme for those that want a super clean and simple blogging solution while still keeping some premium-like features.
\n
\nzeeMagazine is a clean two column theme in magazine style with great features: Costum Logo, Colorpicker, Content Slider, Shortcodes, Dropdown Navigation and more.
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\n“A number of popular open-source platforms like Drupal and Joomla! are available for online content, but over the course of 2010, WordPress appears to have moved from top contender to top choice: Demand for WordPress experts rose an impressive 15% quarter-over-quarter, moving up three highly coveted spots to #2, trailing only behind PHP programmers. This marks the first time that any content management system has moved into the top three skills in demand by businesses, solidifying it as the undisputed champ of content, for now.”
\n
\n
\n[Read more in Elance''s Online Employment Report]
\n
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";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:7:"pubDate";a:1:{i:0;a:5:{s:4:"data";s:31:"Tue, 01 Mar 2011 17:00:09 +0000";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:32:"http://purl.org/dc/elements/1.1/";a:1:{s:7:"creator";a:1:{i:0;a:5:{s:4:"data";s:14:"blazestreaming";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}}}i:8;a:6:{s:4:"data";s:13:"\n \n \n \n \n \n \n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";s:5:"child";a:2:{s:0:"";a:5:{s:5:"title";a:1:{i:0;a:5:{s:4:"data";s:60:"WordPress.tv: Tyler Hurst: How to pick topics to write about";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"guid";a:1:{i:0;a:5:{s:4:"data";s:27:"http://wordpress.tv/?p=5399";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"link";a:1:{i:0;a:5:{s:4:"data";s:77:"http://wordpress.tv/2011/01/29/tyler-hurst-how-to-pick-topics-to-write-about/";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:11:"description";a:1:{i:0;a:5:{s:4:"data";s:1819:"\n
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";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:7:"pubDate";a:1:{i:0;a:5:{s:4:"data";s:31:"Tue, 01 Mar 2011 16:45:21 +0000";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:32:"http://purl.org/dc/elements/1.1/";a:1:{s:7:"creator";a:1:{i:0;a:5:{s:4:"data";s:14:"blazestreaming";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}}}i:9;a:6:{s:4:"data";s:13:"\n \n \n \n \n \n \n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";s:5:"child";a:2:{s:0:"";a:5:{s:5:"title";a:1:{i:0;a:5:{s:4:"data";s:76:"Weblog Tools Collection: Mark Jaquith on WordPress Theme and Plugin Security";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"guid";a:1:{i:0;a:5:{s:4:"data";s:40:"http://weblogtoolscollection.com/?p=9729";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"link";a:1:{i:0;a:5:{s:4:"data";s:105:"http://weblogtoolscollection.com/archives/2011/03/01/mark-jaquith-on-wordpress-theme-and-plugin-security/";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:11:"description";a:1:{i:0;a:5:{s:4:"data";s:501:"If you hate to read about security, then this great presentation by WordPress Core Developer Mark Jaquith on WordPress Theme and Plugin Security from WordCamp Phoenix 2011 is just for you!
\nThe presentation is great to watch and quite educational for both WordPress users and developers.
\n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:7:"pubDate";a:1:{i:0;a:5:{s:4:"data";s:31:"Tue, 01 Mar 2011 14:00:02 +0000";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:32:"http://purl.org/dc/elements/1.1/";a:1:{s:7:"creator";a:1:{i:0;a:5:{s:4:"data";s:10:"James Huff";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}}}i:10;a:6:{s:4:"data";s:13:"\n \n \n \n \n \n \n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";s:5:"child";a:2:{s:0:"";a:5:{s:5:"title";a:1:{i:0;a:5:{s:4:"data";s:42:"Alex King: WordPress HelpCenter to Reopen!";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"guid";a:1:{i:0;a:5:{s:4:"data";s:27:"http://alexking.org/?p=5563";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"link";a:1:{i:0;a:5:{s:4:"data";s:66:"http://alexking.org/blog/2011/02/28/wordpress-helpcenter-to-reopen";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:11:"description";a:1:{i:0;a:5:{s:4:"data";s:2120:"I am excited to announce that WordPress HelpCenter is coming back! Look for it to reopen on March 14th under new management.
\n
\nNathan Garza, who has been with me at both Crowd Favorite and WordPress HelpCenter is acquiring the business. He is someone I trust, has experience running a business, is intimately familiar with the HelpCenter and is an experienced WordPress developer – a great fit all around.
\nI’m pleased on two fronts that the HelpCenter will continue. First because it’s a great resource for the WordPress community and I was very sad to be taking that away, and second because I’ll still have a quality resource to refer folks to when Crowd Favorite isn’t a good fit for their needs.
\nI am keeping an affiliation with the company by joining their board of advisors (I hope my experience will be useful), however I will not have any day-to-day responsibilities.
\nBased on my conversations with Nathan, I believe the business will structured a little differently once it reopens, but with the same focus on providing great service to the WordPress community. Watch the website for additional details.
\nIt was the right move for me to exit from the HelpCenter; with my other obligations I just couldn’t focus on it enough. At the same time it’s the right move for Nathan to take it over. He can invest the time needed to make it a great WordPress success story. I look forward to watching that happen.
\n
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\n
\nThe mission of the blog is to highlight “various news, opinion, advice and research on computer security issues and the latest internet threats.”
\nJust this past November, the Naked Security team was bestowed with a very prestigious award — crowning them the “Best IT Security Blog” from the Computer Weekly Blog Awards.
\n[ Visit Naked Security ]
\nReady to become a VIP Services Client? Some of the world’s biggest brands rely on WordPress.com VIP Services.
\n
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Custom WordPress skin for MacBook Pro
It took forever to cut out, because it was printed against a white vinyl background, and I wanted the background to show the aluminum of the laptop. But I think it turned out pretty well. What do you think?
\n
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\nFirst of all, do you really need open registration? If not, uncheck “Anyone can register” from the Settings area of your Dashboard.
\nSo, what if you need open registration? First, stop the bad bots from even visiting your blog with Bad Behavior.
\nNow, you could certainly use a CAPTCHA on your registration form, but I wouldn’t bother with that. Several CAPTCHA have been broken by a simple program, and they just aren’t accessible. Instead, use Ban Hammer, which compares registration email addresses with your comment blacklist (just add them if you notice a trend) and the collective blacklist at Stop Forum Spam.
\nLike comment spam, registration spam will be a constant battle, but Bad Behavior and Ban Hammer should at least make it easier on you.
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\nUpdated plugins
\nWP Customer Reviews allows your customers and visitors to leave reviews or testimonials of your services.
\nWP Tweet Button easily and fully implements Twitter’s official Tweet Button on your WordPress blog or site.
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\nHave you upgraded to WordPress 3.1 yet? What do you think of the new features?
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";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:7:"pubDate";a:1:{i:0;a:5:{s:4:"data";s:31:"Wed, 23 Feb 2011 19:00:06 +0000";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:32:"http://purl.org/dc/elements/1.1/";a:1:{s:7:"creator";a:1:{i:0;a:5:{s:4:"data";s:14:"blazestreaming";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}}}i:34;a:6:{s:4:"data";s:13:"\n \n \n \n \n \n \n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";s:5:"child";a:2:{s:0:"";a:5:{s:5:"title";a:1:{i:0;a:5:{s:4:"data";s:43:"WordPress.tv: Grant Swaim: Membership Sites";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"guid";a:1:{i:0;a:5:{s:4:"data";s:27:"http://wordpress.tv/?p=5349";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"link";a:1:{i:0;a:5:{s:4:"data";s:60:"http://wordpress.tv/2011/01/29/grant-swaim-membership-sites/";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:11:"description";a:1:{i:0;a:5:{s:4:"data";s:1785:"\n
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";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:7:"pubDate";a:1:{i:0;a:5:{s:4:"data";s:31:"Wed, 23 Feb 2011 19:00:06 +0000";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:32:"http://purl.org/dc/elements/1.1/";a:1:{s:7:"creator";a:1:{i:0;a:5:{s:4:"data";s:14:"blazestreaming";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}}}i:35;a:6:{s:4:"data";s:13:"\n \n \n \n \n \n \n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";s:5:"child";a:2:{s:0:"";a:5:{s:5:"title";a:1:{i:0;a:5:{s:4:"data";s:63:"Weblog Tools Collection: WordPress and the Not Found Permalinks";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"guid";a:1:{i:0;a:5:{s:4:"data";s:40:"http://weblogtoolscollection.com/?p=9701";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"link";a:1:{i:0;a:5:{s:4:"data";s:92:"http://weblogtoolscollection.com/archives/2011/02/23/wordpress-and-the-not-found-permalinks/";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:11:"description";a:1:{i:0;a:5:{s:4:"data";s:1194:"So, you’ve just switched from the default WordPress permalink structure and now your permalinks are returning Not Found (404) errors, or you didn’t do anything at all and they’re return the error.
\nFirst, there could have been a momentary glitch, so try re-saving your permalink structure at Settings/Permalinks in your admin panel. If WordPress cannot automatically edit the .htaccess file, it will provide manual instructions after saving.
\nIf that doesn’t work, contact your hosting provider and find out if mod_rewite is installed and active on your server. If it isn’t, refer to this guide for some tips on using permalinks without mod_rewrite, or find yourself a nice Apache-based server with mod_rewrite.
\nPermalinks are a finicky thing. They’ll either work right away, if you re-save, and if you use a work-around, otherwise they just won’t work at all. If you’re still having trouble, contact the WordPress Support Forums for more assistance.
";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:7:"pubDate";a:1:{i:0;a:5:{s:4:"data";s:31:"Wed, 23 Feb 2011 14:00:27 +0000";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:32:"http://purl.org/dc/elements/1.1/";a:1:{s:7:"creator";a:1:{i:0;a:5:{s:4:"data";s:10:"James Huff";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}}}i:36;a:6:{s:4:"data";s:13:"\n \n \n \n \n \n \n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";s:5:"child";a:2:{s:0:"";a:5:{s:5:"title";a:1:{i:0;a:5:{s:4:"data";s:50:"WordPress.tv: Andrew Norcross: CPT + the front end";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"guid";a:1:{i:0;a:5:{s:4:"data";s:27:"http://wordpress.tv/?p=5281";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"link";a:1:{i:0;a:5:{s:4:"data";s:65:"http://wordpress.tv/2011/01/29/andrew-norcross-cpt-the-front-end/";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:11:"description";a:1:{i:0;a:5:{s:4:"data";s:1796:"\n
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";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:7:"pubDate";a:1:{i:0;a:5:{s:4:"data";s:31:"Wed, 23 Feb 2011 02:30:19 +0000";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:32:"http://purl.org/dc/elements/1.1/";a:1:{s:7:"creator";a:1:{i:0;a:5:{s:4:"data";s:14:"blazestreaming";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}}}i:37;a:6:{s:4:"data";s:13:"\n \n \n \n \n \n \n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";s:5:"child";a:2:{s:0:"";a:5:{s:5:"title";a:1:{i:0;a:5:{s:4:"data";s:61:"WordPress.tv: Michael Erlewine: A/B Testing the WordPress Way";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"guid";a:1:{i:0;a:5:{s:4:"data";s:27:"http://wordpress.tv/?p=5255";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"link";a:1:{i:0;a:5:{s:4:"data";s:77:"http://wordpress.tv/2011/01/29/michael-erlewine-ab-testing-the-wordpress-way/";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:11:"description";a:1:{i:0;a:5:{s:4:"data";s:1778:"\n
\n
";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:7:"pubDate";a:1:{i:0;a:5:{s:4:"data";s:31:"Wed, 23 Feb 2011 02:15:23 +0000";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:32:"http://purl.org/dc/elements/1.1/";a:1:{s:7:"creator";a:1:{i:0;a:5:{s:4:"data";s:14:"blazestreaming";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}}}i:38;a:6:{s:4:"data";s:13:"\n \n \n \n \n \n \n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";s:5:"child";a:2:{s:0:"";a:5:{s:5:"title";a:1:{i:0;a:5:{s:4:"data";s:52:"WordPress.tv: Daryl Koopersmith: Advanced Javascript";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"guid";a:1:{i:0;a:5:{s:4:"data";s:27:"http://wordpress.tv/?p=5262";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"link";a:1:{i:0;a:5:{s:4:"data";s:69:"http://wordpress.tv/2011/01/29/daryl-koopersmith-advanced-javascript/";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:11:"description";a:1:{i:0;a:5:{s:4:"data";s:1779:"\n
\n
";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:7:"pubDate";a:1:{i:0;a:5:{s:4:"data";s:31:"Wed, 23 Feb 2011 02:15:23 +0000";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:32:"http://purl.org/dc/elements/1.1/";a:1:{s:7:"creator";a:1:{i:0;a:5:{s:4:"data";s:14:"blazestreaming";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}}}i:39;a:6:{s:4:"data";s:13:"\n \n \n \n \n \n \n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";s:5:"child";a:2:{s:0:"";a:5:{s:5:"title";a:1:{i:0;a:5:{s:4:"data";s:58:"Weblog Tools Collection: WordPress Theme Releases for 2/22";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"guid";a:1:{i:0;a:5:{s:4:"data";s:40:"http://weblogtoolscollection.com/?p=9697";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"link";a:1:{i:0;a:5:{s:4:"data";s:88:"http://weblogtoolscollection.com/archives/2011/02/22/wordpress-theme-releases-for-222-2/";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:11:"description";a:1:{i:0;a:5:{s:4:"data";s:854:"
\nDusk Till Dawn is an atmospheric WordPress theme with a tropical feel, containing a toggleable widgetbar, a custom multilevel menu and some css3 features.
\n
\nMartin is a black, green and white multi layout theme with a customizable background, custom header, custom navigation menus, widget ready sidebars and footer widget blocks.
";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:7:"pubDate";a:1:{i:0;a:5:{s:4:"data";s:31:"Tue, 22 Feb 2011 14:00:36 +0000";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:32:"http://purl.org/dc/elements/1.1/";a:1:{s:7:"creator";a:1:{i:0;a:5:{s:4:"data";s:10:"James Huff";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}}}i:40;a:6:{s:4:"data";s:13:"\n \n \n \n \n \n \n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";s:5:"child";a:2:{s:0:"";a:5:{s:5:"title";a:1:{i:0;a:5:{s:4:"data";s:36:"Dev Blog: WordPress 3.1, lots of fun";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"guid";a:1:{i:0;a:5:{s:4:"data";s:33:"http://wordpress.org/news/?p=1704";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"link";a:1:{i:0;a:5:{s:4:"data";s:43:"http://wordpress.org/news/2011/02/threeone/";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:11:"description";a:1:{i:0;a:5:{s:4:"data";s:17125:"The long-awaited fourteenth release of WordPress is now available. WordPress 3.1 “Reinhardt” is named in honor of the jazz guitarist Django Reinhardt. Version 3.1 is available for download, or you can update from within your dashboard.
\nThis release features a lightning fast redesigned linking workflow which makes it easy to link to your existing posts and pages, an admin bar so you’re never more than a click away from your most-used dashboard pages, a streamlined writing interface that hides many of the seldom-used panels by default to create a simpler and less intimidating writing experience for new bloggers (visit Screen Options in the top right to get old panels back), and a refreshed blue admin scheme available for selection under your personal options.
\nThere’s a bucket of candy for developers as well, including our new Post Formats support which makes it easy for themes to create portable tumblelogs with different styling for different types of posts, new CMS capabilities like archive pages for custom content types, a new Network Admin, an overhaul of the import and export system, and the ability to perform advanced taxonomy and custom fields queries.
\nWith the 3.1 release, WordPress is more of a CMS than ever before. The only limit to what you can build is your imagination.
\n(No video yet for 3.1, we’re going to add it later.)
\nBy the Numbers
\nThere were over two thousand commits to the codebase in the 3.1 cycle! For a more comprehensive look at everything that has improved in 3.1, check out 3.1’s Codex page or the more than 820 closed issues in Trac.
\nNow is the time to drop by our development channels if you are interested in being involved with 3.2, as the agenda will be under discussion shortly. We’re hoping to get the 3.2 release out in a shorter development cycle (3.1 took too long) and include some fun improvements around plugins and the speed of the admin. (Don’t worry, we’re still planning on using PHP.)
\nWe’re All in This Together
\nWordPress is the result of the combined effort of people from all over the world united with a common goal: to make the best darn web software for publishing your story on the web and sharing it with the world. Here is a list of the more than 180 people who helped out with development during the 3.1 cycle:
\nAaron Campbell (aaroncampbell), Adam Backstrom (adambackstrom), John Ford (aldenta), Alex Dunae (alexdunae), Alex King (alexkingorg), Amanda French (amandafrench), Will Anderson (anderswc), Andrea Rennick (andrea_r), Andrew Ozz (azaozz), Andy Skelton (andy/skeltoac), Andy Blackwell (andyblackwell), André Renaut (arena), Andrei Vereha (avereha), Azizur Rahman (azizur), Barry Abrahamson (barry), Mohammad Jangda (batmoo), Beau Lebens (beaulebens), Ben Ward (benward), Matthew G. Richmond (bigdawggi), Rowan Rodrik van der Molen (bigsmoke), Glenn Ansley (blepoxp), blt4, bobbyblade, Boone B. Gorges (boonebgorges), Brian Colinger (briancolinger), Brian Layman (brianlayman), Caesar Schinas (caesarsgrunt), Ben Casey (casben79), Chip Bennett (chipbennett), Chris Sfanos, Chris Jean (chrisbliss18), Marco Cimmino (cimmo), Scott Reilly (coffee2code), Dylan Kuhn (cyberhobo), Darren Meehan (darrenmeehan), Dion Hulse (dd32), Dean Robinson (deanjrobinson), Demetris Kikizas, Δημήτρης Κίκιζας (demetris), Denis-de-Bernardy, djzone, Доктор Бро (doktorbro), Donal MacArthur (donalmacarthur), Dougal Campbell (dougal), Dre Armeda (dremeda), Jon Cave (duck_), Doug Provencio (dougwrites), Edward Hevlund (edward mindreantre), Einar Egilsson (einare), Eric Mann (ericmann), Austin Matzko (filosofo), Gil Rutkowski (flashingcursor), foofy, Francesco Laffi (francescolaffi), Gary Cao (garyc40), Justin Tadlock (greenshady), Reuben Gunday (greuben), hakre, Hui Chen (huichen), Ben Huson (husobj), Matt Thomas (iammattthomas), Ian Stewart (iandstewart), indie-ulf, Jacob Santos (jacobsantos), Jakub Míšek (jakub.misek), James Collins (jamescollins), Jane Wells (jane/janeforshort), jayjdk, Jason Penney (jczorkmid), Jeff Farthing (jfarthing84), Josh Kearney (jk0), joelhardi, John Blackbourn (johnbillion), John James Jacoby (johnjamesjacoby/jjj), John O’Nolan (johnonolan), John Bloch (JohnPBloch), Joost de Valk (joostdevalk/yoast), Aaron Jorbin (jorbin), Joseph Scott (josephscott), Justin Rainbow, Kapeel Sable (kapeels), Adam Harley (kawauso), Jorge Bernal (koke), Daryl Koopersmith (koopersmith), Lance Willett (lancewillett), Lutz Schroeer (latz), Lew Ayotte (layotte), linguasite, Lloyd Budd (lloydbudd), loushou, mailnew2ster, mako09, Mark Jaquith (markjaquith), Mark McWilliams (markmcwilliams), MattyRob, Mauro Gentile, Michael Adams (mdawaffe), Chris Meller (mellertime), Michael Fields (mfields), MichaelH, Mike Schinkel (mikeschinkel), Robert Chapin (miqrogroove), Michael “Mitcho” Erlewine (mitchoyoshitaka), David McFarlane (mrmist), mrwok, John Havlik (mtekk), Martin Widmann (mwidmann), Andrew Nacin (nacin), Nikolay Bachiyski (nbachiyski), Nathan Rice (nathanrice), Niall Kennedy (niallkennedy), Bernhard Riedl (neoxx), Nick Momrik (nickmomrik), Nils Juenemannn, Nicolas Kuttler (nkuttler), nootron, norbertm, Dominik Schilling (ocean90), ohanesian, Samuel Wood (Otto42), Ozh Richard (ozh), Pádraic Brady, Franklin Tse (peaceablewhale), Pete Mall (PeteMall), Phill Brown (phill_brown), Phill Kenoyer (PhillKenoyer), phrostypoison, Michael Pretty (prettyboymp), Simon Prosser (pross), Ptah Dunbar (ptahdunbar), Harsh J. Chouraria (qwertymaniac), Ran Yaniv Hartstein (RanYanivHartstein), Rasheed Bydousi (rasheed), Daniel Jalkut (redsweater), rfw, Rasmus Lerdorf (rlerdorf), Ryan McCue (rmccue), Roger Theriault (rogertheriault), ronbme, rovo89, Ryan Boren (ryan), Sara Cannon (saracannon), Scott Bressler (sbressler), Scott Kingsley Clark (sc0ttkclark), ScottMac, Silviu Cristian Burca (scribu), Sergey Biryukov, Сергей Бирюков (SergeyBiryukov), Alex Petrescu (SeyelentEco), Shawn Parker (shawnparker), shidouhikari, Simon Wheatley (simonwheatley), Matt Martz (sivel), Samir Shah (solarissmoke), sorich87, Mitch Canter (studionashvegas), t31os_, Tracy Cannon (TECannon), tech163, Aaron Brazell (technosailor), TheDeadMedic, Tim Moore (tmoorewp), Tobias Bäthge (TobiasBg), Tom Lany (tomthewebmaster), tonyf12, Utkarsh Kukreti (Utkarsh), Zé Fontainhas (vanillalounge), John Hawkins (vegasgeek), Michael Stewart (vericgar), Alex Mills (Viper007Bond), Vladimir Kolesnikov (vladimir_kolesnikov), wahgnube, wedsxcrfv, Peter Westwood (westi), whoismanu, Will Norris (wnorris), Wojtek Szkutnik (wojtek.szkutnik), wpcanyon, William P. Davis (wpdavis), Ron Rennick (wpmuguru), Kenneth Newman (WraithKenny), Yoav Farhi (yoavf), and Safirul Alfreda (zeo).
\nBonus: Don’t forget to check out the latest on WordPress.tv to see all the cool WordCamp sessions you may have missed.
";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:7:"pubDate";a:1:{i:0;a:5:{s:4:"data";s:31:"Tue, 22 Feb 2011 07:55:54 +0000";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:32:"http://purl.org/dc/elements/1.1/";a:1:{s:7:"creator";a:1:{i:0;a:5:{s:4:"data";s:14:"Matt Mullenweg";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}}}i:41;a:6:{s:4:"data";s:13:"\n \n \n \n \n \n \n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";s:5:"child";a:2:{s:0:"";a:5:{s:5:"title";a:1:{i:0;a:5:{s:4:"data";s:48:"WordPress.tv: Stephanie Leary: Tricky Migrations";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"guid";a:1:{i:0;a:5:{s:4:"data";s:27:"http://wordpress.tv/?p=5289";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"link";a:1:{i:0;a:5:{s:4:"data";s:65:"http://wordpress.tv/2011/01/29/stephanie-leary-tricky-migrations/";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:11:"description";a:1:{i:0;a:5:{s:4:"data";s:1793:"\n
\n
";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:7:"pubDate";a:1:{i:0;a:5:{s:4:"data";s:31:"Mon, 21 Feb 2011 23:45:09 +0000";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:32:"http://purl.org/dc/elements/1.1/";a:1:{s:7:"creator";a:1:{i:0;a:5:{s:4:"data";s:14:"blazestreaming";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}}}i:42;a:6:{s:4:"data";s:13:"\n \n \n \n \n \n \n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";s:5:"child";a:2:{s:0:"";a:5:{s:5:"title";a:1:{i:0;a:5:{s:4:"data";s:43:"WordPress.tv: Corey Eulas: SEO Master Class";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"guid";a:1:{i:0;a:5:{s:4:"data";s:27:"http://wordpress.tv/?p=5271";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"link";a:1:{i:0;a:5:{s:4:"data";s:60:"http://wordpress.tv/2011/01/29/corey-eulas-seo-master-class/";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:11:"description";a:1:{i:0;a:5:{s:4:"data";s:1760:"\n
\n
";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:7:"pubDate";a:1:{i:0;a:5:{s:4:"data";s:31:"Mon, 21 Feb 2011 23:30:27 +0000";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:32:"http://purl.org/dc/elements/1.1/";a:1:{s:7:"creator";a:1:{i:0;a:5:{s:4:"data";s:14:"blazestreaming";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}}}i:43;a:6:{s:4:"data";s:13:"\n \n \n \n \n \n \n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";s:5:"child";a:2:{s:0:"";a:5:{s:5:"title";a:1:{i:0;a:5:{s:4:"data";s:45:"WordPress.tv: Chelsea Otakan: Typography & WP";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"guid";a:1:{i:0;a:5:{s:4:"data";s:27:"http://wordpress.tv/?p=5278";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"link";a:1:{i:0;a:5:{s:4:"data";s:60:"http://wordpress.tv/2011/01/29/chelsea-otakan-typography-wp/";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:11:"description";a:1:{i:0;a:5:{s:4:"data";s:1785:"\n
\n
";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:7:"pubDate";a:1:{i:0;a:5:{s:4:"data";s:31:"Mon, 21 Feb 2011 23:30:27 +0000";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:32:"http://purl.org/dc/elements/1.1/";a:1:{s:7:"creator";a:1:{i:0;a:5:{s:4:"data";s:14:"blazestreaming";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}}}i:44;a:6:{s:4:"data";s:13:"\n \n \n \n \n \n \n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";s:5:"child";a:2:{s:0:"";a:5:{s:5:"title";a:1:{i:0;a:5:{s:4:"data";s:79:"Publisher Blog: Agency uses Windows to run all their clients’ WordPress sites";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"guid";a:1:{i:0;a:5:{s:4:"data";s:43:"http://publisherblog.automattic.com/?p=1243";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"link";a:1:{i:0;a:5:{s:4:"data";s:108:"http://publisherblog.automattic.com/2011/02/21/agency-uses-windows-to-run-all-their-clients-wordpress-sites/";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:11:"description";a:1:{i:0;a:5:{s:4:"data";s:3172:"We’re proud of the fact that WordPress is versatile and can run on many operating systems, once the minimum requirements for the software are met.
\nWe’re going to continue to highlight interesting case studies, and this time we’re pleased to find that Microsoft did a case study with Bella Web Design, a web design and development firm who uses Windows to host all of their clients’ WordPress sites.
\nCheck out Microsoft’s case study about Bella Web Design and how they use both WordPress and Windows to power their business, and check out Microsoft’s dedicated microsite for information about installing WordPress for Windows.
\n
\nHave an interesting WordPress case study to share? Send us a note.
\n
\n
\n
";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:7:"pubDate";a:1:{i:0;a:5:{s:4:"data";s:31:"Mon, 21 Feb 2011 17:30:44 +0000";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:32:"http://purl.org/dc/elements/1.1/";a:1:{s:7:"creator";a:1:{i:0;a:5:{s:4:"data";s:10:"Sara Rosso";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}}}i:45;a:6:{s:4:"data";s:13:"\n \n \n \n \n \n \n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";s:5:"child";a:2:{s:0:"";a:5:{s:5:"title";a:1:{i:0;a:5:{s:4:"data";s:34:"Donncha: WordPress in my Minecraft";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"guid";a:1:{i:0;a:5:{s:4:"data";s:29:"http://ocaoimh.ie/?p=89496151";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"link";a:1:{i:0;a:5:{s:4:"data";s:38:"http://ocaoimh.ie/wordpress-minecraft/";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:11:"description";a:1:{i:0;a:5:{s:4:"data";s:1200:"
\nI logged into my Minecraft server yesterday evening to see a stunning WordPress logo up on a hill. It was created by Thorsten. No it wasn’t. Author remains unknown. I wonder who created it?
\nI really must get that Minecraft commmentary done so I can show off what he and everyone else created in this world..
\nRelated Posts
";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:7:"pubDate";a:1:{i:0;a:5:{s:4:"data";s:31:"Mon, 21 Feb 2011 17:02:42 +0000";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:32:"http://purl.org/dc/elements/1.1/";a:1:{s:7:"creator";a:1:{i:0;a:5:{s:4:"data";s:7:"Donncha";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}}}i:46;a:6:{s:4:"data";s:13:"\n \n \n \n \n \n \n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";s:5:"child";a:2:{s:0:"";a:5:{s:5:"title";a:1:{i:0;a:5:{s:4:"data";s:20:"Matt: Blogging Drift";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"guid";a:1:{i:0;a:5:{s:4:"data";s:21:"http://ma.tt/?p=37873";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"link";a:1:{i:0;a:5:{s:4:"data";s:36:"http://ma.tt/2011/02/blogging-drift/";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:11:"description";a:1:{i:0;a:5:{s:4:"data";s:2332:"The New York Times has a pretty prominent article today called Blogs Wane as the Young Drift to Sites Like Twitter. The title was probably written by an editor, not the author, because as soon as the article gets past the two token teenagers who tumble and Facebook instead of blogging, the stats show all the major blogging services growing — even Blogger whose global “unique visitors rose 9 percent, to 323 million,” meaning it grew about 6 Foursquares last year alone. (In the same timeframe WordPress.com grew about 80 million uniques according to Quantcast.)
\nBlogging has legs — it’s been growing now for more than a decade, but it’s not a “new thing” anymore. Underneath the data in the article there’s an interesting super-trend that the Times misses: people of all ages are becoming more and more comfortable publishing online. If you’re reading this blog you probably know the thrill of posting and getting feedback is addictive, and once you have a taste of that it’s hard to go back. You rode a bike before you drove a car, and both opened up your horizons in a way you hadn’t imagined before. That’s why blogging just won’t quit no matter how many times it’s declared dead.
\nBlogging (with WordPress) is the natural evolution of the lighter publishing methods — at some point you’ll have more to say than fits in 140 characters, is too important to put in Facebook’s generic chrome, or you’ve matured to the point you want more flexibility and control around your words and ideas. (As The Daily What did in their recent switch from Tumblr to WordPress.) You don’t stop using the lighter method, you just complement it — different mediums afford different messages.
\nRead more: Scott Rosenberg on “Another misleading story”; Mark Evans “Why I Still Love Blogging.”
";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:7:"pubDate";a:1:{i:0;a:5:{s:4:"data";s:31:"Mon, 21 Feb 2011 15:44:58 +0000";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:32:"http://purl.org/dc/elements/1.1/";a:1:{s:7:"creator";a:1:{i:0;a:5:{s:4:"data";s:4:"Matt";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}}}i:47;a:6:{s:4:"data";s:13:"\n \n \n \n \n \n \n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";s:5:"child";a:2:{s:0:"";a:5:{s:5:"title";a:1:{i:0;a:5:{s:4:"data";s:55:"Weblog Tools Collection: WordPress FAQ: Audio and Video";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"guid";a:1:{i:0;a:5:{s:4:"data";s:40:"http://weblogtoolscollection.com/?p=9708";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"link";a:1:{i:0;a:5:{s:4:"data";s:83:"http://weblogtoolscollection.com/archives/2011/02/21/wordpress-faq-audio-and-video/";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:11:"description";a:1:{i:0;a:5:{s:4:"data";s:1554:"If you attempted to upload an audio or video file to a post in WordPress, you may notice that all you get is a link to download the file. If you want the file to actually play, you’ll need to use an extra plugin.
\nBy far, the most popular audio plugin is WordPress Audio Player. Video plugins are significantly less popular, probably because video files take up so much space and bandwidth, and it’s so easy to embed videos from external providers.
\nWhen embedding audio and video, I prefer to use the Degradable HTML5 Audio and Video Plugin. Sure, it may require some file conversion, but it’s a great way to embed both audio and video files that use the browser’s native (non-Flash) player while also providing the option of a Flash-based player for browsers that don’t support HTML5 embeds.
\nIf you’d rather embed videos from an external provider, it’s easy to do (as mentioned above), but Viper’s Video Quicktags providers a few additional features and customizations, plus it uses XHTML-valid embeds, which most external providers tend to avoid for some strange reason.
\nEmbedding audio and especially video opens your blog to a whole new world of content. Give it a try, you may enjoy it.
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\nThe Internal Link Shortcode plugin allows you to insert links that are references to posts and pages within your WordPress powered site. These links will be automatically updated to new titles (optional) and URL locations if you reorganize your site (as opposed to standard, hard-coded links).
\nNote: to keep these links up to date there is some additional processing overhead as they are retrieved from the database. The use of a caching plugin is recommended.
\nThe download and more information are available on the Crowd Favorite WordPress Plugins page.
\nUnfortunately we are not currently in position to provide support for our free plugins; they are all offered on an “as-is” basis in the hopes they will be useful. If you have questions or need help you can try our community support forums or the official WP Support Forums.
\n
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\nThis release features a lightning fast redesigned linking workflow which makes it easy to link to your existing posts and pages, an admin bar so you’re never more than a click away from your most-used dashboard pages, a streamlined writing interface that hides many of the seldom-used panels by default to create a simpler and less intimidating writing experience for new bloggers (visit Screen Options in the top right to get old panels back), and a refreshed blue admin scheme available for selection under your personal options.
\nThere’s a bucket of candy for developers as well, including our new Post Formats support which makes it easy for themes to create portable tumblelogs with different styling for different types of posts, new CMS capabilities like archive pages for custom content types, a new Network Admin, an overhaul of the import and export system, and the ability to perform advanced taxonomy and custom fields queries.
\nWith the 3.1 release, WordPress is more of a CMS than ever before. The only limit to what you can build is your imagination.
\n(No video yet for 3.1, we’re going to add it later.)
\nBy the Numbers
\nThere were over two thousand commits to the codebase in the 3.1 cycle! For a more comprehensive look at everything that has improved in 3.1, check out 3.1’s Codex page or the more than 820 closed issues in Trac.
\nNow is the time to drop by our development channels if you are interested in being involved with 3.2, as the agenda will be under discussion shortly. We’re hoping to get the 3.2 release out in a shorter development cycle (3.1 took too long) and include some fun improvements around plugins and the speed of the admin. (Don’t worry, we’re still planning on using PHP.)
\nWe’re All in This Together
\nWordPress is the result of the combined effort of people from all over the world united with a common goal: to make the best darn web software for publishing your story on the web and sharing it with the world. Here is a list of the more than 180 people who helped out with development during the 3.1 cycle:
\nAaron Campbell (aaroncampbell), Adam Backstrom (adambackstrom), John Ford (aldenta), Alex Dunae (alexdunae), Alex King (alexkingorg), Amanda French (amandafrench), Will Anderson (anderswc), Andrea Rennick (andrea_r), Andrew Ozz (azaozz), Andy Skelton (andy/skeltoac), Andy Blackwell (andyblackwell), André Renaut (arena), Andrei Vereha (avereha), Azizur Rahman (azizur), Barry Abrahamson (barry), Mohammad Jangda (batmoo), Beau Lebens (beaulebens), Ben Ward (benward), Matthew G. Richmond (bigdawggi), Rowan Rodrik van der Molen (bigsmoke), Glenn Ansley (blepoxp), blt4, bobbyblade, Boone B. Gorges (boonebgorges), Brian Colinger (briancolinger), Brian Layman (brianlayman), Caesar Schinas (caesarsgrunt), Ben Casey (casben79), Chip Bennett (chipbennett), Chris Sfanos, Chris Jean (chrisbliss18), Marco Cimmino (cimmo), Scott Reilly (coffee2code), Dylan Kuhn (cyberhobo), Darren Meehan (darrenmeehan), Dion Hulse (dd32), Dean Robinson (deanjrobinson), Demetris Kikizas, Δημήτρης Κίκιζας (demetris), Denis-de-Bernardy, djzone, Доктор Бро (doktorbro), Donal MacArthur (donalmacarthur), Dougal Campbell (dougal), Dre Armeda (dremeda), Jon Cave (duck_), Doug Provencio (dougwrites), Edward Hevlund (edward mindreantre), Einar Egilsson (einare), Eric Mann (ericmann), Austin Matzko (filosofo), Gil Rutkowski (flashingcursor), foofy, Francesco Laffi (francescolaffi), Gary Cao (garyc40), Justin Tadlock (greenshady), Reuben Gunday (greuben), hakre, Hui Chen (huichen), Ben Huson (husobj), Matt Thomas (iammattthomas), Ian Stewart (iandstewart), indie-ulf, Jacob Santos (jacobsantos), Jakub Míšek (jakub.misek), James Collins (jamescollins), Jane Wells (jane/janeforshort), jayjdk, Jason Penney (jczorkmid), Jeff Farthing (jfarthing84), Josh Kearney (jk0), joelhardi, John Blackbourn (johnbillion), John James Jacoby (johnjamesjacoby/jjj), John O’Nolan (johnonolan), John Bloch (JohnPBloch), Joost de Valk (joostdevalk/yoast), Aaron Jorbin (jorbin), Joseph Scott (josephscott), Justin Rainbow, Kapeel Sable (kapeels), Adam Harley (kawauso), Jorge Bernal (koke), Daryl Koopersmith (koopersmith), Lance Willett (lancewillett), Lutz Schroeer (latz), Lew Ayotte (layotte), linguasite, Lloyd Budd (lloydbudd), loushou, mailnew2ster, mako09, Mark Jaquith (markjaquith), Mark McWilliams (markmcwilliams), MattyRob, Mauro Gentile, Michael Adams (mdawaffe), Chris Meller (mellertime), Michael Fields (mfields), MichaelH, Mike Schinkel (mikeschinkel), Robert Chapin (miqrogroove), Michael “Mitcho” Erlewine (mitchoyoshitaka), David McFarlane (mrmist), mrwok, John Havlik (mtekk), Martin Widmann (mwidmann), Andrew Nacin (nacin), Nikolay Bachiyski (nbachiyski), Nathan Rice (nathanrice), Niall Kennedy (niallkennedy), Bernhard Riedl (neoxx), Nick Momrik (nickmomrik), Nils Juenemannn, Nicolas Kuttler (nkuttler), nootron, norbertm, Dominik Schilling (ocean90), ohanesian, Samuel Wood (Otto42), Ozh Richard (ozh), Pádraic Brady, Franklin Tse (peaceablewhale), Pete Mall (PeteMall), Phill Brown (phill_brown), Phill Kenoyer (PhillKenoyer), phrostypoison, Michael Pretty (prettyboymp), Simon Prosser (pross), Ptah Dunbar (ptahdunbar), Harsh J. Chouraria (qwertymaniac), Ran Yaniv Hartstein (RanYanivHartstein), Rasheed Bydousi (rasheed), Daniel Jalkut (redsweater), rfw, Rasmus Lerdorf (rlerdorf), Ryan McCue (rmccue), Roger Theriault (rogertheriault), ronbme, rovo89, Ryan Boren (ryan), Sara Cannon (saracannon), Scott Bressler (sbressler), Scott Kingsley Clark (sc0ttkclark), ScottMac, Silviu Cristian Burca (scribu), Sergey Biryukov, Сергей Бирюков (SergeyBiryukov), Alex Petrescu (SeyelentEco), Shawn Parker (shawnparker), shidouhikari, Simon Wheatley (simonwheatley), Matt Martz (sivel), Samir Shah (solarissmoke), sorich87, Mitch Canter (studionashvegas), t31os_, Tracy Cannon (TECannon), tech163, Aaron Brazell (technosailor), TheDeadMedic, Tim Moore (tmoorewp), Tobias Bäthge (TobiasBg), Tom Lany (tomthewebmaster), tonyf12, Utkarsh Kukreti (Utkarsh), Zé Fontainhas (vanillalounge), John Hawkins (vegasgeek), Michael Stewart (vericgar), Alex Mills (Viper007Bond), Vladimir Kolesnikov (vladimir_kolesnikov), wahgnube, wedsxcrfv, Peter Westwood (westi), whoismanu, Will Norris (wnorris), Wojtek Szkutnik (wojtek.szkutnik), wpcanyon, William P. Davis (wpdavis), Ron Rennick (wpmuguru), Kenneth Newman (WraithKenny), Yoav Farhi (yoavf), and Safirul Alfreda (zeo).
\nBonus: Don’t forget to check out the latest on WordPress.tv to see all the cool WordCamp sessions you may have missed.
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\nThis security release is required if you have any untrusted user accounts, but it also comes with important security enhancements and hardening. All WordPress users are strongly encouraged to update.
\nThree point oh point five
\nEnhances security
\nThree point one comes soon
\nThe release addresses a number of issues and provides two additional enhancements:
\nTwo moderate security issues were fixed that could have allowed a Contributor- or Author-level user to gain further access to the site.
\nOne information disclosure issue was addressed that could have allowed an Author-level user to view contents of posts they should not be able to see, such as draft or private posts.
\nTwo security enhancements were added. One improved the security of any plugins which were not properly leveraging our security API. The other offers additional defense in depth against a vulnerability that was fixed in previous release.
\nThanks to Nils Jueneman and Saddy for their private and responsible disclosures to security@wordpress.org for two of the issues. The others were reported or repaired by our security team.
\nDownload 3.0.5 or update automatically from the Dashboard > Updates menu in your site’s admin area. Please update immediately.
\n
\nWordPress 3.1 Release Candidate 4 is also now available.
\nThe Release Candidate 4 build includes the security fixes and enhancements included in 3.0.5 and addresses about two dozen additional bugs. This includes fixes for:
\n\n- Deleting a user and reassigning their posts to another user.
\n- Marking multiple users or sites as spam in multisite.
\n- PHP4 compatibility.
\n
\nAs outlined in previous RC posts, if you are testing the release candidate and think you’ve found a bug, there are a few ways to let us know:
\n\nTo test WordPress 3.1, try the WordPress Beta Tester plugin (you’ll want “bleeding edge nightlies”). Or you can download the release candidate here (zip). If any new issues become known, you’ll be able to find them here.
\nAfter nearly five months of development and testing, we think we’re very close to a final release. Users and developers, please test your themes and plugins.
\nDownload WordPress 3.1 RC4 or WordPress 3.0.5 now.
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\n*For people who attended WordCamp SF last year who thought the annual event this year would be called WordCon, with WordCamp SF becoming a more locally-oriented event, you can read my long-winded explanation of why we didn’t go that route over the on the WordCamp Central blog.
\n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:36:"http://wellformedweb.org/CommentAPI/";a:1:{s:10:"commentRss";a:1:{i:0;a:5:{s:4:"data";s:56:"http://wordpress.org/news/2011/01/wordcamp-sf-2011/feed/";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:38:"http://purl.org/rss/1.0/modules/slash/";a:1:{s:8:"comments";a:1:{i:0;a:5:{s:4:"data";s:1:"0";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}}}i:3;a:6:{s:4:"data";s:44:"\n \n \n \n \n \n \n \n\n \n \n \n \n \n ";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";s:5:"child";a:5:{s:0:"";a:7:{s:5:"title";a:1:{i:0;a:5:{s:4:"data";s:33:"WordPress 3.1 Release Candidate 3";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"link";a:1:{i:0;a:5:{s:4:"data";s:68:"http://wordpress.org/news/2011/01/wordpress-3-1-release-candidate-3/";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:8:"comments";a:1:{i:0;a:5:{s:4:"data";s:77:"http://wordpress.org/news/2011/01/wordpress-3-1-release-candidate-3/#comments";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:7:"pubDate";a:1:{i:0;a:5:{s:4:"data";s:31:"Sat, 22 Jan 2011 18:58:35 +0000";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:8:"category";a:2:{i:0;a:5:{s:4:"data";s:8:"Releases";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}i:1;a:5:{s:4:"data";s:7:"Testing";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"guid";a:1:{i:0;a:5:{s:4:"data";s:33:"http://wordpress.org/news/?p=1664";s:7:"attribs";a:1:{s:0:"";a:1:{s:11:"isPermaLink";s:5:"false";}}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:11:"description";a:1:{i:0;a:5:{s:4:"data";s:343:"WordPress 3.1 Release Candidate 3 is now available. After careful evaluation of the 3.1 features in RC2, we recognized the need to make some adjustments. There are some significant differences from previous versions of 3.1, so please review the changes if you have been developing against a beta or RC version. The biggest change is the [...]";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:32:"http://purl.org/dc/elements/1.1/";a:1:{s:7:"creator";a:1:{i:0;a:5:{s:4:"data";s:12:"Andrew Nacin";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:40:"http://purl.org/rss/1.0/modules/content/";a:1:{s:7:"encoded";a:1:{i:0;a:5:{s:4:"data";s:4042:"WordPress 3.1 Release Candidate 3 is now available. After careful evaluation of the 3.1 features in RC2, we recognized the need to make some adjustments. There are some significant differences from previous versions of 3.1, so please review the changes if you have been developing against a beta or RC version.
\nThe biggest change is the removal of AJAX list tables, which had been an effort to move all of our list-style screens to full AJAX for pagination, searches, and column sorts, and to consolidate the list-style screens into a single API that plugins could leverage. Unfortunately, with more testing came realizations that there were too many major bugs and usability issues with how the functionality was implemented, so we’ve spent the last week rolling back the most important portions of the feature.
\n\n- For users: AJAX has been entirely disabled for the list tables. We hope to bring this back again, in a form that is properly and fully implemented, in a future release. Column sorting remains, but everything else has returned to its 3.0 state.
\n- For developers: The entire list table API is now marked private. If you attempt to leverage new components of the API, you are pretty much guaranteeing that your plugins will break in a future release, so please don’t do that.
![]()
We hope to enable all the fun new goodies for public use in a future release. \n
\nThis is the only way we could prevent any regressions in functionality and usability from WordPress 3.0 to 3.1. That’s right, users and plugin authors can still do everything you used to be able to do (and a little bit more).
\nBecause of the code churn between RC2 and RC3, this release candidate needs a lot of testing. Every list screen needs testing. In particular, the comment moderation screen needs testing, especially with keyboard shortcuts (if you didn’t know about those, now’s your chance to try them out).
\nOther fixes in RC3 include:
\n\n- Properly display the author dropdown in Quick Edit
\n- Various important fixes to numerous taxonomy query variables
\n- Fixes to the theme deletion process
\n- Fixes to pages used for posts
\n- IIS and Multisite: Avoid resetting web.config on permalink save
\n- Properly validate post formats and their rewrite rules
\n
\nI’m assembling a group of friends in Washington, D.C., this weekend to test WordPress 3.1 and provide feedback. We’d love to see this idea catch on among friends at coffee shops around the world. (We’ll blog our results, and we’re thinking about using the hashtag #wptest on Twitter.) If you are testing the release candidate and think you’ve found a bug, there are a few ways to let us know:
\n\nTo test WordPress 3.1, try the WordPress Beta Tester plugin (you’ll want “bleeding edge nightlies”). Or you can download the release candidate here (zip).
\nWe’re going to study this release carefully to see where we can improve on our internal processes in the future. With that, our requisite haiku, authored by Jane:
\nPulling the AJAX –
\nsometimes you need to step back
\nand show some restraint.
\nHappy testing!
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\nRounding up stragglers
\nLast few bugs for 3.1
\nGo test RC2
\nAs I outlined in the announcement post for RC1, release candidates are the last stop before the final release. It means we think we’re done, and we again have no bugs to squash. But with tens of millions of users, many server configurations and setups, and thousands of plugins and themes, it’s still possible we’ve missed something.
\nBeta 1 came on Thanksgiving, RC1 on Christmas, and RC2 on New Year’s Day. We won’t be waiting for another holiday for the final release, though, so if you haven’t tested WordPress 3.1 yet, now is the time!
\nSelect changes since RC1:
\n\n- The security fixes included in WordPress 3.0.4
\n- Fix issues related to handling a static front page
\n- Fixes and enhancements for the pagination buttons
\n- Fix searching for partial usernames
\n- Properly reactivate plugins after editing them
\n- Always show the current author in the author dropdown when editing a post
\n- Fixes for attachment taxonomies
\n- Fix node removal for the admin bar
\n- Fix the custom post type show_in_menu argument
\n- Various fixes for right-to-left languages
\n- and a few dozen more changes
\n
\nIf you are testing the release candidate and think you’ve found a bug, there are a few ways to let us know:
\n\nTo test WordPress 3.1, try the WordPress Beta Tester plugin (you’ll want “bleeding edge nightlies”). Or you can download the release candidate here (zip).
\nIf any known issues crop up, you’ll be able to find them here. If you’d like to know which levers to pull in your testing, check out a list of features in our Beta 1 post.
\nDownload WordPress 3.1 RC 2
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\nThis issue affects all versions of WordPress prior to 3.0.4, so if you are still on a 2.X release you need to update as well.
\nI realize an update during the holidays is no fun, but this one is worth putting down the eggnog for. In the spirit of the holidays, consider helping your friends as well.
\nIf you are a security researcher, we’d appreciate you taking a look over this changeset as well to review our update. We’ve given it a lot of thought and review but since this is so core we want as many brains on it as possible. Thanks to Mauro Gentile and Jon Cave (duck_) who discovered and alerted us to these XSS vulnerabilities first.
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\nI loved it when that Intel commercial in 2009 gave Ajay Bhatt, co-inventor of the USB, some recognition as a rock star of geekland (though I hated it that it wasn’t actually Ajay Bhatt, but an actor — way to kill the message, Intel).1 In WordPress-land, most people know who Matt Mullenweg is, but most of the other leaders and contributors are much less visible. Moving forward, I’m going to be posting profiles here of some of our more dedicated contributors.
\nWhy now? We’re coming up on the second annual WordPress core leadership meetup in January 2011, and we’re thinking we’ll hold a video town hall at some point during our time together. Between now and then the profiles I post will be of the core developers who will be at the meetup. After that, I’ll be branching out and posting about other contributors, including developers, designers, forum moderators, etc.
\nI’ll post here in January when we have dates/times set for the video town hall. In the meantime, you can submit questions for us to answer then in the forum thread What Should 2011 Hold for WordPress?
\nTo get a sense of how all these people fit together and how decisions are made, you can check out the presentation I did at WordCamp Portland in October on How WordPress Decisions Get Made.
\n1 – And how lame is it that Conan O’Brien’s interview with the real Ajay Bhatt is no longer available on the The Tonight Show’s website, and everyone’s embedded videos are blank? I found a copy of it here. And here’s the original Intel commercial if you were living under a rock and never saw it. ![]()
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\nAn RC comes after the beta period and before final release. That means we think we’re done. We currently have no known issues or bugs to squash. But with tens of millions of users, a variety of configurations, and thousands of plugins, it’s possible we’ve missed something. So if you haven’t tested WordPress 3.1 yet, now is the time! Please though, not on your live site unless you’re extra adventurous.
\nThings to keep in mind:
\n\n- With nearly 700 tickets closed, there are tons of changes. Plugin and theme authors, please test your plugins and themes now, so that if there is a compatibility issue, we can figure it out before the final release.
\n- Users are also encouraged to test things out. If you find problems, let your plugin/theme authors know so they can figure out the cause.
\n- If any known issues crop up, you’ll be able to find them here.
\n
\nIf you are testing the release candidate and think you’ve found a bug, there are a few ways to let us know:
\n\nTo test WordPress 3.1, try the WordPress Beta Tester plugin (you’ll want “bleeding edge nightlies”). Or you can download the release candidate here (zip).
\nWe released WordPress 3.1 Beta 1 on Thanksgiving, so it’s only fitting that the release candidate comes as a Christmas present. Happy holidays and happy testing!
\nDownload WordPress 3.1 RC 1
\nIf you’d like to know which levers to pull in your testing, check out a list of features in our Beta 1 post.
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\nPractice makes perfect
\nis what they say about things,
\nbut sometimes it’s not.
\nIn this case it is
\nnot practice but refinement,
\nand then more testing.
\nYou can help WordPress!
\nNow: 3.1, beta 2
\nis here; needs testing.
\nBut! Remember this:
\nOnly install on test sites,
\nas YMMV.
\nThe second beta of WordPress 3.1 is now available!
\nFor things to test, please review our Beta 1 release announcement. A list of known issues can be found on our bug tracker.
\nAlready have a test install that you want to switch over to the beta? Try the beta tester plugin. Please test 3.1 on a test site, not on your live site, as interactions with plugins that haven’t been updated may be unpredictable, and we can’t predict (see how that works?) whether something will break or not… that’s why we’re asking people to help us test everything! ![]()
\nTesters, don’t forget to use the wp-testers mailing list to discuss bugs you encounter. Plugin and theme authors, please test your plugins for compatibility.
\nDownload the WordPress 3.1 Beta 2 now.
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\nRemote publishing is disabled by default, but you may have enabled it to use a remote publishing client such as one of the WordPress mobile apps. You can check these settings on the “Settings → Writing” screen.
\nDownload 3.0.3 or update automatically from the “Dashboard → Updates” screen in your site’s admin area.
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--
-- Table structure for table `wp_postmeta`
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(219, 1, '2011-02-02 23:51:54', '2011-02-02 23:51:54', 'Beta SP to DVD is a service of WOVA - World of Video & Audio and started in 2001. Clients ship to us from all over the United States and also come into our store.\r\n\r\nWe serve a wide variety of clients in many industries, including entertainment, fashion, hospitality, marketing, public relations, legal, and medical. Our dedication to superior quality, state-of-the-art equipment, and competitive pricing has earned us an excellent reputation and the repeat business of thousands of satisfied customers.\r\n\r\nOur facility is designed and engineered to achieve only the cleanest video and audio transfers possible. We can do most jobs in just one day.\r\n\r\nSpecializing in transferring DigiBeta, BetaSP, MiniDV, MOV files, HDV, DVCAM, and Quicktime for film festivals and television commercials. Convert videotape to DVD or Mini-DV. Videotape to BetaSP or DVCAM. Videotape or Quicktime files to Digital Betacam (digibeta) transfers please call. Many foreign conversions such as PAL to NTSC is $59. Quicktime .MOV Files for editing with Final Cut Pro, Vegas, Premiere, and other systems.\r\n\r\n - Betacam SP to DVD, VHS-to-DVD, 3/4", Mini-DV, Hi8, Betamax, Dailies, Hi-8, Timecode Window Burn, NTSC
\r\n - Video Conversions to DVDs are 100% GUARANTEED for quality!
\r\n - Make DVD''s to archive your footage!
\r\n - Archive your production library!
\r\n - Digibeta and Betacam SP to DVD or MiniDV to DVD Video for $40 PAL to NTSC VHS
\r\n - Make Conversions and Transfers of BetaSP, Mini-DV, VHS, Hi-8 video, U-Matic 3/4", Betamax, Mini-DV
\r\n - Convert PAL, Foreign conversions internatioinal covert video trasfers to DVD.
\r\n - Transfer digibeta to Flash files such as .FLV or .SWF. Also, to Quicktime .mov
\r\n
\r\nNeed to rent a VTR, High-Def or HD Deck or Videotape recorder VTR? Rent cameras and decks at: http://www.wova.com/audiovisual/\r\n\r\nWe serve customers all over the country, including Los Angeles, Hollywood, Beverly Hills, Burbank, Encino, Universal Studios, Sherman Oaks, Van Nuys, Chatsworth, Tarzana, Brentwood, North Hollywood, Toluca Lake, Northridge, Santa Monica, San Fernando Valley, Westwood, Glendale, Eagle Rock, Simi Valley, Woodland Hills, Calabasas, Los Feliz, Pasadena, Sebastopol, Santa Rosa, Graton, Windsor, Duncans Mills, Cazadero, Jenner, Petaluma, Napa, Sonoma, Healdsburg, Marin, Medocino, Santa Cruz, San Jose, Los Gatos, Saratogta, Forrestville, Guerneville, Monte Rio.\r\n\r\nWe also commonly work with clients in the following area codes: 818, 310, 949, 323, 213, 424, 626', 'About Us', '', 'inherit', 'closed', 'closed', '', '178-revision-16', '', '', '2011-02-02 23:51:54', '2011-02-02 23:51:54', '', 178, 'http://jlahijani.homeip.net:3010/betasptodvd.com/178-revision-16/', 0, 'revision', '', 0),
(5, 1, '2011-01-06 01:34:06', '2011-01-06 01:34:06', '', 'Home', '', 'publish', 'closed', 'closed', '', 'home', '', '', '2011-01-31 21:19:46', '2011-01-31 21:19:46', '', 0, 'http://jlahijani.homeip.net:3010/betasptodvd.com/', 0, 'page', '', 0),
(6, 1, '2011-01-06 01:34:02', '2011-01-06 01:34:02', '', 'Auto Draft', '', 'inherit', 'closed', 'closed', '', '5-revision', '', '', '2011-01-06 01:34:02', '2011-01-06 01:34:02', '', 5, 'http://jlahijani.homeip.net:3010/betasptodvd.com/5-revision/', 0, 'revision', '', 0),
(7, 1, '2011-01-06 01:34:22', '2011-01-06 01:34:22', '', 'News', '', 'publish', 'closed', 'closed', '', 'news', '', '', '2011-01-06 01:34:22', '2011-01-06 01:34:22', '', 0, 'http://jlahijani.homeip.net:3010/betasptodvd.com/', 9, 'page', '', 0),
(55, 1, '2011-01-31 21:08:41', '2011-01-31 21:08:41', '\r\nOur specialists are experienced in all types of media services, including Web Compression, Digitizing, File Encoding, Layoffs to all formats and more.\r\n\r\nBeta SP to DVD offers duplication, conversions, and transfers for all media types, including video, audio, film, high definition, and more!\r\n\r\nBeta SP to DVD offers complete CD, DVD, and Blu-ray duplication services for businesses and individuals. Whether you need ten copies or ten thousand, we will handle your entire job with a level of professionalism and promptness that will exceed your expectations.\r\n\r\nPreserve your memories today! Our film transfers are all done in-house, directly to the final format, so you always get the best picture possible. We transfer 8 mm, Super 8, and16 mm film to any video format. Do you need your project done yesterday? Let us know! We also offer pickup and delivery.', 'Services', '', 'publish', 'closed', 'closed', '', 'services', '', '', '2011-03-04 23:14:32', '2011-03-04 23:14:32', '', 0, 'http://jlahijani.homeip.net:3010/betasptodvd.com/', 2, 'page', '', 0),
(8, 1, '2011-01-06 01:34:18', '2011-01-06 01:34:18', '', 'Auto Draft', '', 'inherit', 'closed', 'closed', '', '7-revision', '', '', '2011-01-06 01:34:18', '2011-01-06 01:34:18', '', 7, 'http://jlahijani.homeip.net:3010/betasptodvd.com/7-revision/', 0, 'revision', '', 0),
(56, 1, '2011-01-31 21:08:40', '2011-01-31 21:08:40', '', 'Services', '', 'inherit', 'closed', 'closed', '', '55-revision', '', '', '2011-01-31 21:08:40', '2011-01-31 21:08:40', '', 55, 'http://jlahijani.homeip.net:3010/betasptodvd.com/55-revision/', 0, 'revision', '', 0),
(10, 1, '2011-01-08 07:45:20', '2011-01-08 07:45:20', '\nNo job is too big or too small!
\n\n - Television Series
\n - Independent Movies
\n - Feature Films
\n - Documentaries
\n - FLASH
\n - .MOV
\n - H.264
\n - TV Pilots
\n - Commercials
\n - Animation
\n - Film Dailies (with Visible Timecode)
\n - Student Films
\n - Medical Footage
\n - Film Festival up-rez to BetaSP
\n - Training Videos
\n - Music Videos
\n - Quicktime and Firewire to hard drives
\n - Internet compression and uploads
\n - Corporate Communications
\n - Demo Reels
\n - Sample Reels
\n - Short Films
\n - Training Films
\n - Promos
\n - News Reels
\n - Press Clips
\n - DVD Conversions To PAL
\n - EPKs
\n - Wedding Videos
\n - Home Movies
\n - Bar Mitzvahs
\n - Quicktime Movies
\n - Actor Reels
\n
\nClients ship to us from all over the United States.\n\nBulk of the footage comes from Hollywood, Los Angeles, Burbank, and Santa Monica, CA.\n\nPast Clients Include\n', 'Home', '', 'inherit', 'closed', 'closed', '', '5-autosave', '', '', '2011-01-08 07:45:20', '2011-01-08 07:45:20', '', 5, 'http://jlahijani.homeip.net:3010/betasptodvd.com/5-autosave/', 0, 'revision', '', 0),
(11, 1, '2011-01-06 01:34:06', '2011-01-06 01:34:06', '', 'Home', '', 'inherit', 'closed', 'closed', '', '5-revision-2', '', '', '2011-01-06 01:34:06', '2011-01-06 01:34:06', '', 5, 'http://jlahijani.homeip.net:3010/betasptodvd.com/5-revision-2/', 0, 'revision', '', 0),
(205, 1, '2011-02-02 23:03:12', '2011-02-02 23:03:12', 'Our friendly staff has years of experience and can help you with any digitizing needs you have... from capturing off VHS tape for a birthday montage to digitizing HD camera footage for a professional production.\r\n\r\nWe offer digitizing for the following formats:', 'Services', '', 'inherit', 'closed', 'closed', '', '55-revision-4', '', '', '2011-02-02 23:03:12', '2011-02-02 23:03:12', '', 55, 'http://jlahijani.homeip.net:3010/betasptodvd.com/55-revision-4/', 0, 'revision', '', 0),
(206, 1, '2011-02-02 23:26:17', '2011-02-02 23:26:17', 'What is your turn-around time?
\nGenerally about two business days (depending on how backed up we are). But we also offer SAME DAY RUSH SERVICE for an additional fee. \nHow much does it cost?
\nPlease fill our our Quote Form.\nWhat formats do you transfer to?
\nDigiBeta, DVD, MiniDV, VHS, BetaSP, PAL, NTSC, DVCAM, HDV, Digital-8, Quicktime .MOV, H.264, Web Movies, AIFF, MP3, Hard Drive, FTP, 1080i, CD-R, Final Cut Pro, Disc Image, Animated GIF, .M4V, and many more. \nWhat formats do you transfer from?
\nDigiBeta, BetaSX, DVD, MiniDV, VHS, BetaSP, PAL, NTSC, DVCAM, HDV, Digital-8, Quicktime .MOV, H.264, Web Movies, AIFF, MP3, Hard Drive, FTP, 1080i, CD-R, Final Cut Pro, Disc Image, 3/4″ U-Matic, PhotoShop, TIFF, TARGA Sequence, .M4V, and many more.', 'FAQ', '', 'inherit', 'closed', 'closed', '', '16-autosave', '', '', '2011-02-02 23:26:17', '2011-02-02 23:26:17', '', 16, 'http://jlahijani.homeip.net:3010/betasptodvd.com/16-autosave/', 0, 'revision', '', 0),
(143, 1, '2011-03-04 23:15:35', '2011-03-04 23:15:35', '\nOur specialists are experienced in all types of media services, including Web Compression, Digitizing, File Encoding, Layoffs to all formats and more.\n\nBeta SP to DVD offers duplication, conversions, and transfers for all media types, including video, audio, film, high definition, and more!\n\nBeta SP to DVD offers complete CD, DVD, and Blu-ray duplication services for businesses and individuals. Whether you need ten copies or ten thousand, we will handle your entire job with a level of professionalism and promptness that will exceed your expectations.\n\nPreserve your memories today! Our film transfers are all done in-house, directly to the final format, so you always get the best picture possible. We transfer 8 mm, Super 8, and16 mm film to any video format. Do you need your project done yesterday? Let us know! We also offer pickup and delivery.', 'Services', '', 'inherit', 'closed', 'closed', '', '55-autosave', '', '', '2011-03-04 23:15:35', '2011-03-04 23:15:35', '', 55, 'http://jlahijani.homeip.net:3010/betasptodvd.com/55-autosave/', 0, 'revision', '', 0),
(12, 1, '2011-01-08 07:47:17', '2011-01-08 07:47:17', 'Thank you for you interest in Beta SP to DVD. Use the following form to place an order. Then, print your order form and mail it along with your master(s) via USPS, UPS, FedEx, etc. Upon receiving your order and media, we will contact you to confirm your order or clarify any job specifics. Our usual turn-around time is about 2 business days. Once your order is complete, we will be email you an invoice which can be paid with a credit card. After you payment has been processed, we will then ship your media back to you.\r\n\r\n\r\n', 'Place Order', '', 'publish', 'closed', 'closed', '', 'place-order', '', '', '2011-02-02 22:54:55', '2011-02-02 22:54:55', '', 0, 'http://jlahijani.homeip.net:3010/betasptodvd.com/', 4, 'page', '', 0),
(13, 1, '2011-01-08 07:46:25', '2011-01-08 07:46:25', '', 'Place Order', '', 'inherit', 'closed', 'closed', '', '12-revision', '', '', '2011-01-08 07:46:25', '2011-01-08 07:46:25', '', 12, 'http://jlahijani.homeip.net:3010/betasptodvd.com/12-revision/', 0, 'revision', '', 0),
(14, 1, '2011-02-02 22:54:07', '2011-02-02 22:54:07', 'Thank you for you interest in Beta SP to DVD. Use the following form to place an order. Then, print your order form and mail it along with your master(s) via USPS, UPS, FedEx, etc. Upon receiving your order, we will contact you to confirm your order or clarify any job specifics. Our usual turn-around time is about 2 business days. Once your order is complete, we will be email you an invoice which can be paid with a credit card. After you payment has been processed\n\n\nStep 3
\nWe will \nStep 4
\n', 'Place Order', '', 'inherit', 'closed', 'closed', '', '12-autosave', '', '', '2011-02-02 22:54:07', '2011-02-02 22:54:07', '', 12, 'http://jlahijani.homeip.net:3010/betasptodvd.com/12-autosave/', 0, 'revision', '', 0),
(203, 1, '2011-02-02 21:06:40', '2011-02-02 21:06:40', '\r\nStep 1
\r\n[form here]\r\nStep 2
\r\nSend the order form in along with your master(s) via mail, FedEx, upload, etc.\r\n\r\nNote: Even though we now operate out of Northern California’s Wine Country, our Los Angeles clients continue to ship to us in great numbers due to our incredible pricing and service.\r\nStep 3
\r\nWe will contact you to confirm your order or clarify any job specifics. Our usual turn-around time is about 2 business days.\r\nStep 4
\r\nOnce your order is complete, you will be emailed an invoice which you pay via credit card. Then your order ships right back to you.', 'Place Order', '', 'inherit', 'closed', 'closed', '', '12-revision-5', '', '', '2011-02-02 21:06:40', '2011-02-02 21:06:40', '', 12, 'http://jlahijani.homeip.net:3010/betasptodvd.com/12-revision-5/', 0, 'revision', '', 0),
(15, 1, '2011-01-08 07:47:17', '2011-01-08 07:47:17', '', 'Place Order', '', 'inherit', 'closed', 'closed', '', '12-revision-2', '', '', '2011-01-08 07:47:17', '2011-01-08 07:47:17', '', 12, 'http://jlahijani.homeip.net:3010/betasptodvd.com/12-revision-2/', 0, 'revision', '', 0),
(16, 1, '2011-01-08 07:50:30', '2011-01-08 07:50:30', 'What is your turn-around time?
\r\nGenerally about two business days (depending on how backed up we are). But we also offer SAME DAY RUSH SERVICE for an additional fee. \r\nHow much does it cost?
\r\nPlease fill our our Quote Form.\r\nWhat formats do you transfer to?
\r\nDigiBeta, DVD, MiniDV, VHS, BetaSP, PAL, NTSC, DVCAM, HDV, Digital-8, Quicktime .MOV, H.264, Web Movies, AIFF, MP3, Hard Drive, FTP, 1080i, CD-R, Final Cut Pro, Disc Image, Animated GIF, .M4V, and many more. \r\nWhat formats do you transfer from?
\r\nDigiBeta, BetaSX, DVD, MiniDV, VHS, BetaSP, PAL, NTSC, DVCAM, HDV, Digital-8, Quicktime .MOV, H.264, Web Movies, AIFF, MP3, Hard Drive, FTP, 1080i, CD-R, Final Cut Pro, Disc Image, 3/4″ U-Matic, PhotoShop, TIFF, TARGA Sequence, .M4V, and many more.', 'FAQ', '', 'publish', 'closed', 'closed', '', 'faq', '', '', '2011-02-02 23:26:21', '2011-02-02 23:26:21', '', 0, 'http://jlahijani.homeip.net:3010/betasptodvd.com/', 5, 'page', '', 0),
(209, 1, '2011-02-02 23:27:38', '2011-02-02 23:27:38', '', 'Web-M', '', 'inherit', 'closed', 'closed', '', '208-revision', '', '', '2011-02-02 23:27:38', '2011-02-02 23:27:38', '', 208, 'http://jlahijani.homeip.net:3010/betasptodvd.com/208-revision/', 0, 'revision', '', 0),
(17, 1, '2011-01-08 07:50:09', '2011-01-08 07:50:09', 'What is your turn-around time?\n\n\nGenerally about two business days (depending on how backed up we are). But we also offer SAME DAY RUSH SERVICE for an additional fee. \n\nHow much does it cost?\n\n\nMost transfers and conversions under 1 hour are $40. For detailed prices, click here.\n\nWhat formats do you transfer to?\n\n\nDigiBeta, DVD, MiniDV, VHS, BetaSP, PAL, NTSC, DVCAM, HDV, Digital-8, Quicktime .MOV, H.264, Web Movies, AIFF, MP3, Hard Drive, FTP, 1080i, CD-R, Final Cut Pro, Disc Image, Animated GIF, .M4V, and many more. \n\nWhat formats do you transfer from?\n\n\nDigiBeta, BetaSX, DVD, MiniDV, VHS, BetaSP, PAL, NTSC, DVCAM, HDV, Digital-8, Quicktime .MOV, H.264, Web Movies, AIFF, MP3, Hard Drive, FTP, 1080i, CD-R, Final Cut Pro, Disc Image, 3/4″ U-Matic, PhotoShop, TIFF, TARGA Sequence, .M4V, and many more.', 'FAQ', '', 'inherit', 'closed', 'closed', '', '16-revision', '', '', '2011-01-08 07:50:09', '2011-01-08 07:50:09', '', 16, 'http://jlahijani.homeip.net:3010/betasptodvd.com/16-revision/', 0, 'revision', '', 0),
(18, 1, '2011-01-08 07:54:28', '2011-01-08 07:54:28', 'Please fill out the following form and we''ll get back to you with a quote.\r\n', 'Get a Quote', '', 'publish', 'closed', 'closed', '', 'get-a-quote', '', '', '2011-02-09 00:45:34', '2011-02-09 00:45:34', '', 0, 'http://jlahijani.homeip.net:3010/betasptodvd.com/', 3, 'page', '', 0),
(19, 1, '2011-01-08 07:54:24', '2011-01-08 07:54:24', '', 'Get a Quote', '', 'inherit', 'closed', 'closed', '', '18-revision', '', '', '2011-01-08 07:54:24', '2011-01-08 07:54:24', '', 18, 'http://jlahijani.homeip.net:3010/betasptodvd.com/18-revision/', 0, 'revision', '', 0),
(23, 1, '2011-01-08 07:46:02', '2011-01-08 07:46:02', 'No job is too big or too small!
\r\n\r\n - Television Series
\r\n - Independent Movies
\r\n - Feature Films
\r\n - Documentaries
\r\n - FLASH
\r\n - .MOV
\r\n - H.264
\r\n - TV Pilots
\r\n - Commercials
\r\n - Animation
\r\n - Film Dailies (with Visible Timecode)
\r\n - Student Films
\r\n - Medical Footage
\r\n - Film Festival up-rez to BetaSP
\r\n - Training Videos
\r\n - Music Videos
\r\n - Quicktime and Firewire to hard drives
\r\n - Internet compression and uploads
\r\n - Corporate Communications
\r\n - Demo Reels
\r\n - Sample Reels
\r\n - Short Films
\r\n - Training Films
\r\n - Promos
\r\n - News Reels
\r\n - Press Clips
\r\n - DVD Conversions To PAL
\r\n - EPKs
\r\n - Wedding Videos
\r\n - Home Movies
\r\n - Bar Mitzvahs
\r\n - Quicktime Movies
\r\n - Actor Reels
\r\n
\r\nClients ship to us from all over the United States.\r\n\r\nBulk of the footage comes from Hollywood, Los Angeles, Burbank, and Santa Monica, CA.\r\nPast Clients Include
\r\n\r\nSupported Formats\r\n\r\n - BetaMax (from the 1980′s)
\r\n - BetaSP NTSC – (Both small and large cassette tapes)
\r\n - BetaSP PAL – (Both small and large cassette tapes)
\r\n - BetaSX NTSC – (Both small and large cassette tapes)
\r\n - BetaSX PAL – (Both small and large cassette tapes)
\r\n - Digibeta NTSC (Both small and large cassette tapes)
\r\n - Digibeta PAL (Both small and large cassette tapes)
\r\n - DVCAM NTSC
\r\n - DVCAM PAL
\r\n - DVD-R
\r\n - HDV 1080i 50
\r\n - HDV 1080i 60
\r\n - Hi-8 NTSC (Digital 8 only)
\r\n - MiniDV NTSC
\r\n - MiniDV PAL
\r\n - VHS NTSC
\r\n - VHS PAL
\r\n - VHS SECAM
\r\n - VHS-C
\r\n - 3/4″ U-Matic
\r\n - PhotoShop
\r\n - Final Cut Pro
\r\n - Avid
\r\n - AIFF
\r\n - .MP3
\r\n - .JPG
\r\n - TARGA
\r\n - Quicktime Pro
\r\n - Quicktime H.264
\r\n - .MOV
\r\n
', 'Home', '', 'inherit', 'closed', 'closed', '', '5-revision-3', '', '', '2011-01-08 07:46:02', '2011-01-08 07:46:02', '', 5, 'http://jlahijani.homeip.net:3010/betasptodvd.com/5-revision-3/', 0, 'revision', '', 0),
(310, 1, '2011-03-04 22:53:55', '2011-03-04 22:53:55', 'Beta SP to DVD offers rush turnaround -- need something done RIGHT NOW? Let us know and we''ll get your project done as soon as possible!\r\n\r\nFor more information regarding Rush Turnaround, call a friendly customer service representative today at 310-659-5148! ', 'Rush Turnaround', '', 'publish', 'closed', 'closed', '', 'rush-turnaround', '', '', '2011-03-04 23:51:16', '2011-03-04 23:51:16', '', 131, 'http://jlahijani.homeip.net:3010/betasptodvd.com/?page_id=310', 1, 'page', '', 0),
(311, 1, '2011-03-04 22:53:39', '2011-03-04 22:53:39', '', 'http://www.wova.com/postproduction/extra-services/rush-turnaround.html', '', 'inherit', 'closed', 'closed', '', '310-revision', '', '', '2011-03-04 22:53:39', '2011-03-04 22:53:39', '', 310, 'http://jlahijani.homeip.net:3010/betasptodvd.com/310-revision/', 0, 'revision', '', 0),
(24, 1, '2011-01-08 07:58:40', '2011-01-08 07:58:40', 'Address
\r\nBeta SP to DVD\r\n8717 Wilshire Blvd.\r\nBeverly Hills, CA 90211\r\nEmail
\r\ninfo@betasptodvd.com\r\nPhone
\r\nTel: 310-659-5148\r\n Fax: 310-659-8247\r\nHours
\r\nMonday - Friday: 9am - 7pm\r\nSaturday: 11am - 4pm\r\n\r\nTake advantage of years of post production experience. We can talk through your technical issues and figure out the best post production processes for your project.', 'Contact Us', '', 'publish', 'closed', 'closed', '', 'contact', '', '', '2011-02-24 06:29:28', '2011-02-24 06:29:28', '', 0, 'http://jlahijani.homeip.net:3010/betasptodvd.com/', 8, 'page', '', 0),
(25, 1, '2011-01-08 07:58:12', '2011-01-08 07:58:12', 'address, hours, google map', 'Contact Us', '', 'inherit', 'closed', 'closed', '', '24-revision', '', '', '2011-01-08 07:58:12', '2011-01-08 07:58:12', '', 24, 'http://jlahijani.homeip.net:3010/betasptodvd.com/24-revision/', 0, 'revision', '', 0),
(26, 1, '2011-02-24 06:30:30', '2011-02-24 06:30:30', 'Address
\nBeta SP to DVD\n8717 Wilshire Blvd.\nBeverly Hills, CA 90211\nEmail
\ninfo@betasptodvd.com\nPhone
\nTel: 310-659-5148\n Fax: 310-659-8247\nHours
\nMonday - Friday: 9am - 7pm\nSaturday: 11am - 4pm\n\nTake advantage of years of post production experience. We can talk through your technical issues and figure out the best post production processes for your project.', 'Contact Us', '', 'inherit', 'closed', 'closed', '', '24-autosave', '', '', '2011-02-24 06:30:30', '2011-02-24 06:30:30', '', 24, 'http://jlahijani.homeip.net:3010/betasptodvd.com/24-autosave/', 0, 'revision', '', 0),
(307, 1, '2011-02-17 20:15:05', '2011-02-17 20:15:05', '
\r\n\r\nBeta SP to DVD is a service of WOVA - World of Video & Audio and that started in 2001. Specializing in transfers, conversions, duplications, digital media, and more. We serve a wide variety of clients in many industries, including entertainment, fashion, hospitality, marketing, public relations, legal, and medical. Our dedication to superior quality, state-of-the-art equipment, and competitive pricing has earned us an excellent reputation and the repeat business of thousands of satisfied customers.\r\n\r\nOur facility is designed and engineered to achieve only the cleanest video and audio transfers possible. We can do most jobs in just one day. Clients ship to us from all over the United States or can come into our store.\r\n\r\nWe serve customers all over the country, including Los Angeles, Hollywood, Beverly Hills, Burbank, Encino, Universal Studios, Sherman Oaks, Van Nuys, Chatsworth, Tarzana, Brentwood, North Hollywood, Toluca Lake, Northridge, Santa Monica, San Fernando Valley, Westwood, Glendale, Eagle Rock, Simi Valley, Woodland Hills, Calabasas, Los Feliz, Pasadena, Sebastopol, Santa Rosa, Graton, Windsor, Duncans Mills, Cazadero, Jenner, Petaluma, Napa, Sonoma, Healdsburg, Marin, Medocino, Santa Cruz, San Jose, Los Gatos, Saratogta, Forrestville, Guerneville, Monte Rio.', 'About Us', '', 'inherit', 'closed', 'closed', '', '178-revision-23', '', '', '2011-02-17 20:15:05', '2011-02-17 20:15:05', '', 178, 'http://jlahijani.homeip.net:3010/betasptodvd.com/178-revision-23/', 0, 'revision', '', 0),
(308, 1, '2011-03-04 22:47:11', '2011-03-04 22:47:11', '\r\n\r\nBeta SP to DVD started in 2001 and was acquired WOVA - World of Video & Audio in 2010. Specializing in transfers, conversions, duplications, digital media, and more. We serve a wide variety of clients in many industries, including entertainment, fashion, hospitality, marketing, public relations, legal, and medical. Our dedication to superior quality, state-of-the-art equipment, and competitive pricing has earned us an excellent reputation and the repeat business of thousands of satisfied customers.\r\n\r\nOur facility is designed and engineered to achieve only the cleanest video and audio transfers possible. We can do most jobs in just one day. Clients ship to us from all over the United States or can come into our store.\r\n\r\nWe serve customers all over the country, including Los Angeles, Hollywood, Beverly Hills, Burbank, Encino, Universal Studios, Sherman Oaks, Van Nuys, Chatsworth, Tarzana, Brentwood, North Hollywood, Toluca Lake, Northridge, Santa Monica, San Fernando Valley, Westwood, Glendale, Eagle Rock, Simi Valley, Woodland Hills, Calabasas, Los Feliz, Pasadena, Sebastopol, Santa Rosa, Graton, Windsor, Duncans Mills, Cazadero, Jenner, Petaluma, Napa, Sonoma, Healdsburg, Marin, Medocino, Santa Cruz, San Jose, Los Gatos, Saratogta, Forrestville, Guerneville, Monte Rio.', 'About Us', '', 'inherit', 'closed', 'closed', '', '178-revision-24', '', '', '2011-03-04 22:47:11', '2011-03-04 22:47:11', '', 178, 'http://jlahijani.homeip.net:3010/betasptodvd.com/178-revision-24/', 0, 'revision', '', 0),
(30, 1, '2011-01-08 08:04:16', '2011-01-08 08:04:16', '', 'Formats', '', 'publish', 'closed', 'closed', '', 'formats', '', '', '2011-01-08 08:04:16', '2011-01-08 08:04:16', '', 0, 'http://jlahijani.homeip.net:3010/betasptodvd.com/', 7, 'page', '', 0),
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(32, 1, '2011-01-08 08:04:49', '2011-01-08 08:04:49', '
\r\n\r\nU-matic is a videocassette format first shown by Sony in prototype in October 1969, and introduced to the market in September 1971. It was among the first video formats to contain the videotape inside a cassette, as opposed to the various open-reel formats of the time. Unlike most other cassette-based tape formats, the supply and take-up reels in the cassette worked in opposite directions during playback, fast-forward and rewind: one reel would run clockwise while the other would run counter-clockwise. As part of its development, in March 1970, Sony, Matsushita Electric Industrial Co. (Panasonic), Victor Co. of Japan (JVC), and five non-Japanese companies reached agreement on unified standards.\r\n\r\nThe videotape was ¾ inches (1.9 cm) wide, so the format is often known as ‘three-quarter-inch’ or simply ‘three-quarter’. U-matic was named after the shape of the tape path when it was threaded around the helical video head drum, which resembled the letter U. Betamax used this same type of “U-load” as well.\r\n\r\nThe total potential lines of horizontal resolution for standard U-matic is 280 lines per picture height. Vertical resolution is the NTSC standard of 486 visible scan lines.\r\n\r\nU-matic is also available in a smaller cassette size, officially known as U-Matic S. Much like VHS-C, U-Matic S was developed as a more portable version of U-Matic, to be used in smaller sized S-format recorders such as the Sony VO-3800 (the first portable U-Matic S machine released by Sony in 1974), the Sony BVU-100, and the Sony VO-6800 (among others from Sony, Panasonic, and other manufacturers). S-format tapes can be played back in older top-loading standard U-Matic decks with the aid of an adapter (the KCA-1 from Sony) which fitted around an S-sized tape; newer front-loading machines can accept S-format tapes directly, as the tapes have a slot on the underside that rides along a tab. U-Matic S tapes had a maximum recording time of 20 minutes, although some tape manufacturers such as 3M came out with 30 minute tapes by loading the cassette with a thinner tape. It was the U-Matic S-format decks that ushered in the beginning of ENG, or Electronic News Gathering.\r\n\r\nIn the early 1980s, Sony introduced the semi backwards-compatible high-band or BVU (Broadcast Video U-matic) format, and the ‘original’ U-matic format became known as low-band. This high-band format had an improved colour recording system and lower noise levels. BVU gained immense popularity in ENG and location programme-making, spelling the end of 16mm film in everyday production. By the early 1990s, Sony’s ½” Betacam SP format had all but replaced BVU outside of corporate and ‘budget’ programme making. Sony made a final improvement to BVU by further improving the recording system and giving it the same ‘SP’ suffix as Betacam. SP had a horizontal resolution of 330 lines. First generation BVU-SP and Beta-SP recordings were hard to tell apart, but despite this the writing was on the wall for the U-matic family.\r\n\r\nU-matic would also see use for the storage of digital audio data. Most digital audio recordings from the 1980s were digitally mastered to U-matic tape. The Sony PCM-1600 PCM adaptor used a U-matic recorder as a transport. The PCM-1600 output standard “pseudo video” in 525/60 format, which appeared to be a video image of vibrating checkerboard patterns that could be recorded on a video recorder. The PCM-1600 was the first system used for mastering audio compact discs in the early 1980s, with the famous Compact Disc 44.1 kHz sampling rate based on a best-fit calculation for the U-matic’s video horizontal-sync rate. The later PCM-1610 and 1630 units also used U-matic cassettes as a storage medium.\r\n\r\nU-matic is no longer used as a mainstream production format, however it has found lasting appeal as a cheap, well specified, and hard-wearing format. Many television facilities the world-over still have a U-matic recorder for archive playback of material recorded in the 1980s. For example, the Library of Congress facility in Culpeper, VA, holds thousands of its titles on U-matic video, as a means of providing access copies and proof for copyright deposit of old television broadcasts and films.\r\n\r\nFour decades after it was developed, the format is still used for the menial tasks of the industry, being more highly specialized and suited to the needs of production staff than the domestic VHS, although as time passes it has been replaced at the bottom of the tree of tape-based production formats by Betacam and Betacam SP as these in turn are replaced by Digital Betacam and HDCAM.\r\n\r\nU-matic tapes were also used for easy transport of filmed scenes for dailies in the days before VHS, DVD, and portable hard drives. Several movies have surviving copies in this form. The first rough cut of Apocalypse Now, for example (the raw version of what became Apocalypse Now Redux), survived on three U-Matic cassettes.', '3/4" U-Matic Videocassette ', '', 'publish', 'closed', 'closed', '', '34-u-matic-videocassette', '', '', '2011-02-16 00:14:55', '2011-02-16 00:14:55', '', 30, 'http://jlahijani.homeip.net:3010/betasptodvd.com/', 8, 'page', '', 0),
(239, 1, '2011-02-16 00:16:25', '2011-02-16 00:16:25', 'BetaSPtoDVD is a service of WOVA - World of Video & Audio and is a service that started in 2001. Specializing in transfers, conversions, duplications, digital media, and more. We serve a wide variety of clients in many industries, including entertainment, fashion, hospitality, marketing, public relations, legal, and medical. Our dedication to superior quality, state-of-the-art equipment, and competitive pricing has earned us an excellent reputation and the repeat business of thousands of satisfied customers.\r\n\r\nOur facility is designed and engineered to achieve only the cleanest video and audio transfers possible. We can do most jobs in just one day. Clients ship to us from all over the United States or can come into our store.\r\n\r\nWe serve customers all over the country, including Los Angeles, Hollywood, Beverly Hills, Burbank, Encino, Universal Studios, Sherman Oaks, Van Nuys, Chatsworth, Tarzana, Brentwood, North Hollywood, Toluca Lake, Northridge, Santa Monica, San Fernando Valley, Westwood, Glendale, Eagle Rock, Simi Valley, Woodland Hills, Calabasas, Los Feliz, Pasadena, Sebastopol, Santa Rosa, Graton, Windsor, Duncans Mills, Cazadero, Jenner, Petaluma, Napa, Sonoma, Healdsburg, Marin, Medocino, Santa Cruz, San Jose, Los Gatos, Saratogta, Forrestville, Guerneville, Monte Rio.\r\n\r\n', 'About Us', '', 'inherit', 'closed', 'closed', '', '178-revision-19', '', '', '2011-02-16 00:16:25', '2011-02-16 00:16:25', '', 178, 'http://jlahijani.homeip.net:3010/betasptodvd.com/178-revision-19/', 0, 'revision', '', 0),
(33, 1, '2011-01-08 08:04:45', '2011-01-08 08:04:45', '
\n\n\n\nU-matic is a videocassette format first shown by Sony in prototype in October 1969, and introduced to the market in September 1971. It was among the first video formats to contain the videotape inside a cassette, as opposed to the various open-reel formats of the time. Unlike most other cassette-based tape formats, the supply and take-up reels in the cassette worked in opposite directions during playback, fast-forward and rewind: one reel would run clockwise while the other would run counter-clockwise. As part of its development, in March 1970, Sony, Matsushita Electric Industrial Co. (Panasonic), Victor Co. of Japan (JVC), and five non-Japanese companies reached agreement on unified standards.\n\nThe videotape was ¾ inches (1.9 cm) wide, so the format is often known as ‘three-quarter-inch’ or simply ‘three-quarter’. U-matic was named after the shape of the tape path when it was threaded around the helical video head drum, which resembled the letter U. Betamax used this same type of “U-load” as well.\n\nThe total potential lines of horizontal resolution for standard U-matic is 280 lines per picture height. Vertical resolution is the NTSC standard of 486 visible scan lines.\n\nU-matic is also available in a smaller cassette size, officially known as U-Matic S. Much like VHS-C, U-Matic S was developed as a more portable version of U-Matic, to be used in smaller sized S-format recorders such as the Sony VO-3800 (the first portable U-Matic S machine released by Sony in 1974), the Sony BVU-100, and the Sony VO-6800 (among others from Sony, Panasonic, and other manufacturers). S-format tapes can be played back in older top-loading standard U-Matic decks with the aid of an adapter (the KCA-1 from Sony) which fitted around an S-sized tape; newer front-loading machines can accept S-format tapes directly, as the tapes have a slot on the underside that rides along a tab. U-Matic S tapes had a maximum recording time of 20 minutes, although some tape manufacturers such as 3M came out with 30 minute tapes by loading the cassette with a thinner tape. It was the U-Matic S-format decks that ushered in the beginning of ENG, or Electronic News Gathering.\n\nIn the early 1980s, Sony introduced the semi backwards-compatible high-band or BVU (Broadcast Video U-matic) format, and the ‘original’ U-matic format became known as low-band. This high-band format had an improved colour recording system and lower noise levels. BVU gained immense popularity in ENG and location programme-making, spelling the end of 16mm film in everyday production. By the early 1990s, Sony’s ½” Betacam SP format had all but replaced BVU outside of corporate and ‘budget’ programme making. Sony made a final improvement to BVU by further improving the recording system and giving it the same ‘SP’ suffix as Betacam. SP had a horizontal resolution of 330 lines. First generation BVU-SP and Beta-SP recordings were hard to tell apart, but despite this the writing was on the wall for the U-matic family.\n\nU-matic would also see use for the storage of digital audio data. Most digital audio recordings from the 1980s were digitally mastered to U-matic tape. The Sony PCM-1600 PCM adaptor used a U-matic recorder as a transport. The PCM-1600 output standard “pseudo video” in 525/60 format, which appeared to be a video image of vibrating checkerboard patterns that could be recorded on a video recorder. The PCM-1600 was the first system used for mastering audio compact discs in the early 1980s, with the famous Compact Disc 44.1 kHz sampling rate based on a best-fit calculation for the U-matic’s video horizontal-sync rate. The later PCM-1610 and 1630 units also used U-matic cassettes as a storage medium.\n\nU-matic is no longer used as a mainstream production format, however it has found lasting appeal as a cheap, well specified, and hard-wearing format. Many television facilities the world-over still have a U-matic recorder for archive playback of material recorded in the 1980s. For example, the Library of Congress facility in Culpeper, VA, holds thousands of its titles on U-matic video, as a means of providing access copies and proof for copyright deposit of old television broadcasts and films.\n\nFour decades after it was developed, the format is still used for the menial tasks of the industry, being more highly specialized and suited to the needs of production staff than the domestic VHS, although as time passes it has been replaced at the bottom of the tree of tape-based production formats by Betacam and Betacam SP as these in turn are replaced by Digital Betacam and HDCAM.\n\nU-matic tapes were also used for easy transport of filmed scenes for dailies in the days before VHS, DVD, and portable hard drives. Several movies have surviving copies in this form. The first rough cut of Apocalypse Now, for example (the raw version of what became Apocalypse Now Redux), survived on three U-Matic cassettes.', '3/4" U-Matic Videocassette ', '', 'inherit', 'closed', 'closed', '', '32-revision', '', '', '2011-01-08 08:04:45', '2011-01-08 08:04:45', '', 32, 'http://jlahijani.homeip.net:3010/betasptodvd.com/32-revision/', 0, 'revision', '', 0),
(34, 1, '2011-01-08 08:05:08', '2011-01-08 08:05:08', 'The Compact Cassette, often referred to as audio cassette, cassette tape, cassette, or simply tape, is a magnetic tape sound recording format. Although originally designed for dictation, improvements in fidelity led the Compact Cassette to supplant the Stereo 8 track cartridge and reel-to-reel tape recording in most non-professional applications. Its uses ranged from portable audio to home recording to data storage for early microcomputers. Between the early 1970s and ending in the late 1990s, the cassette was one of the two most common formats for prerecorded music, first alongside the LP and later the Compact Disc.\r\n\r\nCompact Cassettes consist of two miniature spools, between which a magnetically coated plastic tape is passed and wound. These spools and their attendant parts are held inside a protective plastic shell. Two stereo pairs of tracks (four total) or two monaural audio tracks are available on the tape; one stereo pair or one monophonic track is played or recorded when the tape is moving in one direction and the second pair when moving in the other direction. This reversal is achieved either by manually flipping the cassette or by having the machine itself change the direction of tape movement ("auto-reverse").', 'Audio Cassette', '', 'publish', 'closed', 'closed', '', 'audio-cassette', '', '', '2011-02-24 22:36:48', '2011-02-24 22:36:48', '', 30, 'http://jlahijani.homeip.net:3010/betasptodvd.com/', 9, 'page', '', 0),
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(284, 1, '2011-02-24 22:37:50', '2011-02-24 22:37:50', 'The Compact Cassette, often referred to as audio cassette, cassette tape, cassette, or simply tape, is a magnetic tape sound recording format. Although originally designed for dictation, improvements in fidelity led the Compact Cassette to supplant the Stereo 8 track cartridge and reel-to-reel tape recording in most non-professional applications. Its uses ranged from portable audio to home recording to data storage for early microcomputers. Between the early 1970s and ending in the late 1990s, the cassette was one of the two most common formats for prerecorded music, first alongside the LP and later the Compact Disc.\n\nCompact Cassettes consist of two miniature spools, between which a magnetically coated plastic tape is passed and wound. These spools and their attendant parts are held inside a protective plastic shell. Two stereo pairs of tracks (four total) or two monaural audio tracks are available on the tape; one stereo pair or one monophonic track is played or recorded when the tape is moving in one direction and the second pair when moving in the other direction. This reversal is achieved either by manually flipping the cassette or by having the machine itself change the direction of tape movement ("auto-reverse").', 'Audio Cassette', '', 'inherit', 'closed', 'closed', '', '34-autosave', '', '', '2011-02-24 22:37:50', '2011-02-24 22:37:50', '', 34, 'http://jlahijani.homeip.net:3010/betasptodvd.com/34-autosave/', 0, 'revision', '', 0),
(36, 1, '2011-01-08 08:05:08', '2011-01-08 08:05:08', '\r\n\r\n
\r\n\r\nIronically, the standard audio cassette still in wide use today, was never intended for wide usage, but instead was originally developed by Philips in 1962 for use in their new line of dictation machines. However it’s compact size, reliability, low manufacturing costs and Hi-Fi stereo capability, ultimately led to wide market acceptance. Popularity of the format, surprisingly, was not immediate. Though 8 Track cartridges were not to be introduced for another 3 years since it’s introduction, it wasn’t til the early 70′s, that the compact cassette became the predominant consumer tape format.\r\n\r\nThe format employed 1/8-in. tape with 4-tracks running at 1-7/8 ips, initially allowing 30 or 45 minutes of stereo music per side, until longer tapes became available .\r\n\r\nThe original tapes were Ferrite (Fe2O3), but later, Chromium Dioxide (CrO2) and other metal particle formulations were used in order to greatly improve sound quality. Chrome tapes had different bias frequency requirements, requiring more sophisticated recording equipment. Later machines employed various noise reduction technology, though in later years, Dolby became the most popular by far.\r\n\r\n
\r\n - Audio Files
\r\n - BetaSP (Betacam SP)
\r\n - BetaSX
\r\n - DigiBeta (Digital Betacam)
\r\n - DVCPRO HD
\r\n - Digital-8
\r\n - DVCAM
\r\n - DVD
\r\n - HDV 1080i
\r\n - MiniDV
\r\n - .MOV File
\r\n - Quicktime File
\r\n - VHS
\r\n - VHS-C
\r\n - 3/4″ U-Matic
\r\n
\r\nWe also offer dozens of other services: Film Transers, DVD Duplication, Full Editing and Graphics, DigiBeta Deck Rentals, Post Production consulting, Final Cut Pro Editing, Edit Suite Rentals, and more! If it relates to film and video, we have done it. Just give us a call if we can be of service to you.', 'Get a Quote', '', 'inherit', 'closed', 'closed', '', '18-revision-3', '', '', '2011-01-08 08:12:42', '2011-01-08 08:12:42', '', 18, 'http://jlahijani.homeip.net:3010/betasptodvd.com/18-revision-3/', 0, 'revision', '', 0),
(234, 1, '2011-02-09 00:47:03', '2011-02-09 00:47:03', 'Please fill out the following form and we''ll get back to you with a quote.\n', 'Get a Quote', '', 'inherit', 'closed', 'closed', '', '18-autosave', '', '', '2011-02-09 00:47:03', '2011-02-09 00:47:03', '', 18, 'http://jlahijani.homeip.net:3010/betasptodvd.com/18-autosave/', 0, 'revision', '', 0),
(312, 1, '2011-03-04 22:54:47', '2011-03-04 22:54:47', 'Beta SP to DVD provides free pick-up and delivery on orders of $75 or more. Our friendly staff will make certain that we are on time for your pick-up or delivery.\r\n\r\nFor more information regarding our services or to schedule a pick-up, call a friendly customer service representative today at 310-659-5148!', 'Pickup and Delivery', '', 'publish', 'closed', 'closed', '', 'pickup-and-delivery', '', '', '2011-03-04 23:52:28', '2011-03-04 23:52:28', '', 131, 'http://jlahijani.homeip.net:3010/betasptodvd.com/?page_id=312', 2, 'page', '', 0),
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(53, 1, '2011-01-08 07:56:18', '2011-01-08 07:56:18', 'BetaSPtoDVD is a service of WOVA – World of Video & Audio.\r\n\r\nClients ship to us from all over the United States or can come into our store.\r\n\r\nBETASP to DVD.com started in 2001.\r\n\r\nWe serve a wide variety of clients in many industries, including entertainment, fashion, hospitality, marketing, public relations, legal, and medical. Our dedication to superior quality, state-of-the-art equipment, and competitive pricing has earned us an excellent reputation and the repeat business of thousands of satisfied customers.\r\n\r\nOur facility is designed and engineered to achieve only the cleanest video and audio transfers possible – and we can do most jobs in just one day.\r\nNo job is too big or too small!
\r\n\r\n - Television Series
\r\n - Independent Movies
\r\n - Feature Films
\r\n - Documentaries
\r\n - FLASH
\r\n - .MOV
\r\n - H.264
\r\n - TV Pilots
\r\n - Commercials
\r\n - Animation
\r\n - Film Dailies (with Visible Timecode)
\r\n - Student Films
\r\n - Medical Footage
\r\n - Film Festival up-rez to BetaSP
\r\n - Training Videos
\r\n - Music Videos
\r\n - Quicktime and Firewire to hard drives
\r\n - Internet compression and uploads
\r\n - Corporate Communications
\r\n - Demo Reels
\r\n - Sample Reels
\r\n - Short Films
\r\n - Training Films
\r\n - Promos
\r\n - News Reels
\r\n - Press Clips
\r\n - DVD Conversions To PAL
\r\n - EPKs
\r\n - Wedding Videos
\r\n - Home Movies
\r\n - Bar Mitzvahs
\r\n - Quicktime Movies
\r\n - Actor Reels
\r\n
\r\nClients ship to us from all over the United States.\r\n\r\nBulk of the footage comes from Hollywood, Los Angeles, Burbank, and Santa Monica, CA.\r\nPast Clients Include
\r\n\r\nSupported Formats\r\n\r\n - BetaMax (from the 1980′s)
\r\n - BetaSP NTSC – (Both small and large cassette tapes)
\r\n - BetaSP PAL – (Both small and large cassette tapes)
\r\n - BetaSX NTSC – (Both small and large cassette tapes)
\r\n - BetaSX PAL – (Both small and large cassette tapes)
\r\n - Digibeta NTSC (Both small and large cassette tapes)
\r\n - Digibeta PAL (Both small and large cassette tapes)
\r\n - DVCAM NTSC
\r\n - DVCAM PAL
\r\n - DVD-R
\r\n - HDV 1080i 50
\r\n - HDV 1080i 60
\r\n - Hi-8 NTSC (Digital 8 only)
\r\n - MiniDV NTSC
\r\n - MiniDV PAL
\r\n - VHS NTSC
\r\n - VHS PAL
\r\n - VHS SECAM
\r\n - VHS-C
\r\n - 3/4″ U-Matic
\r\n - PhotoShop
\r\n - Final Cut Pro
\r\n - Avid
\r\n - AIFF
\r\n - .MP3
\r\n - .JPG
\r\n - TARGA
\r\n - Quicktime Pro
\r\n - Quicktime H.264
\r\n - .MOV
\r\n
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(113, 1, '2011-01-31 21:15:05', '2011-01-31 21:15:05', '', 'Standards NTSC / PAL / Secam', '', 'publish', 'closed', 'closed', '', 'standards-ntsc-pal-secam', '', '', '2011-01-31 21:15:05', '2011-01-31 21:15:05', '', 88, 'http://jlahijani.homeip.net:3010/betasptodvd.com/', 0, 'page', '', 0),
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(119, 1, '2011-01-31 21:15:35', '2011-01-31 21:15:35', 'At Beta SP to DVD, we offer complete CD mastering and duplication services to a wide variety of individuals and businesses. Whatever the quantity of CDs you need duplicated, Beta SP to DVD can handle your entire job. Throughout our 30 years, we''ve worked with software developers, filmmakers, marketers, and other individuals who required superior CD mastering and duplication services, so you can be confident that our experienced staff will deliver the perfect product for you.\r\n\r\nWhy Choose Beta SP to DVD?\r\n\r\n - Quality CD duplication
\r\n - Always on time
\r\n - We offer pricing for projects of all sizes
\r\n - Friendly and helpful staff
\r\n
\r\nWhat sets us apart from other companies is our dedication to high-quality, on-time service. We utilize only the best materials and equipment, and take our commitment to our customers very seriously.', 'CD Duplication', '', 'publish', 'closed', 'closed', '', 'cd-duplication', '', '', '2011-02-09 00:31:32', '2011-02-09 00:31:32', '', 116, 'http://jlahijani.homeip.net:3010/betasptodvd.com/', 0, 'page', '', 0),
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(121, 1, '2011-01-31 21:15:43', '2011-01-31 21:15:43', 'Beta SP to DVD offers complete DVD mastering and duplication services to a wide variety of individuals and businesses. Whether you need ten copies or ten thousand, Beta SP to DVD will handle your entire job with a level of professionalism and promptness that will exceed your expectations. Throughout our 30 years in business, we’ve worked with software developers, filmmakers, marketers, and other individuals who required superior DVD mastering and duplication services- You can be confident that our experienced staff will deliver the perfect product for you.\r\n\r\nWhy Choose Beta SP to DVD?\r\n\r\n - Quality DVD
\r\n - Always on time
\r\n - We offer pricing for projects of all sizes!
\r\n - Friendly and helpful staff
\r\n
\r\nWhat sets us apart from other companies is our dedication to high-quality, on-time service. We utilize only the best materials and equipment, and take our commitment to our customers very seriously.', 'DVD Duplication', '', 'publish', 'closed', 'closed', '', 'dvd-duplication', '', '', '2011-02-09 00:20:13', '2011-02-09 00:20:13', '', 116, 'http://jlahijani.homeip.net:3010/betasptodvd.com/', 0, 'page', '', 0),
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(123, 1, '2011-01-31 21:15:51', '2011-01-31 21:15:51', 'Beta SP to DVD offers complete Blu-ray mastering and duplication services to a wide variety of individuals and businesses. Whether you need ten copies or ten thousand, Beta SP to DVD will handle your entire job with a level of professionalism and promptness that will exceed your expectations. Throughout our 30 years in business, we’ve worked with software developers, filmmakers, marketers, and other individuals who required superior DVD mastering and duplication services- You can be confident that our experienced staff will deliver the perfect product for you.\r\n\r\nWhy Choose Beta SP to DVD?\r\n\r\n - Quality Blu-ray
\r\n - Always on time
\r\n - We offer pricing for projects of all sizes!
\r\n - Friendly and helpful staff
\r\n
\r\nWhat sets us apart from other companies is our dedication to high-quality, on-time service. We utilize only the best materials and equipment, and take our commitment to our customers very seriously.', 'Blu-ray Duplication', '', 'publish', 'closed', 'closed', '', 'blu-ray-duplication', '', '', '2011-02-09 00:29:50', '2011-02-09 00:29:50', '', 116, 'http://jlahijani.homeip.net:3010/betasptodvd.com/', 0, 'page', '', 0),
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(125, 1, '2011-01-31 21:16:02', '2011-01-31 21:16:02', '', 'CD Authoring', '', 'publish', 'closed', 'closed', '', 'cd-authoring', '', '', '2011-01-31 21:16:02', '2011-01-31 21:16:02', '', 116, 'http://jlahijani.homeip.net:3010/betasptodvd.com/', 0, 'page', '', 0),
(126, 1, '2011-01-31 21:15:58', '2011-01-31 21:15:58', '', 'CD Authoring', '', 'inherit', 'closed', 'closed', '', '125-revision', '', '', '2011-01-31 21:15:58', '2011-01-31 21:15:58', '', 125, 'http://jlahijani.homeip.net:3010/betasptodvd.com/125-revision/', 0, 'revision', '', 0),
(127, 1, '2011-01-31 21:16:11', '2011-01-31 21:16:11', '', 'DVD Authoring', '', 'publish', 'closed', 'closed', '', 'dvd-authoring', '', '', '2011-01-31 21:16:11', '2011-01-31 21:16:11', '', 116, 'http://jlahijani.homeip.net:3010/betasptodvd.com/', 0, 'page', '', 0),
(128, 1, '2011-01-31 21:16:09', '2011-01-31 21:16:09', '', 'DVD Authoring', '', 'inherit', 'closed', 'closed', '', '127-revision', '', '', '2011-01-31 21:16:09', '2011-01-31 21:16:09', '', 127, 'http://jlahijani.homeip.net:3010/betasptodvd.com/127-revision/', 0, 'revision', '', 0),
(129, 1, '2011-01-31 21:16:18', '2011-01-31 21:16:18', '', 'Blu-ray Authoring', '', 'publish', 'closed', 'closed', '', 'blu-ray-authoring', '', '', '2011-01-31 21:16:18', '2011-01-31 21:16:18', '', 116, 'http://jlahijani.homeip.net:3010/betasptodvd.com/', 0, 'page', '', 0),
(130, 1, '2011-01-31 21:16:16', '2011-01-31 21:16:16', '', 'Blu-ray Authoring', '', 'inherit', 'closed', 'closed', '', '129-revision', '', '', '2011-01-31 21:16:16', '2011-01-31 21:16:16', '', 129, 'http://jlahijani.homeip.net:3010/betasptodvd.com/129-revision/', 0, 'revision', '', 0),
(131, 1, '2011-01-31 21:16:30', '2011-01-31 21:16:30', '', 'Other Services', '', 'publish', 'closed', 'closed', '', 'other-services', '', '', '2011-01-31 21:16:30', '2011-01-31 21:16:30', '', 55, 'http://jlahijani.homeip.net:3010/betasptodvd.com/', 3, 'page', '', 0),
(132, 1, '2011-01-31 21:16:28', '2011-01-31 21:16:28', '', 'Other Services', '', 'inherit', 'closed', 'closed', '', '131-revision', '', '', '2011-01-31 21:16:28', '2011-01-31 21:16:28', '', 131, 'http://jlahijani.homeip.net:3010/betasptodvd.com/131-revision/', 0, 'revision', '', 0),
(133, 1, '2011-01-31 21:16:41', '2011-01-31 21:16:41', '', '16mm / Super 8mm / 8mm Film Transfer', '', 'publish', 'closed', 'closed', '', '16mm-super-8mm-8mm-film-transfer', '', '', '2011-01-31 21:16:41', '2011-01-31 21:16:41', '', 131, 'http://jlahijani.homeip.net:3010/betasptodvd.com/', 0, 'page', '', 0),
(134, 1, '2011-01-31 21:16:39', '2011-01-31 21:16:39', '', '16mm / Super 8mm / 8mm Film Transfer', '', 'inherit', 'closed', 'closed', '', '133-revision', '', '', '2011-01-31 21:16:39', '2011-01-31 21:16:39', '', 133, 'http://jlahijani.homeip.net:3010/betasptodvd.com/133-revision/', 0, 'revision', '', 0),
(135, 1, '2011-01-31 21:16:52', '2011-01-31 21:16:52', '', 'Other Service 2', '', 'trash', 'closed', 'closed', '', 'other-service-2', '', '', '2011-03-04 22:55:00', '2011-03-04 22:55:00', '', 131, 'http://jlahijani.homeip.net:3010/betasptodvd.com/', 0, 'page', '', 0),
(136, 1, '2011-01-31 21:16:50', '2011-01-31 21:16:50', '', 'Other Service 2', '', 'inherit', 'closed', 'closed', '', '135-revision', '', '', '2011-01-31 21:16:50', '2011-01-31 21:16:50', '', 135, 'http://jlahijani.homeip.net:3010/betasptodvd.com/135-revision/', 0, 'revision', '', 0),
(137, 1, '2011-01-31 21:17:03', '2011-01-31 21:17:03', '', 'Other Service 3', '', 'trash', 'closed', 'closed', '', 'other-service-3', '', '', '2011-03-04 22:55:03', '2011-03-04 22:55:03', '', 131, 'http://jlahijani.homeip.net:3010/betasptodvd.com/', 0, 'page', '', 0),
(138, 1, '2011-01-31 21:17:01', '2011-01-31 21:17:01', '', 'Other Service 3', '', 'inherit', 'closed', 'closed', '', '137-revision', '', '', '2011-01-31 21:17:01', '2011-01-31 21:17:01', '', 137, 'http://jlahijani.homeip.net:3010/betasptodvd.com/137-revision/', 0, 'revision', '', 0),
(139, 1, '2011-01-31 21:17:03', '2011-01-31 21:17:03', '', 'Other Service 3', '', 'inherit', 'closed', 'closed', '', '137-revision-2', '', '', '2011-01-31 21:17:03', '2011-01-31 21:17:03', '', 137, 'http://jlahijani.homeip.net:3010/betasptodvd.com/137-revision-2/', 0, 'revision', '', 0),
(140, 1, '2011-01-08 08:47:24', '2011-01-08 08:47:24', 'BetaSPtoDVD is a service of WOVA – World of Video & Audio.\r\n\r\nClients ship to us from all over the United States or can come into our store.\r\n\r\nBETASP to DVD.com started in 2001.\r\n\r\nWe serve a wide variety of clients in many industries, including entertainment, fashion, hospitality, marketing, public relations, legal, and medical. Our dedication to superior quality, state-of-the-art equipment, and competitive pricing has earned us an excellent reputation and the repeat business of thousands of satisfied customers.\r\n\r\nOur facility is designed and engineered to achieve only the cleanest video and audio transfers possible – and we can do most jobs in just one day.\r\nNo job is too big or too small!
\r\n\r\n - Television Series
\r\n - Independent Movies
\r\n - Feature Films
\r\n - Documentaries
\r\n - FLASH
\r\n - .MOV
\r\n - H.264
\r\n - TV Pilots
\r\n - Commercials
\r\n - Animation
\r\n - Film Dailies (with Visible Timecode)
\r\n - Student Films
\r\n - Medical Footage
\r\n - Film Festival up-rez to BetaSP
\r\n - Training Videos
\r\n - Music Videos
\r\n - Quicktime and Firewire to hard drives
\r\n - Internet compression and uploads
\r\n - Corporate Communications
\r\n - Demo Reels
\r\n - Sample Reels
\r\n - Short Films
\r\n - Training Films
\r\n - Promos
\r\n - News Reels
\r\n - Press Clips
\r\n - DVD Conversions To PAL
\r\n - EPKs
\r\n - Wedding Videos
\r\n - Home Movies
\r\n - Bar Mitzvahs
\r\n - Quicktime Movies
\r\n - Actor Reels
\r\n
\r\nClients ship to us from all over the United States.\r\n\r\nBulk of the footage comes from Hollywood, Los Angeles, Burbank, and Santa Monica, CA.\r\nPast Clients Include
\r\n\r\nSupported Formats
\r\n\r\n - BetaMax (from the 1980′s)
\r\n - BetaSP NTSC – (Both small and large cassette tapes)
\r\n - BetaSP PAL – (Both small and large cassette tapes)
\r\n - BetaSX NTSC – (Both small and large cassette tapes)
\r\n - BetaSX PAL – (Both small and large cassette tapes)
\r\n - Digibeta NTSC (Both small and large cassette tapes)
\r\n - Digibeta PAL (Both small and large cassette tapes)
\r\n - DVCAM NTSC
\r\n - DVCAM PAL
\r\n - DVD-R
\r\n - HDV 1080i 50
\r\n - HDV 1080i 60
\r\n - Hi-8 NTSC (Digital 8 only)
\r\n - MiniDV NTSC
\r\n - MiniDV PAL
\r\n - VHS NTSC
\r\n - VHS PAL
\r\n - VHS SECAM
\r\n - VHS-C
\r\n - 3/4″ U-Matic
\r\n - PhotoShop
\r\n - Final Cut Pro
\r\n - Avid
\r\n - AIFF
\r\n - .MP3
\r\n - .JPG
\r\n - TARGA
\r\n - Quicktime Pro
\r\n - Quicktime H.264
\r\n - .MOV
\r\n
', 'Home', '', 'inherit', 'closed', 'closed', '', '5-revision-5', '', '', '2011-01-08 08:47:24', '2011-01-08 08:47:24', '', 5, 'http://jlahijani.homeip.net:3010/betasptodvd.com/5-revision-5/', 0, 'revision', '', 0),
(144, 1, '2011-01-31 23:40:27', '2011-01-31 23:40:27', 'Betamax (sometimes called Beta) is a home videocassette tape recording format developed by Sony, released on May 10, 1975. The cassettes contain 1/2-inch (12.7mm)-wide videotape in a design similar to the earlier, professional 3/4-inch (19.05mm) U-matic format. The format is generally considered obsolete, though it is still used in specialist applications by a small minority of people.\r\n\r\nLike the rival videotape format VHS (introduced in October 1977 by JVC), Betamax had no guard band and used azimuth recording to reduce crosstalk. According to Sony''s own history webpages, the name came from a double meaning: beta being the Japanese word used to describe the way signals were recorded onto the tape, and from the fact that when the tape ran through the transport, it looked like the Greek letter beta (β). The suffix -max came from "maximum", to suggest greatness.\r\n\r\nSanyo marketed a version as Betacord, but this was also referred to casually as "Beta". In addition to Sony and Sanyo, Beta-format video recorders were also sold by Toshiba, Pioneer, Murphy, Aiwa, and NEC; the Zenith Electronics Corporation and WEGA Corporations contracted with Sony to produce VCRs for their product lines. Department stores like Sears (in the U.S. and Canada) and Quelle (Germany) sold Beta-format VCRs under their house brands, as did the RadioShack chain of electronic stores. Betamax and VHS competed in a fierce format war, which saw VHS come out on top in most markets.', 'Betamax', '', 'publish', 'closed', 'closed', '', 'betamax', '', '', '2011-02-24 22:40:23', '2011-02-24 22:40:23', '', 30, 'http://jlahijani.homeip.net:3010/betasptodvd.com/', 0, 'page', '', 0),
(145, 1, '2011-01-31 23:40:23', '2011-01-31 23:40:23', '', 'Betamax', '', 'inherit', 'closed', 'closed', '', '144-revision', '', '', '2011-01-31 23:40:23', '2011-01-31 23:40:23', '', 144, 'http://jlahijani.homeip.net:3010/betasptodvd.com/144-revision/', 0, 'revision', '', 0),
(146, 1, '2011-01-31 23:40:59', '2011-01-31 23:40:59', '', 'Beta SP', '', 'publish', 'closed', 'closed', '', 'beta-sp', '', '', '2011-01-31 23:40:59', '2011-01-31 23:40:59', '', 30, 'http://jlahijani.homeip.net:3010/betasptodvd.com/', 0, 'page', '', 0),
(147, 1, '2011-01-31 23:40:43', '2011-01-31 23:40:43', '', 'BetaSP', '', 'inherit', 'closed', 'closed', '', '146-revision', '', '', '2011-01-31 23:40:43', '2011-01-31 23:40:43', '', 146, 'http://jlahijani.homeip.net:3010/betasptodvd.com/146-revision/', 0, 'revision', '', 0),
(148, 1, '2011-01-31 23:41:15', '2011-01-31 23:41:15', 'Digital Betacam (commonly abbreviated to Digibeta or d-beta or dbc) was launched in 1993. It supersedes both Betacamand Betacam SP, while costing significantly less than the D1 format and providing high quality and reliability. Stapes are available with up to 40 minutes running time, and L tapes with up to 124 minutes.\r\n\r\n
\r\nThe Digital Betacam format records a DCT-compressed component video signal at 10-bit YUV 4:2:2 sampling in PAL (720Å~576) or NTSC (720Å~486) resolutions at a bitrate of 90 Mbit/s plus 4 channels of uncompressed 48 kHz PCM-encoded audio. A 5th audio track is available for cueing, and a linear timecode track is also used on the tape.
\r\nThe Digital Betacam format records a DCT-compressed component video signal at 10-bit YUV 4:2:2 sampling in PAL (720Å~576) or NTSC (720Å~486) resolutions at a bitrate of 90 Mbit/s plus 4 channels of uncompressed 48 kHz PCM-encoded audio. A 5th audio track is available for cueing, and a linear timecode track is also used on the tape.\r\n\r\n
\r\n\r\nSome Digital Betacam equipment can also read Betacam and Betacam SP tapes. Along with the identical cassette size, this meant for easy upgrading.\r\n\r\n
\r\n\r\nDigital Betacam is considered to be the gold standard of formats for standard-definition digital video, is capable of outperforming cheaper digital formats such as DVCAM and DVCPRO, and associated equipment is comparatively expensive. Panasonic offers the DVCPRO50 competing format, which has similar technical abilities.\r\n\r\nThe Digital Betacam format records a DCT-compressed component video signal at 10-bit YUV 4:2:2 sampling in PAL (720Å~576) or NTSC (720Å~486) resolutions at a bitrate of 90 Mbit/s plus 4 channels of uncompressed 48 kHz PCM-encoded audio. A 5th audio track is available for cueing, and a linear timecode track is also used on the tape.', 'DigiBeta', '', 'publish', 'closed', 'closed', '', 'digibeta', '', '', '2011-02-09 00:01:21', '2011-02-09 00:01:21', '', 30, 'http://jlahijani.homeip.net:3010/betasptodvd.com/', 0, 'page', '', 0),
(149, 1, '2011-01-31 23:41:10', '2011-01-31 23:41:10', '', 'DigiBeta', '', 'inherit', 'closed', 'closed', '', '148-revision', '', '', '2011-01-31 23:41:10', '2011-01-31 23:41:10', '', 148, 'http://jlahijani.homeip.net:3010/betasptodvd.com/148-revision/', 0, 'revision', '', 0),
(150, 1, '2011-01-31 23:41:28', '2011-01-31 23:41:28', 'Digital8 (or D8) is a consumer digital videotape format developed by Sony, and introduced in 1999.\r\n\r\nThe Digital8 format is a combination of the older Hi8 tape transport with the DV codec. Digital8 equipment uses the same videocassettes as analog Hi8 equipment, but differs in that the audio/video signal is encoded digitally (using the industry-standard DV codec.) Since Digital8 uses the DV codec, it has identical audio and video specifications.\r\n\r\nTo facilitate digital recording on existing Hi8 videocassettes the video head drum spins 2.5x faster. For both NTSC and PAL Digital8 equipment, a standard-length 120-minute NTSC/90-minute PAL Hi8 cassette will store 60 minutes of Digital8 video (Standard Play) or 90 minutes (Long Play). LP is model specific, such as the TRV-30, TRV-40, and others. Digital8 recordings can be made on standard-grade Video8 cassettes, but this practice is discouraged in the Sony user manuals. Hi8 metal-particle cassettes are the recommended type for Digital8 recording, and most tapes currently sold are marked for both Hi8 and Digital8 usage.', 'Digital8', '', 'publish', 'closed', 'closed', '', 'digital8', '', '', '2011-02-24 23:13:43', '2011-02-24 23:13:43', '', 30, 'http://jlahijani.homeip.net:3010/betasptodvd.com/', 0, 'page', '', 0),
(151, 1, '2011-01-31 23:41:25', '2011-01-31 23:41:25', '', 'Digital-8', '', 'inherit', 'closed', 'closed', '', '150-revision', '', '', '2011-01-31 23:41:25', '2011-01-31 23:41:25', '', 150, 'http://jlahijani.homeip.net:3010/betasptodvd.com/150-revision/', 0, 'revision', '', 0),
(152, 1, '2011-01-31 23:41:42', '2011-01-31 23:41:42', '', 'DVCAM', '', 'publish', 'closed', 'closed', '', 'dvcam', '', '', '2011-01-31 23:41:42', '2011-01-31 23:41:42', '', 30, 'http://jlahijani.homeip.net:3010/betasptodvd.com/', 0, 'page', '', 0),
(153, 1, '2011-01-31 23:41:37', '2011-01-31 23:41:37', '', 'DVCAM', '', 'inherit', 'closed', 'closed', '', '152-revision', '', '', '2011-01-31 23:41:37', '2011-01-31 23:41:37', '', 152, 'http://jlahijani.homeip.net:3010/betasptodvd.com/152-revision/', 0, 'revision', '', 0),
(242, 1, '2011-02-16 04:47:43', '2011-02-16 04:47:43', '', 'Flash (FLV)', '', 'inherit', 'closed', 'closed', '', '241-revision', '', '', '2011-02-16 04:47:43', '2011-02-16 04:47:43', '', 241, 'http://jlahijani.homeip.net:3010/betasptodvd.com/241-revision/', 0, 'revision', '', 0),
(155, 1, '2011-01-31 23:41:55', '2011-01-31 23:41:55', 'Final Cut Pro is a professional non-linear editing software application developed by Macromedia Inc. and then Apple Inc. Final Cut Pro 7 runs on Mac personal computers powered by Mac OS X version 10.5.6 or later and using Intel processors. It is a module of the Final Cut Studio product. The software allows users to log and capture video onto a hard drive (internal or external), where it can be edited, processed, and output to a wide variety of formats.\r\n\r\nFrom the early 2000s, Final Cut Pro began to develop a large and expanding user base, mainly video hobbyists and independent filmmakers. It has, in later years especially, made inroads with film and television editors who have traditionally used Avid Technology''s Media Composer. According to a 2007 SCRI study, Final Cut made up 49% of the US professional editing market, with Avid at 22%. A published Survey in 2008 by the American Cinema Editors Guild placed their users at 21% FCP (and growing from previous surveys of this group), while all others are still on an Avid system of some kind.', 'Final Cut Pro', '', 'publish', 'closed', 'closed', '', 'final-cut-pro', '', '', '2011-02-24 23:17:27', '2011-02-24 23:17:27', '', 30, 'http://jlahijani.homeip.net:3010/betasptodvd.com/', 0, 'page', '', 0),
(156, 1, '2011-01-31 23:41:53', '2011-01-31 23:41:53', '', 'Final Cut Pro', '', 'inherit', 'closed', 'closed', '', '155-revision', '', '', '2011-01-31 23:41:53', '2011-01-31 23:41:53', '', 155, 'http://jlahijani.homeip.net:3010/betasptodvd.com/155-revision/', 0, 'revision', '', 0),
(157, 1, '2011-01-31 23:42:28', '2011-01-31 23:42:28', 'H.264/MPEG-4 Part 10 or AVC (Advanced Video Coding) is a standard for video compression, and is currently one of the most commonly used formats for the recording, compression, and distribution of high definition video. The final drafting work on the first version of the standard was completed in May 2003.\r\n\r\nH.264/MPEG-4 AVC is a block-oriented motion-compensation-based codec standard developed by the ITU-T Video Coding Experts Group (VCEG) together with the ISO/IEC Moving Picture Experts Group (MPEG). It was the product of a partnership effort known as the Joint Video Team (JVT). The ITU-T H.264 standard and the ISO/IEC MPEG-4 AVC standard (formally, ISO/IEC 14496-10 - MPEG-4 Part 10, Advanced Video Coding) are jointly maintained so that they have identical technical content.\r\n\r\nH.264 is perhaps best known as being one of the codec standards for Blu-ray Discs; all Blu-ray players must be able to decode H.264. It is also widely used by streaming internet sources, such as videos from Vimeo, YouTube and the iTunes Store, web software such as the Adobe Flash Player and Microsoft Silverlight, broadcast services for DVB and SBTVD, direct-broadcast satellite television services, cable television services, and real-time videoconferencing.', 'H.264 / MPEG-4 AVC (MP4)', '', 'publish', 'closed', 'closed', '', 'h-264-mpeg-4-avc-mp4', '', '', '2011-02-24 23:27:23', '2011-02-24 23:27:23', '', 30, 'http://jlahijani.homeip.net:3010/betasptodvd.com/', 0, 'page', '', 0),
(158, 1, '2011-01-31 23:42:07', '2011-01-31 23:42:07', '', 'H-264', '', 'inherit', 'closed', 'closed', '', '157-revision', '', '', '2011-01-31 23:42:07', '2011-01-31 23:42:07', '', 157, 'http://jlahijani.homeip.net:3010/betasptodvd.com/157-revision/', 0, 'revision', '', 0),
(159, 1, '2011-01-31 23:42:44', '2011-01-31 23:42:44', 'HDV is a format for recording of high-definition video on DV cassette tape. The format was originally developed by JVC and supported by Sony, Canon and Sharp. The four companies formed the HDV consortium in September 2003.\r\n\r\nConceived as an affordable high definition format for digital camcorders, HDV quickly caught on with many amateur and professional videographers due to its low cost, portability, and image quality acceptable for many professional productions.\r\n\r\nHDV and HDV logo are trademarks of JVC and Sony.', 'HDV', '', 'publish', 'closed', 'closed', '', 'hdv', '', '', '2011-02-24 23:28:39', '2011-02-24 23:28:39', '', 30, 'http://jlahijani.homeip.net:3010/betasptodvd.com/', 0, 'page', '', 0),
(160, 1, '2011-01-31 23:42:42', '2011-01-31 23:42:42', '', 'HDV 1080i', '', 'inherit', 'closed', 'closed', '', '159-revision', '', '', '2011-01-31 23:42:42', '2011-01-31 23:42:42', '', 159, 'http://jlahijani.homeip.net:3010/betasptodvd.com/159-revision/', 0, 'revision', '', 0),
(161, 1, '2011-01-31 23:42:57', '2011-01-31 23:42:57', '''M4V is a file container format used by Apple''s iTunes application. The M4V file format is a video file format developed by Apple and is very close to MP4 format. The differences are the optional Apple''s DRM copyright protection, and the treatment of AC3 (Dolby Digital) audio which is not standardized for MP4 container.\r\n\r\nApple uses M4V files to encode TV episodes, movies, and music videos in the iTunes Store. The copyright of M4V files may be protected by using Apple''s FairPlay DRM copyright protection. To play a protected M4V file, the computer needs to be authorized (using iTunes) with the account that was used to purchase the video. However, unprotected M4V files without AC3 audio may be recognized and played by other video players by changing the file extension from ‘.m4v’ to ‘.mp4’.\r\n\r\nBesides Apple iTunes and Apple QuickTime Player, M4V files can also be opened and played with the version of Windows Media Player included with Windows 7, Media Player Classic, RealNetworks RealPlayer, VideoLAN VLC media player and Nero Showtime (included with Nero Multimedia Suite). The format, with DRM removed, can also be played in the webOS Video Player for use on the Palm Pre, Palm Pixi smartphones. It is also playable by the Android operating system with its video player. It can also be played with the BS Player Pro.\r\n\r\nM4V video with FairPlay attached to it is read in QuickTime as AVC0 Media.', 'M4V', '', 'publish', 'closed', 'closed', '', 'm4v', '', '', '2011-02-08 23:55:33', '2011-02-08 23:55:33', '', 30, 'http://jlahijani.homeip.net:3010/betasptodvd.com/', 0, 'page', '', 0),
(162, 1, '2011-01-31 23:42:54', '2011-01-31 23:42:54', '', 'M4V', '', 'inherit', 'closed', 'closed', '', '161-revision', '', '', '2011-01-31 23:42:54', '2011-01-31 23:42:54', '', 161, 'http://jlahijani.homeip.net:3010/betasptodvd.com/161-revision/', 0, 'revision', '', 0),
(163, 1, '2011-01-31 23:43:10', '2011-01-31 23:43:10', '', 'MiniDV', '', 'publish', 'closed', 'closed', '', 'minidv', '', '', '2011-01-31 23:43:10', '2011-01-31 23:43:10', '', 30, 'http://jlahijani.homeip.net:3010/betasptodvd.com/', 0, 'page', '', 0),
(164, 1, '2011-01-31 23:43:08', '2011-01-31 23:43:08', '', 'MiniDV', '', 'inherit', 'closed', 'closed', '', '163-revision', '', '', '2011-01-31 23:43:08', '2011-01-31 23:43:08', '', 163, 'http://jlahijani.homeip.net:3010/betasptodvd.com/163-revision/', 0, 'revision', '', 0),
(165, 1, '2011-01-31 23:43:29', '2011-01-31 23:43:29', '', 'MOV', '', 'trash', 'closed', 'closed', '', 'mov', '', '', '2011-02-16 04:53:24', '2011-02-16 04:53:24', '', 30, 'http://jlahijani.homeip.net:3010/betasptodvd.com/', 0, 'page', '', 0),
(166, 1, '2011-01-31 23:43:25', '2011-01-31 23:43:25', '', 'MOV', '', 'inherit', 'closed', 'closed', '', '165-revision', '', '', '2011-01-31 23:43:25', '2011-01-31 23:43:25', '', 165, 'http://jlahijani.homeip.net:3010/betasptodvd.com/165-revision/', 0, 'revision', '', 0),
(246, 1, '2011-01-31 23:42:28', '2011-01-31 23:42:28', '', 'H264', '', 'inherit', 'closed', 'closed', '', '157-revision-2', '', '', '2011-01-31 23:42:28', '2011-01-31 23:42:28', '', 157, 'http://jlahijani.homeip.net:3010/betasptodvd.com/157-revision-2/', 0, 'revision', '', 0),
(167, 1, '2011-01-31 23:43:43', '2011-01-31 23:43:43', '', 'MPEG-4', '', 'trash', 'closed', 'closed', '', 'mpeg-4', '', '', '2011-02-16 04:52:01', '2011-02-16 04:52:01', '', 30, 'http://jlahijani.homeip.net:3010/betasptodvd.com/', 0, 'page', '', 0),
(168, 1, '2011-01-31 23:43:39', '2011-01-31 23:43:39', '', 'MPEG-4', '', 'inherit', 'closed', 'closed', '', '167-revision', '', '', '2011-01-31 23:43:39', '2011-01-31 23:43:39', '', 167, 'http://jlahijani.homeip.net:3010/betasptodvd.com/167-revision/', 0, 'revision', '', 0),
(169, 1, '2011-01-31 23:43:55', '2011-01-31 23:43:55', 'PAL, short for Phase Alternating Line, is an analog color television encoding system used in broadcast television systems in many countries. Other common analogue television systems are SECAM and NTSC. This page primarily discusses the colour encoding system. See the articles on broadcast television systems and analogue television for additional discussion of frame rates, image resolution and audio modulation. For discussion of the 625-line / 25 frame per second television standard, see 576i.', 'PAL', '', 'publish', 'closed', 'closed', '', 'pal', '', '', '2011-02-24 23:33:54', '2011-02-24 23:33:54', '', 30, 'http://jlahijani.homeip.net:3010/betasptodvd.com/', 0, 'page', '', 0),
(170, 1, '2011-01-31 23:43:52', '2011-01-31 23:43:52', '', 'PAL', '', 'inherit', 'closed', 'closed', '', '169-revision', '', '', '2011-01-31 23:43:52', '2011-01-31 23:43:52', '', 169, 'http://jlahijani.homeip.net:3010/betasptodvd.com/169-revision/', 0, 'revision', '', 0),
(171, 1, '2011-01-31 23:44:08', '2011-01-31 23:44:08', 'QuickTime File Format (QTFF) is a computer file format used natively by the QuickTime application.\r\n\r\nThe format specifies a multimedia container file that contains one or more tracks, each of which stores a particular type of data: audio, video, effects, or text (e.g. for subtitles). Each track either contains a digitally-encoded media stream (using a specific format) or a data reference to the media stream located in another file. Tracks are maintained in a hierarchical data structure consisting of objects called atoms. An atom can be a parent to other atoms or it can contain media or edit data, but it cannot do both.\r\n\r\nThe ability to contain abstract data references for the media data, and the separation of the media data from the media offsets and the track edit lists means that QuickTime is particularly suited for editing, as it is capable of importing and editing in place (without data copying). Other later-developed media container formats such as Microsoft''s Advanced Systems Format or the Matroska and Ogg containers lack this abstraction, and require all media data to be rewritten after editing.', 'Quicktime (MOV)', '', 'publish', 'closed', 'closed', '', 'quicktime-mov', '', '', '2011-02-24 23:41:59', '2011-02-24 23:41:59', '', 30, 'http://jlahijani.homeip.net:3010/betasptodvd.com/', 0, 'page', '', 0),
(172, 1, '2011-01-31 23:44:05', '2011-01-31 23:44:05', '', 'Quicktime', '', 'inherit', 'closed', 'closed', '', '171-revision', '', '', '2011-01-31 23:44:05', '2011-01-31 23:44:05', '', 171, 'http://jlahijani.homeip.net:3010/betasptodvd.com/171-revision/', 0, 'revision', '', 0),
(173, 1, '2011-01-31 23:44:21', '2011-01-31 23:44:21', 'The Video Home System (better known by its abbreviation VHS) is a consumer-level video standard developed by Japanese company JVC and launched in 1976.\r\n\r\nA VHS holds a maximum of about 430 m (1,410 ft.) of tape at the lowest acceptable tape thickness, giving a maximum playing time of about 3.5 hours for NTSC and 5 hours for PAL at "standard" (SP) quality. Other speeds include LP and EP/SLP which double and triple the recording time, for NTSC regions. These speed reductions cause a slight reduction in video quality (from 250 lines to 230 analog lines horizontal); also, tapes recorded at the lower speed often exhibit poor playback performance on recorders other than the one they were produced on. Because of this, commercial prerecorded tapes were almost always recorded in SP mode, although budget labels such as Video Treasures, Starmaker, Burbank Video, and even Paramount, as well as other smaller companies commonly used the slower speed.\r\n\r\nVHS tapes have approximately 3 MHz of video bandwidth and 400 kHz of chroma bandwidth, which is achieved at a relatively low tape speed by the use of helical scan recording of a frequency modulated luminance (black and white) signal, with a down-converted "color under" chroma (color) signal recorded directly at the baseband. Each helical track contains a single field (''even'' or ''odd'' field, equivalent to half a frame) encoded as an analog raster scan, similar to analog TV broadcasts. The horizontal resolution is 170 lines per scanline, and the vertical resolution (the number of scanlines) is the same as the respective analog TV standard (575 for PAL or 486 for NTSC). In modern-day digital terminology, VHS is roughly equivalent to 333x480 pixels luma and 40x480 chroma resolutions (333x480 pixels=159,840 pixels or 0.16MP (1/6 of a MegaPixel)).\r\n\r\nJVC would counter 1985''s SuperBeta with VHS HQ, or High Quality. The frequency modulation of the VHS luminance signal is limited to 3 megahertz which makes higher resolutions impossible, but an HQ branded deck includes luminance noise reduction, chroma noise reduction, white clip extension, and improved sharpness circuitry. The effect was to increase the apparent horizontal resolution of a VHS recording from 240 to 250 analog (equivalent to 333 pixels from left-to-right, in digital terminology). The major VHS OEMs resisted HQ due to cost concerns, eventually resulting in JVC reducing the requirements for the HQ brand to white clip extension plus one other improvement.\r\n\r\nIn 1987 JVC introduced a new format called Super VHS which extended the bandwidth to over 5 megahertz, yielding 420 analog horizontal (560 pixels left-to-right).', 'VHS', '', 'publish', 'closed', 'closed', '', 'vhs', '', '', '2011-02-24 23:40:37', '2011-02-24 23:40:37', '', 30, 'http://jlahijani.homeip.net:3010/betasptodvd.com/', 0, 'page', '', 0),
(174, 1, '2011-01-31 23:44:19', '2011-01-31 23:44:19', '', 'VHS', '', 'inherit', 'closed', 'closed', '', '173-revision', '', '', '2011-01-31 23:44:19', '2011-01-31 23:44:19', '', 173, 'http://jlahijani.homeip.net:3010/betasptodvd.com/173-revision/', 0, 'revision', '', 0),
(175, 1, '2011-01-31 23:44:34', '2011-01-31 23:44:34', 'VHS-C is the compact VHS format introduced in 1982 and used primarily for consumer-grade compact camcorders. The format is based on the same videotape as is used in VHS, and can be played back in a standard VHS VCR with an adapter. Though quite inexpensive, the format is largely obsolete even as a consumer standard and has been replaced in the marketplace by digital video formats, which have smaller form factors.\r\n\r\nThe magnetic tape on VHS-C cassettes is wound on one main spool and used a gear wheel which moves the tape forward. It can also be moved by hand. This development hampered the sales of the Betamax system somewhat, because the Betamax cassette geometry prevented a similar development.\r\n\r\nVHS-C was one of the pioneering formats of the compact camcorder market, and was released to compete with Video8. VHS-C cassette was larger than Video8 cassette, but was compatible with VHS tape recorders. A higher quality version of VHS-C was released, based on S-VHS, known as S-VHS-C, that competed against Hi8, the higher quality version of Video8. The arrival on the market of inexpensive S-VHS-C camcorders led to the inclusion on many modern VCRs of a feature known as SQPB, or SuperVHS Quasi-PlayBack, but did not make a significant impact on the market as the arrival of MiniDV as a consumer standard made low-cost, digital, near-broadcast-quality video widely available to consumers, and rendered analog camcorders largely obsolete.\r\n\r\nCompared with Video8, VHS-C had identical video quality but a shorter run time, 120 versus 40 minutes at SP speed, 240 versus 120 for longer-running modes. Although at one time JVC marketed a 45-minute and a 60-minute SP Mode tape with the Extra High Grade formulation (135 minutes, and 180 minutes in EP/SLP Mode). Hi8 and S-VHS-C both have laserdisc quality pictures, but media is far less readily available than the cameras themselves, and thus most S-VHS-C units support S-VHS ET, which allows recording of an S-VHS signal on high-grade VHS tape.\r\n\r\nAlthough Video8 acquired a digital variant, Digital8, it is extremely unlikely that D-VHS will ever be adapted to a compact format, as the consumer camcorder industry has largely standardized on small-format MiniDV and the new hard drive based recorders. As of 2010, a few VHS-C and S-VHS-C camcorders are still available from JVC at extremely low prices (~US$200), and the media remains widely-available at relatively low cost.', 'VHS-C', '', 'publish', 'closed', 'closed', '', 'vhs-c', '', '', '2011-02-24 23:39:25', '2011-02-24 23:39:25', '', 30, 'http://jlahijani.homeip.net:3010/betasptodvd.com/', 0, 'page', '', 0),
(176, 1, '2011-01-31 23:44:29', '2011-01-31 23:44:29', '', 'VHS-C', '', 'inherit', 'closed', 'closed', '', '175-revision', '', '', '2011-01-31 23:44:29', '2011-01-31 23:44:29', '', 175, 'http://jlahijani.homeip.net:3010/betasptodvd.com/175-revision/', 0, 'revision', '', 0),
(177, 1, '2011-01-31 21:10:31', '2011-01-31 21:10:31', '', 'Tapeless, File & Media', '', 'inherit', 'closed', 'closed', '', '60-revision-5', '', '', '2011-01-31 21:10:31', '2011-01-31 21:10:31', '', 60, 'http://jlahijani.homeip.net:3010/betasptodvd.com/60-revision-5/', 0, 'revision', '', 0);
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(39, 1, '2011-02-02 20:50:58', '2011-02-02 20:50:58', '\n\nBetacam is a professional video format that comes in several flavors:\n\nBetacam\n\nBetacam SP (also known as BetaSP)\n\nDigital Betacam (also known as DigiBeta)\n\nBetaSX\n\nIt can have a large videotape shell or small one and can be recorded in PAL, SECAM, or NTSC. Betacam, even digibeta is a standard definition signal.\n\n
\n
\n
Betacam is a family of half-inch professional videotape products. It was developed by Sony in 1982. In colloquial use, “Betacam” singly is often used to refer to a Betacam camcorder, a Betacam tape, a Betacam video recorder or the format itself.
\n
All Betacam variants from (plain) Betacam to Betacam SP and Digital Betacam, use the same shape cassettes, meaning vaults and other storage facilities do not have to be changed when upgrading to a new format. The cassettes come in two sizes: S and L. Betacam cameras can only load S tapes, while VTRs can play both S and L tapes. The cassette shell and case for each Betacam cassette is colored differently depending on the format, allowing for easy visual identification. There is also a mechanical key that allows a video tape recorder to tell which format has been inserted.
\n
The format supplanted the three-quarter inch U-Matic format, which Sony had introduced in 1971. In addition to improvements in video quality, the Betacam configuration of an integrated camera/recorder led to its rapid adoption by electronic news gathering organizations.
\n
Even though Betacam remains popular in the field and for archiving, new digital products such as the Multi Access Video Disk Recorder are leading to a phasing out of Betacam products in a studio environment.
\n
Betacam / BetacamSP
\n
The original Betacam format was launched in August 7, 1982. It is an analog component video format, storing the luminance, “Y”, in one track and the chrominance, on another as alternating segments of the R-Y and B-Y components performing Compressed Time Division Multiplex, or CTDM.This splitting of channels allows true broadcast quality recording with 300 lines of horizontal luminance resolution and 120 lines chrominance resolution (versus ~30 for Betamax/VHS), on a relatively inexpensive cassette based format.
\n
The original Betacam format records on cassettes loaded with oxide-formulated tape, which are theoretically the same as used by its consumer market-oriented predecessor Betamax, introduced 7 years earlier by Sony in 1975. A blank Betamax-branded tape will work on a Betacam deck, and a Betacam-branded tape can be used to record in a Betamax deck. However, in later years Sony discouraged this practice, suggesting that the internal tape transport of a domestic Betamax cassette was not well suited to the faster tape transport of Betacam. In particular, the guide rollers tend to be noisy.
\n
Although there is a superficial similarity between Betamax and Betacam in that they use the same tape cassette, they are really quite different formats. Betamax records relatively low resolution composite video using a heterodyne color recording system and only two recording heads, while Betacam uses four heads to record in component format, at a much higher linear tape speed, resulting in much higher video and audio quality. A typical L-750 length Betamax cassette that yielded about 3 hours of recording time on a Betamax VCR at its B-II speed, only provided 30 minutes record time on a Betacam VCR or camcorder.
\n
It may also be noted that Matsushita / Panasonic also introduced a professional 1/2″ component videotape format which used VHS style tape cassettes called “M-Format”. However, while Sony’s Betacam system rapidly became an industry standard, M format was a marketing failure. A followup format called M-II — effectively the Panasonic enhancement of M-format as SP was Sony’s enhancement of Betacam —was a great improvement. Though it was used as an internal standard at NBC for a time, it failed to make much headway in the marketplace. While technically M-II was in some ways an improvement over Betacam SP, Betacam SP had the overwhelming advantage of a high degree of compatibility with the existing (and very large) Betacam infrastructure.
\n
Betacam was initially introduced as a camera line along with a video cassette player. The first cameras were the BVP-3, which utilized 3 saticon tubes, and the BVP1, which used a single tri-stripe Trinicon tube. Both these cameras could be operated standalone, or with their docking companion VTR, the BVV-1, (quickly superseded by the BVV-1A) to form the BVW-1 (BVW-1A) integrated camcorder. Tapes could not be played back in camera except in black and white for viewing in the camera’s viewfinder only. Color playback required the studio source deck at first, the BVW-10, which could not record, only play back. It was primarily designed as a feeder deck for A/B roll edit systems, usually for editing to a 1″ Type C or 3/4″ U-matic cassette edit master tape. There was also the BVW-20 field playback deck, which was a portable unit with DC power and a handle, that was used to verify color playback of tapes in the field. Unlike the BVW-10, it did not have a built in Time Base Corrector, or TBC.
\n
With the popular success of the Betacam system as a news acquisition format, the line was soon extended to include the BVW-15 studio player, and the BVW-40 Studio Edit Recorder. The BVW-15 added Dynamic Tracking which enabled clear still frame and jog playback, something the BVW-10 could not deliver. The BVW-40 enabled for the first time editing to a Betacam master, and if setup and wired correctly, true component video editing. It was also possible to do machine to machine editing between a BVW-10/15 and BVW-40 without an edit controller—a single serial cable between the units was all that was required to control the player from the recorder in performing simple assemble and insert editing. Additionally there were two field models introduced, the field recorder BVW-25, and the BVW-21 play only portable field deck.
\n
At its introduction, many insisted that Betacam remained inferior to the bulkier 1″ Type C and B recording, the standard broadcast production format of the late 70s to mid 80s. Additionally, the maximum record time for both the cameras and studio recorders was only half an hour, a severe limitation in television production. There was also the limitation that high quality recording was only possible if the original component signals were available, as they would be in a cp. If they had already been converted to composite video, re-converting them to components for recording and then eventually back to composite for broadcast, caused a severe drop in quality.
\n
A BetacamSP tape used by WSVN.
\n
In 1986, Betacam SP was developed, which increased horizontal resolution to 340 lines. While the quality improvement of the format itself was minor, the improvement to the VTRs was enormous, in quality, features, and particularly, the new larger cassette with 90 minutes of recording time. Beta SP (for “Superior Performance”) became the industry standard for most TV stations and high-end production houses until the late 1990s. Despite the format’s age Beta SP remains a common standard for video post-production. The recording time is the same as for Betacam, 30 and 90 minutes for S and L, respectively. Tape speed is slightly slower in machines working in the 625/50 format, increasing tape duration of one minute for every five minutes of run time. So, a 90 minute tape will record 108 minutes of video in PAL.
\n
BetacamSP is able to achieve its namesake “Superior Performance” over Betacam in the fact that it uses metal-formulated tape, as opposed to Betacam’s oxide tape. Sony designed BetacamSP to be partially forward compatible with standard Betacam, with the capability that BetacamSP tapes recorded on BetacamSP decks can be played in oxide-era Betacam VTRs (such as the BVW-15 and BVW-40 mentioned earlier), but for playback only. BetacamSP-branded tapes cannot be used for recording in consumer Betamax VCRs like oxide Betacam tapes, due to BetacamSP’s metal-formulation tape causing the video heads in a Betamax deck to wear prematurely, which are made of a softer material than the heads in a standard Betacam deck. However, BetacamSP tapes can be used without a problem in ED Beta VCRs, since the ED Beta format uses metal-formulated tape as well.
\n
The new BetacamSP studio decks were the players, the BVW-60 and BVW-65, with Dynamic Tracking and the Edit Recorders, the BVW-70, and the Dynamic Tracking model, the BVW-75. The BVV-5 was the BetacamSP dockable camera back, which could play back in color if its companion playback adapter was used. A new SP field recorder, the BVW-35, possessed the added benefit of a standard RS422 serial control port that enabled it to be used as an edit feeder deck. Though the four new studio decks could utilize the full 90-minute BetacamSP cassettes, the BVW-35 remained limited to the original Beta form factor 30-minute cassette shells. Answering a need for a basic office player, Sony also introduced the BVW-22, a much less expensive desktop model that could be used for viewing and logging 90-minute cassettes, but could not be configured into an edit system.
\n
Sony followed up the SP Field Recorder with the BVW-50, that could record and play the large size 90 minute cassettes. After this, the deck line was relatively stagnant and incredibly popular for a decade, aside from some specialty models that could record digital audio.
\n
Until the introduction of the BVW-200 camera though, the camera and recorder configuration was a docking system. The BVW-200 was an integrated camera recorder system. It sacrificed the flexibility of a docking camera in order to lose a substantial amount of weight. Eventually, non-docking camcorders became the most popular design by the mid-90s.
\n
The final BetacamSP camcorder was the BVW-600, which paired a digital camera front section, very similar to the one on the DigiBeta DVW-700, with an integrated BetacamSP recorder. Like every other Betacam camera system, and unlike the DigiBeta DVW-700, the camera could not play back in color without the use of an outboard adapter.
\n
In 1991, the less-expensive, “Professional,” PV line of BetacamSP decks was introduced. The PV line consisted of only three models: the full-sized PVW-2600 (VTP) and PVW-2800 (VTR) editing decks, and the PVV-3 camera-dockable VTR. These high quality machines were similar to the original BV series machines, but lacked the third and fourth audio channels. In 1993, the far less expensive UVW series debuted. These machines were considerably simpler, somewhat lower quality, and were designed primarily to be used as companions to computer systems, for industrial video, and other low-cost, yet high-quality, uses. The UVW decks possessed very limited front panel controls, no jog and shuttle; and with Time Base Corrector (TBC) control available only with an optional remote TBC controller. These were represented by the UVW-1800, a very popular editing VTR (and companion UVW-1600 edit VTP), and the non-editing UVW-1400 VTR, and UVW-1200 VTP. The UVW-100 (and later 100B) one-piece camcorder rounded out the UVW series.
\n
Betacam and BetacamSP tape cassette shells varied in color depending on the manufacturer. Many companies sold Betacam tapes, sometimes of their own manufacture, sometimes re-branded. Fuji, Maxell, Ampex and 3M were just some of the major brands to do so.
\n
Ampex, Thomson SA and Philips each sold rebranded OEM versions of some of the Sony VTRs and Camcorders at various times in the 1980s and 1990s. Other than nameplates, these models were identical to the Sony models.
\n
Digital Betacam
\n
Digital Betacam L tape
\n
Digital Betacam (commonly referred to as Digibeta, d-beta, dbc or simply Digi) was launched in 1993. It supersedes both Betacam and Betacam SP, while costing significantly less than the D1 format. S tapes are available with up to 40 minutes running time, and L tapes with up to 124 minutes.
\n
The Digital Betacam format records a DCT-compressed component video signal at 10-bit YUV 4:2:2 sampling in NTSC (720×486) or PAL (720×576) resolutions at a bitrate of 90 Mbit/s plus four channels of uncompressed 48 kHz / 20 bit PCM-encoded audio. A fifth analog audio track is available for cueing, and a linear timecode track is also used on the tape. It is a popular digital video cassette format for broadcast use.
\n
Another key element which aided adoption was Sony’s implementation of the SDI coaxial digital connection on Digital Betacam decks. Facilities could begin using digital signals on their existing coaxial wiring without having to commit to an expensive re-installation.
\n
The main competitor to the Digital Betacam is DVCPRO50 format offered by Panasonic. Despite that DVCPRO50 uses 8-bit luma and color sampling and 50 Mbit/s data rate, it rivals Digital Betacam in visual quality.
\n
Betacam SX
\n
Betacam SX S tape
\n
Betacam SX is a digital version of Betacam SP introduced in 1996, positioned as a cheaper alternative to Digital Betacam. It stores video using MPEG 4:2:2 Profile@ML compression, along with four channels of 48 kHz 16 bit PCM audio. All Betacam SX equipment is compatible with Betacam SP tapes. S tapes have a recording time up to 62 minutes, and L tapes up to 194 minutes.
\n
The Betacam SX system was very successful with newsgathering operations which had a legacy of Betacam and Betacam SP tapes. Some Betacam SX decks, such as the DNW-A75 or DNW-A50, can natively play and work from the analog tapes interchangeably, because it contains both analog and digital playback heads.
\n
Betacam SX uses MPEG-2 4:2:2P@ML compression, in comparison with other similar systems that use 4:1:1 or 4:2:0 coding. It gives better chroma resolution and allows certain postproduction processes such as Chroma-key.
\n
This format compresses the video signal from approximately 180Mb/s to only 18Mb/s. This means a compression ratio of around 10:1, which is achieved by the use of mild temporal compression, where alternate frames are stored as MPEG I-frames and B-frames, giving rise to an IBIB sequence on tape.
\n
Together with Betacam SX, Sony introduced a generation of hybrid recorder, allowing use of both tape and disk recording on the same deck, and high speed dubbing from one to another. This was intended to save wear on the video heads for studio applications, as well to speed up online editing.
\n
Betacam SX also features a good shot mark feature, that allows marking of each scene for fast scanning of the tape, looking at recorded marks on each single cassette, and showing the markers to the operator.
\n
The cameras themselves are generally considered by most sound recordists to be quite noisy in operation, possibly because the amount of computer processing power, and subsequent generated heat, leads to cooling fans being used to keep the camera at a reasonable temperature.
\n
Betacam SX tape shells are bright yellow.
\n
Although Betacam SX machines have gone out of production, the format is still used by many newsgathering operations, including CNN, Canada’s CBC and CTV, San Diego’s KFMB-TV and NBC’s operations in the San Francisco Bay Area at KNTV and KSTS. Many news archives still contain SX tapes.
\n
MPEG IMX
\n
MPEG IMX is a 2001 development of the Digital Betacam format. It uses the MPEG compression system, but at a higher bitrate than Betacam SX. The IMX format allows for a CCIR 601 compliant video signal, with eight channels of audio and timecode track. It lacks an analog audio (cue) track as the Digital Betacam, but will read it as channel 7 if used for playback.
\n
Compression is applied in three different formats: 30 (6:1 compression), 40 (4:1 compression) or 50 Mbit/s (3.3:1 compression) which allows different quality/storage efficiency ratios. Video is recorded as MPEG-2 I frames only.
\n
With its new IMX VTRs, Sony introduced some new technologies including SDTI and e-VTR. SDTI allows for audio, video, timecode, and remote control functions to be transported by a single coaxial cable, while e-VTR technology extends this by allowing the same data to be transported over IP by way of an ethernet interface on the VTR itself.
\n
All IMX VTRs can natively playback Betacam SX tapes, and some, such as the MSW-M2000P/1 are capable of playing back Digital Betacam cassettes as well as analog Betacam and Betacam SP cassettes, but they can only record to their native IMX cassettes. S tapes are available with up to 60 minutes capacity, and L tapes hold up to 184 minutes. These values are for 525/60 decks, but will extend in 625/50. A 184 minute tape will record for, as the label itself specifies, 220 minutes.
\n
IMX machines feature the same good shot mark function of the Betacam SX.
\n
MPEG IMX cassettes are a muted green, however, the new XDCAM format allows recording of MPEG IMX on a tapeless format, Professional Disc.
\n
\n
Betacam is a family of half-inch professional videotape products. It was developed by Sony in 1982. In colloquial use, “Betacam” singly is often used to refer to a Betacam camcorder, a Betacam tape, a Betacam video recorder or the format itself.
\nAll Betacam variants from (plain) Betacam to Betacam SP and Digital Betacam, use the same shape cassettes, meaning vaults and other storage facilities do not have to be changed when upgrading to a new format. The cassettes come in two sizes: S and L. Betacam cameras can only load S tapes, while VTRs can play both S and L tapes. The cassette shell and case for each Betacam cassette is colored differently depending on the format, allowing for easy visual identification. There is also a mechanical key that allows a video tape recorder to tell which format has been inserted.
\nThe format supplanted the three-quarter inch U-Matic format, which Sony had introduced in 1971. In addition to improvements in video quality, the Betacam configuration of an integrated camera/recorder led to its rapid adoption by electronic news gathering organizations.
\nEven though Betacam remains popular in the field and for archiving, new digital products such as the Multi Access Video Disk Recorder are leading to a phasing out of Betacam products in a studio environment.
\nBetacam / BetacamSP
\nThe original Betacam format was launched in August 7, 1982. It is an analog component video format, storing the luminance, “Y”, in one track and the chrominance, on another as alternating segments of the R-Y and B-Y components performing Compressed Time Division Multiplex, or CTDM.This splitting of channels allows true broadcast quality recording with 300 lines of horizontal luminance resolution and 120 lines chrominance resolution (versus ~30 for Betamax/VHS), on a relatively inexpensive cassette based format.
\nThe original Betacam format records on cassettes loaded with oxide-formulated tape, which are theoretically the same as used by its consumer market-oriented predecessor Betamax, introduced 7 years earlier by Sony in 1975. A blank Betamax-branded tape will work on a Betacam deck, and a Betacam-branded tape can be used to record in a Betamax deck. However, in later years Sony discouraged this practice, suggesting that the internal tape transport of a domestic Betamax cassette was not well suited to the faster tape transport of Betacam. In particular, the guide rollers tend to be noisy.
\nAlthough there is a superficial similarity between Betamax and Betacam in that they use the same tape cassette, they are really quite different formats. Betamax records relatively low resolution composite video using a heterodyne color recording system and only two recording heads, while Betacam uses four heads to record in component format, at a much higher linear tape speed, resulting in much higher video and audio quality. A typical L-750 length Betamax cassette that yielded about 3 hours of recording time on a Betamax VCR at its B-II speed, only provided 30 minutes record time on a Betacam VCR or camcorder.
\nIt may also be noted that Matsushita / Panasonic also introduced a professional 1/2″ component videotape format which used VHS style tape cassettes called “M-Format”. However, while Sony’s Betacam system rapidly became an industry standard, M format was a marketing failure. A followup format called M-II — effectively the Panasonic enhancement of M-format as SP was Sony’s enhancement of Betacam —was a great improvement. Though it was used as an internal standard at NBC for a time, it failed to make much headway in the marketplace. While technically M-II was in some ways an improvement over Betacam SP, Betacam SP had the overwhelming advantage of a high degree of compatibility with the existing (and very large) Betacam infrastructure.
\nBetacam was initially introduced as a camera line along with a video cassette player. The first cameras were the BVP-3, which utilized 3 saticon tubes, and the BVP1, which used a single tri-stripe Trinicon tube. Both these cameras could be operated standalone, or with their docking companion VTR, the BVV-1, (quickly superseded by the BVV-1A) to form the BVW-1 (BVW-1A) integrated camcorder. Tapes could not be played back in camera except in black and white for viewing in the camera’s viewfinder only. Color playback required the studio source deck at first, the BVW-10, which could not record, only play back. It was primarily designed as a feeder deck for A/B roll edit systems, usually for editing to a 1″ Type C or 3/4″ U-matic cassette edit master tape. There was also the BVW-20 field playback deck, which was a portable unit with DC power and a handle, that was used to verify color playback of tapes in the field. Unlike the BVW-10, it did not have a built in Time Base Corrector, or TBC.
\nWith the popular success of the Betacam system as a news acquisition format, the line was soon extended to include the BVW-15 studio player, and the BVW-40 Studio Edit Recorder. The BVW-15 added Dynamic Tracking which enabled clear still frame and jog playback, something the BVW-10 could not deliver. The BVW-40 enabled for the first time editing to a Betacam master, and if setup and wired correctly, true component video editing. It was also possible to do machine to machine editing between a BVW-10/15 and BVW-40 without an edit controller—a single serial cable between the units was all that was required to control the player from the recorder in performing simple assemble and insert editing. Additionally there were two field models introduced, the field recorder BVW-25, and the BVW-21 play only portable field deck.
\nAt its introduction, many insisted that Betacam remained inferior to the bulkier 1″ Type C and B recording, the standard broadcast production format of the late 70s to mid 80s. Additionally, the maximum record time for both the cameras and studio recorders was only half an hour, a severe limitation in television production. There was also the limitation that high quality recording was only possible if the original component signals were available, as they would be in a cp. If they had already been converted to composite video, re-converting them to components for recording and then eventually back to composite for broadcast, caused a severe drop in quality.
\nA BetacamSP tape used by WSVN.
\nIn 1986, Betacam SP was developed, which increased horizontal resolution to 340 lines. While the quality improvement of the format itself was minor, the improvement to the VTRs was enormous, in quality, features, and particularly, the new larger cassette with 90 minutes of recording time. Beta SP (for “Superior Performance”) became the industry standard for most TV stations and high-end production houses until the late 1990s. Despite the format’s age Beta SP remains a common standard for video post-production. The recording time is the same as for Betacam, 30 and 90 minutes for S and L, respectively. Tape speed is slightly slower in machines working in the 625/50 format, increasing tape duration of one minute for every five minutes of run time. So, a 90 minute tape will record 108 minutes of video in PAL.
\nBetacamSP is able to achieve its namesake “Superior Performance” over Betacam in the fact that it uses metal-formulated tape, as opposed to Betacam’s oxide tape. Sony designed BetacamSP to be partially forward compatible with standard Betacam, with the capability that BetacamSP tapes recorded on BetacamSP decks can be played in oxide-era Betacam VTRs (such as the BVW-15 and BVW-40 mentioned earlier), but for playback only. BetacamSP-branded tapes cannot be used for recording in consumer Betamax VCRs like oxide Betacam tapes, due to BetacamSP’s metal-formulation tape causing the video heads in a Betamax deck to wear prematurely, which are made of a softer material than the heads in a standard Betacam deck. However, BetacamSP tapes can be used without a problem in ED Beta VCRs, since the ED Beta format uses metal-formulated tape as well.
\nThe new BetacamSP studio decks were the players, the BVW-60 and BVW-65, with Dynamic Tracking and the Edit Recorders, the BVW-70, and the Dynamic Tracking model, the BVW-75. The BVV-5 was the BetacamSP dockable camera back, which could play back in color if its companion playback adapter was used. A new SP field recorder, the BVW-35, possessed the added benefit of a standard RS422 serial control port that enabled it to be used as an edit feeder deck. Though the four new studio decks could utilize the full 90-minute BetacamSP cassettes, the BVW-35 remained limited to the original Beta form factor 30-minute cassette shells. Answering a need for a basic office player, Sony also introduced the BVW-22, a much less expensive desktop model that could be used for viewing and logging 90-minute cassettes, but could not be configured into an edit system.
\nSony followed up the SP Field Recorder with the BVW-50, that could record and play the large size 90 minute cassettes. After this, the deck line was relatively stagnant and incredibly popular for a decade, aside from some specialty models that could record digital audio.
\nUntil the introduction of the BVW-200 camera though, the camera and recorder configuration was a docking system. The BVW-200 was an integrated camera recorder system. It sacrificed the flexibility of a docking camera in order to lose a substantial amount of weight. Eventually, non-docking camcorders became the most popular design by the mid-90s.
\nThe final BetacamSP camcorder was the BVW-600, which paired a digital camera front section, very similar to the one on the DigiBeta DVW-700, with an integrated BetacamSP recorder. Like every other Betacam camera system, and unlike the DigiBeta DVW-700, the camera could not play back in color without the use of an outboard adapter.
\nIn 1991, the less-expensive, “Professional,” PV line of BetacamSP decks was introduced. The PV line consisted of only three models: the full-sized PVW-2600 (VTP) and PVW-2800 (VTR) editing decks, and the PVV-3 camera-dockable VTR. These high quality machines were similar to the original BV series machines, but lacked the third and fourth audio channels. In 1993, the far less expensive UVW series debuted. These machines were considerably simpler, somewhat lower quality, and were designed primarily to be used as companions to computer systems, for industrial video, and other low-cost, yet high-quality, uses. The UVW decks possessed very limited front panel controls, no jog and shuttle; and with Time Base Corrector (TBC) control available only with an optional remote TBC controller. These were represented by the UVW-1800, a very popular editing VTR (and companion UVW-1600 edit VTP), and the non-editing UVW-1400 VTR, and UVW-1200 VTP. The UVW-100 (and later 100B) one-piece camcorder rounded out the UVW series.
\nBetacam and BetacamSP tape cassette shells varied in color depending on the manufacturer. Many companies sold Betacam tapes, sometimes of their own manufacture, sometimes re-branded. Fuji, Maxell, Ampex and 3M were just some of the major brands to do so.
\nAmpex, Thomson SA and Philips each sold rebranded OEM versions of some of the Sony VTRs and Camcorders at various times in the 1980s and 1990s. Other than nameplates, these models were identical to the Sony models.
\nDigital Betacam
\nDigital Betacam L tape
\nDigital Betacam (commonly referred to as Digibeta, d-beta, dbc or simply Digi) was launched in 1993. It supersedes both Betacam and Betacam SP, while costing significantly less than the D1 format. S tapes are available with up to 40 minutes running time, and L tapes with up to 124 minutes.
\nThe Digital Betacam format records a DCT-compressed component video signal at 10-bit YUV 4:2:2 sampling in NTSC (720×486) or PAL (720×576) resolutions at a bitrate of 90 Mbit/s plus four channels of uncompressed 48 kHz / 20 bit PCM-encoded audio. A fifth analog audio track is available for cueing, and a linear timecode track is also used on the tape. It is a popular digital video cassette format for broadcast use.
\nAnother key element which aided adoption was Sony’s implementation of the SDI coaxial digital connection on Digital Betacam decks. Facilities could begin using digital signals on their existing coaxial wiring without having to commit to an expensive re-installation.
\nThe main competitor to the Digital Betacam is DVCPRO50 format offered by Panasonic. Despite that DVCPRO50 uses 8-bit luma and color sampling and 50 Mbit/s data rate, it rivals Digital Betacam in visual quality.
\nBetacam SX
\nBetacam SX S tape
\nBetacam SX is a digital version of Betacam SP introduced in 1996, positioned as a cheaper alternative to Digital Betacam. It stores video using MPEG 4:2:2 Profile@ML compression, along with four channels of 48 kHz 16 bit PCM audio. All Betacam SX equipment is compatible with Betacam SP tapes. S tapes have a recording time up to 62 minutes, and L tapes up to 194 minutes.
\nThe Betacam SX system was very successful with newsgathering operations which had a legacy of Betacam and Betacam SP tapes. Some Betacam SX decks, such as the DNW-A75 or DNW-A50, can natively play and work from the analog tapes interchangeably, because it contains both analog and digital playback heads.
\nBetacam SX uses MPEG-2 4:2:2P@ML compression, in comparison with other similar systems that use 4:1:1 or 4:2:0 coding. It gives better chroma resolution and allows certain postproduction processes such as Chroma-key.
\nThis format compresses the video signal from approximately 180Mb/s to only 18Mb/s. This means a compression ratio of around 10:1, which is achieved by the use of mild temporal compression, where alternate frames are stored as MPEG I-frames and B-frames, giving rise to an IBIB sequence on tape.
\nTogether with Betacam SX, Sony introduced a generation of hybrid recorder, allowing use of both tape and disk recording on the same deck, and high speed dubbing from one to another. This was intended to save wear on the video heads for studio applications, as well to speed up online editing.
\nBetacam SX also features a good shot mark feature, that allows marking of each scene for fast scanning of the tape, looking at recorded marks on each single cassette, and showing the markers to the operator.
\nThe cameras themselves are generally considered by most sound recordists to be quite noisy in operation, possibly because the amount of computer processing power, and subsequent generated heat, leads to cooling fans being used to keep the camera at a reasonable temperature.
\nBetacam SX tape shells are bright yellow.
\nAlthough Betacam SX machines have gone out of production, the format is still used by many newsgathering operations, including CNN, Canada’s CBC and CTV, San Diego’s KFMB-TV and NBC’s operations in the San Francisco Bay Area at KNTV and KSTS. Many news archives still contain SX tapes.
\nMPEG IMX
\nMPEG IMX is a 2001 development of the Digital Betacam format. It uses the MPEG compression system, but at a higher bitrate than Betacam SX. The IMX format allows for a CCIR 601 compliant video signal, with eight channels of audio and timecode track. It lacks an analog audio (cue) track as the Digital Betacam, but will read it as channel 7 if used for playback.
\nCompression is applied in three different formats: 30 (6:1 compression), 40 (4:1 compression) or 50 Mbit/s (3.3:1 compression) which allows different quality/storage efficiency ratios. Video is recorded as MPEG-2 I frames only.
\nWith its new IMX VTRs, Sony introduced some new technologies including SDTI and e-VTR. SDTI allows for audio, video, timecode, and remote control functions to be transported by a single coaxial cable, while e-VTR technology extends this by allowing the same data to be transported over IP by way of an ethernet interface on the VTR itself.
\nAll IMX VTRs can natively playback Betacam SX tapes, and some, such as the MSW-M2000P/1 are capable of playing back Digital Betacam cassettes as well as analog Betacam and Betacam SP cassettes, but they can only record to their native IMX cassettes. S tapes are available with up to 60 minutes capacity, and L tapes hold up to 184 minutes. These values are for 525/60 decks, but will extend in 625/50. A 184 minute tape will record for, as the label itself specifies, 220 minutes.
\nIMX machines feature the same good shot mark function of the Betacam SX.
\nMPEG IMX cassettes are a muted green, however, the new XDCAM format allows recording of MPEG IMX on a tapeless format, Professional Disc.
\nBetacam is a family of half-inch professional videotape products. It was developed by Sony in 1982. In colloquial use, “Betacam” singly is often used to refer to a Betacam camcorder, a Betacam tape, a Betacam video recorder or the format itself.All Betacam variants from (plain) Betacam to Betacam SP and Digital Betacam, use the same shape cassettes, meaning vaults and other storage facilities do not have to be changed when upgrading to a new format. The cassettes come in two sizes: S and L. Betacam cameras can only load S tapes, while VTRs can play both S and L tapes. The cassette shell and case for each Betacam cassette is colored differently depending on the format, allowing for easy visual identification. There is also a mechanical key that allows a video tape recorder to tell which format has been inserted.The format supplanted the three-quarter inch U-Matic format, which Sony had introduced in 1971. In addition to improvements in video quality, the Betacam configuration of an integrated camera/recorder led to its rapid adoption by electronic news gathering organizations.Even though Betacam remains popular in the field and for archiving, new digital products such as the Multi Access Video Disk Recorder are leading to a phasing out of Betacam products in a studio environment.Betacam / BetacamSPThe original Betacam format was launched in August 7, 1982. It is an analog component video format, storing the luminance, “Y”, in one track and the chrominance, on another as alternating segments of the R-Y and B-Y components performing Compressed Time Division Multiplex, or CTDM.This splitting of channels allows true broadcast quality recording with 300 lines of horizontal luminance resolution and 120 lines chrominance resolution (versus ~30 for Betamax/VHS), on a relatively inexpensive cassette based format.The original Betacam format records on cassettes loaded with oxide-formulated tape, which are theoretically the same as used by its consumer market-oriented predecessor Betamax, introduced 7 years earlier by Sony in 1975. A blank Betamax-branded tape will work on a Betacam deck, and a Betacam-branded tape can be used to record in a Betamax deck. However, in later years Sony discouraged this practice, suggesting that the internal tape transport of a domestic Betamax cassette was not well suited to the faster tape transport of Betacam. In particular, the guide rollers tend to be noisy.Although there is a superficial similarity between Betamax and Betacam in that they use the same tape cassette, they are really quite different formats. Betamax records relatively low resolution composite video using a heterodyne color recording system and only two recording heads, while Betacam uses four heads to record in component format, at a much higher linear tape speed, resulting in much higher video and audio quality. A typical L-750 length Betamax cassette that yielded about 3 hours of recording time on a Betamax VCR at its B-II speed, only provided 30 minutes record time on a Betacam VCR or camcorder.It may also be noted that Matsushita / Panasonic also introduced a professional 1/2″ component videotape format which used VHS style tape cassettes called “M-Format”. However, while Sony’s Betacam system rapidly became an industry standard, M format was a marketing failure. A followup format called M-II — effectively the Panasonic enhancement of M-format as SP was Sony’s enhancement of Betacam —was a great improvement. Though it was used as an internal standard at NBC for a time, it failed to make much headway in the marketplace. While technically M-II was in some ways an improvement over Betacam SP, Betacam SP had the overwhelming advantage of a high degree of compatibility with the existing (and very large) Betacam infrastructure.Betacam was initially introduced as a camera line along with a video cassette player. The first cameras were the BVP-3, which utilized 3 saticon tubes, and the BVP1, which used a single tri-stripe Trinicon tube. Both these cameras could be operated standalone, or with their docking companion VTR, the BVV-1, (quickly superseded by the BVV-1A) to form the BVW-1 (BVW-1A) integrated camcorder. Tapes could not be played back in camera except in black and white for viewing in the camera’s viewfinder only. Color playback required the studio source deck at first, the BVW-10, which could not record, only play back. It was primarily designed as a feeder deck for A/B roll edit systems, usually for editing to a 1″ Type C or 3/4″ U-matic cassette edit master tape. There was also the BVW-20 field playback deck, which was a portable unit with DC power and a handle, that was used to verify color playback of tapes in the field. Unlike the BVW-10, it did not have a built in Time Base Corrector, or TBC.With the popular success of the Betacam system as a news acquisition format, the line was soon extended to include the BVW-15 studio player, and the BVW-40 Studio Edit Recorder. The BVW-15 added Dynamic Tracking which enabled clear still frame and jog playback, something the BVW-10 could not deliver. The BVW-40 enabled for the first time editing to a Betacam master, and if setup and wired correctly, true component video editing. It was also possible to do machine to machine editing between a BVW-10/15 and BVW-40 without an edit controller—a single serial cable between the units was all that was required to control the player from the recorder in performing simple assemble and insert editing. Additionally there were two field models introduced, the field recorder BVW-25, and the BVW-21 play only portable field deck.At its introduction, many insisted that Betacam remained inferior to the bulkier 1″ Type C and B recording, the standard broadcast production format of the late 70s to mid 80s. Additionally, the maximum record time for both the cameras and studio recorders was only half an hour, a severe limitation in television production. There was also the limitation that high quality recording was only possible if the original component signals were available, as they would be in a cp. If they had already been converted to composite video, re-converting them to components for recording and then eventually back to composite for broadcast, caused a severe drop in quality.A BetacamSP tape used by WSVN.In 1986, Betacam SP was developed, which increased horizontal resolution to 340 lines. While the quality improvement of the format itself was minor, the improvement to the VTRs was enormous, in quality, features, and particularly, the new larger cassette with 90 minutes of recording time. Beta SP (for “Superior Performance”) became the industry standard for most TV stations and high-end production houses until the late 1990s. Despite the format’s age Beta SP remains a common standard for video post-production. The recording time is the same as for Betacam, 30 and 90 minutes for S and L, respectively. Tape speed is slightly slower in machines working in the 625/50 format, increasing tape duration of one minute for every five minutes of run time. So, a 90 minute tape will record 108 minutes of video in PAL.BetacamSP is able to achieve its namesake “Superior Performance” over Betacam in the fact that it uses metal-formulated tape, as opposed to Betacam’s oxide tape. Sony designed BetacamSP to be partially forward compatible with standard Betacam, with the capability that BetacamSP tapes recorded on BetacamSP decks can be played in oxide-era Betacam VTRs (such as the BVW-15 and BVW-40 mentioned earlier), but for playback only. BetacamSP-branded tapes cannot be used for recording in consumer Betamax VCRs like oxide Betacam tapes, due to BetacamSP’s metal-formulation tape causing the video heads in a Betamax deck to wear prematurely, which are made of a softer material than the heads in a standard Betacam deck. However, BetacamSP tapes can be used without a problem in ED Beta VCRs, since the ED Beta format uses metal-formulated tape as well.The new BetacamSP studio decks were the players, the BVW-60 and BVW-65, with Dynamic Tracking and the Edit Recorders, the BVW-70, and the Dynamic Tracking model, the BVW-75. The BVV-5 was the BetacamSP dockable camera back, which could play back in color if its companion playback adapter was used. A new SP field recorder, the BVW-35, possessed the added benefit of a standard RS422 serial control port that enabled it to be used as an edit feeder deck. Though the four new studio decks could utilize the full 90-minute BetacamSP cassettes, the BVW-35 remained limited to the original Beta form factor 30-minute cassette shells. Answering a need for a basic office player, Sony also introduced the BVW-22, a much less expensive desktop model that could be used for viewing and logging 90-minute cassettes, but could not be configured into an edit system.Sony followed up the SP Field Recorder with the BVW-50, that could record and play the large size 90 minute cassettes. After this, the deck line was relatively stagnant and incredibly popular for a decade, aside from some specialty models that could record digital audio.Until the introduction of the BVW-200 camera though, the camera and recorder configuration was a docking system. The BVW-200 was an integrated camera recorder system. It sacrificed the flexibility of a docking camera in order to lose a substantial amount of weight. Eventually, non-docking camcorders became the most popular design by the mid-90s.The final BetacamSP camcorder was the BVW-600, which paired a digital camera front section, very similar to the one on the DigiBeta DVW-700, with an integrated BetacamSP recorder. Like every other Betacam camera system, and unlike the DigiBeta DVW-700, the camera could not play back in color without the use of an outboard adapter.In 1991, the less-expensive, “Professional,” PV line of BetacamSP decks was introduced. The PV line consisted of only three models: the full-sized PVW-2600 (VTP) and PVW-2800 (VTR) editing decks, and the PVV-3 camera-dockable VTR. These high quality machines were similar to the original BV series machines, but lacked the third and fourth audio channels. In 1993, the far less expensive UVW series debuted. These machines were considerably simpler, somewhat lower quality, and were designed primarily to be used as companions to computer systems, for industrial video, and other low-cost, yet high-quality, uses. The UVW decks possessed very limited front panel controls, no jog and shuttle; and with Time Base Corrector (TBC) control available only with an optional remote TBC controller. These were represented by the UVW-1800, a very popular editing VTR (and companion UVW-1600 edit VTP), and the non-editing UVW-1400 VTR, and UVW-1200 VTP. The UVW-100 (and later 100B) one-piece camcorder rounded out the UVW series.Betacam and BetacamSP tape cassette shells varied in color depending on the manufacturer. Many companies sold Betacam tapes, sometimes of their own manufacture, sometimes re-branded. Fuji, Maxell, Ampex and 3M were just some of the major brands to do so.Ampex, Thomson SA and Philips each sold rebranded OEM versions of some of the Sony VTRs and Camcorders at various times in the 1980s and 1990s. Other than nameplates, these models were identical to the Sony models.Digital BetacamDigital Betacam L tapeDigital Betacam (commonly referred to as Digibeta, d-beta, dbc or simply Digi) was launched in 1993. It supersedes both Betacam and Betacam SP, while costing significantly less than the D1 format. S tapes are available with up to 40 minutes running time, and L tapes with up to 124 minutes.The Digital Betacam format records a DCT-compressed component video signal at 10-bit YUV 4:2:2 sampling in NTSC (720×486) or PAL (720×576) resolutions at a bitrate of 90 Mbit/s plus four channels of uncompressed 48 kHz / 20 bit PCM-encoded audio. A fifth analog audio track is available for cueing, and a linear timecode track is also used on the tape. It is a popular digital video cassette format for broadcast use.Another key element which aided adoption was Sony’s implementation of the SDI coaxial digital connection on Digital Betacam decks. Facilities could begin using digital signals on their existing coaxial wiring without having to commit to an expensive re-installation.The main competitor to the Digital Betacam is DVCPRO50 format offered by Panasonic. Despite that DVCPRO50 uses 8-bit luma and color sampling and 50 Mbit/s data rate, it rivals Digital Betacam in visual quality.Betacam SXBetacam SX S tapeBetacam SX is a digital version of Betacam SP introduced in 1996, positioned as a cheaper alternative to Digital Betacam. It stores video using MPEG 4:2:2 Profile@ML compression, along with four channels of 48 kHz 16 bit PCM audio. All Betacam SX equipment is compatible with Betacam SP tapes. S tapes have a recording time up to 62 minutes, and L tapes up to 194 minutes.The Betacam SX system was very successful with newsgathering operations which had a legacy of Betacam and Betacam SP tapes. Some Betacam SX decks, such as the DNW-A75 or DNW-A50, can natively play and work from the analog tapes interchangeably, because it contains both analog and digital playback heads.Betacam SX uses MPEG-2 4:2:2P@ML compression, in comparison with other similar systems that use 4:1:1 or 4:2:0 coding. It gives better chroma resolution and allows certain postproduction processes such as Chroma-key.This format compresses the video signal from approximately 180Mb/s to only 18Mb/s. This means a compression ratio of around 10:1, which is achieved by the use of mild temporal compression, where alternate frames are stored as MPEG I-frames and B-frames, giving rise to an IBIB sequence on tape.Together with Betacam SX, Sony introduced a generation of hybrid recorder, allowing use of both tape and disk recording on the same deck, and high speed dubbing from one to another. This was intended to save wear on the video heads for studio applications, as well to speed up online editing.Betacam SX also features a good shot mark feature, that allows marking of each scene for fast scanning of the tape, looking at recorded marks on each single cassette, and showing the markers to the operator.The cameras themselves are generally considered by most sound recordists to be quite noisy in operation, possibly because the amount of computer processing power, and subsequent generated heat, leads to cooling fans being used to keep the camera at a reasonable temperature.Betacam SX tape shells are bright yellow.Although Betacam SX machines have gone out of production, the format is still used by many newsgathering operations, including CNN, Canada’s CBC and CTV, San Diego’s KFMB-TV and NBC’s operations in the San Francisco Bay Area at KNTV and KSTS. Many news archives still contain SX tapes.MPEG IMXMPEG IMX is a 2001 development of the Digital Betacam format. It uses the MPEG compression system, but at a higher bitrate than Betacam SX. The IMX format allows for a CCIR 601 compliant video signal, with eight channels of audio and timecode track. It lacks an analog audio (cue) track as the Digital Betacam, but will read it as channel 7 if used for playback.Compression is applied in three different formats: 30 (6:1 compression), 40 (4:1 compression) or 50 Mbit/s (3.3:1 compression) which allows different quality/storage efficiency ratios. Video is recorded as MPEG-2 I frames only.With its new IMX VTRs, Sony introduced some new technologies including SDTI and e-VTR. SDTI allows for audio, video, timecode, and remote control functions to be transported by a single coaxial cable, while e-VTR technology extends this by allowing the same data to be transported over IP by way of an ethernet interface on the VTR itself.All IMX VTRs can natively playback Betacam SX tapes, and some, such as the MSW-M2000P/1 are capable of playing back Digital Betacam cassettes as well as analog Betacam and Betacam SP cassettes, but they can only record to their native IMX cassettes. S tapes are available with up to 60 minutes capacity, and L tapes hold up to 184 minutes. These values are for 525/60 decks, but will extend in 625/50. A 184 minute tape will record for, as the label itself specifies, 220 minutes.IMX machines feature the same good shot mark function of the Betacam SX.MPEG IMX cassettes are a muted green, however, the new XDCAM format allows recording of MPEG IMX on a tapeless format, Professional Disc.', 'Betacam', '', 'inherit', 'closed', 'closed', '', '37-autosave', '', '', '2011-02-02 20:50:58', '2011-02-02 20:50:58', '', 37, 'http://jlahijani.homeip.net:3010/betasptodvd.com/37-autosave/', 0, 'revision', '', 0);
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(40, 1, '2011-01-08 08:06:08', '2011-01-08 08:06:08', '\r\n\r\nBetacam is a professional video format that comes in several flavors:\r\n
\r\n - Betacam
\r\n - Betacam SP (also known as BetaSP)
\r\n - Digital Betacam (also known as DigiBeta)
\r\n - BetaSX
\r\n
\r\nIt can have a large videotape shell or small one and can be recorded in PAL, SECAM, or NTSC. Betacam, even digibeta is a standard definition signal.\r\n\r\n
\r\n
\r\n
Betacam is a family of half-inch professional videotape products. It was developed by Sony in 1982. In colloquial use, “Betacam” singly is often used to refer to a Betacam camcorder, a Betacam tape, a Betacam video recorder or the format itself.
\r\n
All Betacam variants from (plain) Betacam to Betacam SP and Digital Betacam, use the same shape cassettes, meaning vaults and other storage facilities do not have to be changed when upgrading to a new format. The cassettes come in two sizes: S and L. Betacam cameras can only load S tapes, while VTRs can play both S and L tapes. The cassette shell and case for each Betacam cassette is colored differently depending on the format, allowing for easy visual identification. There is also a mechanical key that allows a video tape recorder to tell which format has been inserted.
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The format supplanted the three-quarter inch U-Matic format, which Sony had introduced in 1971. In addition to improvements in video quality, the Betacam configuration of an integrated camera/recorder led to its rapid adoption by electronic news gathering organizations.
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Even though Betacam remains popular in the field and for archiving, new digital products such as the Multi Access Video Disk Recorder are leading to a phasing out of Betacam products in a studio environment.
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Betacam / BetacamSP
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The original Betacam format was launched in August 7, 1982. It is an analog component video format, storing the luminance, “Y”, in one track and the chrominance, on another as alternating segments of the R-Y and B-Y components performing Compressed Time Division Multiplex, or CTDM.This splitting of channels allows true broadcast quality recording with 300 lines of horizontal luminance resolution and 120 lines chrominance resolution (versus ~30 for Betamax/VHS), on a relatively inexpensive cassette based format.
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The original Betacam format records on cassettes loaded with oxide-formulated tape, which are theoretically the same as used by its consumer market-oriented predecessor Betamax, introduced 7 years earlier by Sony in 1975. A blank Betamax-branded tape will work on a Betacam deck, and a Betacam-branded tape can be used to record in a Betamax deck. However, in later years Sony discouraged this practice, suggesting that the internal tape transport of a domestic Betamax cassette was not well suited to the faster tape transport of Betacam. In particular, the guide rollers tend to be noisy.
\r\n
Although there is a superficial similarity between Betamax and Betacam in that they use the same tape cassette, they are really quite different formats. Betamax records relatively low resolution composite video using a heterodyne color recording system and only two recording heads, while Betacam uses four heads to record in component format, at a much higher linear tape speed, resulting in much higher video and audio quality. A typical L-750 length Betamax cassette that yielded about 3 hours of recording time on a Betamax VCR at its B-II speed, only provided 30 minutes record time on a Betacam VCR or camcorder.
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It may also be noted that Matsushita / Panasonic also introduced a professional 1/2″ component videotape format which used VHS style tape cassettes called “M-Format”. However, while Sony’s Betacam system rapidly became an industry standard, M format was a marketing failure. A followup format called M-II — effectively the Panasonic enhancement of M-format as SP was Sony’s enhancement of Betacam —was a great improvement. Though it was used as an internal standard at NBC for a time, it failed to make much headway in the marketplace. While technically M-II was in some ways an improvement over Betacam SP, Betacam SP had the overwhelming advantage of a high degree of compatibility with the existing (and very large) Betacam infrastructure.
\r\n
Betacam was initially introduced as a camera line along with a video cassette player. The first cameras were the BVP-3, which utilized 3 saticon tubes, and the BVP1, which used a single tri-stripe Trinicon tube. Both these cameras could be operated standalone, or with their docking companion VTR, the BVV-1, (quickly superseded by the BVV-1A) to form the BVW-1 (BVW-1A) integrated camcorder. Tapes could not be played back in camera except in black and white for viewing in the camera’s viewfinder only. Color playback required the studio source deck at first, the BVW-10, which could not record, only play back. It was primarily designed as a feeder deck for A/B roll edit systems, usually for editing to a 1″ Type C or 3/4″ U-matic cassette edit master tape. There was also the BVW-20 field playback deck, which was a portable unit with DC power and a handle, that was used to verify color playback of tapes in the field. Unlike the BVW-10, it did not have a built in Time Base Corrector, or TBC.
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With the popular success of the Betacam system as a news acquisition format, the line was soon extended to include the BVW-15 studio player, and the BVW-40 Studio Edit Recorder. The BVW-15 added Dynamic Tracking which enabled clear still frame and jog playback, something the BVW-10 could not deliver. The BVW-40 enabled for the first time editing to a Betacam master, and if setup and wired correctly, true component video editing. It was also possible to do machine to machine editing between a BVW-10/15 and BVW-40 without an edit controller—a single serial cable between the units was all that was required to control the player from the recorder in performing simple assemble and insert editing. Additionally there were two field models introduced, the field recorder BVW-25, and the BVW-21 play only portable field deck.
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At its introduction, many insisted that Betacam remained inferior to the bulkier 1″ Type C and B recording, the standard broadcast production format of the late 70s to mid 80s. Additionally, the maximum record time for both the cameras and studio recorders was only half an hour, a severe limitation in television production. There was also the limitation that high quality recording was only possible if the original component signals were available, as they would be in a cp. If they had already been converted to composite video, re-converting them to components for recording and then eventually back to composite for broadcast, caused a severe drop in quality.
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A BetacamSP tape used by WSVN.
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In 1986, Betacam SP was developed, which increased horizontal resolution to 340 lines. While the quality improvement of the format itself was minor, the improvement to the VTRs was enormous, in quality, features, and particularly, the new larger cassette with 90 minutes of recording time. Beta SP (for “Superior Performance”) became the industry standard for most TV stations and high-end production houses until the late 1990s. Despite the format’s age Beta SP remains a common standard for video post-production. The recording time is the same as for Betacam, 30 and 90 minutes for S and L, respectively. Tape speed is slightly slower in machines working in the 625/50 format, increasing tape duration of one minute for every five minutes of run time. So, a 90 minute tape will record 108 minutes of video in PAL.
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BetacamSP is able to achieve its namesake “Superior Performance” over Betacam in the fact that it uses metal-formulated tape, as opposed to Betacam’s oxide tape. Sony designed BetacamSP to be partially forward compatible with standard Betacam, with the capability that BetacamSP tapes recorded on BetacamSP decks can be played in oxide-era Betacam VTRs (such as the BVW-15 and BVW-40 mentioned earlier), but for playback only. BetacamSP-branded tapes cannot be used for recording in consumer Betamax VCRs like oxide Betacam tapes, due to BetacamSP’s metal-formulation tape causing the video heads in a Betamax deck to wear prematurely, which are made of a softer material than the heads in a standard Betacam deck. However, BetacamSP tapes can be used without a problem in ED Beta VCRs, since the ED Beta format uses metal-formulated tape as well.
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The new BetacamSP studio decks were the players, the BVW-60 and BVW-65, with Dynamic Tracking and the Edit Recorders, the BVW-70, and the Dynamic Tracking model, the BVW-75. The BVV-5 was the BetacamSP dockable camera back, which could play back in color if its companion playback adapter was used. A new SP field recorder, the BVW-35, possessed the added benefit of a standard RS422 serial control port that enabled it to be used as an edit feeder deck. Though the four new studio decks could utilize the full 90-minute BetacamSP cassettes, the BVW-35 remained limited to the original Beta form factor 30-minute cassette shells. Answering a need for a basic office player, Sony also introduced the BVW-22, a much less expensive desktop model that could be used for viewing and logging 90-minute cassettes, but could not be configured into an edit system.
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Sony followed up the SP Field Recorder with the BVW-50, that could record and play the large size 90 minute cassettes. After this, the deck line was relatively stagnant and incredibly popular for a decade, aside from some specialty models that could record digital audio.
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Until the introduction of the BVW-200 camera though, the camera and recorder configuration was a docking system. The BVW-200 was an integrated camera recorder system. It sacrificed the flexibility of a docking camera in order to lose a substantial amount of weight. Eventually, non-docking camcorders became the most popular design by the mid-90s.
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The final BetacamSP camcorder was the BVW-600, which paired a digital camera front section, very similar to the one on the DigiBeta DVW-700, with an integrated BetacamSP recorder. Like every other Betacam camera system, and unlike the DigiBeta DVW-700, the camera could not play back in color without the use of an outboard adapter.
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In 1991, the less-expensive, “Professional,” PV line of BetacamSP decks was introduced. The PV line consisted of only three models: the full-sized PVW-2600 (VTP) and PVW-2800 (VTR) editing decks, and the PVV-3 camera-dockable VTR. These high quality machines were similar to the original BV series machines, but lacked the third and fourth audio channels. In 1993, the far less expensive UVW series debuted. These machines were considerably simpler, somewhat lower quality, and were designed primarily to be used as companions to computer systems, for industrial video, and other low-cost, yet high-quality, uses. The UVW decks possessed very limited front panel controls, no jog and shuttle; and with Time Base Corrector (TBC) control available only with an optional remote TBC controller. These were represented by the UVW-1800, a very popular editing VTR (and companion UVW-1600 edit VTP), and the non-editing UVW-1400 VTR, and UVW-1200 VTP. The UVW-100 (and later 100B) one-piece camcorder rounded out the UVW series.
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Betacam and BetacamSP tape cassette shells varied in color depending on the manufacturer. Many companies sold Betacam tapes, sometimes of their own manufacture, sometimes re-branded. Fuji, Maxell, Ampex and 3M were just some of the major brands to do so.
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Ampex, Thomson SA and Philips each sold rebranded OEM versions of some of the Sony VTRs and Camcorders at various times in the 1980s and 1990s. Other than nameplates, these models were identical to the Sony models.
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Digital Betacam
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Digital Betacam L tape
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Digital Betacam (commonly referred to as Digibeta, d-beta, dbc or simply Digi) was launched in 1993. It supersedes both Betacam and Betacam SP, while costing significantly less than the D1 format. S tapes are available with up to 40 minutes running time, and L tapes with up to 124 minutes.
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The Digital Betacam format records a DCT-compressed component video signal at 10-bit YUV 4:2:2 sampling in NTSC (720×486) or PAL (720×576) resolutions at a bitrate of 90 Mbit/s plus four channels of uncompressed 48 kHz / 20 bit PCM-encoded audio. A fifth analog audio track is available for cueing, and a linear timecode track is also used on the tape. It is a popular digital video cassette format for broadcast use.
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Another key element which aided adoption was Sony’s implementation of the SDI coaxial digital connection on Digital Betacam decks. Facilities could begin using digital signals on their existing coaxial wiring without having to commit to an expensive re-installation.
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The main competitor to the Digital Betacam is DVCPRO50 format offered by Panasonic. Despite that DVCPRO50 uses 8-bit luma and color sampling and 50 Mbit/s data rate, it rivals Digital Betacam in visual quality.
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Betacam SX
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Betacam SX S tape
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Betacam SX is a digital version of Betacam SP introduced in 1996, positioned as a cheaper alternative to Digital Betacam. It stores video using MPEG 4:2:2 Profile@ML compression, along with four channels of 48 kHz 16 bit PCM audio. All Betacam SX equipment is compatible with Betacam SP tapes. S tapes have a recording time up to 62 minutes, and L tapes up to 194 minutes.
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The Betacam SX system was very successful with newsgathering operations which had a legacy of Betacam and Betacam SP tapes. Some Betacam SX decks, such as the DNW-A75 or DNW-A50, can natively play and work from the analog tapes interchangeably, because it contains both analog and digital playback heads.
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Betacam SX uses MPEG-2 4:2:2P@ML compression, in comparison with other similar systems that use 4:1:1 or 4:2:0 coding. It gives better chroma resolution and allows certain postproduction processes such as Chroma-key.
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This format compresses the video signal from approximately 180Mb/s to only 18Mb/s. This means a compression ratio of around 10:1, which is achieved by the use of mild temporal compression, where alternate frames are stored as MPEG I-frames and B-frames, giving rise to an IBIB sequence on tape.
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Together with Betacam SX, Sony introduced a generation of hybrid recorder, allowing use of both tape and disk recording on the same deck, and high speed dubbing from one to another. This was intended to save wear on the video heads for studio applications, as well to speed up online editing.
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Betacam SX also features a good shot mark feature, that allows marking of each scene for fast scanning of the tape, looking at recorded marks on each single cassette, and showing the markers to the operator.
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The cameras themselves are generally considered by most sound recordists to be quite noisy in operation, possibly because the amount of computer processing power, and subsequent generated heat, leads to cooling fans being used to keep the camera at a reasonable temperature.
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Betacam SX tape shells are bright yellow.
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Although Betacam SX machines have gone out of production, the format is still used by many newsgathering operations, including CNN, Canada’s CBC and CTV, San Diego’s KFMB-TV and NBC’s operations in the San Francisco Bay Area at KNTV and KSTS. Many news archives still contain SX tapes.
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MPEG IMX
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MPEG IMX is a 2001 development of the Digital Betacam format. It uses the MPEG compression system, but at a higher bitrate than Betacam SX. The IMX format allows for a CCIR 601 compliant video signal, with eight channels of audio and timecode track. It lacks an analog audio (cue) track as the Digital Betacam, but will read it as channel 7 if used for playback.
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Compression is applied in three different formats: 30 (6:1 compression), 40 (4:1 compression) or 50 Mbit/s (3.3:1 compression) which allows different quality/storage efficiency ratios. Video is recorded as MPEG-2 I frames only.
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With its new IMX VTRs, Sony introduced some new technologies including SDTI and e-VTR. SDTI allows for audio, video, timecode, and remote control functions to be transported by a single coaxial cable, while e-VTR technology extends this by allowing the same data to be transported over IP by way of an ethernet interface on the VTR itself.
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All IMX VTRs can natively playback Betacam SX tapes, and some, such as the MSW-M2000P/1 are capable of playing back Digital Betacam cassettes as well as analog Betacam and Betacam SP cassettes, but they can only record to their native IMX cassettes. S tapes are available with up to 60 minutes capacity, and L tapes hold up to 184 minutes. These values are for 525/60 decks, but will extend in 625/50. A 184 minute tape will record for, as the label itself specifies, 220 minutes.
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IMX machines feature the same good shot mark function of the Betacam SX.
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MPEG IMX cassettes are a muted green, however, the new XDCAM format allows recording of MPEG IMX on a tapeless format, Professional Disc.
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Betacam is a family of half-inch professional videotape products. It was developed by Sony in 1982. In colloquial use, “Betacam” singly is often used to refer to a Betacam camcorder, a Betacam tape, a Betacam video recorder or the format itself.
\r\nAll Betacam variants from (plain) Betacam to Betacam SP and Digital Betacam, use the same shape cassettes, meaning vaults and other storage facilities do not have to be changed when upgrading to a new format. The cassettes come in two sizes: S and L. Betacam cameras can only load S tapes, while VTRs can play both S and L tapes. The cassette shell and case for each Betacam cassette is colored differently depending on the format, allowing for easy visual identification. There is also a mechanical key that allows a video tape recorder to tell which format has been inserted.
\r\nThe format supplanted the three-quarter inch U-Matic format, which Sony had introduced in 1971. In addition to improvements in video quality, the Betacam configuration of an integrated camera/recorder led to its rapid adoption by electronic news gathering organizations.
\r\nEven though Betacam remains popular in the field and for archiving, new digital products such as the Multi Access Video Disk Recorder are leading to a phasing out of Betacam products in a studio environment.
\r\nBetacam / BetacamSP
\r\nThe original Betacam format was launched in August 7, 1982. It is an analog component video format, storing the luminance, “Y”, in one track and the chrominance, on another as alternating segments of the R-Y and B-Y components performing Compressed Time Division Multiplex, or CTDM.This splitting of channels allows true broadcast quality recording with 300 lines of horizontal luminance resolution and 120 lines chrominance resolution (versus ~30 for Betamax/VHS), on a relatively inexpensive cassette based format.
\r\nThe original Betacam format records on cassettes loaded with oxide-formulated tape, which are theoretically the same as used by its consumer market-oriented predecessor Betamax, introduced 7 years earlier by Sony in 1975. A blank Betamax-branded tape will work on a Betacam deck, and a Betacam-branded tape can be used to record in a Betamax deck. However, in later years Sony discouraged this practice, suggesting that the internal tape transport of a domestic Betamax cassette was not well suited to the faster tape transport of Betacam. In particular, the guide rollers tend to be noisy.
\r\nAlthough there is a superficial similarity between Betamax and Betacam in that they use the same tape cassette, they are really quite different formats. Betamax records relatively low resolution composite video using a heterodyne color recording system and only two recording heads, while Betacam uses four heads to record in component format, at a much higher linear tape speed, resulting in much higher video and audio quality. A typical L-750 length Betamax cassette that yielded about 3 hours of recording time on a Betamax VCR at its B-II speed, only provided 30 minutes record time on a Betacam VCR or camcorder.
\r\nIt may also be noted that Matsushita / Panasonic also introduced a professional 1/2″ component videotape format which used VHS style tape cassettes called “M-Format”. However, while Sony’s Betacam system rapidly became an industry standard, M format was a marketing failure. A followup format called M-II — effectively the Panasonic enhancement of M-format as SP was Sony’s enhancement of Betacam —was a great improvement. Though it was used as an internal standard at NBC for a time, it failed to make much headway in the marketplace. While technically M-II was in some ways an improvement over Betacam SP, Betacam SP had the overwhelming advantage of a high degree of compatibility with the existing (and very large) Betacam infrastructure.
\r\nBetacam was initially introduced as a camera line along with a video cassette player. The first cameras were the BVP-3, which utilized 3 saticon tubes, and the BVP1, which used a single tri-stripe Trinicon tube. Both these cameras could be operated standalone, or with their docking companion VTR, the BVV-1, (quickly superseded by the BVV-1A) to form the BVW-1 (BVW-1A) integrated camcorder. Tapes could not be played back in camera except in black and white for viewing in the camera’s viewfinder only. Color playback required the studio source deck at first, the BVW-10, which could not record, only play back. It was primarily designed as a feeder deck for A/B roll edit systems, usually for editing to a 1″ Type C or 3/4″ U-matic cassette edit master tape. There was also the BVW-20 field playback deck, which was a portable unit with DC power and a handle, that was used to verify color playback of tapes in the field. Unlike the BVW-10, it did not have a built in Time Base Corrector, or TBC.
\r\nWith the popular success of the Betacam system as a news acquisition format, the line was soon extended to include the BVW-15 studio player, and the BVW-40 Studio Edit Recorder. The BVW-15 added Dynamic Tracking which enabled clear still frame and jog playback, something the BVW-10 could not deliver. The BVW-40 enabled for the first time editing to a Betacam master, and if setup and wired correctly, true component video editing. It was also possible to do machine to machine editing between a BVW-10/15 and BVW-40 without an edit controller—a single serial cable between the units was all that was required to control the player from the recorder in performing simple assemble and insert editing. Additionally there were two field models introduced, the field recorder BVW-25, and the BVW-21 play only portable field deck.
\r\nAt its introduction, many insisted that Betacam remained inferior to the bulkier 1″ Type C and B recording, the standard broadcast production format of the late 70s to mid 80s. Additionally, the maximum record time for both the cameras and studio recorders was only half an hour, a severe limitation in television production. There was also the limitation that high quality recording was only possible if the original component signals were available, as they would be in a cp. If they had already been converted to composite video, re-converting them to components for recording and then eventually back to composite for broadcast, caused a severe drop in quality.
\r\nA BetacamSP tape used by WSVN.
\r\nIn 1986, Betacam SP was developed, which increased horizontal resolution to 340 lines. While the quality improvement of the format itself was minor, the improvement to the VTRs was enormous, in quality, features, and particularly, the new larger cassette with 90 minutes of recording time. Beta SP (for “Superior Performance”) became the industry standard for most TV stations and high-end production houses until the late 1990s. Despite the format’s age Beta SP remains a common standard for video post-production. The recording time is the same as for Betacam, 30 and 90 minutes for S and L, respectively. Tape speed is slightly slower in machines working in the 625/50 format, increasing tape duration of one minute for every five minutes of run time. So, a 90 minute tape will record 108 minutes of video in PAL.
\r\nBetacamSP is able to achieve its namesake “Superior Performance” over Betacam in the fact that it uses metal-formulated tape, as opposed to Betacam’s oxide tape. Sony designed BetacamSP to be partially forward compatible with standard Betacam, with the capability that BetacamSP tapes recorded on BetacamSP decks can be played in oxide-era Betacam VTRs (such as the BVW-15 and BVW-40 mentioned earlier), but for playback only. BetacamSP-branded tapes cannot be used for recording in consumer Betamax VCRs like oxide Betacam tapes, due to BetacamSP’s metal-formulation tape causing the video heads in a Betamax deck to wear prematurely, which are made of a softer material than the heads in a standard Betacam deck. However, BetacamSP tapes can be used without a problem in ED Beta VCRs, since the ED Beta format uses metal-formulated tape as well.
\r\nThe new BetacamSP studio decks were the players, the BVW-60 and BVW-65, with Dynamic Tracking and the Edit Recorders, the BVW-70, and the Dynamic Tracking model, the BVW-75. The BVV-5 was the BetacamSP dockable camera back, which could play back in color if its companion playback adapter was used. A new SP field recorder, the BVW-35, possessed the added benefit of a standard RS422 serial control port that enabled it to be used as an edit feeder deck. Though the four new studio decks could utilize the full 90-minute BetacamSP cassettes, the BVW-35 remained limited to the original Beta form factor 30-minute cassette shells. Answering a need for a basic office player, Sony also introduced the BVW-22, a much less expensive desktop model that could be used for viewing and logging 90-minute cassettes, but could not be configured into an edit system.
\r\nSony followed up the SP Field Recorder with the BVW-50, that could record and play the large size 90 minute cassettes. After this, the deck line was relatively stagnant and incredibly popular for a decade, aside from some specialty models that could record digital audio.
\r\nUntil the introduction of the BVW-200 camera though, the camera and recorder configuration was a docking system. The BVW-200 was an integrated camera recorder system. It sacrificed the flexibility of a docking camera in order to lose a substantial amount of weight. Eventually, non-docking camcorders became the most popular design by the mid-90s.
\r\nThe final BetacamSP camcorder was the BVW-600, which paired a digital camera front section, very similar to the one on the DigiBeta DVW-700, with an integrated BetacamSP recorder. Like every other Betacam camera system, and unlike the DigiBeta DVW-700, the camera could not play back in color without the use of an outboard adapter.
\r\nIn 1991, the less-expensive, “Professional,” PV line of BetacamSP decks was introduced. The PV line consisted of only three models: the full-sized PVW-2600 (VTP) and PVW-2800 (VTR) editing decks, and the PVV-3 camera-dockable VTR. These high quality machines were similar to the original BV series machines, but lacked the third and fourth audio channels. In 1993, the far less expensive UVW series debuted. These machines were considerably simpler, somewhat lower quality, and were designed primarily to be used as companions to computer systems, for industrial video, and other low-cost, yet high-quality, uses. The UVW decks possessed very limited front panel controls, no jog and shuttle; and with Time Base Corrector (TBC) control available only with an optional remote TBC controller. These were represented by the UVW-1800, a very popular editing VTR (and companion UVW-1600 edit VTP), and the non-editing UVW-1400 VTR, and UVW-1200 VTP. The UVW-100 (and later 100B) one-piece camcorder rounded out the UVW series.
\r\nBetacam and BetacamSP tape cassette shells varied in color depending on the manufacturer. Many companies sold Betacam tapes, sometimes of their own manufacture, sometimes re-branded. Fuji, Maxell, Ampex and 3M were just some of the major brands to do so.
\r\nAmpex, Thomson SA and Philips each sold rebranded OEM versions of some of the Sony VTRs and Camcorders at various times in the 1980s and 1990s. Other than nameplates, these models were identical to the Sony models.
\r\nDigital Betacam
\r\nDigital Betacam L tape
\r\nDigital Betacam (commonly referred to as Digibeta, d-beta, dbc or simply Digi) was launched in 1993. It supersedes both Betacam and Betacam SP, while costing significantly less than the D1 format. S tapes are available with up to 40 minutes running time, and L tapes with up to 124 minutes.
\r\nThe Digital Betacam format records a DCT-compressed component video signal at 10-bit YUV 4:2:2 sampling in NTSC (720×486) or PAL (720×576) resolutions at a bitrate of 90 Mbit/s plus four channels of uncompressed 48 kHz / 20 bit PCM-encoded audio. A fifth analog audio track is available for cueing, and a linear timecode track is also used on the tape. It is a popular digital video cassette format for broadcast use.
\r\nAnother key element which aided adoption was Sony’s implementation of the SDI coaxial digital connection on Digital Betacam decks. Facilities could begin using digital signals on their existing coaxial wiring without having to commit to an expensive re-installation.
\r\nThe main competitor to the Digital Betacam is DVCPRO50 format offered by Panasonic. Despite that DVCPRO50 uses 8-bit luma and color sampling and 50 Mbit/s data rate, it rivals Digital Betacam in visual quality.
\r\nBetacam SX
\r\nBetacam SX S tape
\r\nBetacam SX is a digital version of Betacam SP introduced in 1996, positioned as a cheaper alternative to Digital Betacam. It stores video using MPEG 4:2:2 Profile@ML compression, along with four channels of 48 kHz 16 bit PCM audio. All Betacam SX equipment is compatible with Betacam SP tapes. S tapes have a recording time up to 62 minutes, and L tapes up to 194 minutes.
\r\nThe Betacam SX system was very successful with newsgathering operations which had a legacy of Betacam and Betacam SP tapes. Some Betacam SX decks, such as the DNW-A75 or DNW-A50, can natively play and work from the analog tapes interchangeably, because it contains both analog and digital playback heads.
\r\nBetacam SX uses MPEG-2 4:2:2P@ML compression, in comparison with other similar systems that use 4:1:1 or 4:2:0 coding. It gives better chroma resolution and allows certain postproduction processes such as Chroma-key.
\r\nThis format compresses the video signal from approximately 180Mb/s to only 18Mb/s. This means a compression ratio of around 10:1, which is achieved by the use of mild temporal compression, where alternate frames are stored as MPEG I-frames and B-frames, giving rise to an IBIB sequence on tape.
\r\nTogether with Betacam SX, Sony introduced a generation of hybrid recorder, allowing use of both tape and disk recording on the same deck, and high speed dubbing from one to another. This was intended to save wear on the video heads for studio applications, as well to speed up online editing.
\r\nBetacam SX also features a good shot mark feature, that allows marking of each scene for fast scanning of the tape, looking at recorded marks on each single cassette, and showing the markers to the operator.
\r\nThe cameras themselves are generally considered by most sound recordists to be quite noisy in operation, possibly because the amount of computer processing power, and subsequent generated heat, leads to cooling fans being used to keep the camera at a reasonable temperature.
\r\nBetacam SX tape shells are bright yellow.
\r\nAlthough Betacam SX machines have gone out of production, the format is still used by many newsgathering operations, including CNN, Canada’s CBC and CTV, San Diego’s KFMB-TV and NBC’s operations in the San Francisco Bay Area at KNTV and KSTS. Many news archives still contain SX tapes.
\r\nMPEG IMX
\r\nMPEG IMX is a 2001 development of the Digital Betacam format. It uses the MPEG compression system, but at a higher bitrate than Betacam SX. The IMX format allows for a CCIR 601 compliant video signal, with eight channels of audio and timecode track. It lacks an analog audio (cue) track as the Digital Betacam, but will read it as channel 7 if used for playback.
\r\nCompression is applied in three different formats: 30 (6:1 compression), 40 (4:1 compression) or 50 Mbit/s (3.3:1 compression) which allows different quality/storage efficiency ratios. Video is recorded as MPEG-2 I frames only.
\r\nWith its new IMX VTRs, Sony introduced some new technologies including SDTI and e-VTR. SDTI allows for audio, video, timecode, and remote control functions to be transported by a single coaxial cable, while e-VTR technology extends this by allowing the same data to be transported over IP by way of an ethernet interface on the VTR itself.
\r\nAll IMX VTRs can natively playback Betacam SX tapes, and some, such as the MSW-M2000P/1 are capable of playing back Digital Betacam cassettes as well as analog Betacam and Betacam SP cassettes, but they can only record to their native IMX cassettes. S tapes are available with up to 60 minutes capacity, and L tapes hold up to 184 minutes. These values are for 525/60 decks, but will extend in 625/50. A 184 minute tape will record for, as the label itself specifies, 220 minutes.
\r\nIMX machines feature the same good shot mark function of the Betacam SX.
\r\nMPEG IMX cassettes are a muted green, however, the new XDCAM format allows recording of MPEG IMX on a tapeless format, Professional Disc.
\r\nBetacam is a family of half-inch professional videotape products. It was developed by Sony in 1982. In colloquial use, “Betacam” singly is often used to refer to a Betacam camcorder, a Betacam tape, a Betacam video recorder or the format itself.All Betacam variants from (plain) Betacam to Betacam SP and Digital Betacam, use the same shape cassettes, meaning vaults and other storage facilities do not have to be changed when upgrading to a new format. The cassettes come in two sizes: S and L. Betacam cameras can only load S tapes, while VTRs can play both S and L tapes. The cassette shell and case for each Betacam cassette is colored differently depending on the format, allowing for easy visual identification. There is also a mechanical key that allows a video tape recorder to tell which format has been inserted.The format supplanted the three-quarter inch U-Matic format, which Sony had introduced in 1971. In addition to improvements in video quality, the Betacam configuration of an integrated camera/recorder led to its rapid adoption by electronic news gathering organizations.Even though Betacam remains popular in the field and for archiving, new digital products such as the Multi Access Video Disk Recorder are leading to a phasing out of Betacam products in a studio environment.Betacam / BetacamSPThe original Betacam format was launched in August 7, 1982. It is an analog component video format, storing the luminance, “Y”, in one track and the chrominance, on another as alternating segments of the R-Y and B-Y components performing Compressed Time Division Multiplex, or CTDM.This splitting of channels allows true broadcast quality recording with 300 lines of horizontal luminance resolution and 120 lines chrominance resolution (versus ~30 for Betamax/VHS), on a relatively inexpensive cassette based format.The original Betacam format records on cassettes loaded with oxide-formulated tape, which are theoretically the same as used by its consumer market-oriented predecessor Betamax, introduced 7 years earlier by Sony in 1975. A blank Betamax-branded tape will work on a Betacam deck, and a Betacam-branded tape can be used to record in a Betamax deck. However, in later years Sony discouraged this practice, suggesting that the internal tape transport of a domestic Betamax cassette was not well suited to the faster tape transport of Betacam. In particular, the guide rollers tend to be noisy.Although there is a superficial similarity between Betamax and Betacam in that they use the same tape cassette, they are really quite different formats. Betamax records relatively low resolution composite video using a heterodyne color recording system and only two recording heads, while Betacam uses four heads to record in component format, at a much higher linear tape speed, resulting in much higher video and audio quality. A typical L-750 length Betamax cassette that yielded about 3 hours of recording time on a Betamax VCR at its B-II speed, only provided 30 minutes record time on a Betacam VCR or camcorder.It may also be noted that Matsushita / Panasonic also introduced a professional 1/2″ component videotape format which used VHS style tape cassettes called “M-Format”. However, while Sony’s Betacam system rapidly became an industry standard, M format was a marketing failure. A followup format called M-II — effectively the Panasonic enhancement of M-format as SP was Sony’s enhancement of Betacam —was a great improvement. Though it was used as an internal standard at NBC for a time, it failed to make much headway in the marketplace. While technically M-II was in some ways an improvement over Betacam SP, Betacam SP had the overwhelming advantage of a high degree of compatibility with the existing (and very large) Betacam infrastructure.Betacam was initially introduced as a camera line along with a video cassette player. The first cameras were the BVP-3, which utilized 3 saticon tubes, and the BVP1, which used a single tri-stripe Trinicon tube. Both these cameras could be operated standalone, or with their docking companion VTR, the BVV-1, (quickly superseded by the BVV-1A) to form the BVW-1 (BVW-1A) integrated camcorder. Tapes could not be played back in camera except in black and white for viewing in the camera’s viewfinder only. Color playback required the studio source deck at first, the BVW-10, which could not record, only play back. It was primarily designed as a feeder deck for A/B roll edit systems, usually for editing to a 1″ Type C or 3/4″ U-matic cassette edit master tape. There was also the BVW-20 field playback deck, which was a portable unit with DC power and a handle, that was used to verify color playback of tapes in the field. Unlike the BVW-10, it did not have a built in Time Base Corrector, or TBC.With the popular success of the Betacam system as a news acquisition format, the line was soon extended to include the BVW-15 studio player, and the BVW-40 Studio Edit Recorder. The BVW-15 added Dynamic Tracking which enabled clear still frame and jog playback, something the BVW-10 could not deliver. The BVW-40 enabled for the first time editing to a Betacam master, and if setup and wired correctly, true component video editing. It was also possible to do machine to machine editing between a BVW-10/15 and BVW-40 without an edit controller—a single serial cable between the units was all that was required to control the player from the recorder in performing simple assemble and insert editing. Additionally there were two field models introduced, the field recorder BVW-25, and the BVW-21 play only portable field deck.At its introduction, many insisted that Betacam remained inferior to the bulkier 1″ Type C and B recording, the standard broadcast production format of the late 70s to mid 80s. Additionally, the maximum record time for both the cameras and studio recorders was only half an hour, a severe limitation in television production. There was also the limitation that high quality recording was only possible if the original component signals were available, as they would be in a cp. If they had already been converted to composite video, re-converting them to components for recording and then eventually back to composite for broadcast, caused a severe drop in quality.A BetacamSP tape used by WSVN.In 1986, Betacam SP was developed, which increased horizontal resolution to 340 lines. While the quality improvement of the format itself was minor, the improvement to the VTRs was enormous, in quality, features, and particularly, the new larger cassette with 90 minutes of recording time. Beta SP (for “Superior Performance”) became the industry standard for most TV stations and high-end production houses until the late 1990s. Despite the format’s age Beta SP remains a common standard for video post-production. The recording time is the same as for Betacam, 30 and 90 minutes for S and L, respectively. Tape speed is slightly slower in machines working in the 625/50 format, increasing tape duration of one minute for every five minutes of run time. So, a 90 minute tape will record 108 minutes of video in PAL.BetacamSP is able to achieve its namesake “Superior Performance” over Betacam in the fact that it uses metal-formulated tape, as opposed to Betacam’s oxide tape. Sony designed BetacamSP to be partially forward compatible with standard Betacam, with the capability that BetacamSP tapes recorded on BetacamSP decks can be played in oxide-era Betacam VTRs (such as the BVW-15 and BVW-40 mentioned earlier), but for playback only. BetacamSP-branded tapes cannot be used for recording in consumer Betamax VCRs like oxide Betacam tapes, due to BetacamSP’s metal-formulation tape causing the video heads in a Betamax deck to wear prematurely, which are made of a softer material than the heads in a standard Betacam deck. However, BetacamSP tapes can be used without a problem in ED Beta VCRs, since the ED Beta format uses metal-formulated tape as well.The new BetacamSP studio decks were the players, the BVW-60 and BVW-65, with Dynamic Tracking and the Edit Recorders, the BVW-70, and the Dynamic Tracking model, the BVW-75. The BVV-5 was the BetacamSP dockable camera back, which could play back in color if its companion playback adapter was used. A new SP field recorder, the BVW-35, possessed the added benefit of a standard RS422 serial control port that enabled it to be used as an edit feeder deck. Though the four new studio decks could utilize the full 90-minute BetacamSP cassettes, the BVW-35 remained limited to the original Beta form factor 30-minute cassette shells. Answering a need for a basic office player, Sony also introduced the BVW-22, a much less expensive desktop model that could be used for viewing and logging 90-minute cassettes, but could not be configured into an edit system.Sony followed up the SP Field Recorder with the BVW-50, that could record and play the large size 90 minute cassettes. After this, the deck line was relatively stagnant and incredibly popular for a decade, aside from some specialty models that could record digital audio.Until the introduction of the BVW-200 camera though, the camera and recorder configuration was a docking system. The BVW-200 was an integrated camera recorder system. It sacrificed the flexibility of a docking camera in order to lose a substantial amount of weight. Eventually, non-docking camcorders became the most popular design by the mid-90s.The final BetacamSP camcorder was the BVW-600, which paired a digital camera front section, very similar to the one on the DigiBeta DVW-700, with an integrated BetacamSP recorder. Like every other Betacam camera system, and unlike the DigiBeta DVW-700, the camera could not play back in color without the use of an outboard adapter.In 1991, the less-expensive, “Professional,” PV line of BetacamSP decks was introduced. The PV line consisted of only three models: the full-sized PVW-2600 (VTP) and PVW-2800 (VTR) editing decks, and the PVV-3 camera-dockable VTR. These high quality machines were similar to the original BV series machines, but lacked the third and fourth audio channels. In 1993, the far less expensive UVW series debuted. These machines were considerably simpler, somewhat lower quality, and were designed primarily to be used as companions to computer systems, for industrial video, and other low-cost, yet high-quality, uses. The UVW decks possessed very limited front panel controls, no jog and shuttle; and with Time Base Corrector (TBC) control available only with an optional remote TBC controller. These were represented by the UVW-1800, a very popular editing VTR (and companion UVW-1600 edit VTP), and the non-editing UVW-1400 VTR, and UVW-1200 VTP. The UVW-100 (and later 100B) one-piece camcorder rounded out the UVW series.Betacam and BetacamSP tape cassette shells varied in color depending on the manufacturer. Many companies sold Betacam tapes, sometimes of their own manufacture, sometimes re-branded. Fuji, Maxell, Ampex and 3M were just some of the major brands to do so.Ampex, Thomson SA and Philips each sold rebranded OEM versions of some of the Sony VTRs and Camcorders at various times in the 1980s and 1990s. Other than nameplates, these models were identical to the Sony models.Digital BetacamDigital Betacam L tapeDigital Betacam (commonly referred to as Digibeta, d-beta, dbc or simply Digi) was launched in 1993. It supersedes both Betacam and Betacam SP, while costing significantly less than the D1 format. S tapes are available with up to 40 minutes running time, and L tapes with up to 124 minutes.The Digital Betacam format records a DCT-compressed component video signal at 10-bit YUV 4:2:2 sampling in NTSC (720×486) or PAL (720×576) resolutions at a bitrate of 90 Mbit/s plus four channels of uncompressed 48 kHz / 20 bit PCM-encoded audio. A fifth analog audio track is available for cueing, and a linear timecode track is also used on the tape. It is a popular digital video cassette format for broadcast use.Another key element which aided adoption was Sony’s implementation of the SDI coaxial digital connection on Digital Betacam decks. Facilities could begin using digital signals on their existing coaxial wiring without having to commit to an expensive re-installation.The main competitor to the Digital Betacam is DVCPRO50 format offered by Panasonic. Despite that DVCPRO50 uses 8-bit luma and color sampling and 50 Mbit/s data rate, it rivals Digital Betacam in visual quality.Betacam SXBetacam SX S tapeBetacam SX is a digital version of Betacam SP introduced in 1996, positioned as a cheaper alternative to Digital Betacam. It stores video using MPEG 4:2:2 Profile@ML compression, along with four channels of 48 kHz 16 bit PCM audio. All Betacam SX equipment is compatible with Betacam SP tapes. S tapes have a recording time up to 62 minutes, and L tapes up to 194 minutes.The Betacam SX system was very successful with newsgathering operations which had a legacy of Betacam and Betacam SP tapes. Some Betacam SX decks, such as the DNW-A75 or DNW-A50, can natively play and work from the analog tapes interchangeably, because it contains both analog and digital playback heads.Betacam SX uses MPEG-2 4:2:2P@ML compression, in comparison with other similar systems that use 4:1:1 or 4:2:0 coding. It gives better chroma resolution and allows certain postproduction processes such as Chroma-key.This format compresses the video signal from approximately 180Mb/s to only 18Mb/s. This means a compression ratio of around 10:1, which is achieved by the use of mild temporal compression, where alternate frames are stored as MPEG I-frames and B-frames, giving rise to an IBIB sequence on tape.Together with Betacam SX, Sony introduced a generation of hybrid recorder, allowing use of both tape and disk recording on the same deck, and high speed dubbing from one to another. This was intended to save wear on the video heads for studio applications, as well to speed up online editing.Betacam SX also features a good shot mark feature, that allows marking of each scene for fast scanning of the tape, looking at recorded marks on each single cassette, and showing the markers to the operator.The cameras themselves are generally considered by most sound recordists to be quite noisy in operation, possibly because the amount of computer processing power, and subsequent generated heat, leads to cooling fans being used to keep the camera at a reasonable temperature.Betacam SX tape shells are bright yellow.Although Betacam SX machines have gone out of production, the format is still used by many newsgathering operations, including CNN, Canada’s CBC and CTV, San Diego’s KFMB-TV and NBC’s operations in the San Francisco Bay Area at KNTV and KSTS. Many news archives still contain SX tapes.MPEG IMXMPEG IMX is a 2001 development of the Digital Betacam format. It uses the MPEG compression system, but at a higher bitrate than Betacam SX. The IMX format allows for a CCIR 601 compliant video signal, with eight channels of audio and timecode track. It lacks an analog audio (cue) track as the Digital Betacam, but will read it as channel 7 if used for playback.Compression is applied in three different formats: 30 (6:1 compression), 40 (4:1 compression) or 50 Mbit/s (3.3:1 compression) which allows different quality/storage efficiency ratios. Video is recorded as MPEG-2 I frames only.With its new IMX VTRs, Sony introduced some new technologies including SDTI and e-VTR. SDTI allows for audio, video, timecode, and remote control functions to be transported by a single coaxial cable, while e-VTR technology extends this by allowing the same data to be transported over IP by way of an ethernet interface on the VTR itself.All IMX VTRs can natively playback Betacam SX tapes, and some, such as the MSW-M2000P/1 are capable of playing back Digital Betacam cassettes as well as analog Betacam and Betacam SP cassettes, but they can only record to their native IMX cassettes. S tapes are available with up to 60 minutes capacity, and L tapes hold up to 184 minutes. These values are for 525/60 decks, but will extend in 625/50. A 184 minute tape will record for, as the label itself specifies, 220 minutes.IMX machines feature the same good shot mark function of the Betacam SX.MPEG IMX cassettes are a muted green, however, the new XDCAM format allows recording of MPEG IMX on a tapeless format, Professional Disc.', 'Betcam', '', 'inherit', 'closed', 'closed', '', '37-revision-2', '', '', '2011-01-08 08:06:08', '2011-01-08 08:06:08', '', 37, 'http://jlahijani.homeip.net:3010/betasptodvd.com/37-revision-2/', 0, 'revision', '', 0);
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(178, 1, '2011-02-01 02:20:24', '2011-02-01 02:20:24', '\r\n\r\nBeta SP to DVD started in 2001 and was acquired by WOVA - World of Video & Audio in 2010. Specializing in transfers, conversions, duplications, digital media, and more. We serve a wide variety of clients in many industries, including entertainment, fashion, hospitality, marketing, public relations, legal, and medical. Our dedication to superior quality, state-of-the-art equipment, and competitive pricing has earned us an excellent reputation and the repeat business of thousands of satisfied customers.\r\n\r\nOur facility is designed and engineered to achieve only the cleanest video and audio transfers possible. We can do most jobs in just one day. Clients ship to us from all over the United States or can come into our store.\r\n\r\nWe serve customers all over the country, including Los Angeles, Hollywood, Beverly Hills, Burbank, Encino, Universal Studios, Sherman Oaks, Van Nuys, Chatsworth, Tarzana, Brentwood, North Hollywood, Toluca Lake, Northridge, Santa Monica, San Fernando Valley, Westwood, Glendale, Eagle Rock, Simi Valley, Woodland Hills, Calabasas, Los Feliz, Pasadena, Sebastopol, Santa Rosa, Graton, Windsor, Duncans Mills, Cazadero, Jenner, Petaluma, Napa, Sonoma, Healdsburg, Marin, Medocino, Santa Cruz, San Jose, Los Gatos, Saratogta, Forrestville, Guerneville, Monte Rio.', 'About Us', '', 'publish', 'closed', 'closed', '', 'about', '', '', '2011-03-04 22:47:25', '2011-03-04 22:47:25', '', 0, 'http://jlahijani.homeip.net:3010/betasptodvd.com/', 1, 'page', '', 0),
(179, 1, '2011-02-01 02:20:17', '2011-02-01 02:20:17', '', 'Auto Draft', '', 'inherit', 'closed', 'closed', '', '178-revision', '', '', '2011-02-01 02:20:17', '2011-02-01 02:20:17', '', 178, 'http://jlahijani.homeip.net:3010/betasptodvd.com/178-revision/', 0, 'revision', '', 0),
(180, 1, '2011-02-01 02:20:32', '2011-02-01 02:20:32', '', 'Clients', '', 'publish', 'closed', 'closed', '', 'clients', '', '', '2011-02-01 02:20:32', '2011-02-01 02:20:32', '', 0, 'http://jlahijani.homeip.net:3010/betasptodvd.com/', 6, 'page', '', 0),
(181, 1, '2011-02-01 02:20:26', '2011-02-01 02:20:26', '', 'Auto Draft', '', 'inherit', 'closed', 'closed', '', '180-revision', '', '', '2011-02-01 02:20:26', '2011-02-01 02:20:26', '', 180, 'http://jlahijani.homeip.net:3010/betasptodvd.com/180-revision/', 0, 'revision', '', 0),
(182, 1, '2011-01-31 21:13:23', '2011-01-31 21:13:23', '', 'Tape Conversion & Duplication', '', 'inherit', 'closed', 'closed', '', '88-revision-3', '', '', '2011-01-31 21:13:23', '2011-01-31 21:13:23', '', 88, 'http://jlahijani.homeip.net:3010/betasptodvd.com/88-revision-3/', 0, 'revision', '', 0),
(241, 1, '2011-02-16 04:47:49', '2011-02-16 04:47:49', 'Flash Video is a container file format used to deliver video over the Internet using Adobe Flash Player versions 6–10. Flash Video content may also be embedded within SWF files. There are two different video file formats known as Flash Video: FLV and F4V. The audio and video data within FLV files are encoded in the same way as they are within SWF files. The latter F4V file format is based on the ISO base media file format and is supported starting with Flash Player 9 update 3. Both formats are supported in Adobe Flash Player and currently developed by Adobe Systems. FLV was originally developed by Macromedia.\r\n\r\nThe format has quickly established itself as the format of choice for embedded video on the web. Notable users of the Flash Video format include YouTube, Hulu, Google Video, Yahoo! Video, metacafe, Reuters.com, and many other news providers.\r\n\r\nThe standards documentation for BBC Online states that the BBC now preferentially accepts Flash videos for submission, to the disadvantage of other formats previously in use on its sites such as RealVideo or WMV.\r\n\r\nFlash Video FLV files usually contain material encoded with codecs following the Sorenson Spark or VP6 video compression formats. The most recent public releases of Flash Player (collaboration between Adobe Systems and MainConcept) also support H.264 video and HE-AAC audio. All of these codecs are currently restricted by patents.\r\n\r\nFlash Video is viewable on most operating systems, via the Adobe Flash Player and web browser plugin or one of several third-party programs.', 'Flash Video (FLV)', '', 'publish', 'closed', 'closed', '', 'flash-video-flv', '', '', '2011-02-24 23:19:19', '2011-02-24 23:19:19', '', 30, 'http://jlahijani.homeip.net:3010/betasptodvd.com/', 0, 'page', '', 0),
(184, 1, '2011-02-02 20:49:46', '2011-02-02 20:49:46', '\n\n\n\nU-matic is a videocassette format first shown by Sony in prototype in October 1969, and introduced to the market in September 1971. It was among the first video formats to contain the videotape inside a cassette, as opposed to the various open-reel formats of the time. Unlike most other cassette-based tape formats, the supply and take-up reels in the cassette worked in opposite directions during playback, fast-forward and rewind: one reel would run clockwise while the other would run counter-clockwise. As part of its development, in March 1970, Sony, Matsushita Electric Industrial Co. (Panasonic), Victor Co. of Japan (JVC), and five non-Japanese companies reached agreement on unified standards.\n\nThe videotape was ¾ inches (1.9 cm) wide, so the format is often known as ‘three-quarter-inch’ or simply ‘three-quarter’. U-matic was named after the shape of the tape path when it was threaded around the helical video head drum, which resembled the letter U. Betamax used this same type of “U-load” as well.\n\nThe total potential lines of horizontal resolution for standard U-matic is 280 lines per picture height. Vertical resolution is the NTSC standard of 486 visible scan lines.\n\nU-matic is also available in a smaller cassette size, officially known as U-Matic S. Much like VHS-C, U-Matic S was developed as a more portable version of U-Matic, to be used in smaller sized S-format recorders such as the Sony VO-3800 (the first portable U-Matic S machine released by Sony in 1974), the Sony BVU-100, and the Sony VO-6800 (among others from Sony, Panasonic, and other manufacturers). S-format tapes can be played back in older top-loading standard U-Matic decks with the aid of an adapter (the KCA-1 from Sony) which fitted around an S-sized tape; newer front-loading machines can accept S-format tapes directly, as the tapes have a slot on the underside that rides along a tab. U-Matic S tapes had a maximum recording time of 20 minutes, although some tape manufacturers such as 3M came out with 30 minute tapes by loading the cassette with a thinner tape. It was the U-Matic S-format decks that ushered in the beginning of ENG, or Electronic News Gathering.\n\nIn the early 1980s, Sony introduced the semi backwards-compatible high-band or BVU (Broadcast Video U-matic) format, and the ‘original’ U-matic format became known as low-band. This high-band format had an improved colour recording system and lower noise levels. BVU gained immense popularity in ENG and location programme-making, spelling the end of 16mm film in everyday production. By the early 1990s, Sony’s ½” Betacam SP format had all but replaced BVU outside of corporate and ‘budget’ programme making. Sony made a final improvement to BVU by further improving the recording system and giving it the same ‘SP’ suffix as Betacam. SP had a horizontal resolution of 330 lines. First generation BVU-SP and Beta-SP recordings were hard to tell apart, but despite this the writing was on the wall for the U-matic family.\n\nU-matic would also see use for the storage of digital audio data. Most digital audio recordings from the 1980s were digitally mastered to U-matic tape. The Sony PCM-1600 PCM adaptor used a U-matic recorder as a transport. The PCM-1600 output standard “pseudo video” in 525/60 format, which appeared to be a video image of vibrating checkerboard patterns that could be recorded on a video recorder. The PCM-1600 was the first system used for mastering audio compact discs in the early 1980s, with the famous Compact Disc 44.1 kHz sampling rate based on a best-fit calculation for the U-matic’s video horizontal-sync rate. The later PCM-1610 and 1630 units also used U-matic cassettes as a storage medium.\n\nU-matic is no longer used as a mainstream production format, however it has found lasting appeal as a cheap, well specified, and hard-wearing format. Many television facilities the world-over still have a U-matic recorder for archive playback of material recorded in the 1980s. For example, the Library of Congress facility in Culpeper, VA, holds thousands of its titles on U-matic video, as a means of providing access copies and proof for copyright deposit of old television broadcasts and films.\n\nFour decades after it was developed, the format is still used for the menial tasks of the industry, being more highly specialized and suited to the needs of production staff than the domestic VHS, although as time passes it has been replaced at the bottom of the tree of tape-based production formats by Betacam and Betacam SP as these in turn are replaced by Digital Betacam and HDCAM.\n\nU-matic tapes were also used for easy transport of filmed scenes for dailies in the days before VHS, DVD, and portable hard drives. Several movies have surviving copies in this form. The first rough cut of Apocalypse Now, for example (the raw version of what became Apocalypse Now Redux), survived on three U-Matic cassettes.', '3/4" U-Matic Videocassette ', '', 'inherit', 'closed', 'closed', '', '32-autosave', '', '', '2011-02-02 20:49:46', '2011-02-02 20:49:46', '', 32, 'http://jlahijani.homeip.net:3010/betasptodvd.com/32-autosave/', 0, 'revision', '', 0),
(185, 1, '2011-01-08 08:47:37', '2011-01-08 08:47:37', '', 'Betacam', '', 'inherit', 'closed', 'closed', '', '37-revision-5', '', '', '2011-01-08 08:47:37', '2011-01-08 08:47:37', '', 37, 'http://jlahijani.homeip.net:3010/betasptodvd.com/37-revision-5/', 0, 'revision', '', 0),
(283, 1, '2011-01-08 08:08:30', '2011-01-08 08:08:30', '\r\n\r\nIronically, the standard audio cassette still in wide use today, was never intended for wide usage, but instead was originally developed by Philips in 1962 for use in their new line of dictation machines. However it’s compact size, reliability, low manufacturing costs and Hi-Fi stereo capability, ultimately led to wide market acceptance. Popularity of the format, surprisingly, was not immediate. Though 8 Track cartridges were not to be introduced for another 3 years since it’s introduction, it wasn’t til the early 70′s, that the compact cassette became the predominant consumer tape format.\r\n\r\nThe format employed 1/8-in. tape with 4-tracks running at 1-7/8 ips, initially allowing 30 or 45 minutes of stereo music per side, until longer tapes became available .\r\n\r\nThe original tapes were Ferrite (Fe2O3), but later, Chromium Dioxide (CrO2) and other metal particle formulations were used in order to greatly improve sound quality. Chrome tapes had different bias frequency requirements, requiring more sophisticated recording equipment. Later machines employed various noise reduction technology, though in later years, Dolby became the most popular by far.', 'Audio Cassette', '', 'inherit', 'closed', 'closed', '', '34-revision-4', '', '', '2011-01-08 08:08:30', '2011-01-08 08:08:30', '', 34, 'http://jlahijani.homeip.net:3010/betasptodvd.com/34-revision-4/', 0, 'revision', '', 0),
(285, 1, '2011-02-16 05:11:36', '2011-02-16 05:11:36', '', 'AVC-Intra', '', 'inherit', 'closed', 'closed', '', '260-revision-3', '', '', '2011-02-16 05:11:36', '2011-02-16 05:11:36', '', 260, 'http://jlahijani.homeip.net:3010/betasptodvd.com/260-revision-3/', 0, 'revision', '', 0),
(286, 1, '2011-02-24 22:39:25', '2011-02-24 22:39:25', 'AVC-Intra is a type of video coding developed by Panasonic that is fully compliant with the H.264/MPEG-4 AVC standard and additionally follows the SMPTE RP 2027-2007 recommended practice specification. AVC-Intra is available in a number of Panasonic''s high definition broadcast products, such as, for example, their P2 card equipped broadcast cameras. It is now also supported in various products made by other companies.\n\nPanasonic announced AVC-Intra codec support in April 2007. The use of AVC-Intra provides production quality HD video at bit rates more normally associated with ENG (Electronic news gathering) applications, permitting full resolution, 10 bit field capture of high quality HD imagery in one piece camera-recorders.\n\nAVC-Intra is intended to serve needs of video professionals who have to store HD digital video on digital storage media for editing and archiving purposes. It defines 10-bit intra-frame only compression, which is easy for editing and preserves maximum video quality. The technology significantly outperforms the older HDV (MPEG2 based) and DVCPRO HD (DV based) formats, allowing the codec to maintain better quality in half the storage space.', 'AVC-Intra', '', 'inherit', 'closed', 'closed', '', '260-autosave', '', '', '2011-02-24 22:39:25', '2011-02-24 22:39:25', '', 260, 'http://jlahijani.homeip.net:3010/betasptodvd.com/260-autosave/', 0, 'revision', '', 0),
(287, 1, '2011-01-31 23:40:27', '2011-01-31 23:40:27', '', 'Betamax', '', 'inherit', 'closed', 'closed', '', '144-revision-2', '', '', '2011-01-31 23:40:27', '2011-01-31 23:40:27', '', 144, 'http://jlahijani.homeip.net:3010/betasptodvd.com/144-revision-2/', 0, 'revision', '', 0),
(288, 1, '2011-02-16 05:02:18', '2011-02-16 05:02:18', '', 'Blu-ray', '', 'inherit', 'closed', 'closed', '', '252-revision-2', '', '', '2011-02-16 05:02:18', '2011-02-16 05:02:18', '', 252, 'http://jlahijani.homeip.net:3010/betasptodvd.com/252-revision-2/', 0, 'revision', '', 0),
(289, 1, '2011-01-31 23:41:28', '2011-01-31 23:41:28', '', 'Digital-8', '', 'inherit', 'closed', 'closed', '', '150-revision-2', '', '', '2011-01-31 23:41:28', '2011-01-31 23:41:28', '', 150, 'http://jlahijani.homeip.net:3010/betasptodvd.com/150-revision-2/', 0, 'revision', '', 0),
(290, 1, '2011-02-24 23:14:45', '2011-02-24 23:14:45', 'Digital8 (or D8) is a consumer digital videotape format developed by Sony, and introduced in 1999.\n\nThe Digital8 format is a combination of the older Hi8 tape transport with the DV codec. Digital8 equipment uses the same videocassettes as analog Hi8 equipment, but differs in that the audio/video signal is encoded digitally (using the industry-standard DV codec.) Since Digital8 uses the DV codec, it has identical audio and video specifications.\n\nTo facilitate digital recording on existing Hi8 videocassettes the video head drum spins 2.5x faster. For both NTSC and PAL Digital8 equipment, a standard-length 120-minute NTSC/90-minute PAL Hi8 cassette will store 60 minutes of Digital8 video (Standard Play) or 90 minutes (Long Play). LP is model specific, such as the TRV-30, TRV-40, and others. Digital8 recordings can be made on standard-grade Video8 cassettes, but this practice is discouraged in the Sony user manuals. Hi8 metal-particle cassettes are the recommended type for Digital8 recording, and most tapes currently sold are marked for both Hi8 and Digital8 usage.', 'Digital8', '', 'inherit', 'closed', 'closed', '', '150-autosave', '', '', '2011-02-24 23:14:45', '2011-02-24 23:14:45', '', 150, 'http://jlahijani.homeip.net:3010/betasptodvd.com/150-autosave/', 0, 'revision', '', 0),
(291, 1, '2011-02-16 05:04:30', '2011-02-16 05:04:30', '', 'DivX', '', 'inherit', 'closed', 'closed', '', '254-revision-2', '', '', '2011-02-16 05:04:30', '2011-02-16 05:04:30', '', 254, 'http://jlahijani.homeip.net:3010/betasptodvd.com/254-revision-2/', 0, 'revision', '', 0),
(292, 1, '2011-02-16 04:59:53', '2011-02-16 04:59:53', '', 'DVD', '', 'inherit', 'closed', 'closed', '', '250-revision-2', '', '', '2011-02-16 04:59:53', '2011-02-16 04:59:53', '', 250, 'http://jlahijani.homeip.net:3010/betasptodvd.com/250-revision-2/', 0, 'revision', '', 0),
(293, 1, '2011-02-09 00:03:05', '2011-02-09 00:03:05', 'Final Cut Pro is a professional non-linear editing software application developed by Apple Inc. The software logs and captures video onto a hard drive (internal or external), where it can be edited and processed.\r\nFrom the early 2000s, Final Cut Pro developed a large and expanding user base including many independent filmmakers. It has made inroads with film and television editors who have traditionally used Avid Technology’s Media Composer. According to a 2007 SCRI study, Final Cut made up 49% of the US professional editing market, with Avid at 22%. A published Survey in 2008 by the American Cinema Editors Guild placed their users at 21% FCP (and growing from previous surveys of this group), while all others are still on an Avid system of some kind.\r\n\r\nFinal Cut Pro provides non-linear, non-destructive editing of any QuickTime compatible video format including DV, HDV, P2 MXF (DVCProHD), XDCAM, and 2K film formats. It supports an unlimited number of simultaneously composited video tracks; up to 99 audio tracks; multi-camera editing for combining video from multiple camera sources; as well as standard ripple, roll, slip, slide, scrub, razor blade and time remapping edit functions. It comes with a range of video transitions and a range of video and audio filters such as keying tools, mattes and vocal de-poppers and de-essers. It also has a manual 3-way color correction filter, videoscopes and a selection of generators, such as slugs, test cards and noise.\r\n\r\nThe latest version of Final Cut Pro 7 claims better integration with Apple’s other professional applications and improved codec support for editing HD, DV and SD video formats, including encoding presets for devices such as iPod, Apple TV, and Blu-ray discs. A technology called DynamicRT built on the RT Extreme technology was released with Final Cut Pro 4. DynamicRT allows a real-time multistream effects architecture, which can be set to automatically adjust image quality and frame rate during playback to maintain real time effects. For example, when there are a large number of video streams playing simultaneously it will, in real time, switch to a mode that reduces the quality of the playback so that all of them can be seen in real time; when the computer is capable it will automatically return playback to native quality (that is, when there are fewer simultaneous video streams).\r\nFinal Cut Pro 6 also supports mixed video formats (both resolution and framerate) in the timeline with real time support.\r\n\r\nFinal Cut Pro 6 uses the included application Cinema Tools to keep track of original film sources through the telecine editing processes. Calligraphy 2 from BorisFX, a plug-in that works natively in Final Cut Pro, is included for improved titling functionality and is a subset of the Boris Graffiti titling technology. Final Cut Pro 6 is part of the Final Cut Studio 2 suite, and also has the ability to edit natively in HDV.\r\n\r\nFinal Cut Pro is a professional non-linear editing software application developed by Apple Inc. Final Cut Pro 7 will only run on Mac personal computers running Mac OS X version 10.5.6 or later and using Intel processors. It is a module of the Final Cut Studio product. The software logs and captures video onto a hard drive (internal or external), where it can be edited and processed.From the early 2000s, Final Cut Pro developed a large and expanding user base including many independent filmmakers. It has made inroads with film and television editors who have traditionally used Avid Technology’s Media Composer. According to a 2007 SCRI study, Final Cut made up 49% of the US professional editing market, with Avid at 22%. A published Survey in 2008 by the American Cinema Editors Guild placed their users at 21% FCP (and growing from previous surveys of this group), while all others are still on an Avid system of some kind.\r\n\r\nFinal Cut Pro provides non-linear, non-destructive editing of any QuickTime compatible video format including DV, HDV, P2 MXF (DVCProHD), XDCAM, and 2K film formats. It supports an unlimited number of simultaneously composited video tracks; up to 99 audio tracks; multi-camera editing for combining video from multiple camera sources; as well as standard ripple, roll, slip, slide, scrub, razor blade and time remapping edit functions. It comes with a range of video transitions and a range of video and audio filters such as keying tools, mattes and vocal de-poppers and de-essers. It also has a manual 3-way color correction filter, videoscopes and a selection of generators, such as slugs, test cards and noise.The latest version of Final Cut Pro 7 claims better integration with Apple’s other professional applications and improved codec support for editing HD, DV and SD video formats, including encoding presets for devices such as iPod, Apple TV, and Blu-ray discs. A technology called DynamicRT built on the RT Extreme technology was released with Final Cut Pro 4. DynamicRT allows a real-time multistream effects architecture, which can be set to automatically adjust image quality and frame rate during playback to maintain real time effects. For example, when there are a large number of video streams playing simultaneously it will, in real time, switch to a mode that reduces the quality of the playback so that all of them can be seen in real time; when the computer is capable it will automatically return playback to native quality (that is, when there are fewer simultaneous video streams).Final Cut Pro 6 also supports mixed video formats (both resolution and framerate) in the timeline with real time support.Final Cut Pro 6 uses the included application Cinema Tools to keep track of original film sources through the telecine editing processes. Calligraphy 2 from BorisFX, a plug-in that works natively in Final Cut Pro, is included for improved titling functionality and is a subset of the Boris Graffiti titling technology. Final Cut Pro 6 is part of the Final Cut Studio 2 suite, and also has the ability to edit natively in HDV.\r\n\r\nFinal Cut Pro is a professional non-linear editing software application developed by Apple Inc. The software logs and captures video onto a hard drive (internal or external), where it can be edited and processed.From the early 2000s, Final Cut Pro developed a large and expanding user base including many independent filmmakers. It has made inroads with film and television editors who have traditionally used Avid Technology’s Media Composer. According to a 2007 SCRI study, Final Cut made up 49% of the US professional editing market, with Avid at 22%. A published Survey in 2008 by the American Cinema Editors Guild placed their users at 21% FCP (and growing from previous surveys of this group), while all others are still on an Avid system of some kind.Final Cut Pro provides non-linear, non-destructive editing of any QuickTime compatible video format including DV, HDV, P2 MXF (DVCProHD), XDCAM, and 2K film formats. It supports an unlimited number of simultaneously composited video tracks; up to 99 audio tracks; multi-camera editing for combining video from multiple camera sources; as well as standard ripple, roll, slip, slide, scrub, razor blade and time remapping edit functions. It comes with a range of video transitions and a range of video and audio filters such as keying tools, mattes and vocal de-poppers and de-essers. It also has a manual 3-way color correction filter, videoscopes and a selection of generators, such as slugs, test cards and noise.The latest version of Final Cut Pro 7 claims better integration with Apple’s other professional applications and improved codec support for editing HD, DV and SD video formats, including encoding presets for devices such as iPod, Apple TV, and Blu-ray discs. A technology called DynamicRT built on the RT Extreme technology was released with Final Cut Pro 4. DynamicRT allows a real-time multistream effects architecture, which can be set to automatically adjust image quality and frame rate during playback to maintain real time effects. For example, when there are a large number of video streams playing simultaneously it will, in real time, switch to a mode that reduces the quality of the playback so that all of them can be seen in real time; when the computer is capable it will automatically return playback to native quality (that is, when there are fewer simultaneous video streams).Final Cut Pro 6 also supports mixed video formats (both resolution and framerate) in the timeline with real time support.Final Cut Pro 6 uses the included application Cinema Tools to keep track of original film sources through the telecine editing processes. Calligraphy 2 from BorisFX, a plug-in that works natively in Final Cut Pro, is included for improved titling functionality and is a subset of the Boris Graffiti titling technology. Final Cut Pro 6 is part of the Final Cut Studio 2 suite, and also has the ability to edit natively in HDV.', 'Final Cut Pro', '', 'inherit', 'closed', 'closed', '', '155-revision-3', '', '', '2011-02-09 00:03:05', '2011-02-09 00:03:05', '', 155, 'http://jlahijani.homeip.net:3010/betasptodvd.com/155-revision-3/', 0, 'revision', '', 0),
(300, 1, '2011-02-17 00:23:26', '2011-02-17 00:23:26', 'When interlaced video is watched on a progressive monitor without proper deinterlacing, it exhibits combing when there is movement between two fields of one frame.\r\n\r\nSony adapted HDV, originally conceived as progressive-scan format by JVC, to interlaced video. Interlaced video has been a useful compromise for decades due to its ability to display motion smoothly while reducing recording and transmission bandwidth. Interlaced video is still being used in acquisition and broadcast, but interlaced display devices are being phased out. Modern flat-panel television sets that utilize plasma and LCD technology are inherently progressive. All modern computer monitors use progressive scanning as well.\r\n\r\nBefore interlaced video is displayed on a progressive-scan device it must be converted to progressive using the process known as deinterlacing. Progressive-scan television sets employ built-in deinterlacing circuits to cope with interlaced broadcast signal, but computer video players rarely have this capability. As such, interlaced video may exhibit ghosting or combing artifacts when watched on a computer.\r\n\r\nSome HDV 1080i camcorders are capable of recording progressive video within an interlaced stream, provided that the frame rate does not exceed half of the field rate. The first HDV 1080i camcorder to implement such Progressive Scanning was the Sony HVR-V1. To preserve compatibility with interlaced equipment the HVR-V1 records and outputs video in interlaced form. 25-frame/s and 30-frame/s progressive video is recorded on tape using progressive segmented frame (PsF) technique, while 24-frame/s recording employs 2-3 pulldown. The camcorder offers two variations of 24-frame/s recording: “24″ and “24A”. In “24″ mode the camera ensures that there are no cadence breaks for a whole tape, this mode works better for watching video directly from the camera and for adding “film look” to interlaced video. In the “24A” mode the camera starts every clip on an A frame with timecode set to an even second margin. Several editing tools, including Sony’s own Vegas, are capable of processing 24A video as proper 24 frames/s progressive video.\r\n\r\nPrior to the HVR-V1, Sony was offering Cineframe, essentially an interlaced-to-progressive converter, to simulate film-like motion. The conversion process involved blending and discarding fields, so vertical resolution of the resulting video suffered. Motion, produced in the 24-frame/s variant of Cineframe was too uneven for professional use. The same or better film look effect can be achieved by converting regular interlaced video into progressive format using computer software.\r\n\r\nIn 2007 Canon commoditized progressive scanning, releasing the HV20 camcorder. The version for 50 Hz market featured PF25 mode with PsF-like recording, while the version for 60 Hz market had PF24 mode, which utilized 2-3 pulldown scheme. Progressive scan video recorded with the HV20 does not include flags necessary for performing automated film-mode deinterlacing, which is why most editing tools treat such video as interlaced. The HV30, released in 2008, implemented additional PsF-like PF30 mode for 60 Hz markets. Output is performed via component, HDMI and FireWire in interlaced form.\r\n\r\nProgressive scan video must be properly deinterlaced to achieve full vertical resolution and to avoid interlace artifacts. 25P and 30P video must be deinterlaced with “weave” or “no deinterlacing” algorithm, which means joining two fields of each frame together into one progressive frame. This operation can be done in most editing tools simply by changing project properties from interlaced to progressive. 24P video must go through film-mode deinterlacing also known as inverse telecine, which throws out judder frames and restores original 24-frame/s progressive video. Many editing tools cannot perform film-mode deinterlacing, requiring usage of a separate converter.', 'HDV', '', 'inherit', 'closed', 'closed', '', '159-revision-4', '', '', '2011-02-17 00:23:26', '2011-02-17 00:23:26', '', 159, 'http://jlahijani.homeip.net:3010/betasptodvd.com/159-revision-4/', 0, 'revision', '', 0),
(304, 1, '2011-01-31 23:44:34', '2011-01-31 23:44:34', '', 'VHS-C', '', 'inherit', 'closed', 'closed', '', '175-revision-2', '', '', '2011-01-31 23:44:34', '2011-01-31 23:44:34', '', 175, 'http://jlahijani.homeip.net:3010/betasptodvd.com/175-revision-2/', 0, 'revision', '', 0),
(305, 1, '2011-01-31 23:44:21', '2011-01-31 23:44:21', '', 'VHS', '', 'inherit', 'closed', 'closed', '', '173-revision-2', '', '', '2011-01-31 23:44:21', '2011-01-31 23:44:21', '', 173, 'http://jlahijani.homeip.net:3010/betasptodvd.com/173-revision-2/', 0, 'revision', '', 0),
(306, 1, '2011-02-16 04:52:38', '2011-02-16 04:52:38', '', 'Quicktime (MOV)', '', 'inherit', 'closed', 'closed', '', '171-revision-3', '', '', '2011-02-16 04:52:38', '2011-02-16 04:52:38', '', 171, 'http://jlahijani.homeip.net:3010/betasptodvd.com/171-revision-3/', 0, 'revision', '', 0),
(317, 1, '2011-03-04 22:56:46', '2011-03-04 22:56:46', 'http://www.wova.com/postproduction/extra-services/rush-turnaround.html\n\nUse the image.', 'Rush Turnaround', '', 'inherit', 'closed', 'closed', '', '310-autosave', '', '', '2011-03-04 22:56:46', '2011-03-04 22:56:46', '', 310, 'http://jlahijani.homeip.net:3010/betasptodvd.com/310-autosave/', 0, 'revision', '', 0),
(321, 1, '2011-03-04 22:55:44', '2011-03-04 22:55:44', 'http://www.wova.com/postproduction/extra-services/rush-turnaround.html\r\n\r\nUse the image.', 'Rush Turnaround', '', 'inherit', 'closed', 'closed', '', '310-revision-3', '', '', '2011-03-04 22:55:44', '2011-03-04 22:55:44', '', 310, 'http://jlahijani.homeip.net:3010/betasptodvd.com/310-revision-3/', 0, 'revision', '', 0),
(322, 1, '2011-03-04 23:50:36', '2011-03-04 23:50:36', 'Beta SP to DVD offers rush turnaround -- need something done RIGHT NOW? Let us know and we''ll get your project done as soon as possible!\r\n\r\nFor more information regarding Rush Turnaround, call a friendly customer service representative today at 866-900-3827! ', 'Rush Turnaround', '', 'inherit', 'closed', 'closed', '', '310-revision-4', '', '', '2011-03-04 23:50:36', '2011-03-04 23:50:36', '', 310, 'http://jlahijani.homeip.net:3010/betasptodvd.com/310-revision-4/', 0, 'revision', '', 0),
(318, 1, '2011-02-02 23:17:01', '2011-02-02 23:17:01', 'Our friendly staff has years of experience and can help you with any digitizing needs you have... from capturing off VHS tape for a birthday montage to digitizing HD camera footage for a professional production.\r\n\r\nWe serve customers all over the country, including Los Angeles, Hollywood, Beverly Hills, Burbank, Encino, Universal Studios, Sherman Oaks, Van Nuys, Chatsworth, Tarzana, Brentwood, North Hollywood, Toluca Lake, Northridge, Santa Monica, San Fernando Valley, Westwood, Glendale, Eagle Rock, Simi Valley, Woodland Hills, Calabasas, Los Feliz, Pasadena, Sebastopol, Santa Rosa, Graton, Windsor, Duncans Mills, Cazadero, Jenner, Petaluma, Napa, Sonoma, Healdsburg, Marin, Medocino, Santa Cruz, San Jose, Los Gatos, Saratogta, Forrestville, Guerneville, Monte Rio.\r\n\r\nWe offer digitizing for the following formats:', 'Services', '', 'inherit', 'closed', 'closed', '', '55-revision-5', '', '', '2011-02-02 23:17:01', '2011-02-02 23:17:01', '', 55, 'http://jlahijani.homeip.net:3010/betasptodvd.com/55-revision-5/', 0, 'revision', '', 0),
(319, 1, '2011-03-04 23:12:42', '2011-03-04 23:12:42', 'Tapeless, File & Digital Media\r\n\r\nOur specialists are experienced in all types of media services, including Web Compression, Digitizing, File Encoding, Layoffs to all formats and more.\r\n\r\nTape Duplication & Conversion\r\n\r\nBeta SP to DVD offers duplication, conversions, and transfers for all media types, including video, audio, film, high definition, and more!\r\n\r\nCD, DVD & Blu-ray\r\n\r\nBeta SP to DVD offers complete CD, DVD, and Blu-ray duplication services for businesses and individuals. Whether you need ten copies or ten thousand, we will handle your entire job with a level of professionalism and promptness that will exceed your expectations.\r\n\r\nOther Services\r\n\r\nPreserve your memories today! Our film transfers are all done in-house, directly to the final format, so you always get the best picture possible. We transfer 8 mm, Super 8, and16 mm film to any video format. Do you need your project done yesterday? Let us know! We also offer pickup and delivery.\r\n', 'Services', '', 'inherit', 'closed', 'closed', '', '55-revision-6', '', '', '2011-03-04 23:12:42', '2011-03-04 23:12:42', '', 55, 'http://jlahijani.homeip.net:3010/betasptodvd.com/55-revision-6/', 0, 'revision', '', 0),
(320, 1, '2011-03-04 23:14:11', '2011-03-04 23:14:11', '\r\nOur specialists are experienced in all types of media services, including Web Compression, Digitizing, File Encoding, Layoffs to all formats and more.\r\n\r\nTape Duplication & Conversion\r\n\r\nBeta SP to DVD offers duplication, conversions, and transfers for all media types, including video, audio, film, high definition, and more!\r\n\r\nCD, DVD & Blu-ray\r\n\r\nBeta SP to DVD offers complete CD, DVD, and Blu-ray duplication services for businesses and individuals. Whether you need ten copies or ten thousand, we will handle your entire job with a level of professionalism and promptness that will exceed your expectations.\r\n\r\nOther Services\r\n\r\nPreserve your memories today! Our film transfers are all done in-house, directly to the final format, so you always get the best picture possible. We transfer 8 mm, Super 8, and16 mm film to any video format. Do you need your project done yesterday? Let us know! We also offer pickup and delivery.', 'Services', '', 'inherit', 'closed', 'closed', '', '55-revision-7', '', '', '2011-03-04 23:14:11', '2011-03-04 23:14:11', '', 55, 'http://jlahijani.homeip.net:3010/betasptodvd.com/55-revision-7/', 0, 'revision', '', 0),
(323, 1, '2011-03-04 22:54:47', '2011-03-04 22:54:47', 'http://www.wova.com/postproduction/extra-services/pickup-delivery.html\r\n\r\nCan also use picture of the WOVA van.', 'Pickup and Delivery', '', 'inherit', 'closed', 'closed', '', '312-revision-2', '', '', '2011-03-04 22:54:47', '2011-03-04 22:54:47', '', 312, 'http://jlahijani.homeip.net:3010/betasptodvd.com/312-revision-2/', 0, 'revision', '', 0),
(324, 1, '2011-03-04 23:53:30', '2011-03-04 23:53:30', 'Beta SP to DVD provides free pick-up and delivery on orders of $75 or more. Our friendly staff will make certain that we are on time for your pick-up or delivery.\n\nFor more information regarding our services or to schedule a pick-up, call a friendly customer service representative today at 310-659-5148!', 'Pickup and Delivery', '', 'inherit', 'closed', 'closed', '', '312-autosave', '', '', '2011-03-04 23:53:30', '2011-03-04 23:53:30', '', 312, 'http://jlahijani.homeip.net:3010/betasptodvd.com/312-autosave/', 0, 'revision', '', 0),
(325, 1, '2011-02-01 02:18:12', '2011-02-01 02:18:12', '', 'Tapeless, File & Digital Media', '', 'inherit', 'closed', 'closed', '', '60-revision-6', '', '', '2011-02-01 02:18:12', '2011-02-01 02:18:12', '', 60, 'http://jlahijani.homeip.net:3010/betasptodvd.com/60-revision-6/', 0, 'revision', '', 0),
(331, 1, '2011-03-05 00:44:23', '2011-03-05 00:44:23', 'This is a test.\n\nLine 2.', 'Digital & File Encoding', '', 'inherit', 'closed', 'closed', '', '57-autosave', '', '', '2011-03-05 00:44:23', '2011-03-05 00:44:23', '', 57, 'http://jlahijani.homeip.net:3010/betasptodvd.com/57-autosave/', 0, 'revision', '', 0),
(326, 1, '2011-03-05 00:13:53', '2011-03-05 00:13:53', 'Digital & File Encoding
\nLorem ipsum dolor sit amet, consectetur adipiscing elit. Aliquam lectus felis, suscipit fringilla, fermentum vitae, faucibus et, felis. Proin suscipit elit nec est. Nam magna felis, fermentum quis, porttitor vel, pretium vel, diam. Donec odio velit, ornare non, pulvinar pharetra, scelerisque vel, nibh. Morbi neque ante, euismod non, laoreet sit amet, fermentum sit amet, erat. Aliquam nec dui a justo faucibus malesuada. Cras id tellus vel massa elementum facilisis. Nunc sit amet massa. Cras dapibus elit at turpis. Aenean vitae est. Sed in enim in magna vehicula elementum. Curabitur ut erat. Sed scelerisque semper dolor. Praesent imperdiet pharetra neque.\nTape to File
\nVestibulum pellentesque, arcu quis imperdiet ornare, odio dui viverra lectus, et mattis tortor lectus ac libero. Quisque mollis, massa eget tristique lacinia, lorem mauris pellentesque nisl, sit amet faucibus felis libero non justo. Donec non diam. Donec vitae nisi ac nibh rutrum lacinia. Sed dignissim urna non sem. Vestibulum ante ipsum primis in faucibus orci luctus et ultrices posuere cubilia Curae; Mauris semper velit cursus massa. Maecenas at augue. Donec sodales bibendum est. Nulla auctor viverra nisi.\nFile to Tape
\nDonec mollis erat et tellus consequat ultricies. Sed in sem et dui porta consectetur. Suspendisse laoreet. Vestibulum adipiscing eros iaculis tortor. Nulla vitae nisi facilisis leo laoreet gravida. Donec accumsan. Donec sagittis arcu vel mauris. Curabitur pulvinar magna ut purus. Donec eu nisi. Sed hendrerit libero. Vivamus mattis lectus vel lorem.\n\n(other pages...)', 'Tapeless, File & Digital Media', '', 'inherit', 'closed', 'closed', '', '60-autosave', '', '', '2011-03-05 00:13:53', '2011-03-05 00:13:53', '', 60, 'http://jlahijani.homeip.net:3010/betasptodvd.com/60-autosave/', 0, 'revision', '', 0),
(327, 1, '2011-03-05 00:07:56', '2011-03-05 00:07:56', 'Lorem ipsum dolor sit amet, consectetur adipiscing elit. Aliquam lectus felis, suscipit fringilla, fermentum vitae, faucibus et, felis. Proin suscipit elit nec est. Nam magna felis, fermentum quis, porttitor vel, pretium vel, diam. Donec odio velit, ornare non, pulvinar pharetra, scelerisque vel, nibh. Morbi neque ante, euismod non, laoreet sit amet, fermentum sit amet, erat. Aliquam nec dui a justo faucibus malesuada. Cras id tellus vel massa elementum facilisis. Nunc sit amet massa. Cras dapibus elit at turpis. Aenean vitae est. Sed in enim in magna vehicula elementum. Curabitur ut erat. Sed scelerisque semper dolor. Praesent imperdiet pharetra neque.\r\n\r\nVestibulum pellentesque, arcu quis imperdiet ornare, odio dui viverra lectus, et mattis tortor lectus ac libero. Quisque mollis, massa eget tristique lacinia, lorem mauris pellentesque nisl, sit amet faucibus felis libero non justo. Donec non diam. Donec vitae nisi ac nibh rutrum lacinia. Sed dignissim urna non sem. Vestibulum ante ipsum primis in faucibus orci luctus et ultrices posuere cubilia Curae; Mauris semper velit cursus massa. Maecenas at augue. Donec sodales bibendum est. Nulla auctor viverra nisi.\r\n\r\nDonec mollis erat et tellus consequat ultricies. Sed in sem et dui porta consectetur. Suspendisse laoreet. Vestibulum adipiscing eros iaculis tortor. Nulla vitae nisi facilisis leo laoreet gravida. Donec accumsan. Donec sagittis arcu vel mauris. Curabitur pulvinar magna ut purus. Donec eu nisi. Sed hendrerit libero. Vivamus mattis lectus vel lorem.', 'Tapeless, File & Digital Media', '', 'inherit', 'closed', 'closed', '', '60-revision-7', '', '', '2011-03-05 00:07:56', '2011-03-05 00:07:56', '', 60, 'http://jlahijani.homeip.net:3010/betasptodvd.com/60-revision-7/', 0, 'revision', '', 0),
(328, 1, '2011-03-05 00:10:21', '2011-03-05 00:10:21', 'Page Title Here
\r\nLorem ipsum dolor sit amet, consectetur adipiscing elit. Aliquam lectus felis, suscipit fringilla, fermentum vitae, faucibus et, felis. Proin suscipit elit nec est. Nam magna felis, fermentum quis, porttitor vel, pretium vel, diam. Donec odio velit, ornare non, pulvinar pharetra, scelerisque vel, nibh. Morbi neque ante, euismod non, laoreet sit amet, fermentum sit amet, erat. Aliquam nec dui a justo faucibus malesuada. Cras id tellus vel massa elementum facilisis. Nunc sit amet massa. Cras dapibus elit at turpis. Aenean vitae est. Sed in enim in magna vehicula elementum. Curabitur ut erat. Sed scelerisque semper dolor. Praesent imperdiet pharetra neque.\r\nPage Title Here
\r\nVestibulum pellentesque, arcu quis imperdiet ornare, odio dui viverra lectus, et mattis tortor lectus ac libero. Quisque mollis, massa eget tristique lacinia, lorem mauris pellentesque nisl, sit amet faucibus felis libero non justo. Donec non diam. Donec vitae nisi ac nibh rutrum lacinia. Sed dignissim urna non sem. Vestibulum ante ipsum primis in faucibus orci luctus et ultrices posuere cubilia Curae; Mauris semper velit cursus massa. Maecenas at augue. Donec sodales bibendum est. Nulla auctor viverra nisi.\r\nPage Title Here
\r\nDonec mollis erat et tellus consequat ultricies. Sed in sem et dui porta consectetur. Suspendisse laoreet. Vestibulum adipiscing eros iaculis tortor. Nulla vitae nisi facilisis leo laoreet gravida. Donec accumsan. Donec sagittis arcu vel mauris. Curabitur pulvinar magna ut purus. Donec eu nisi. Sed hendrerit libero. Vivamus mattis lectus vel lorem.', 'Tapeless, File & Digital Media', '', 'inherit', 'closed', 'closed', '', '60-revision-8', '', '', '2011-03-05 00:10:21', '2011-03-05 00:10:21', '', 60, 'http://jlahijani.homeip.net:3010/betasptodvd.com/60-revision-8/', 0, 'revision', '', 0),
(330, 1, '2011-01-31 21:10:20', '2011-01-31 21:10:20', '', 'Digital & File Encoding', '', 'inherit', 'closed', 'closed', '', '57-revision-4', '', '', '2011-01-31 21:10:20', '2011-01-31 21:10:20', '', 57, 'http://jlahijani.homeip.net:3010/betasptodvd.com/57-revision-4/', 0, 'revision', '', 0),
(329, 1, '2011-03-05 00:12:51', '2011-03-05 00:12:51', 'Digital & File Encoding
\r\nLorem ipsum dolor sit amet, consectetur adipiscing elit. Aliquam lectus felis, suscipit fringilla, fermentum vitae, faucibus et, felis. Proin suscipit elit nec est. Nam magna felis, fermentum quis, porttitor vel, pretium vel, diam. Donec odio velit, ornare non, pulvinar pharetra, scelerisque vel, nibh. Morbi neque ante, euismod non, laoreet sit amet, fermentum sit amet, erat. Aliquam nec dui a justo faucibus malesuada. Cras id tellus vel massa elementum facilisis. Nunc sit amet massa. Cras dapibus elit at turpis. Aenean vitae est. Sed in enim in magna vehicula elementum. Curabitur ut erat. Sed scelerisque semper dolor. Praesent imperdiet pharetra neque.\r\nTape to File
\r\nVestibulum pellentesque, arcu quis imperdiet ornare, odio dui viverra lectus, et mattis tortor lectus ac libero. Quisque mollis, massa eget tristique lacinia, lorem mauris pellentesque nisl, sit amet faucibus felis libero non justo. Donec non diam. Donec vitae nisi ac nibh rutrum lacinia. Sed dignissim urna non sem. Vestibulum ante ipsum primis in faucibus orci luctus et ultrices posuere cubilia Curae; Mauris semper velit cursus massa. Maecenas at augue. Donec sodales bibendum est. Nulla auctor viverra nisi.\r\nFile to Tape
\r\nDonec mollis erat et tellus consequat ultricies. Sed in sem et dui porta consectetur. Suspendisse laoreet. Vestibulum adipiscing eros iaculis tortor. Nulla vitae nisi facilisis leo laoreet gravida. Donec accumsan. Donec sagittis arcu vel mauris. Curabitur pulvinar magna ut purus. Donec eu nisi. Sed hendrerit libero. Vivamus mattis lectus vel lorem.\r\n\r\n(other pages...)', 'Tapeless, File & Digital Media', '', 'inherit', 'closed', 'closed', '', '60-revision-9', '', '', '2011-03-05 00:12:51', '2011-03-05 00:12:51', '', 60, 'http://jlahijani.homeip.net:3010/betasptodvd.com/60-revision-9/', 0, 'revision', '', 0),
(186, 1, '2011-01-08 07:58:40', '2011-01-08 07:58:40', 'Address, phone, hours and google map will go here.\r\n\r\n--\r\n\r\nTake advantage of years of post production experience. We can talk through your technical issues and figure out the best post production processes for your project.', 'Contact Us', '', 'inherit', 'closed', 'closed', '', '24-revision-2', '', '', '2011-01-08 07:58:40', '2011-01-08 07:58:40', '', 24, 'http://jlahijani.homeip.net:3010/betasptodvd.com/24-revision-2/', 0, 'revision', '', 0),
(187, 1, '2011-01-08 07:48:56', '2011-01-08 07:48:56', 'Step 1
\r\n[form here]\r\nStep 2
\r\nSend the order form in along with your master(s) via mail, FedEx, upload, etc.\r\n\r\nNote: Even though we now operate out of Northern California’s Wine Country, our Los Angeles clients continue to ship to us in great numbers due to our incredible pricing and service.\r\nStep 3
\r\nWe will contact you to confirm your order or clarify any job specifics. Our usual turn-around time is about 2 business days.\r\nStep 4
\r\nOnce your order is complete, you will be emailed an invoice which you pay via credit card. Then your order ships right back to you.', 'Place Order', '', 'inherit', 'closed', 'closed', '', '12-revision-3', '', '', '2011-01-08 07:48:56', '2011-01-08 07:48:56', '', 12, 'http://jlahijani.homeip.net:3010/betasptodvd.com/12-revision-3/', 0, 'revision', '', 0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES
(204, 1, '2011-01-31 23:21:46', '2011-01-31 23:21:46', 'Lorem ipsum dolor sit amet, consectetur adipiscing elit. Aliquam lectus felis, suscipit fringilla, fermentum vitae, faucibus et, felis. Proin suscipit elit nec est. Nam magna felis, fermentum quis, porttitor vel, pretium vel, diam. Donec odio velit, ornare non, pulvinar pharetra, scelerisque vel, nibh. Morbi neque ante, euismod non, laoreet sit amet, fermentum sit amet, erat. Aliquam nec dui a justo faucibus malesuada. Cras id tellus vel massa elementum facilisis. Nunc sit amet massa. Cras dapibus elit at turpis. Aenean vitae est. Sed in enim in magna vehicula elementum. Curabitur ut erat. Sed scelerisque semper dolor. Praesent imperdiet pharetra neque.\r\n\r\nVestibulum pellentesque, arcu quis imperdiet ornare, odio dui viverra lectus, et mattis tortor lectus ac libero. Quisque mollis, massa eget tristique lacinia, lorem mauris pellentesque nisl, sit amet faucibus felis libero non justo. Donec non diam. Donec vitae nisi ac nibh rutrum lacinia. Sed dignissim urna non sem. Vestibulum ante ipsum primis in faucibus orci luctus et ultrices posuere cubilia Curae; Mauris semper velit cursus massa. Maecenas at augue. Donec sodales bibendum est. Nulla auctor viverra nisi.\r\n\r\nDonec mollis erat et tellus consequat ultricies. Sed in sem et dui porta consectetur. Suspendisse laoreet. Vestibulum adipiscing eros iaculis tortor. Nulla vitae nisi facilisis leo laoreet gravida. Donec accumsan. Donec sagittis arcu vel mauris. Curabitur pulvinar magna ut purus. Donec eu nisi. Sed hendrerit libero. Vivamus mattis lectus vel lorem.', 'Services', '', 'inherit', 'closed', 'closed', '', '55-revision-3', '', '', '2011-01-31 23:21:46', '2011-01-31 23:21:46', '', 55, 'http://jlahijani.homeip.net:3010/betasptodvd.com/55-revision-3/', 0, 'revision', '', 0),
(188, 1, '2011-02-02 21:06:32', '2011-02-02 21:06:32', '\r\nStep 1
\r\n[form here]\r\nStep 2
\r\nSend the order form in along with your master(s) via mail, FedEx, upload, etc.\r\n\r\nNote: Even though we now operate out of Northern California’s Wine Country, our Los Angeles clients continue to ship to us in great numbers due to our incredible pricing and service.\r\nStep 3
\r\nWe will contact you to confirm your order or clarify any job specifics. Our usual turn-around time is about 2 business days.\r\nStep 4
\r\nOnce your order is complete, you will be emailed an invoice which you pay via credit card. Then your order ships right back to you.', 'Place Order', '', 'inherit', 'closed', 'closed', '', '12-revision-4', '', '', '2011-02-02 21:06:32', '2011-02-02 21:06:32', '', 12, 'http://jlahijani.homeip.net:3010/betasptodvd.com/12-revision-4/', 0, 'revision', '', 0),
(189, 1, '2011-02-02 21:06:19', '2011-02-02 21:06:19', '\r\n\r\nAddress, phone, hours and google map will go here.\r\n\r\n--\r\n\r\nTake advantage of years of post production experience. We can talk through your technical issues and figure out the best post production processes for your project.', 'Contact Us', '', 'inherit', 'closed', 'closed', '', '24-revision-3', '', '', '2011-02-02 21:06:19', '2011-02-02 21:06:19', '', 24, 'http://jlahijani.homeip.net:3010/betasptodvd.com/24-revision-3/', 0, 'revision', '', 0),
(190, 1, '2011-02-02 21:36:10', '2011-02-02 21:36:10', '\r\nAddress
\r\n8717 Wilshire Blvd.\r\nBeverly Hills, CA 90210\r\nPhone
\r\n(310) 659-5149\r\nHours:
\r\nMonday - Friday, 9am - 7pm\r\nSaturday, 11am - 4pm\r\n\r\n--\r\n\r\nTake advantage of years of post production experience. We can talk through your technical issues and figure out the best post production processes for your project.', 'Contact Us', '', 'inherit', 'closed', 'closed', '', '24-revision-4', '', '', '2011-02-02 21:36:10', '2011-02-02 21:36:10', '', 24, 'http://jlahijani.homeip.net:3010/betasptodvd.com/24-revision-4/', 0, 'revision', '', 0),
(193, 1, '2011-02-02 21:44:23', '2011-02-02 21:44:23', '\r\nAddress
\r\nWorld of Video and Audio\r\n8717 Wilshire Blvd.\r\nBeverly Hills, CA 90210\r\nPhone
\r\n(310) 659-5149\r\nHours:
\r\nMonday - Friday, 9am - 7pm\r\nSaturday, 11am - 4pm\r\n\r\n\r\nTake advantage of years of post production experience. We can talk through your technical issues and figure out the best post production processes for your project.', 'Contact Us', '', 'inherit', 'closed', 'closed', '', '24-revision-7', '', '', '2011-02-02 21:44:23', '2011-02-02 21:44:23', '', 24, 'http://jlahijani.homeip.net:3010/betasptodvd.com/24-revision-7/', 0, 'revision', '', 0),
(191, 1, '2011-02-02 21:36:38', '2011-02-02 21:36:38', '\r\nAddress
\r\nWorld of Video and Audio\r\n8717 Wilshire Blvd.\r\nBeverly Hills, CA 90210\r\nPhone
\r\n(310) 659-5149\r\nHours:
\r\nMonday - Friday, 9am - 7pm\r\nSaturday, 11am - 4pm\r\n\r\n--\r\n\r\nTake advantage of years of post production experience. We can talk through your technical issues and figure out the best post production processes for your project.', 'Contact Us', '', 'inherit', 'closed', 'closed', '', '24-revision-5', '', '', '2011-02-02 21:36:38', '2011-02-02 21:36:38', '', 24, 'http://jlahijani.homeip.net:3010/betasptodvd.com/24-revision-5/', 0, 'revision', '', 0),
(192, 1, '2011-02-02 21:37:40', '2011-02-02 21:37:40', '\r\nAddress
\r\nWorld of Video and Audio\r\n8717 Wilshire Blvd.\r\nBeverly Hills, CA 90210\r\nPhone
\r\n(310) 659-5149\r\nHours:
\r\nMonday - Friday, 9am - 7pm\r\nSaturday, 11am - 4pm\r\n\r\n--\r\n\r\nTake advantage of years of post production experience. We can talk through your technical issues and figure out the best post production processes for your project.', 'Contact Us', '', 'inherit', 'closed', 'closed', '', '24-revision-6', '', '', '2011-02-02 21:37:40', '2011-02-02 21:37:40', '', 24, 'http://jlahijani.homeip.net:3010/betasptodvd.com/24-revision-6/', 0, 'revision', '', 0),
(194, 1, '2011-02-02 21:45:22', '2011-02-02 21:45:22', 'Address
\r\nWorld of Video and Audio\r\n8717 Wilshire Blvd.\r\nBeverly Hills, CA 90210\r\nPhone
\r\n(310) 659-5149\r\nHours
\r\nMonday - Friday, 9am - 7pm\r\nSaturday, 11am - 4pm\r\n\r\n\r\nTake advantage of years of post production experience. We can talk through your technical issues and figure out the best post production processes for your project.', 'Contact Us', '', 'inherit', 'closed', 'closed', '', '24-revision-8', '', '', '2011-02-02 21:45:22', '2011-02-02 21:45:22', '', 24, 'http://jlahijani.homeip.net:3010/betasptodvd.com/24-revision-8/', 0, 'revision', '', 0),
(195, 1, '2011-03-04 22:48:27', '2011-03-04 22:48:27', '\n\nBeta SP to DVD started in 2001 and was acquired by WOVA - World of Video & Audio in 2010. Specializing in transfers, conversions, duplications, digital media, and more. We serve a wide variety of clients in many industries, including entertainment, fashion, hospitality, marketing, public relations, legal, and medical. Our dedication to superior quality, state-of-the-art equipment, and competitive pricing has earned us an excellent reputation and the repeat business of thousands of satisfied customers.\n\nOur facility is designed and engineered to achieve only the cleanest video and audio transfers possible. We can do most jobs in just one day. Clients ship to us from all over the United States or can come into our store.\n\nWe serve customers all over the country, including Los Angeles, Hollywood, Beverly Hills, Burbank, Encino, Universal Studios, Sherman Oaks, Van Nuys, Chatsworth, Tarzana, Brentwood, North Hollywood, Toluca Lake, Northridge, Santa Monica, San Fernando Valley, Westwood, Glendale, Eagle Rock, Simi Valley, Woodland Hills, Calabasas, Los Feliz, Pasadena, Sebastopol, Santa Rosa, Graton, Windsor, Duncans Mills, Cazadero, Jenner, Petaluma, Napa, Sonoma, Healdsburg, Marin, Medocino, Santa Cruz, San Jose, Los Gatos, Saratogta, Forrestville, Guerneville, Monte Rio.', 'About Us', '', 'inherit', 'closed', 'closed', '', '178-autosave', '', '', '2011-03-04 22:48:27', '2011-03-04 22:48:27', '', 178, 'http://jlahijani.homeip.net:3010/betasptodvd.com/178-autosave/', 0, 'revision', '', 0),
(196, 1, '2011-02-01 02:20:24', '2011-02-01 02:20:24', '', 'About', '', 'inherit', 'closed', 'closed', '', '178-revision-2', '', '', '2011-02-01 02:20:24', '2011-02-01 02:20:24', '', 178, 'http://jlahijani.homeip.net:3010/betasptodvd.com/178-revision-2/', 0, 'revision', '', 0),
(197, 1, '2011-02-02 21:57:00', '2011-02-02 21:57:00', 'Specializing in transferring DigiBeta, BetaSP, MiniDV, .mov files, HDV, DVCAM, and Quicktime for film festivals and television commercials. Convert videotape to DVD or Mini-DV. Videotape to BetaSP or DVCAM. Videotape or Quicktime files to Digital Betacam (digibeta) transfers please call. Many foreign conversions such as PAL to NTSC is $59. Quicktime .MOV Files for editing with Final Cut Pro, Vegas, Premiere, and other systems.', 'About', '', 'inherit', 'closed', 'closed', '', '178-revision-3', '', '', '2011-02-02 21:57:00', '2011-02-02 21:57:00', '', 178, 'http://jlahijani.homeip.net:3010/betasptodvd.com/178-revision-3/', 0, 'revision', '', 0),
(198, 1, '2011-02-02 22:18:40', '2011-02-02 22:18:40', 'Specializing in transferring DigiBeta, BetaSP, MiniDV, .mov files, HDV, DVCAM, and Quicktime for film festivals and television commercials. Convert videotape to DVD or Mini-DV. Videotape to BetaSP or DVCAM. Videotape or Quicktime files to Digital Betacam (digibeta) transfers please call. Many foreign conversions such as PAL to NTSC is $59. Quicktime .MOV Files for editing with Final Cut Pro, Vegas, Premiere, and other systems.\r\n\r\nWe serve customers all over the country, including Los Angeles, Hollywood, Beverly Hills, Burbank, Encino, Universal Studios, Sherman Oaks, Van Nuys, Chatsworth, Tarzana, Brentwood, North Hollywood, Toluca Lake, Northridge, Santa Monica, San Fernando Valley, Westwood, Glendale, Eagle Rock, Simi Valley, Woodland Hills, Calabasas, Los Feliz, Pasadena, Sebastopol, Santa Rosa, Graton, Windsor, Duncans Mills, Cazadero, Jenner, Petaluma, Napa, Sonoma, Healdsburg, Marin, Medocino, Santa Cruz, San Jose, Los Gatos, Saratogta, Forrestville, Guerneville, Monte Rio', 'About', '', 'inherit', 'closed', 'closed', '', '178-revision-4', '', '', '2011-02-02 22:18:40', '2011-02-02 22:18:40', '', 178, 'http://jlahijani.homeip.net:3010/betasptodvd.com/178-revision-4/', 0, 'revision', '', 0),
(199, 1, '2011-02-02 22:19:58', '2011-02-02 22:19:58', 'Specializing in transferring DigiBeta, BetaSP, MiniDV, .mov files, HDV, DVCAM, and Quicktime for film festivals and television commercials. Convert videotape to DVD or Mini-DV. Videotape to BetaSP or DVCAM. Videotape or Quicktime files to Digital Betacam (digibeta) transfers please call. Many foreign conversions such as PAL to NTSC is $59. Quicktime .MOV Files for editing with Final Cut Pro, Vegas, Premiere, and other systems.\r\n\r\nWe serve customers all over the country, including Los Angeles, Hollywood, Beverly Hills, Burbank, Encino, Universal Studios, Sherman Oaks, Van Nuys, Chatsworth, Tarzana, Brentwood, North Hollywood, Toluca Lake, Northridge, Santa Monica, San Fernando Valley, Westwood, Glendale, Eagle Rock, Simi Valley, Woodland Hills, Calabasas, Los Feliz, Pasadena, Sebastopol, Santa Rosa, Graton, Windsor, Duncans Mills, Cazadero, Jenner, Petaluma, Napa, Sonoma, Healdsburg, Marin, Medocino, Santa Cruz, San Jose, Los Gatos, Saratogta, Forrestville, Guerneville, Monte Rio.\r\n\r\nWe also commonly work with clients in the following area codes: 818, 310, 949, 323, 213, 424, 626 ', 'About', '', 'inherit', 'closed', 'closed', '', '178-revision-5', '', '', '2011-02-02 22:19:58', '2011-02-02 22:19:58', '', 178, 'http://jlahijani.homeip.net:3010/betasptodvd.com/178-revision-5/', 0, 'revision', '', 0),
(200, 1, '2011-02-02 22:20:55', '2011-02-02 22:20:55', 'Specializing in transferring DigiBeta, BetaSP, MiniDV, MOV files, HDV, DVCAM, and Quicktime for film festivals and television commercials. Convert videotape to DVD or Mini-DV. Videotape to BetaSP or DVCAM. Videotape or Quicktime files to Digital Betacam (digibeta) transfers please call. Many foreign conversions such as PAL to NTSC is $59. Quicktime .MOV Files for editing with Final Cut Pro, Vegas, Premiere, and other systems.\r\n\r\nWe serve customers all over the country, including Los Angeles, Hollywood, Beverly Hills, Burbank, Encino, Universal Studios, Sherman Oaks, Van Nuys, Chatsworth, Tarzana, Brentwood, North Hollywood, Toluca Lake, Northridge, Santa Monica, San Fernando Valley, Westwood, Glendale, Eagle Rock, Simi Valley, Woodland Hills, Calabasas, Los Feliz, Pasadena, Sebastopol, Santa Rosa, Graton, Windsor, Duncans Mills, Cazadero, Jenner, Petaluma, Napa, Sonoma, Healdsburg, Marin, Medocino, Santa Cruz, San Jose, Los Gatos, Saratogta, Forrestville, Guerneville, Monte Rio.\r\n\r\nWe also commonly work with clients in the following area codes: 818, 310, 949, 323, 213, 424, 626 ', 'About', '', 'inherit', 'closed', 'closed', '', '178-revision-6', '', '', '2011-02-02 22:20:55', '2011-02-02 22:20:55', '', 178, 'http://jlahijani.homeip.net:3010/betasptodvd.com/178-revision-6/', 0, 'revision', '', 0),
(221, 1, '2011-01-31 23:42:57', '2011-01-31 23:42:57', '', 'M4V', '', 'inherit', 'closed', 'closed', '', '161-revision-2', '', '', '2011-01-31 23:42:57', '2011-01-31 23:42:57', '', 161, 'http://jlahijani.homeip.net:3010/betasptodvd.com/161-revision-2/', 0, 'revision', '', 0),
(201, 1, '2011-02-02 22:21:55', '2011-02-02 22:21:55', 'Specializing in transferring DigiBeta, BetaSP, MiniDV, MOV files, HDV, DVCAM, and Quicktime for film festivals and television commercials. Convert videotape to DVD or Mini-DV. Videotape to BetaSP or DVCAM. Videotape or Quicktime files to Digital Betacam (digibeta) transfers please call. Many foreign conversions such as PAL to NTSC is $59. Quicktime .MOV Files for editing with Final Cut Pro, Vegas, Premiere, and other systems.\r\n\r\n - Betacam SP to DVD, VHS-to-DVD, 3/4", Mini-DV, Hi8, Betamax, Dailies, Hi-8, Timecode Window Burn, NTSC
\r\n - Video Conversions to DVDs are 100% GUARANTEED for quality!
\r\n - Make DVD''s to archive your footage!
\r\n - Archive your production library!
\r\n - Digibeta and Betacam SP to DVD or MiniDV to DVD Video for $40 PAL to NTSC VHS
\r\n - Make Conversions and Transfers of BetaSP, Mini-DV, VHS, Hi-8 video, U-Matic 3/4", Betamax, Mini-DV
\r\n - Convert PAL, Foreign conversions internatioinal covert video trasfers to DVD.
\r\n - Transfer digibeta to Flash files such as .FLV or .SWF. Also, to Quicktime .mov
\r\n
\r\nNeed to rent a VTR, High-Def or HD Deck or Videotape recorder VTR? Rent cameras and Decks at: http://www.wova.com/rentals\r\n\r\nWe serve customers all over the country, including Los Angeles, Hollywood, Beverly Hills, Burbank, Encino, Universal Studios, Sherman Oaks, Van Nuys, Chatsworth, Tarzana, Brentwood, North Hollywood, Toluca Lake, Northridge, Santa Monica, San Fernando Valley, Westwood, Glendale, Eagle Rock, Simi Valley, Woodland Hills, Calabasas, Los Feliz, Pasadena, Sebastopol, Santa Rosa, Graton, Windsor, Duncans Mills, Cazadero, Jenner, Petaluma, Napa, Sonoma, Healdsburg, Marin, Medocino, Santa Cruz, San Jose, Los Gatos, Saratogta, Forrestville, Guerneville, Monte Rio.\r\n\r\nWe also commonly work with clients in the following area codes: 818, 310, 949, 323, 213, 424, 626', 'About', '', 'inherit', 'closed', 'closed', '', '178-revision-7', '', '', '2011-02-02 22:21:55', '2011-02-02 22:21:55', '', 178, 'http://jlahijani.homeip.net:3010/betasptodvd.com/178-revision-7/', 0, 'revision', '', 0),
(202, 1, '2011-02-02 22:23:10', '2011-02-02 22:23:10', 'Specializing in transferring DigiBeta, BetaSP, MiniDV, MOV files, HDV, DVCAM, and Quicktime for film festivals and television commercials. Convert videotape to DVD or Mini-DV. Videotape to BetaSP or DVCAM. Videotape or Quicktime files to Digital Betacam (digibeta) transfers please call. Many foreign conversions such as PAL to NTSC is $59. Quicktime .MOV Files for editing with Final Cut Pro, Vegas, Premiere, and other systems.\r\n\r\n - Betacam SP to DVD, VHS-to-DVD, 3/4", Mini-DV, Hi8, Betamax, Dailies, Hi-8, Timecode Window Burn, NTSC
\r\n - Video Conversions to DVDs are 100% GUARANTEED for quality!
\r\n - Make DVD''s to archive your footage!
\r\n - Archive your production library!
\r\n - Digibeta and Betacam SP to DVD or MiniDV to DVD Video for $40 PAL to NTSC VHS
\r\n - Make Conversions and Transfers of BetaSP, Mini-DV, VHS, Hi-8 video, U-Matic 3/4", Betamax, Mini-DV
\r\n - Convert PAL, Foreign conversions internatioinal covert video trasfers to DVD.
\r\n - Transfer digibeta to Flash files such as .FLV or .SWF. Also, to Quicktime .mov
\r\n
\r\nNeed to rent a VTR, High-Def or HD Deck or Videotape recorder VTR? Rent cameras and Decks at: http://www.wova.com/audiovisual/\r\n\r\nWe serve customers all over the country, including Los Angeles, Hollywood, Beverly Hills, Burbank, Encino, Universal Studios, Sherman Oaks, Van Nuys, Chatsworth, Tarzana, Brentwood, North Hollywood, Toluca Lake, Northridge, Santa Monica, San Fernando Valley, Westwood, Glendale, Eagle Rock, Simi Valley, Woodland Hills, Calabasas, Los Feliz, Pasadena, Sebastopol, Santa Rosa, Graton, Windsor, Duncans Mills, Cazadero, Jenner, Petaluma, Napa, Sonoma, Healdsburg, Marin, Medocino, Santa Cruz, San Jose, Los Gatos, Saratogta, Forrestville, Guerneville, Monte Rio.\r\n\r\nWe also commonly work with clients in the following area codes: 818, 310, 949, 323, 213, 424, 626', 'About', '', 'inherit', 'closed', 'closed', '', '178-revision-8', '', '', '2011-02-02 22:23:10', '2011-02-02 22:23:10', '', 178, 'http://jlahijani.homeip.net:3010/betasptodvd.com/178-revision-8/', 0, 'revision', '', 0),
(207, 1, '2011-01-08 07:50:30', '2011-01-08 07:50:30', 'What is your turn-around time?\r\n
\r\nGenerally about two business days (depending on how backed up we are). But we also offer SAME DAY RUSH SERVICE for an additional fee. \r\nHow much does it cost?\r\n
\r\nMost transfers and conversions under 1 hour are $40. For detailed prices, click here.\r\nWhat formats do you transfer to?\r\n
\r\nDigiBeta, DVD, MiniDV, VHS, BetaSP, PAL, NTSC, DVCAM, HDV, Digital-8, Quicktime .MOV, H.264, Web Movies, AIFF, MP3, Hard Drive, FTP, 1080i, CD-R, Final Cut Pro, Disc Image, Animated GIF, .M4V, and many more. \r\nWhat formats do you transfer from?\r\n
\r\nDigiBeta, BetaSX, DVD, MiniDV, VHS, BetaSP, PAL, NTSC, DVCAM, HDV, Digital-8, Quicktime .MOV, H.264, Web Movies, AIFF, MP3, Hard Drive, FTP, 1080i, CD-R, Final Cut Pro, Disc Image, 3/4″ U-Matic, PhotoShop, TIFF, TARGA Sequence, .M4V, and many more.', 'FAQ', '', 'inherit', 'closed', 'closed', '', '16-revision-2', '', '', '2011-01-08 07:50:30', '2011-01-08 07:50:30', '', 16, 'http://jlahijani.homeip.net:3010/betasptodvd.com/16-revision-2/', 0, 'revision', '', 0),
(210, 1, '2011-02-02 21:46:19', '2011-02-02 21:46:19', 'Address
\r\nWorld of Video and Audio\r\n8717 Wilshire Blvd.\r\nBeverly Hills, CA 90210\r\nEmail
\r\ninfo@betasptodvd.com\r\nPhone
\r\n(310) 659-5149\r\nHours
\r\nMonday - Friday, 9am - 7pm\r\nSaturday, 11am - 4pm\r\n\r\nTake advantage of years of post production experience. We can talk through your technical issues and figure out the best post production processes for your project.', 'Contact Us', '', 'inherit', 'closed', 'closed', '', '24-revision-9', '', '', '2011-02-02 21:46:19', '2011-02-02 21:46:19', '', 24, 'http://jlahijani.homeip.net:3010/betasptodvd.com/24-revision-9/', 0, 'revision', '', 0),
(211, 1, '2011-02-02 22:23:21', '2011-02-02 22:23:21', 'Specializing in transferring DigiBeta, BetaSP, MiniDV, MOV files, HDV, DVCAM, and Quicktime for film festivals and television commercials. Convert videotape to DVD or Mini-DV. Videotape to BetaSP or DVCAM. Videotape or Quicktime files to Digital Betacam (digibeta) transfers please call. Many foreign conversions such as PAL to NTSC is $59. Quicktime .MOV Files for editing with Final Cut Pro, Vegas, Premiere, and other systems.\r\n\r\n - Betacam SP to DVD, VHS-to-DVD, 3/4", Mini-DV, Hi8, Betamax, Dailies, Hi-8, Timecode Window Burn, NTSC
\r\n - Video Conversions to DVDs are 100% GUARANTEED for quality!
\r\n - Make DVD''s to archive your footage!
\r\n - Archive your production library!
\r\n - Digibeta and Betacam SP to DVD or MiniDV to DVD Video for $40 PAL to NTSC VHS
\r\n - Make Conversions and Transfers of BetaSP, Mini-DV, VHS, Hi-8 video, U-Matic 3/4", Betamax, Mini-DV
\r\n - Convert PAL, Foreign conversions internatioinal covert video trasfers to DVD.
\r\n - Transfer digibeta to Flash files such as .FLV or .SWF. Also, to Quicktime .mov
\r\n
\r\nNeed to rent a VTR, High-Def or HD Deck or Videotape recorder VTR? Rent cameras and decks at: http://www.wova.com/audiovisual/\r\n\r\nWe serve customers all over the country, including Los Angeles, Hollywood, Beverly Hills, Burbank, Encino, Universal Studios, Sherman Oaks, Van Nuys, Chatsworth, Tarzana, Brentwood, North Hollywood, Toluca Lake, Northridge, Santa Monica, San Fernando Valley, Westwood, Glendale, Eagle Rock, Simi Valley, Woodland Hills, Calabasas, Los Feliz, Pasadena, Sebastopol, Santa Rosa, Graton, Windsor, Duncans Mills, Cazadero, Jenner, Petaluma, Napa, Sonoma, Healdsburg, Marin, Medocino, Santa Cruz, San Jose, Los Gatos, Saratogta, Forrestville, Guerneville, Monte Rio.\r\n\r\nWe also commonly work with clients in the following area codes: 818, 310, 949, 323, 213, 424, 626', 'About', '', 'inherit', 'closed', 'closed', '', '178-revision-9', '', '', '2011-02-02 22:23:21', '2011-02-02 22:23:21', '', 178, 'http://jlahijani.homeip.net:3010/betasptodvd.com/178-revision-9/', 0, 'revision', '', 0),
(220, 1, '2011-02-08 22:18:18', '2011-02-08 22:18:18', 'Beta SP to DVD started 2001. Specializing in transfers, conversions, duplications, digital media, and more. We serve a wide variety of clients in many industries, including entertainment, fashion, hospitality, marketing, public relations, legal, and medical. Our dedication to superior quality, state-of-the-art equipment, and competitive pricing has earned us an excellent reputation and the repeat business of thousands of satisfied customers.\r\n\r\nOur facility is designed and engineered to achieve only the cleanest video and audio transfers possible. We can do most jobs in just one day. Clients ship to us from all over the United States or can come into our store.\r\n', 'About Us', '', 'inherit', 'closed', 'closed', '', '178-revision-17', '', '', '2011-02-08 22:18:18', '2011-02-08 22:18:18', '', 178, 'http://jlahijani.homeip.net:3010/betasptodvd.com/178-revision-17/', 0, 'revision', '', 0),
(238, 1, '2011-02-08 23:51:13', '2011-02-08 23:51:13', 'Beta SP to DVD started 2001. Specializing in transfers, conversions, duplications, digital media, and more. We serve a wide variety of clients in many industries, including entertainment, fashion, hospitality, marketing, public relations, legal, and medical. Our dedication to superior quality, state-of-the-art equipment, and competitive pricing has earned us an excellent reputation and the repeat business of thousands of satisfied customers.\r\n\r\nOur facility is designed and engineered to achieve only the cleanest video and audio transfers possible. We can do most jobs in just one day. Clients ship to us from all over the United States or can come into our store.\r\n\r\nWe serve customers all over the country, including Los Angeles, Hollywood, Beverly Hills, Burbank, Encino, Universal Studios, Sherman Oaks, Van Nuys, Chatsworth, Tarzana, Brentwood, North Hollywood, Toluca Lake, Northridge, Santa Monica, San Fernando Valley, Westwood, Glendale, Eagle Rock, Simi Valley, Woodland Hills, Calabasas, Los Feliz, Pasadena, Sebastopol, Santa Rosa, Graton, Windsor, Duncans Mills, Cazadero, Jenner, Petaluma, Napa, Sonoma, Healdsburg, Marin, Medocino, Santa Cruz, San Jose, Los Gatos, Saratogta, Forrestville, Guerneville, Monte Rio.\r\n\r\n', 'About Us', '', 'inherit', 'closed', 'closed', '', '178-revision-18', '', '', '2011-02-08 23:51:13', '2011-02-08 23:51:13', '', 178, 'http://jlahijani.homeip.net:3010/betasptodvd.com/178-revision-18/', 0, 'revision', '', 0),
(212, 1, '2011-02-02 23:45:48', '2011-02-02 23:45:48', 'BetaSPtoDVD is a service of WOVA – World of Video & Audio and is a service that started in 2001. Clients ship to us from all over the United States or can come into our store.\r\n\r\nWe serve a wide variety of clients in many industries, including entertainment, fashion, hospitality, marketing, public relations, legal, and medical. Our dedication to superior quality, state-of-the-art equipment, and competitive pricing has earned us an excellent reputation and the repeat business of thousands of satisfied customers.\r\n\r\nOur facility is designed and engineered to achieve only the cleanest video and audio transfers possible – and we can do most jobs in just one day.\r\n\r\nSpecializing in transferring DigiBeta, BetaSP, MiniDV, MOV files, HDV, DVCAM, and Quicktime for film festivals and television commercials. Convert videotape to DVD or Mini-DV. Videotape to BetaSP or DVCAM. Videotape or Quicktime files to Digital Betacam (digibeta) transfers please call. Many foreign conversions such as PAL to NTSC is $59. Quicktime .MOV Files for editing with Final Cut Pro, Vegas, Premiere, and other systems.\r\n\r\n - Betacam SP to DVD, VHS-to-DVD, 3/4", Mini-DV, Hi8, Betamax, Dailies, Hi-8, Timecode Window Burn, NTSC
\r\n - Video Conversions to DVDs are 100% GUARANTEED for quality!
\r\n - Make DVD''s to archive your footage!
\r\n - Archive your production library!
\r\n - Digibeta and Betacam SP to DVD or MiniDV to DVD Video for $40 PAL to NTSC VHS
\r\n - Make Conversions and Transfers of BetaSP, Mini-DV, VHS, Hi-8 video, U-Matic 3/4", Betamax, Mini-DV
\r\n - Convert PAL, Foreign conversions internatioinal covert video trasfers to DVD.
\r\n - Transfer digibeta to Flash files such as .FLV or .SWF. Also, to Quicktime .mov
\r\n
\r\nNeed to rent a VTR, High-Def or HD Deck or Videotape recorder VTR? Rent cameras and decks at: http://www.wova.com/audiovisual/\r\n\r\nWe serve customers all over the country, including Los Angeles, Hollywood, Beverly Hills, Burbank, Encino, Universal Studios, Sherman Oaks, Van Nuys, Chatsworth, Tarzana, Brentwood, North Hollywood, Toluca Lake, Northridge, Santa Monica, San Fernando Valley, Westwood, Glendale, Eagle Rock, Simi Valley, Woodland Hills, Calabasas, Los Feliz, Pasadena, Sebastopol, Santa Rosa, Graton, Windsor, Duncans Mills, Cazadero, Jenner, Petaluma, Napa, Sonoma, Healdsburg, Marin, Medocino, Santa Cruz, San Jose, Los Gatos, Saratogta, Forrestville, Guerneville, Monte Rio.\r\n\r\nWe also commonly work with clients in the following area codes: 818, 310, 949, 323, 213, 424, 626', 'About Us', '', 'inherit', 'closed', 'closed', '', '178-revision-10', '', '', '2011-02-02 23:45:48', '2011-02-02 23:45:48', '', 178, 'http://jlahijani.homeip.net:3010/betasptodvd.com/178-revision-10/', 0, 'revision', '', 0),
(213, 1, '2011-02-02 23:49:56', '2011-02-02 23:49:56', 'BetaSPtoDVD is a service of WOVA - World of Video & Audio and is a service that started in 2001. Clients ship to us from all over the United States or can come into our store.\r\n\r\nWe serve a wide variety of clients in many industries, including entertainment, fashion, hospitality, marketing, public relations, legal, and medical. Our dedication to superior quality, state-of-the-art equipment, and competitive pricing has earned us an excellent reputation and the repeat business of thousands of satisfied customers.\r\n\r\nOur facility is designed and engineered to achieve only the cleanest video and audio transfers possible - and we can do most jobs in just one day.\r\n\r\nSpecializing in transferring DigiBeta, BetaSP, MiniDV, MOV files, HDV, DVCAM, and Quicktime for film festivals and television commercials. Convert videotape to DVD or Mini-DV. Videotape to BetaSP or DVCAM. Videotape or Quicktime files to Digital Betacam (digibeta) transfers please call. Many foreign conversions such as PAL to NTSC is $59. Quicktime .MOV Files for editing with Final Cut Pro, Vegas, Premiere, and other systems.\r\n\r\n - Betacam SP to DVD, VHS-to-DVD, 3/4", Mini-DV, Hi8, Betamax, Dailies, Hi-8, Timecode Window Burn, NTSC
\r\n - Video Conversions to DVDs are 100% GUARANTEED for quality!
\r\n - Make DVD''s to archive your footage!
\r\n - Archive your production library!
\r\n - Digibeta and Betacam SP to DVD or MiniDV to DVD Video for $40 PAL to NTSC VHS
\r\n - Make Conversions and Transfers of BetaSP, Mini-DV, VHS, Hi-8 video, U-Matic 3/4", Betamax, Mini-DV
\r\n - Convert PAL, Foreign conversions internatioinal covert video trasfers to DVD.
\r\n - Transfer digibeta to Flash files such as .FLV or .SWF. Also, to Quicktime .mov
\r\n
\r\nNeed to rent a VTR, High-Def or HD Deck or Videotape recorder VTR? Rent cameras and decks at: http://www.wova.com/audiovisual/\r\n\r\nWe serve customers all over the country, including Los Angeles, Hollywood, Beverly Hills, Burbank, Encino, Universal Studios, Sherman Oaks, Van Nuys, Chatsworth, Tarzana, Brentwood, North Hollywood, Toluca Lake, Northridge, Santa Monica, San Fernando Valley, Westwood, Glendale, Eagle Rock, Simi Valley, Woodland Hills, Calabasas, Los Feliz, Pasadena, Sebastopol, Santa Rosa, Graton, Windsor, Duncans Mills, Cazadero, Jenner, Petaluma, Napa, Sonoma, Healdsburg, Marin, Medocino, Santa Cruz, San Jose, Los Gatos, Saratogta, Forrestville, Guerneville, Monte Rio.\r\n\r\nWe also commonly work with clients in the following area codes: 818, 310, 949, 323, 213, 424, 626', 'About Us', '', 'inherit', 'closed', 'closed', '', '178-revision-11', '', '', '2011-02-02 23:49:56', '2011-02-02 23:49:56', '', 178, 'http://jlahijani.homeip.net:3010/betasptodvd.com/178-revision-11/', 0, 'revision', '', 0),
(214, 1, '2011-02-02 23:50:23', '2011-02-02 23:50:23', 'BetaSPtoDVD is a service of WOVA - World of Video & Audio and is a service that started in 2001. Clients ship to us from all over the United States or can come into our store.\r\n\r\nWe serve a wide variety of clients in many industries, including entertainment, fashion, hospitality, marketing, public relations, legal, and medical. Our dedication to superior quality, state-of-the-art equipment, and competitive pricing has earned us an excellent reputation and the repeat business of thousands of satisfied customers.\r\n\r\nOur facility is designed and engineered to achieve only the cleanest video and audio transfers possible - and we can do most jobs in just one day.\r\n\r\nSpecializing in transferring DigiBeta, BetaSP, MiniDV, MOV files, HDV, DVCAM, and Quicktime for film festivals and television commercials. Convert videotape to DVD or Mini-DV. Videotape to BetaSP or DVCAM. Videotape or Quicktime files to Digital Betacam (digibeta) transfers please call. Many foreign conversions such as PAL to NTSC is $59. Quicktime .MOV Files for editing with Final Cut Pro, Vegas, Premiere, and other systems.\r\n\r\n - Betacam SP to DVD, VHS-to-DVD, 3/4", Mini-DV, Hi8, Betamax, Dailies, Hi-8, Timecode Window Burn, NTSC
\r\n - Video Conversions to DVDs are 100% GUARANTEED for quality!
\r\n - Make DVD''s to archive your footage!
\r\n - Archive your production library!
\r\n - Digibeta and Betacam SP to DVD or MiniDV to DVD Video for $40 PAL to NTSC VHS
\r\n - Make Conversions and Transfers of BetaSP, Mini-DV, VHS, Hi-8 video, U-Matic 3/4", Betamax, Mini-DV
\r\n - Convert PAL, Foreign conversions internatioinal covert video trasfers to DVD.
\r\n - Transfer digibeta to Flash files such as .FLV or .SWF. Also, to Quicktime .mov
\r\n
\r\nNeed to rent a VTR, High-Def or HD Deck or Videotape recorder VTR? Rent cameras and decks at: http://www.wova.com/audiovisual/\r\n\r\nWe serve customers all over the country, including Los Angeles, Hollywood, Beverly Hills, Burbank, Encino, Universal Studios, Sherman Oaks, Van Nuys, Chatsworth, Tarzana, Brentwood, North Hollywood, Toluca Lake, Northridge, Santa Monica, San Fernando Valley, Westwood, Glendale, Eagle Rock, Simi Valley, Woodland Hills, Calabasas, Los Feliz, Pasadena, Sebastopol, Santa Rosa, Graton, Windsor, Duncans Mills, Cazadero, Jenner, Petaluma, Napa, Sonoma, Healdsburg, Marin, Medocino, Santa Cruz, San Jose, Los Gatos, Saratogta, Forrestville, Guerneville, Monte Rio.\r\n\r\nWe also commonly work with clients in the following area codes: 818, 310, 949, 323, 213, 424, 626', 'About Us', '', 'inherit', 'closed', 'closed', '', '178-revision-12', '', '', '2011-02-02 23:50:23', '2011-02-02 23:50:23', '', 178, 'http://jlahijani.homeip.net:3010/betasptodvd.com/178-revision-12/', 0, 'revision', '', 0),
(216, 1, '2011-02-02 23:51:10', '2011-02-02 23:51:10', 'Beta SP to DVD is a service of WOVA - World of Video & Audio and started in 2001. Clients ship to us from all over the United States or can come into our store.\r\n\r\nWe serve a wide variety of clients in many industries, including entertainment, fashion, hospitality, marketing, public relations, legal, and medical. Our dedication to superior quality, state-of-the-art equipment, and competitive pricing has earned us an excellent reputation and the repeat business of thousands of satisfied customers.\r\n\r\nOur facility is designed and engineered to achieve only the cleanest video and audio transfers possible - and we can do most jobs in just one day.\r\n\r\nSpecializing in transferring DigiBeta, BetaSP, MiniDV, MOV files, HDV, DVCAM, and Quicktime for film festivals and television commercials. Convert videotape to DVD or Mini-DV. Videotape to BetaSP or DVCAM. Videotape or Quicktime files to Digital Betacam (digibeta) transfers please call. Many foreign conversions such as PAL to NTSC is $59. Quicktime .MOV Files for editing with Final Cut Pro, Vegas, Premiere, and other systems.\r\n\r\n - Betacam SP to DVD, VHS-to-DVD, 3/4", Mini-DV, Hi8, Betamax, Dailies, Hi-8, Timecode Window Burn, NTSC
\r\n - Video Conversions to DVDs are 100% GUARANTEED for quality!
\r\n - Make DVD''s to archive your footage!
\r\n - Archive your production library!
\r\n - Digibeta and Betacam SP to DVD or MiniDV to DVD Video for $40 PAL to NTSC VHS
\r\n - Make Conversions and Transfers of BetaSP, Mini-DV, VHS, Hi-8 video, U-Matic 3/4", Betamax, Mini-DV
\r\n - Convert PAL, Foreign conversions internatioinal covert video trasfers to DVD.
\r\n - Transfer digibeta to Flash files such as .FLV or .SWF. Also, to Quicktime .mov
\r\n
\r\nNeed to rent a VTR, High-Def or HD Deck or Videotape recorder VTR? Rent cameras and decks at: http://www.wova.com/audiovisual/\r\n\r\nWe serve customers all over the country, including Los Angeles, Hollywood, Beverly Hills, Burbank, Encino, Universal Studios, Sherman Oaks, Van Nuys, Chatsworth, Tarzana, Brentwood, North Hollywood, Toluca Lake, Northridge, Santa Monica, San Fernando Valley, Westwood, Glendale, Eagle Rock, Simi Valley, Woodland Hills, Calabasas, Los Feliz, Pasadena, Sebastopol, Santa Rosa, Graton, Windsor, Duncans Mills, Cazadero, Jenner, Petaluma, Napa, Sonoma, Healdsburg, Marin, Medocino, Santa Cruz, San Jose, Los Gatos, Saratogta, Forrestville, Guerneville, Monte Rio.\r\n\r\nWe also commonly work with clients in the following area codes: 818, 310, 949, 323, 213, 424, 626', 'About Us', '', 'inherit', 'closed', 'closed', '', '178-revision-14', '', '', '2011-02-02 23:51:10', '2011-02-02 23:51:10', '', 178, 'http://jlahijani.homeip.net:3010/betasptodvd.com/178-revision-14/', 0, 'revision', '', 0),
(215, 1, '2011-02-02 23:50:51', '2011-02-02 23:50:51', 'Beta SP to DVD is a service of WOVA - World of Video & Audio and is a service that started in 2001. Clients ship to us from all over the United States or can come into our store.\r\n\r\nWe serve a wide variety of clients in many industries, including entertainment, fashion, hospitality, marketing, public relations, legal, and medical. Our dedication to superior quality, state-of-the-art equipment, and competitive pricing has earned us an excellent reputation and the repeat business of thousands of satisfied customers.\r\n\r\nOur facility is designed and engineered to achieve only the cleanest video and audio transfers possible - and we can do most jobs in just one day.\r\n\r\nSpecializing in transferring DigiBeta, BetaSP, MiniDV, MOV files, HDV, DVCAM, and Quicktime for film festivals and television commercials. Convert videotape to DVD or Mini-DV. Videotape to BetaSP or DVCAM. Videotape or Quicktime files to Digital Betacam (digibeta) transfers please call. Many foreign conversions such as PAL to NTSC is $59. Quicktime .MOV Files for editing with Final Cut Pro, Vegas, Premiere, and other systems.\r\n\r\n - Betacam SP to DVD, VHS-to-DVD, 3/4", Mini-DV, Hi8, Betamax, Dailies, Hi-8, Timecode Window Burn, NTSC
\r\n - Video Conversions to DVDs are 100% GUARANTEED for quality!
\r\n - Make DVD''s to archive your footage!
\r\n - Archive your production library!
\r\n - Digibeta and Betacam SP to DVD or MiniDV to DVD Video for $40 PAL to NTSC VHS
\r\n - Make Conversions and Transfers of BetaSP, Mini-DV, VHS, Hi-8 video, U-Matic 3/4", Betamax, Mini-DV
\r\n - Convert PAL, Foreign conversions internatioinal covert video trasfers to DVD.
\r\n - Transfer digibeta to Flash files such as .FLV or .SWF. Also, to Quicktime .mov
\r\n
\r\nNeed to rent a VTR, High-Def or HD Deck or Videotape recorder VTR? Rent cameras and decks at: http://www.wova.com/audiovisual/\r\n\r\nWe serve customers all over the country, including Los Angeles, Hollywood, Beverly Hills, Burbank, Encino, Universal Studios, Sherman Oaks, Van Nuys, Chatsworth, Tarzana, Brentwood, North Hollywood, Toluca Lake, Northridge, Santa Monica, San Fernando Valley, Westwood, Glendale, Eagle Rock, Simi Valley, Woodland Hills, Calabasas, Los Feliz, Pasadena, Sebastopol, Santa Rosa, Graton, Windsor, Duncans Mills, Cazadero, Jenner, Petaluma, Napa, Sonoma, Healdsburg, Marin, Medocino, Santa Cruz, San Jose, Los Gatos, Saratogta, Forrestville, Guerneville, Monte Rio.\r\n\r\nWe also commonly work with clients in the following area codes: 818, 310, 949, 323, 213, 424, 626', 'About Us', '', 'inherit', 'closed', 'closed', '', '178-revision-13', '', '', '2011-02-02 23:50:51', '2011-02-02 23:50:51', '', 178, 'http://jlahijani.homeip.net:3010/betasptodvd.com/178-revision-13/', 0, 'revision', '', 0),
(217, 1, '2011-02-02 23:51:30', '2011-02-02 23:51:30', 'Beta SP to DVD is a service of WOVA - World of Video & Audio and started in 2001. Clients ship to us from all over the United States and also come into our store.\r\n\r\nWe serve a wide variety of clients in many industries, including entertainment, fashion, hospitality, marketing, public relations, legal, and medical. Our dedication to superior quality, state-of-the-art equipment, and competitive pricing has earned us an excellent reputation and the repeat business of thousands of satisfied customers.\r\n\r\nOur facility is designed and engineered to achieve only the cleanest video and audio transfers possible - and we can do most jobs in just one day.\r\n\r\nSpecializing in transferring DigiBeta, BetaSP, MiniDV, MOV files, HDV, DVCAM, and Quicktime for film festivals and television commercials. Convert videotape to DVD or Mini-DV. Videotape to BetaSP or DVCAM. Videotape or Quicktime files to Digital Betacam (digibeta) transfers please call. Many foreign conversions such as PAL to NTSC is $59. Quicktime .MOV Files for editing with Final Cut Pro, Vegas, Premiere, and other systems.\r\n\r\n - Betacam SP to DVD, VHS-to-DVD, 3/4", Mini-DV, Hi8, Betamax, Dailies, Hi-8, Timecode Window Burn, NTSC
\r\n - Video Conversions to DVDs are 100% GUARANTEED for quality!
\r\n - Make DVD''s to archive your footage!
\r\n - Archive your production library!
\r\n - Digibeta and Betacam SP to DVD or MiniDV to DVD Video for $40 PAL to NTSC VHS
\r\n - Make Conversions and Transfers of BetaSP, Mini-DV, VHS, Hi-8 video, U-Matic 3/4", Betamax, Mini-DV
\r\n - Convert PAL, Foreign conversions internatioinal covert video trasfers to DVD.
\r\n - Transfer digibeta to Flash files such as .FLV or .SWF. Also, to Quicktime .mov
\r\n
\r\nNeed to rent a VTR, High-Def or HD Deck or Videotape recorder VTR? Rent cameras and decks at: http://www.wova.com/audiovisual/\r\n\r\nWe serve customers all over the country, including Los Angeles, Hollywood, Beverly Hills, Burbank, Encino, Universal Studios, Sherman Oaks, Van Nuys, Chatsworth, Tarzana, Brentwood, North Hollywood, Toluca Lake, Northridge, Santa Monica, San Fernando Valley, Westwood, Glendale, Eagle Rock, Simi Valley, Woodland Hills, Calabasas, Los Feliz, Pasadena, Sebastopol, Santa Rosa, Graton, Windsor, Duncans Mills, Cazadero, Jenner, Petaluma, Napa, Sonoma, Healdsburg, Marin, Medocino, Santa Cruz, San Jose, Los Gatos, Saratogta, Forrestville, Guerneville, Monte Rio.\r\n\r\nWe also commonly work with clients in the following area codes: 818, 310, 949, 323, 213, 424, 626', 'About Us', '', 'inherit', 'closed', 'closed', '', '178-revision-15', '', '', '2011-02-02 23:51:30', '2011-02-02 23:51:30', '', 178, 'http://jlahijani.homeip.net:3010/betasptodvd.com/178-revision-15/', 0, 'revision', '', 0),
(218, 1, '2011-02-02 23:44:29', '2011-02-02 23:44:29', 'Address
\r\nBeta SP to DVD\r\n8717 Wilshire Blvd.\r\nBeverly Hills, CA 90210\r\nEmail
\r\ninfo@betasptodvd.com\r\nPhone
\r\n(310) 659-5148\r\nHours
\r\nMonday - Friday, 9am - 7pm\r\nSaturday, 11am - 4pm\r\n\r\nTake advantage of years of post production experience. We can talk through your technical issues and figure out the best post production processes for your project.', 'Contact Us', '', 'inherit', 'closed', 'closed', '', '24-revision-10', '', '', '2011-02-02 23:44:29', '2011-02-02 23:44:29', '', 24, 'http://jlahijani.homeip.net:3010/betasptodvd.com/24-revision-10/', 0, 'revision', '', 0),
(222, 1, '2011-01-31 23:42:44', '2011-01-31 23:42:44', '', 'HDV 1080i', '', 'inherit', 'closed', 'closed', '', '159-revision-2', '', '', '2011-01-31 23:42:44', '2011-01-31 23:42:44', '', 159, 'http://jlahijani.homeip.net:3010/betasptodvd.com/159-revision-2/', 0, 'revision', '', 0),
(301, 1, '2011-01-31 23:43:55', '2011-01-31 23:43:55', '', 'PAL', '', 'inherit', 'closed', 'closed', '', '169-revision-2', '', '', '2011-01-31 23:43:55', '2011-01-31 23:43:55', '', 169, 'http://jlahijani.homeip.net:3010/betasptodvd.com/169-revision-2/', 0, 'revision', '', 0),
(302, 1, '2011-02-17 00:17:11', '2011-02-17 00:17:11', '', 'HDCAM', '', 'inherit', 'closed', 'closed', '', '268-revision-2', '', '', '2011-02-17 00:17:11', '2011-02-17 00:17:11', '', 268, 'http://jlahijani.homeip.net:3010/betasptodvd.com/268-revision-2/', 0, 'revision', '', 0),
(303, 1, '2011-02-17 22:05:47', '2011-02-17 22:05:47', '', 'HDCAM SR', '', 'inherit', 'closed', 'closed', '', '278-revision-2', '', '', '2011-02-17 22:05:47', '2011-02-17 22:05:47', '', 278, 'http://jlahijani.homeip.net:3010/betasptodvd.com/278-revision-2/', 0, 'revision', '', 0),
(223, 1, '2011-01-31 23:41:15', '2011-01-31 23:41:15', '', 'DigiBeta', '', 'inherit', 'closed', 'closed', '', '148-revision-2', '', '', '2011-01-31 23:41:15', '2011-01-31 23:41:15', '', 148, 'http://jlahijani.homeip.net:3010/betasptodvd.com/148-revision-2/', 0, 'revision', '', 0),
(224, 1, '2011-01-31 23:41:55', '2011-01-31 23:41:55', '', 'Final Cut Pro', '', 'inherit', 'closed', 'closed', '', '155-revision-2', '', '', '2011-01-31 23:41:55', '2011-01-31 23:41:55', '', 155, 'http://jlahijani.homeip.net:3010/betasptodvd.com/155-revision-2/', 0, 'revision', '', 0),
(294, 1, '2011-02-16 04:47:49', '2011-02-16 04:47:49', '', 'Flash (FLV)', '', 'inherit', 'closed', 'closed', '', '241-revision-2', '', '', '2011-02-16 04:47:49', '2011-02-16 04:47:49', '', 241, 'http://jlahijani.homeip.net:3010/betasptodvd.com/241-revision-2/', 0, 'revision', '', 0),
(295, 1, '2011-02-24 23:18:36', '2011-02-24 23:18:36', 'Flash Video is a container file format used to deliver video over the Internet using Adobe Flash Player versions 6–10. Flash Video content may also be embedded within SWF files. There are two different video file formats known as Flash Video: FLV and F4V. The audio and video data within FLV files are encoded in the same way as they are within SWF files. The latter F4V file format is based on the ISO base media file format and is supported starting with Flash Player 9 update 3. Both formats are supported in Adobe Flash Player and currently developed by Adobe Systems. FLV was originally developed by Macromedia.\r\n\r\nThe format has quickly established itself as the format of choice for embedded video on the web. Notable users of the Flash Video format include YouTube, Hulu, Google Video, Yahoo! Video, metacafe, Reuters.com, and many other news providers.\r\n\r\nThe standards documentation for BBC Online states that the BBC now preferentially accepts Flash videos for submission, to the disadvantage of other formats previously in use on its sites such as RealVideo or WMV.\r\n\r\nFlash Video FLV files usually contain material encoded with codecs following the Sorenson Spark or VP6 video compression formats. The most recent public releases of Flash Player (collaboration between Adobe Systems and MainConcept) also support H.264 video and HE-AAC audio. All of these codecs are currently restricted by patents.\r\n\r\nFlash Video is viewable on most operating systems, via the Adobe Flash Player and web browser plugin or one of several third-party programs.', 'Flash Video (FLV)', '', 'inherit', 'closed', 'closed', '', '241-revision-3', '', '', '2011-02-24 23:18:36', '2011-02-24 23:18:36', '', 241, 'http://jlahijani.homeip.net:3010/betasptodvd.com/241-revision-3/', 0, 'revision', '', 0),
(296, 1, '2011-02-16 05:05:27', '2011-02-16 05:05:27', '', 'XviD', '', 'inherit', 'closed', 'closed', '', '256-revision-2', '', '', '2011-02-16 05:05:27', '2011-02-16 05:05:27', '', 256, 'http://jlahijani.homeip.net:3010/betasptodvd.com/256-revision-2/', 0, 'revision', '', 0),
(297, 1, '2011-02-16 03:30:01', '2011-02-16 03:30:01', '', 'WebM', '', 'inherit', 'closed', 'closed', '', '208-revision-3', '', '', '2011-02-16 03:30:01', '2011-02-16 03:30:01', '', 208, 'http://jlahijani.homeip.net:3010/betasptodvd.com/208-revision-3/', 0, 'revision', '', 0),
(298, 1, '2011-02-16 04:55:38', '2011-02-16 04:55:38', '', 'H.264 / MPEG-4 AVC (MP4)', '', 'inherit', 'closed', 'closed', '', '157-revision-6', '', '', '2011-02-16 04:55:38', '2011-02-16 04:55:38', '', 157, 'http://jlahijani.homeip.net:3010/betasptodvd.com/157-revision-6/', 0, 'revision', '', 0);
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(299, 1, '2011-02-24 23:27:00', '2011-02-24 23:27:00', 'H.264/MPEG-4 Part 10 or AVC (Advanced Video Coding) is a standard for video compression, and is currently one of the most commonly used formats for the recording, compression, and distribution of high definition video. The final drafting work on the first version of the standard was completed in May 2003.\r\n\r\nH.264/MPEG-4 AVC is a block-oriented motion-compensation-based codec standard developed by the ITU-T Video Coding Experts Group (VCEG) together with the ISO/IEC Moving Picture Experts Group (MPEG). It was the product of a partnership effort known as the Joint Video Team (JVT). The ITU-T H.264 standard and the ISO/IEC MPEG-4 AVC standard (formally, ISO/IEC 14496-10 - MPEG-4 Part 10, Advanced Video Coding) are jointly maintained so that they have identical technical content.\r\n\r\nH.264 is perhaps best known as being one of the codec standards for Blu-ray Discs; all Blu-ray players must be able to decode H.264. It is also widely used by streaming internet sources, such as videos from Vimeo, YouTube and the iTunes Store, web software such as the Adobe Flash Player and Microsoft Silverlight, broadcast services for DVB and SBTVD, direct-broadcast satellite television services, cable television services, and real-time videoconferencing.', 'H.264 / MPEG-4 AVC (MP4)', '', 'inherit', 'closed', 'closed', '', '157-revision-7', '', '', '2011-02-24 23:27:00', '2011-02-24 23:27:00', '', 157, 'http://jlahijani.homeip.net:3010/betasptodvd.com/157-revision-7/', 0, 'revision', '', 0),
(225, 1, '2011-02-09 00:04:07', '2011-02-09 00:04:07', 'Final Cut Pro is a professional non-linear editing software application developed by Apple Inc. The software logs and captures video onto a hard drive (internal or external), where it can be edited and processed.\nFrom the early 2000s, Final Cut Pro developed a large and expanding user base including many independent filmmakers. It has made inroads with film and television editors who have traditionally used Avid Technology’s Media Composer. According to a 2007 SCRI study, Final Cut made up 49% of the US professional editing market, with Avid at 22%. A published Survey in 2008 by the American Cinema Editors Guild placed their users at 21% FCP (and growing from previous surveys of this group), while all others are still on an Avid system of some kind.\n\nFinal Cut Pro provides non-linear, non-destructive editing of any QuickTime compatible video format including DV, HDV, P2 MXF (DVCProHD), XDCAM, and 2K film formats. It supports an unlimited number of simultaneously composited video tracks; up to 99 audio tracks; multi-camera editing for combining video from multiple camera sources; as well as standard ripple, roll, slip, slide, scrub, razor blade and time remapping edit functions. It comes with a range of video transitions and a range of video and audio filters such as keying tools, mattes and vocal de-poppers and de-essers. It also has a manual 3-way color correction filter, videoscopes and a selection of generators, such as slugs, test cards and noise.\n\nThe latest version of Final Cut Pro 7 claims better integration with Apple’s other professional applications and improved codec support for editing HD, DV and SD video formats, including encoding presets for devices such as iPod, Apple TV, and Blu-ray discs. A technology called DynamicRT built on the RT Extreme technology was released with Final Cut Pro 4. DynamicRT allows a real-time multistream effects architecture, which can be set to automatically adjust image quality and frame rate during playback to maintain real time effects. For example, when there are a large number of video streams playing simultaneously it will, in real time, switch to a mode that reduces the quality of the playback so that all of them can be seen in real time; when the computer is capable it will automatically return playback to native quality (that is, when there are fewer simultaneous video streams).\nFinal Cut Pro 6 also supports mixed video formats (both resolution and framerate) in the timeline with real time support.\n\nFinal Cut Pro 6 uses the included application Cinema Tools to keep track of original film sources through the telecine editing processes. Calligraphy 2 from BorisFX, a plug-in that works natively in Final Cut Pro, is included for improved titling functionality and is a subset of the Boris Graffiti titling technology. Final Cut Pro 6 is part of the Final Cut Studio 2 suite, and also has the ability to edit natively in HDV.\n\nFinal Cut Pro is a professional non-linear editing software application developed by Apple Inc. Final Cut Pro 7 will only run on Mac personal computers running Mac OS X version 10.5.6 or later and using Intel processors. It is a module of the Final Cut Studio product. The software logs and captures video onto a hard drive (internal or external), where it can be edited and processed.From the early 2000s, Final Cut Pro developed a large and expanding user base including many independent filmmakers. It has made inroads with film and television editors who have traditionally used Avid Technology’s Media Composer. According to a 2007 SCRI study, Final Cut made up 49% of the US professional editing market, with Avid at 22%. A published Survey in 2008 by the American Cinema Editors Guild placed their users at 21% FCP (and growing from previous surveys of this group), while all others are still on an Avid system of some kind.\n\nFinal Cut Pro provides non-linear, non-destructive editing of any QuickTime compatible video format including DV, HDV, P2 MXF (DVCProHD), XDCAM, and 2K film formats. It supports an unlimited number of simultaneously composited video tracks; up to 99 audio tracks; multi-camera editing for combining video from multiple camera sources; as well as standard ripple, roll, slip, slide, scrub, razor blade and time remapping edit functions. It comes with a range of video transitions and a range of video and audio filters such as keying tools, mattes and vocal de-poppers and de-essers. It also has a manual 3-way color correction filter, videoscopes and a selection of generators, such as slugs, test cards and noise.The latest version of Final Cut Pro 7 claims better integration with Apple’s other professional applications and improved codec support for editing HD, DV and SD video formats, including encoding presets for devices such as iPod, Apple TV, and Blu-ray discs. A technology called DynamicRT built on the RT Extreme technology was released with Final Cut Pro 4. DynamicRT allows a real-time multistream effects architecture, which can be set to automatically adjust image quality and frame rate during playback to maintain real time effects. For example, when there are a large number of video streams playing simultaneously it will, in real time, switch to a mode that reduces the quality of the playback so that all of them can be seen in real time; when the computer is capable it will automatically return playback to native quality (that is, when there are fewer simultaneous video streams).Final Cut Pro 6 also supports mixed video formats (both resolution and framerate) in the timeline with real time support.Final Cut Pro 6 uses the included application Cinema Tools to keep track of original film sources through the telecine editing processes. Calligraphy 2 from BorisFX, a plug-in that works natively in Final Cut Pro, is included for improved titling functionality and is a subset of the Boris Graffiti titling technology. Final Cut Pro 6 is part of the Final Cut Studio 2 suite, and also has the ability to edit natively in HDV.\n\nFinal Cut Pro is a professional non-linear editing software application developed by Apple Inc. The software logs and captures video onto a hard drive (internal or external), where it can be edited and processed.From the early 2000s, Final Cut Pro developed a large and expanding user base including many independent filmmakers. It has made inroads with film and television editors who have traditionally used Avid Technology’s Media Composer. According to a 2007 SCRI study, Final Cut made up 49% of the US professional editing market, with Avid at 22%. A published Survey in 2008 by the American Cinema Editors Guild placed their users at 21% FCP (and growing from previous surveys of this group), while all others are still on an Avid system of some kind.Final Cut Pro provides non-linear, non-destructive editing of any QuickTime compatible video format including DV, HDV, P2 MXF (DVCProHD), XDCAM, and 2K film formats. It supports an unlimited number of simultaneously composited video tracks; up to 99 audio tracks; multi-camera editing for combining video from multiple camera sources; as well as standard ripple, roll, slip, slide, scrub, razor blade and time remapping edit functions. It comes with a range of video transitions and a range of video and audio filters such as keying tools, mattes and vocal de-poppers and de-essers. It also has a manual 3-way color correction filter, videoscopes and a selection of generators, such as slugs, test cards and noise.The latest version of Final Cut Pro 7 claims better integration with Apple’s other professional applications and improved codec support for editing HD, DV and SD video formats, including encoding presets for devices such as iPod, Apple TV, and Blu-ray discs. A technology called DynamicRT built on the RT Extreme technology was released with Final Cut Pro 4. DynamicRT allows a real-time multistream effects architecture, which can be set to automatically adjust image quality and frame rate during playback to maintain real time effects. For example, when there are a large number of video streams playing simultaneously it will, in real time, switch to a mode that reduces the quality of the playback so that all of them can be seen in real time; when the computer is capable it will automatically return playback to native quality (that is, when there are fewer simultaneous video streams).Final Cut Pro 6 also supports mixed video formats (both resolution and framerate) in the timeline with real time support.Final Cut Pro 6 uses the included application Cinema Tools to keep track of original film sources through the telecine editing processes. Calligraphy 2 from BorisFX, a plug-in that works natively in Final Cut Pro, is included for improved titling functionality and is a subset of the Boris Graffiti titling technology. Final Cut Pro 6 is part of the Final Cut Studio 2 suite, and also has the ability to edit natively in HDV.', 'Final Cut Pro', '', 'inherit', 'closed', 'closed', '', '155-autosave', '', '', '2011-02-09 00:04:07', '2011-02-09 00:04:07', '', 155, 'http://jlahijani.homeip.net:3010/betasptodvd.com/155-autosave/', 0, 'revision', '', 0),
(226, 1, '2011-02-09 00:21:14', '2011-02-09 00:21:14', 'Beta SP to DVD offers complete DVD mastering and duplication services to a wide variety of individuals and businesses. Whether you need ten copies or ten thousand, Beta SP to DVD will handle your entire job with a level of professionalism and promptness that will exceed your expectations. Throughout our 30 years in business, we’ve worked with software developers, filmmakers, marketers, and other individuals who required superior DVD mastering and duplication services- You can be confident that our experienced staff will deliver the perfect product for you.\n\nWhy Choose Beta SP to DVD?\n\n - Quality DVD
\n - Always on time
\n - We offer pricing for projects of all sizes!
\n - Friendly and helpful staff
\n
\nWhat sets us apart from other companies is our dedication to high-quality, on-time service. We utilize only the best materials and equipment, and take our commitment to our customers very seriously.', 'DVD Duplication', '', 'inherit', 'closed', 'closed', '', '121-autosave', '', '', '2011-02-09 00:21:14', '2011-02-09 00:21:14', '', 121, 'http://jlahijani.homeip.net:3010/betasptodvd.com/121-autosave/', 0, 'revision', '', 0),
(227, 1, '2011-01-31 21:15:43', '2011-01-31 21:15:43', '', 'DVD Duplication', '', 'inherit', 'closed', 'closed', '', '121-revision-2', '', '', '2011-01-31 21:15:43', '2011-01-31 21:15:43', '', 121, 'http://jlahijani.homeip.net:3010/betasptodvd.com/121-revision-2/', 0, 'revision', '', 0),
(228, 1, '2011-01-31 21:15:35', '2011-01-31 21:15:35', '', 'CD Duplication', '', 'inherit', 'closed', 'closed', '', '119-revision-2', '', '', '2011-01-31 21:15:35', '2011-01-31 21:15:35', '', 119, 'http://jlahijani.homeip.net:3010/betasptodvd.com/119-revision-2/', 0, 'revision', '', 0),
(231, 1, '2011-02-09 00:30:44', '2011-02-09 00:30:44', 'At Beta SP to DVD, we offer complete CD mastering and duplication services to a wide variety of individuals and businesses. Whatever the quantity of CDs you need duplicated, Beta SP to DVD can handle your entire job. Throughout our 30 years, we''ve worked with software developers, filmmakers, marketers, and other individuals who required superior CD mastering and duplication services, so you can be confident that our experienced staff will deliver the perfect product for you.\r\n\r\nWhy Choose Beta SP to DVD?
\r\n\r\n \r\n - Quality CD duplication
\r\n - Always on time
\r\n - We offer pricing for projects of all sizes
\r\n - Friendly and helpful staff
\r\n
\r\n\r\n\r\nWhat sets us apart from other companies is our dedication to high-quality, on-time service. We utilize only the best materials and equipment, and take our commitment to our customers very seriously.\r\n', 'CD Duplication', '', 'inherit', 'closed', 'closed', '', '119-revision-4', '', '', '2011-02-09 00:30:44', '2011-02-09 00:30:44', '', 119, 'http://jlahijani.homeip.net:3010/betasptodvd.com/119-revision-4/', 0, 'revision', '', 0),
(229, 1, '2011-01-31 21:15:51', '2011-01-31 21:15:51', '', 'Blu-ray Duplication', '', 'inherit', 'closed', 'closed', '', '123-revision-2', '', '', '2011-01-31 21:15:51', '2011-01-31 21:15:51', '', 123, 'http://jlahijani.homeip.net:3010/betasptodvd.com/123-revision-2/', 0, 'revision', '', 0),
(230, 1, '2011-02-09 00:28:21', '2011-02-09 00:28:21', 'At Beta SP to DVD, we offer complete CD mastering and duplication services to a wide variety of individuals and businesses. Whatever the quantity of CDs you need duplicated, Beta SP to DVD can handle your entire job. Throughout our 30 years, we''ve worked with software developers, filmmakers, marketers, and other individuals who required superior CD mastering and duplication services, so you can be confident that our experienced staff will deliver the perfect product for you.\r\n\r\n - Why Choose WOVA?
\r\n - Quality CD duplication
\r\n - Always on time
\r\n - We offer pricing for projects of all sizes
\r\n
\r\nFriendly and helpful staff\r\n\r\nWhat sets us apart from other companies is our dedication to high-quality, on-time service. We utilize only the best materials and equipment, and take our commitment to our customers very seriously.\r\n\r\nFor more information on our CD duplication services, call us today at 866-900-3827!', 'CD Duplication', '', 'inherit', 'closed', 'closed', '', '119-revision-3', '', '', '2011-02-09 00:28:21', '2011-02-09 00:28:21', '', 119, 'http://jlahijani.homeip.net:3010/betasptodvd.com/119-revision-3/', 0, 'revision', '', 0),
(232, 1, '2011-02-09 00:31:03', '2011-02-09 00:31:03', 'At Beta SP to DVD, we offer complete CD mastering and duplication services to a wide variety of individuals and businesses. Whatever the quantity of CDs you need duplicated, Beta SP to DVD can handle your entire job. Throughout our 30 years, we''ve worked with software developers, filmmakers, marketers, and other individuals who required superior CD mastering and duplication services, so you can be confident that our experienced staff will deliver the perfect product for you.\r\n\r\nWhy Choose Beta SP to DVD?
\r\n\r\n - Quality CD duplication
\r\n - Always on time
\r\n - We offer pricing for projects of all sizes
\r\n - Friendly and helpful staff
\r\n
\r\n\r\n\r\nWhat sets us apart from other companies is our dedication to high-quality, on-time service. We utilize only the best materials and equipment, and take our commitment to our customers very seriously.\r\n', 'CD Duplication', '', 'inherit', 'closed', 'closed', '', '119-revision-5', '', '', '2011-02-09 00:31:03', '2011-02-09 00:31:03', '', 119, 'http://jlahijani.homeip.net:3010/betasptodvd.com/119-revision-5/', 0, 'revision', '', 0),
(233, 1, '2011-01-08 08:13:14', '2011-01-08 08:13:14', 'Please call or email us for a price quote or fill out form.\r\n\r\n\r\n - Audio Files
\r\n - BetaSP (Betacam SP)
\r\n - BetaSX
\r\n - DigiBeta (Digital Betacam)
\r\n - DVCPRO HD
\r\n - Digital-8
\r\n - DVCAM
\r\n - DVD
\r\n - HDV 1080i
\r\n - MiniDV
\r\n - .MOV File
\r\n - Quicktime File
\r\n - VHS
\r\n - VHS-C
\r\n - 3/4″ U-Matic
\r\n
\r\nWe also offer dozens of other services: Film Transers, DVD Duplication, Full Editing and Graphics, DigiBeta Deck Rentals, Post Production consulting, Final Cut Pro Editing, Edit Suite Rentals, and more! If it relates to film and video, we have done it. Just give us a call if we can be of service to you.', 'Get a Quote', '', 'inherit', 'closed', 'closed', '', '18-revision-4', '', '', '2011-01-08 08:13:14', '2011-01-08 08:13:14', '', 18, 'http://jlahijani.homeip.net:3010/betasptodvd.com/18-revision-4/', 0, 'revision', '', 0),
(236, 1, '2011-02-09 00:45:19', '2011-02-09 00:45:19', 'Please fill out the following form and we''ll get back to you with a quote.\r\n\r\n', 'Get a Quote', '', 'inherit', 'closed', 'closed', '', '18-revision-6', '', '', '2011-02-09 00:45:19', '2011-02-09 00:45:19', '', 18, 'http://jlahijani.homeip.net:3010/betasptodvd.com/18-revision-6/', 0, 'revision', '', 0),
(264, 1, '2011-02-02 23:53:16', '2011-02-02 23:53:16', 'Address
\r\nBeta SP to DVD\r\n8717 Wilshire Blvd.\r\nBeverly Hills, CA 90211\r\nEmail
\r\ninfo@betasptodvd.com\r\nPhone
\r\n(310) 659-5148\r\nHours
\r\nMonday - Friday, 9am - 7pm\r\nSaturday, 11am - 4pm\r\n\r\nTake advantage of years of post production experience. We can talk through your technical issues and figure out the best post production processes for your project.', 'Contact Us', '', 'inherit', 'closed', 'closed', '', '24-revision-11', '', '', '2011-02-02 23:53:16', '2011-02-02 23:53:16', '', 24, 'http://jlahijani.homeip.net:3010/betasptodvd.com/24-revision-11/', 0, 'revision', '', 0),
(240, 1, '2011-02-02 23:27:46', '2011-02-02 23:27:46', '', 'Web-M', '', 'inherit', 'closed', 'closed', '', '208-revision-2', '', '', '2011-02-02 23:27:46', '2011-02-02 23:27:46', '', 208, 'http://jlahijani.homeip.net:3010/betasptodvd.com/208-revision-2/', 0, 'revision', '', 0),
(244, 1, '2011-01-31 23:44:08', '2011-01-31 23:44:08', '', 'Quicktime', '', 'inherit', 'closed', 'closed', '', '171-revision-2', '', '', '2011-01-31 23:44:08', '2011-01-31 23:44:08', '', 171, 'http://jlahijani.homeip.net:3010/betasptodvd.com/171-revision-2/', 0, 'revision', '', 0),
(245, 1, '2011-01-31 23:43:29', '2011-01-31 23:43:29', '', 'MOV', '', 'inherit', 'closed', 'closed', '', '165-revision-2', '', '', '2011-01-31 23:43:29', '2011-01-31 23:43:29', '', 165, 'http://jlahijani.homeip.net:3010/betasptodvd.com/165-revision-2/', 0, 'revision', '', 0),
(247, 1, '2011-02-16 04:54:21', '2011-02-16 04:54:21', '', 'H.264/MPEG-4 AVC', '', 'inherit', 'closed', 'closed', '', '157-revision-3', '', '', '2011-02-16 04:54:21', '2011-02-16 04:54:21', '', 157, 'http://jlahijani.homeip.net:3010/betasptodvd.com/157-revision-3/', 0, 'revision', '', 0),
(248, 1, '2011-02-16 04:54:25', '2011-02-16 04:54:25', '', 'H.264/MPEG-4 AVC', '', 'inherit', 'closed', 'closed', '', '157-revision-4', '', '', '2011-02-16 04:54:25', '2011-02-16 04:54:25', '', 157, 'http://jlahijani.homeip.net:3010/betasptodvd.com/157-revision-4/', 0, 'revision', '', 0),
(249, 1, '2011-02-16 04:54:45', '2011-02-16 04:54:45', '', 'H.264 / MPEG-4 AVC', '', 'inherit', 'closed', 'closed', '', '157-revision-5', '', '', '2011-02-16 04:54:45', '2011-02-16 04:54:45', '', 157, 'http://jlahijani.homeip.net:3010/betasptodvd.com/157-revision-5/', 0, 'revision', '', 0),
(250, 1, '2011-02-16 04:59:53', '2011-02-16 04:59:53', 'DVD is an optical disc storage media format, invented and developed by Philips, Sony, Toshiba, and Time Warner in 1995. DVD discs offer higher storage capacity than compact discs while having the same dimensions.\r\n\r\nPre-recorded DVD discs are mass-produced using molding machines that physically stamp data onto the DVD. Such discs are known as DVD-ROM, because data can only be read and not written nor erased. Blank recordable DVD discs (DVD-R and DVD+R) can be recorded once using a DVD recorder and then function as a DVD-ROM. Rewritable DVD discs (DVD-RW, DVD+RW, and DVD-RAM) can be recorded and erased multiple times.\r\n\r\nDVD discs are used in DVD-Video consumer digital video format and in DVD-Audio consumer digital audio format, as well as for authoring AVCHD discs. DVD discs containing other types of information may be referred to as DVD data discs.', 'DVD', '', 'publish', 'closed', 'closed', '', 'dvd', '', '', '2011-02-24 23:16:46', '2011-02-24 23:16:46', '', 30, 'http://jlahijani.homeip.net:3010/betasptodvd.com/', 0, 'page', '', 0),
(251, 1, '2011-02-16 04:59:49', '2011-02-16 04:59:49', '', 'DVD', '', 'inherit', 'closed', 'closed', '', '250-revision', '', '', '2011-02-16 04:59:49', '2011-02-16 04:59:49', '', 250, 'http://jlahijani.homeip.net:3010/betasptodvd.com/250-revision/', 0, 'revision', '', 0),
(252, 1, '2011-02-16 05:02:18', '2011-02-16 05:02:18', 'Blu-ray Disc (official abbreviation BD) is an optical disc storage medium designed to supersede the DVD format. The standard physical medium is a 12 cm plastic optical disc, the same size as DVDs and CDs. Blu-Ray Discs contain 25 GB per layer, with dual layer discs (50 GB) the norm for feature-length video discs and additional layers possible later.\r\n\r\nThe first Blu-ray Disc prototypes were unveiled in October 2000, and the first prototype player was released in April 2003 in Japan. After that, it continued to be developed until its official release in June 2006.\r\n\r\nThe name Blu-ray Disc refers to the blue laser used to read the disc, which allows information to be stored at a greater density than is possible with the lasers used for DVDs.\r\n\r\nBlu-ray Disc was developed by the Blu-ray Disc Association, a group representing makers of consumer electronics, computer hardware, and motion pictures. As of June 2009, more than 1,500 Blu-ray Disc titles were available in Australia and the United Kingdom, with 2,500 in the United States and Canada. In Japan, as of July 2010[update], more than 3,300 titles were released.\r\n\r\nDuring the high definition optical disc format war, Blu-ray Disc competed with the HD DVD format. Toshiba, the main company that supported HD DVD, conceded in February 2008, releasing their own Blu-ray Disc player in late 2009.', 'Blu-ray', '', 'publish', 'closed', 'closed', '', 'blu-ray', '', '', '2011-02-24 22:43:08', '2011-02-24 22:43:08', '', 30, 'http://jlahijani.homeip.net:3010/betasptodvd.com/', 0, 'page', '', 0),
(253, 1, '2011-02-16 05:02:14', '2011-02-16 05:02:14', '', 'Blu-ray', '', 'inherit', 'closed', 'closed', '', '252-revision', '', '', '2011-02-16 05:02:14', '2011-02-16 05:02:14', '', 252, 'http://jlahijani.homeip.net:3010/betasptodvd.com/252-revision/', 0, 'revision', '', 0),
(254, 1, '2011-02-16 05:04:30', '2011-02-16 05:04:30', 'DivX is a brand name of products created by DivX, Inc. (formerly DivXNetworks, Inc.), including the DivX Codec which has become popular due to its ability to compress lengthy video segments into small sizes while maintaining relatively high visual quality.\r\n\r\nThere are two DivX codecs; the regular MPEG-4 Part 2 DivX codec and the H.264/MPEG-4 AVC DivX Plus HD codec. It is one of several codecs commonly associated with "ripping", whereby audio and video multimedia are transferred to a hard disk and transcoded.', 'DivX', '', 'publish', 'closed', 'closed', '', 'divx', '', '', '2011-02-24 23:15:08', '2011-02-24 23:15:08', '', 30, 'http://jlahijani.homeip.net:3010/betasptodvd.com/', 0, 'page', '', 0),
(255, 1, '2011-02-16 05:04:27', '2011-02-16 05:04:27', '', 'DivX', '', 'inherit', 'closed', 'closed', '', '254-revision', '', '', '2011-02-16 05:04:27', '2011-02-16 05:04:27', '', 254, 'http://jlahijani.homeip.net:3010/betasptodvd.com/254-revision/', 0, 'revision', '', 0),
(256, 1, '2011-02-16 05:05:27', '2011-02-16 05:05:27', 'Xvid (formerly "XviD") is a video codec library following the MPEG-4 standard, specifically MPEG-4 Part 2 Advanced Simple Profile (ASP). It uses ASP features such as b-frames, global and quarter pixel motion compensation, lumi masking, trellis quantization, and H.263, MPEG and custom quantization matrices.\r\n\r\nXvid is a primary competitor of the DivX Pro Codec. In contrast with the DivX codec, which is proprietary software developed by DivX, Inc., Xvid is free software distributed under the terms of the GNU General Public License. This also means that unlike the DivX codec, which is only available for a limited number of platforms, Xvid can be used on all platforms and operating systems for which the source code can be compiled.', 'Xvid', '', 'publish', 'closed', 'closed', '', 'xvid', '', '', '2011-02-24 23:20:33', '2011-02-24 23:20:33', '', 30, 'http://jlahijani.homeip.net:3010/betasptodvd.com/', 0, 'page', '', 0),
(257, 1, '2011-02-16 05:05:21', '2011-02-16 05:05:21', '', 'XviD', '', 'inherit', 'closed', 'closed', '', '256-revision', '', '', '2011-02-16 05:05:21', '2011-02-16 05:05:21', '', 256, 'http://jlahijani.homeip.net:3010/betasptodvd.com/256-revision/', 0, 'revision', '', 0),
(258, 1, '2011-02-16 05:07:13', '2011-02-16 05:07:13', '', 'Full HD', '', 'publish', 'closed', 'closed', '', 'full-hd', '', '', '2011-02-16 05:07:13', '2011-02-16 05:07:13', '', 30, 'http://jlahijani.homeip.net:3010/betasptodvd.com/', 0, 'page', '', 0),
(259, 1, '2011-02-16 05:07:09', '2011-02-16 05:07:09', '', 'Full HD', '', 'inherit', 'closed', 'closed', '', '258-revision', '', '', '2011-02-16 05:07:09', '2011-02-16 05:07:09', '', 258, 'http://jlahijani.homeip.net:3010/betasptodvd.com/258-revision/', 0, 'revision', '', 0),
(260, 1, '2011-02-16 05:11:23', '2011-02-16 05:11:23', 'AVC-Intra is a type of video coding developed by Panasonic that is fully compliant with the H.264/MPEG-4 AVC standard and additionally follows the SMPTE RP 2027-2007 recommended practice specification. AVC-Intra is available in a number of Panasonic''s high definition broadcast products, such as, for example, their P2 card equipped broadcast cameras. It is now also supported in various products made by other companies.\r\n\r\nPanasonic announced AVC-Intra codec support in April 2007. The use of AVC-Intra provides production quality HD video at bit rates more normally associated with ENG (Electronic news gathering) applications, permitting full resolution, 10 bit field capture of high quality HD imagery in one piece camera-recorders.\r\n\r\nAVC-Intra is intended to serve needs of video professionals who have to store HD digital video on digital storage media for editing and archiving purposes. It defines 10-bit intra-frame only compression, which is easy for editing and preserves maximum video quality. The technology significantly outperforms the older HDV (MPEG2 based) and DVCPRO HD (DV based) formats, allowing the codec to maintain better quality in half the storage space.', 'AVC-Intra', '', 'publish', 'closed', 'closed', '', 'avc-intra', '', '', '2011-02-24 22:38:23', '2011-02-24 22:38:23', '', 30, 'http://jlahijani.homeip.net:3010/betasptodvd.com/', 0, 'page', '', 0),
(261, 1, '2011-02-16 05:11:17', '2011-02-16 05:11:17', '', 'Auto Draft', '', 'inherit', 'closed', 'closed', '', '260-revision', '', '', '2011-02-16 05:11:17', '2011-02-16 05:11:17', '', 260, 'http://jlahijani.homeip.net:3010/betasptodvd.com/260-revision/', 0, 'revision', '', 0),
(262, 1, '2011-02-16 05:11:23', '2011-02-16 05:11:23', '', 'AVC-Intra', '', 'inherit', 'closed', 'closed', '', '260-revision-2', '', '', '2011-02-16 05:11:23', '2011-02-16 05:11:23', '', 260, 'http://jlahijani.homeip.net:3010/betasptodvd.com/260-revision-2/', 0, 'revision', '', 0),
(263, 1, '2011-02-16 00:18:37', '2011-02-16 00:18:37', 'Beta SP to DVD is a service of WOVA - World of Video & Audio and is a service that started in 2001. Specializing in transfers, conversions, duplications, digital media, and more. We serve a wide variety of clients in many industries, including entertainment, fashion, hospitality, marketing, public relations, legal, and medical. Our dedication to superior quality, state-of-the-art equipment, and competitive pricing has earned us an excellent reputation and the repeat business of thousands of satisfied customers.\r\n\r\nOur facility is designed and engineered to achieve only the cleanest video and audio transfers possible. We can do most jobs in just one day. Clients ship to us from all over the United States or can come into our store.\r\n\r\nWe serve customers all over the country, including Los Angeles, Hollywood, Beverly Hills, Burbank, Encino, Universal Studios, Sherman Oaks, Van Nuys, Chatsworth, Tarzana, Brentwood, North Hollywood, Toluca Lake, Northridge, Santa Monica, San Fernando Valley, Westwood, Glendale, Eagle Rock, Simi Valley, Woodland Hills, Calabasas, Los Feliz, Pasadena, Sebastopol, Santa Rosa, Graton, Windsor, Duncans Mills, Cazadero, Jenner, Petaluma, Napa, Sonoma, Healdsburg, Marin, Medocino, Santa Cruz, San Jose, Los Gatos, Saratogta, Forrestville, Guerneville, Monte Rio.\r\n\r\n', 'About Us', '', 'inherit', 'closed', 'closed', '', '178-revision-20', '', '', '2011-02-16 00:18:37', '2011-02-16 00:18:37', '', 178, 'http://jlahijani.homeip.net:3010/betasptodvd.com/178-revision-20/', 0, 'revision', '', 0),
(265, 1, '2011-02-16 07:08:40', '2011-02-16 07:08:40', 'Address
\r\nBeta SP to DVD\r\n8717 Wilshire Blvd.\r\nBeverly Hills, CA 90211\r\nEmail
\r\ninfo@betasptodvd.com\r\nPhone
\r\n(310) 659-5148\r\nHours
\r\nMonday - Friday: 9am - 7pm\r\nSaturday: 11am - 4pm\r\n\r\nTake advantage of years of post production experience. We can talk through your technical issues and figure out the best post production processes for your project.', 'Contact Us', '', 'inherit', 'closed', 'closed', '', '24-revision-12', '', '', '2011-02-16 07:08:40', '2011-02-16 07:08:40', '', 24, 'http://jlahijani.homeip.net:3010/betasptodvd.com/24-revision-12/', 0, 'revision', '', 0),
(266, 1, '2011-02-16 07:10:08', '2011-02-16 07:10:08', 'Address
\r\nBeta SP to DVD\r\n8717 Wilshire Blvd.\r\nBeverly Hills, CA 90211\r\nEmail
\r\ninfo@betasptodvd.com\r\nPhones
\r\nTel: (310) 659-5148\r\nFax: (310) 659-8247\r\nHours
\r\nMonday - Friday: 9am - 7pm\r\nSaturday: 11am - 4pm\r\n\r\nTake advantage of years of post production experience. We can talk through your technical issues and figure out the best post production processes for your project.', 'Contact Us', '', 'inherit', 'closed', 'closed', '', '24-revision-13', '', '', '2011-02-16 07:10:08', '2011-02-16 07:10:08', '', 24, 'http://jlahijani.homeip.net:3010/betasptodvd.com/24-revision-13/', 0, 'revision', '', 0),
(267, 1, '2011-02-16 07:10:23', '2011-02-16 07:10:23', 'Address
\r\nBeta SP to DVD\r\n8717 Wilshire Blvd.\r\nBeverly Hills, CA 90211\r\nEmail
\r\ninfo@betasptodvd.com\r\nPhone
\r\nTel: (310) 659-5148\r\nFax: (310) 659-8247\r\nHours
\r\nMonday - Friday: 9am - 7pm\r\nSaturday: 11am - 4pm\r\n\r\nTake advantage of years of post production experience. We can talk through your technical issues and figure out the best post production processes for your project.', 'Contact Us', '', 'inherit', 'closed', 'closed', '', '24-revision-14', '', '', '2011-02-16 07:10:23', '2011-02-16 07:10:23', '', 24, 'http://jlahijani.homeip.net:3010/betasptodvd.com/24-revision-14/', 0, 'revision', '', 0),
(268, 1, '2011-02-17 00:17:11', '2011-02-17 00:17:11', 'HDCAM, introduced in 1997, is an HD version of Digital Betacam, using an 8-bit DCT compressed 3:1:1 recording, in 1080i-compatible downsampled resolution of 1440×1080, and adding 24p and 23.976 PsF modes to later models. The HDCAM codec uses rectangular pixels and as such the recorded 1440×1080 content is upsampled to 1920×1080 on playback. The recorded video bitrate is 144 Mbit/s. Audio is also similar, with 4 channels of AES3 20-bit/48 kHz digital audio.\r\n\r\nLike Betacam, HDCAM tapes are produced in small and large cassette sizes; the small cassette uses the same form factor as the original Betamax.\r\n\r\nThe main competitor to HDCAM is DVCPRO HD format offered by Panasonic. It uses a similar compression scheme and bitrates ranging from 40 Mbit/s to 100 Mbit/s depending on frame rate.', 'HDCAM', '', 'publish', 'closed', 'closed', '', 'hdcam', '', '', '2011-02-24 23:35:20', '2011-02-24 23:35:20', '', 30, 'http://jlahijani.homeip.net:3010/betasptodvd.com/', 0, 'page', '', 0),
(269, 1, '2011-02-17 00:17:05', '2011-02-17 00:17:05', '', 'HDCAM', '', 'inherit', 'closed', 'closed', '', '268-revision', '', '', '2011-02-17 00:17:05', '2011-02-17 00:17:05', '', 268, 'http://jlahijani.homeip.net:3010/betasptodvd.com/268-revision/', 0, 'revision', '', 0),
(270, 1, '2011-02-17 00:19:56', '2011-02-17 00:19:56', '', 'DVCPRO HD', '', 'publish', 'closed', 'closed', '', 'dvcpro-hd', '', '', '2011-02-17 00:19:56', '2011-02-17 00:19:56', '', 30, 'http://jlahijani.homeip.net:3010/betasptodvd.com/', 0, 'page', '', 0),
(271, 1, '2011-02-17 00:19:50', '2011-02-17 00:19:50', '', 'DVCPRO HD', '', 'inherit', 'closed', 'closed', '', '270-revision', '', '', '2011-02-17 00:19:50', '2011-02-17 00:19:50', '', 270, 'http://jlahijani.homeip.net:3010/betasptodvd.com/270-revision/', 0, 'revision', '', 0),
(272, 1, '2011-02-08 23:58:17', '2011-02-08 23:58:17', 'When interlaced video is watched on a progressive monitor without proper deinterlacing, it exhibits combing when there is movement between two fields of one frame.\r\n\r\nSony adapted HDV, originally conceived as progressive-scan format by JVC, to interlaced video. Interlaced video has been a useful compromise for decades due to its ability to display motion smoothly while reducing recording and transmission bandwidth. Interlaced video is still being used in acquisition and broadcast, but interlaced display devices are being phased out. Modern flat-panel television sets that utilize plasma and LCD technology are inherently progressive. All modern computer monitors use progressive scanning as well.\r\n\r\nBefore interlaced video is displayed on a progressive-scan device it must be converted to progressive using the process known as deinterlacing. Progressive-scan television sets employ built-in deinterlacing circuits to cope with interlaced broadcast signal, but computer video players rarely have this capability. As such, interlaced video may exhibit ghosting or combing artifacts when watched on a computer.\r\n\r\nSome HDV 1080i camcorders are capable of recording progressive video within an interlaced stream, provided that the frame rate does not exceed half of the field rate. The first HDV 1080i camcorder to implement such Progressive Scanning was the Sony HVR-V1. To preserve compatibility with interlaced equipment the HVR-V1 records and outputs video in interlaced form. 25-frame/s and 30-frame/s progressive video is recorded on tape using progressive segmented frame (PsF) technique, while 24-frame/s recording employs 2-3 pulldown. The camcorder offers two variations of 24-frame/s recording: “24″ and “24A”. In “24″ mode the camera ensures that there are no cadence breaks for a whole tape, this mode works better for watching video directly from the camera and for adding “film look” to interlaced video. In the “24A” mode the camera starts every clip on an A frame with timecode set to an even second margin. Several editing tools, including Sony’s own Vegas, are capable of processing 24A video as proper 24 frames/s progressive video.\r\n\r\nPrior to the HVR-V1, Sony was offering Cineframe, essentially an interlaced-to-progressive converter, to simulate film-like motion. The conversion process involved blending and discarding fields, so vertical resolution of the resulting video suffered. Motion, produced in the 24-frame/s variant of Cineframe was too uneven for professional use. The same or better film look effect can be achieved by converting regular interlaced video into progressive format using computer software.\r\n\r\nIn 2007 Canon commoditized progressive scanning, releasing the HV20 camcorder. The version for 50 Hz market featured PF25 mode with PsF-like recording, while the version for 60 Hz market had PF24 mode, which utilized 2-3 pulldown scheme. Progressive scan video recorded with the HV20 does not include flags necessary for performing automated film-mode deinterlacing, which is why most editing tools treat such video as interlaced. The HV30, released in 2008, implemented additional PsF-like PF30 mode for 60 Hz markets. Output is performed via component, HDMI and FireWire in interlaced form.\r\n\r\nProgressive scan video must be properly deinterlaced to achieve full vertical resolution and to avoid interlace artifacts. 25P and 30P video must be deinterlaced with “weave” or “no deinterlacing” algorithm, which means joining two fields of each frame together into one progressive frame. This operation can be done in most editing tools simply by changing project properties from interlaced to progressive. 24P video must go through film-mode deinterlacing also known as inverse telecine, which throws out judder frames and restores original 24-frame/s progressive video. Many editing tools cannot perform film-mode deinterlacing, requiring usage of a separate converter.', 'HDV 1080i', '', 'inherit', 'closed', 'closed', '', '159-revision-3', '', '', '2011-02-08 23:58:17', '2011-02-08 23:58:17', '', 159, 'http://jlahijani.homeip.net:3010/betasptodvd.com/159-revision-3/', 0, 'revision', '', 0),
(273, 1, '2011-02-17 00:24:28', '2011-02-17 00:24:28', 'When interlaced video is watched on a progressive monitor without proper deinterlacing, it exhibits combing when there is movement between two fields of one frame.\n\nSony adapted HDV, originally conceived as progressive-scan format by JVC, to interlaced video. Interlaced video has been a useful compromise for decades due to its ability to display motion smoothly while reducing recording and transmission bandwidth. Interlaced video is still being used in acquisition and broadcast, but interlaced display devices are being phased out. Modern flat-panel television sets that utilize plasma and LCD technology are inherently progressive. All modern computer monitors use progressive scanning as well.\n\nBefore interlaced video is displayed on a progressive-scan device it must be converted to progressive using the process known as deinterlacing. Progressive-scan television sets employ built-in deinterlacing circuits to cope with interlaced broadcast signal, but computer video players rarely have this capability. As such, interlaced video may exhibit ghosting or combing artifacts when watched on a computer.\n\nSome HDV 1080i camcorders are capable of recording progressive video within an interlaced stream, provided that the frame rate does not exceed half of the field rate. The first HDV 1080i camcorder to implement such Progressive Scanning was the Sony HVR-V1. To preserve compatibility with interlaced equipment the HVR-V1 records and outputs video in interlaced form. 25-frame/s and 30-frame/s progressive video is recorded on tape using progressive segmented frame (PsF) technique, while 24-frame/s recording employs 2-3 pulldown. The camcorder offers two variations of 24-frame/s recording: “24″ and “24A”. In “24″ mode the camera ensures that there are no cadence breaks for a whole tape, this mode works better for watching video directly from the camera and for adding “film look” to interlaced video. In the “24A” mode the camera starts every clip on an A frame with timecode set to an even second margin. Several editing tools, including Sony’s own Vegas, are capable of processing 24A video as proper 24 frames/s progressive video.\n\nPrior to the HVR-V1, Sony was offering Cineframe, essentially an interlaced-to-progressive converter, to simulate film-like motion. The conversion process involved blending and discarding fields, so vertical resolution of the resulting video suffered. Motion, produced in the 24-frame/s variant of Cineframe was too uneven for professional use. The same or better film look effect can be achieved by converting regular interlaced video into progressive format using computer software.\n\nIn 2007 Canon commoditized progressive scanning, releasing the HV20 camcorder. The version for 50 Hz market featured PF25 mode with PsF-like recording, while the version for 60 Hz market had PF24 mode, which utilized 2-3 pulldown scheme. Progressive scan video recorded with the HV20 does not include flags necessary for performing automated film-mode deinterlacing, which is why most editing tools treat such video as interlaced. The HV30, released in 2008, implemented additional PsF-like PF30 mode for 60 Hz markets. Output is performed via component, HDMI and FireWire in interlaced form.\n\nProgressive scan video must be properly deinterlaced to achieve full vertical resolution and to avoid interlace artifacts. 25P and 30P video must be deinterlaced with “weave” or “no deinterlacing” algorithm, which means joining two fields of each frame together into one progressive frame. This operation can be done in most editing tools simply by changing project properties from interlaced to progressive. 24P video must go through film-mode deinterlacing also known as inverse telecine, which throws out judder frames and restores original 24-frame/s progressive video. Many editing tools cannot perform film-mode deinterlacing, requiring usage of a separate converter.', 'HDV', '', 'inherit', 'closed', 'closed', '', '159-autosave', '', '', '2011-02-17 00:24:28', '2011-02-17 00:24:28', '', 159, 'http://jlahijani.homeip.net:3010/betasptodvd.com/159-autosave/', 0, 'revision', '', 0),
(276, 1, '2011-02-17 20:14:45', '2011-02-17 20:14:45', '', 'Beta SP to DVD', '', 'inherit', 'closed', 'closed', '', 'about-2', '', '', '2011-02-17 20:14:45', '2011-02-17 20:14:45', '', 178, 'http://jlahijani.homeip.net:3010/betasptodvd.com/wp-content/uploads/about.jpg', 0, 'attachment', 'image/jpeg', 0),
(275, 1, '2011-02-16 05:19:45', '2011-02-16 05:19:45', 'Beta SP to DVD is a service of WOVA - World of Video & Audio and that started in 2001. Specializing in transfers, conversions, duplications, digital media, and more. We serve a wide variety of clients in many industries, including entertainment, fashion, hospitality, marketing, public relations, legal, and medical. Our dedication to superior quality, state-of-the-art equipment, and competitive pricing has earned us an excellent reputation and the repeat business of thousands of satisfied customers.\r\n\r\nOur facility is designed and engineered to achieve only the cleanest video and audio transfers possible. We can do most jobs in just one day. Clients ship to us from all over the United States or can come into our store.\r\n\r\nWe serve customers all over the country, including Los Angeles, Hollywood, Beverly Hills, Burbank, Encino, Universal Studios, Sherman Oaks, Van Nuys, Chatsworth, Tarzana, Brentwood, North Hollywood, Toluca Lake, Northridge, Santa Monica, San Fernando Valley, Westwood, Glendale, Eagle Rock, Simi Valley, Woodland Hills, Calabasas, Los Feliz, Pasadena, Sebastopol, Santa Rosa, Graton, Windsor, Duncans Mills, Cazadero, Jenner, Petaluma, Napa, Sonoma, Healdsburg, Marin, Medocino, Santa Cruz, San Jose, Los Gatos, Saratogta, Forrestville, Guerneville, Monte Rio.\r\n\r\n', 'About Us', '', 'inherit', 'closed', 'closed', '', '178-revision-21', '', '', '2011-02-16 05:19:45', '2011-02-16 05:19:45', '', 178, 'http://jlahijani.homeip.net:3010/betasptodvd.com/178-revision-21/', 0, 'revision', '', 0),
(277, 1, '2011-02-17 03:34:30', '2011-02-17 03:34:30', '
\r\n\r\nBeta SP to DVD is a service of WOVA - World of Video & Audio and that started in 2001. Specializing in transfers, conversions, duplications, digital media, and more. We serve a wide variety of clients in many industries, including entertainment, fashion, hospitality, marketing, public relations, legal, and medical. Our dedication to superior quality, state-of-the-art equipment, and competitive pricing has earned us an excellent reputation and the repeat business of thousands of satisfied customers.\r\n\r\nOur facility is designed and engineered to achieve only the cleanest video and audio transfers possible. We can do most jobs in just one day. Clients ship to us from all over the United States or can come into our store.\r\n\r\nWe serve customers all over the country, including Los Angeles, Hollywood, Beverly Hills, Burbank, Encino, Universal Studios, Sherman Oaks, Van Nuys, Chatsworth, Tarzana, Brentwood, North Hollywood, Toluca Lake, Northridge, Santa Monica, San Fernando Valley, Westwood, Glendale, Eagle Rock, Simi Valley, Woodland Hills, Calabasas, Los Feliz, Pasadena, Sebastopol, Santa Rosa, Graton, Windsor, Duncans Mills, Cazadero, Jenner, Petaluma, Napa, Sonoma, Healdsburg, Marin, Medocino, Santa Cruz, San Jose, Los Gatos, Saratogta, Forrestville, Guerneville, Monte Rio.', 'About Us', '', 'inherit', 'closed', 'closed', '', '178-revision-22', '', '', '2011-02-17 03:34:30', '2011-02-17 03:34:30', '', 178, 'http://jlahijani.homeip.net:3010/betasptodvd.com/178-revision-22/', 0, 'revision', '', 0),
(278, 1, '2011-02-17 22:05:47', '2011-02-17 22:05:47', 'HDCAM SR was introduced in 2003 and standardised in SMPTE 409M-2005. It uses a higher particle density tape and is capable of recording in 10 bits 4:2:2 or 4:4:4 RGB with a video bitrate of 440 Mbit/s, and a total data rate of approx. 600 Mbit/s.[2] The increased bitrate (over HDCAM) allows HDCAM SR to capture much more of the full bandwidth of the HDSDI signal (1920×1080). Some HDCAM SR VTRs can also use a 2x mode with an even higher video bitrate of 880 Mbit/s, allowing for a single 4:4:4 stream at a lower compression or two 4:2:2 video streams simultaneously. HDCAM SR uses MPEG-4 Part 2 Simple Studio Profile[1] for compression, and expands the number of audio channels up to 12 at 48 kHz/24-bit.\r\n\r\nThere are 12 channels of audio recorded uncompressed at 24bit 48 kHz sampling. Each channel is capable of recording AES3 non-audio data.\r\n\r\nHDCAM SR is used commonly for HDTV television production. As of 2007, many prime-time network television shows use HDCAM SR as a master recording medium.\r\n\r\nSome HDCAM VTRs play back older Betacam variants, for example, the Sony SRW-5500 HDCAM SR recorder, plays back and records HDCAM and HDCAM SR tapes and with optional hardware also plays and upconverts Digital Betacam tapes to HD format. Tape lengths are the same as for Digital Betacam, up to 40 minutes for S and 124 minutes for L tapes. In 24p mode the runtime increases to 50 and 155 minutes, respectively.\r\n\r\nHDCAM tapes are black with an orange lid, and HDCAM SR tapes black with a cyan lid.\r\n\r\n440 Mbit/s mode is known as SQ, and 880 Mbit/s mode is known as HQ, and this mode has recently become available in studio models (eg. SRW-5800) as well as portable models previously available. In 2008 the SRW-5800 will give the "HQ" 4:4:4 option.\r\n\r\nSony has also announced a higher compression mode called "SR Lite". As with the 440 and 880 mode, SR Lite utilizes the MPEG-4 Part 2 Simple Studio Profile but decreases the bitrate down to 220 Mbit/s for 60i and 183 Mbit/s for 50i. SR Lite is locked at 4:2:2 color sampling but still maintains at 10 bit pixel depth. It also allows for 50 and 60p at the cost of a doubled data rate (440 Mbit/s for 60p).', 'HDCAM SR', '', 'publish', 'closed', 'closed', '', 'hdcam-sr', '', '', '2011-02-24 23:36:23', '2011-02-24 23:36:23', '', 30, 'http://jlahijani.homeip.net:3010/betasptodvd.com/', 0, 'page', '', 0),
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(281, 1, '2011-02-16 07:21:53', '2011-02-16 07:21:53', 'Address
\r\nBeta SP to DVD\r\n8717 Wilshire Blvd.\r\nBeverly Hills, CA 90211\r\nEmail
\r\ninfo@betasptodvd.com\r\nPhone
\r\nTel: (310) 659-5148\r\n Fax: (310) 659-8247\r\nHours
\r\nMonday - Friday: 9am - 7pm\r\nSaturday: 11am - 4pm\r\n\r\nTake advantage of years of post production experience. We can talk through your technical issues and figure out the best post production processes for your project.', 'Contact Us', '', 'inherit', 'closed', 'closed', '', '24-revision-15', '', '', '2011-02-16 07:21:53', '2011-02-16 07:21:53', '', 24, 'http://jlahijani.homeip.net:3010/betasptodvd.com/24-revision-15/', 0, 'revision', '', 0);
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(282, 1, '2011-02-02 20:49:57', '2011-02-02 20:49:57', '\r\n\r\nBetacam is a professional video format that comes in several flavors:\r\n\r\nBetacam\r\n\r\nBetacam SP (also known as BetaSP)\r\n\r\nDigital Betacam (also known as DigiBeta)\r\n\r\nBetaSX\r\n\r\nIt can have a large videotape shell or small one and can be recorded in PAL, SECAM, or NTSC. Betacam, even digibeta is a standard definition signal.\r\n\r\n
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Betacam is a family of half-inch professional videotape products. It was developed by Sony in 1982. In colloquial use, “Betacam” singly is often used to refer to a Betacam camcorder, a Betacam tape, a Betacam video recorder or the format itself.
\r\n
All Betacam variants from (plain) Betacam to Betacam SP and Digital Betacam, use the same shape cassettes, meaning vaults and other storage facilities do not have to be changed when upgrading to a new format. The cassettes come in two sizes: S and L. Betacam cameras can only load S tapes, while VTRs can play both S and L tapes. The cassette shell and case for each Betacam cassette is colored differently depending on the format, allowing for easy visual identification. There is also a mechanical key that allows a video tape recorder to tell which format has been inserted.
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The format supplanted the three-quarter inch U-Matic format, which Sony had introduced in 1971. In addition to improvements in video quality, the Betacam configuration of an integrated camera/recorder led to its rapid adoption by electronic news gathering organizations.
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Even though Betacam remains popular in the field and for archiving, new digital products such as the Multi Access Video Disk Recorder are leading to a phasing out of Betacam products in a studio environment.
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Betacam / BetacamSP
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The original Betacam format was launched in August 7, 1982. It is an analog component video format, storing the luminance, “Y”, in one track and the chrominance, on another as alternating segments of the R-Y and B-Y components performing Compressed Time Division Multiplex, or CTDM.This splitting of channels allows true broadcast quality recording with 300 lines of horizontal luminance resolution and 120 lines chrominance resolution (versus ~30 for Betamax/VHS), on a relatively inexpensive cassette based format.
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The original Betacam format records on cassettes loaded with oxide-formulated tape, which are theoretically the same as used by its consumer market-oriented predecessor Betamax, introduced 7 years earlier by Sony in 1975. A blank Betamax-branded tape will work on a Betacam deck, and a Betacam-branded tape can be used to record in a Betamax deck. However, in later years Sony discouraged this practice, suggesting that the internal tape transport of a domestic Betamax cassette was not well suited to the faster tape transport of Betacam. In particular, the guide rollers tend to be noisy.
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Although there is a superficial similarity between Betamax and Betacam in that they use the same tape cassette, they are really quite different formats. Betamax records relatively low resolution composite video using a heterodyne color recording system and only two recording heads, while Betacam uses four heads to record in component format, at a much higher linear tape speed, resulting in much higher video and audio quality. A typical L-750 length Betamax cassette that yielded about 3 hours of recording time on a Betamax VCR at its B-II speed, only provided 30 minutes record time on a Betacam VCR or camcorder.
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It may also be noted that Matsushita / Panasonic also introduced a professional 1/2″ component videotape format which used VHS style tape cassettes called “M-Format”. However, while Sony’s Betacam system rapidly became an industry standard, M format was a marketing failure. A followup format called M-II — effectively the Panasonic enhancement of M-format as SP was Sony’s enhancement of Betacam —was a great improvement. Though it was used as an internal standard at NBC for a time, it failed to make much headway in the marketplace. While technically M-II was in some ways an improvement over Betacam SP, Betacam SP had the overwhelming advantage of a high degree of compatibility with the existing (and very large) Betacam infrastructure.
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Betacam was initially introduced as a camera line along with a video cassette player. The first cameras were the BVP-3, which utilized 3 saticon tubes, and the BVP1, which used a single tri-stripe Trinicon tube. Both these cameras could be operated standalone, or with their docking companion VTR, the BVV-1, (quickly superseded by the BVV-1A) to form the BVW-1 (BVW-1A) integrated camcorder. Tapes could not be played back in camera except in black and white for viewing in the camera’s viewfinder only. Color playback required the studio source deck at first, the BVW-10, which could not record, only play back. It was primarily designed as a feeder deck for A/B roll edit systems, usually for editing to a 1″ Type C or 3/4″ U-matic cassette edit master tape. There was also the BVW-20 field playback deck, which was a portable unit with DC power and a handle, that was used to verify color playback of tapes in the field. Unlike the BVW-10, it did not have a built in Time Base Corrector, or TBC.
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With the popular success of the Betacam system as a news acquisition format, the line was soon extended to include the BVW-15 studio player, and the BVW-40 Studio Edit Recorder. The BVW-15 added Dynamic Tracking which enabled clear still frame and jog playback, something the BVW-10 could not deliver. The BVW-40 enabled for the first time editing to a Betacam master, and if setup and wired correctly, true component video editing. It was also possible to do machine to machine editing between a BVW-10/15 and BVW-40 without an edit controller—a single serial cable between the units was all that was required to control the player from the recorder in performing simple assemble and insert editing. Additionally there were two field models introduced, the field recorder BVW-25, and the BVW-21 play only portable field deck.
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At its introduction, many insisted that Betacam remained inferior to the bulkier 1″ Type C and B recording, the standard broadcast production format of the late 70s to mid 80s. Additionally, the maximum record time for both the cameras and studio recorders was only half an hour, a severe limitation in television production. There was also the limitation that high quality recording was only possible if the original component signals were available, as they would be in a cp. If they had already been converted to composite video, re-converting them to components for recording and then eventually back to composite for broadcast, caused a severe drop in quality.
\r\n
A BetacamSP tape used by WSVN.
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In 1986, Betacam SP was developed, which increased horizontal resolution to 340 lines. While the quality improvement of the format itself was minor, the improvement to the VTRs was enormous, in quality, features, and particularly, the new larger cassette with 90 minutes of recording time. Beta SP (for “Superior Performance”) became the industry standard for most TV stations and high-end production houses until the late 1990s. Despite the format’s age Beta SP remains a common standard for video post-production. The recording time is the same as for Betacam, 30 and 90 minutes for S and L, respectively. Tape speed is slightly slower in machines working in the 625/50 format, increasing tape duration of one minute for every five minutes of run time. So, a 90 minute tape will record 108 minutes of video in PAL.
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BetacamSP is able to achieve its namesake “Superior Performance” over Betacam in the fact that it uses metal-formulated tape, as opposed to Betacam’s oxide tape. Sony designed BetacamSP to be partially forward compatible with standard Betacam, with the capability that BetacamSP tapes recorded on BetacamSP decks can be played in oxide-era Betacam VTRs (such as the BVW-15 and BVW-40 mentioned earlier), but for playback only. BetacamSP-branded tapes cannot be used for recording in consumer Betamax VCRs like oxide Betacam tapes, due to BetacamSP’s metal-formulation tape causing the video heads in a Betamax deck to wear prematurely, which are made of a softer material than the heads in a standard Betacam deck. However, BetacamSP tapes can be used without a problem in ED Beta VCRs, since the ED Beta format uses metal-formulated tape as well.
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The new BetacamSP studio decks were the players, the BVW-60 and BVW-65, with Dynamic Tracking and the Edit Recorders, the BVW-70, and the Dynamic Tracking model, the BVW-75. The BVV-5 was the BetacamSP dockable camera back, which could play back in color if its companion playback adapter was used. A new SP field recorder, the BVW-35, possessed the added benefit of a standard RS422 serial control port that enabled it to be used as an edit feeder deck. Though the four new studio decks could utilize the full 90-minute BetacamSP cassettes, the BVW-35 remained limited to the original Beta form factor 30-minute cassette shells. Answering a need for a basic office player, Sony also introduced the BVW-22, a much less expensive desktop model that could be used for viewing and logging 90-minute cassettes, but could not be configured into an edit system.
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Sony followed up the SP Field Recorder with the BVW-50, that could record and play the large size 90 minute cassettes. After this, the deck line was relatively stagnant and incredibly popular for a decade, aside from some specialty models that could record digital audio.
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Until the introduction of the BVW-200 camera though, the camera and recorder configuration was a docking system. The BVW-200 was an integrated camera recorder system. It sacrificed the flexibility of a docking camera in order to lose a substantial amount of weight. Eventually, non-docking camcorders became the most popular design by the mid-90s.
\r\n
The final BetacamSP camcorder was the BVW-600, which paired a digital camera front section, very similar to the one on the DigiBeta DVW-700, with an integrated BetacamSP recorder. Like every other Betacam camera system, and unlike the DigiBeta DVW-700, the camera could not play back in color without the use of an outboard adapter.
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In 1991, the less-expensive, “Professional,” PV line of BetacamSP decks was introduced. The PV line consisted of only three models: the full-sized PVW-2600 (VTP) and PVW-2800 (VTR) editing decks, and the PVV-3 camera-dockable VTR. These high quality machines were similar to the original BV series machines, but lacked the third and fourth audio channels. In 1993, the far less expensive UVW series debuted. These machines were considerably simpler, somewhat lower quality, and were designed primarily to be used as companions to computer systems, for industrial video, and other low-cost, yet high-quality, uses. The UVW decks possessed very limited front panel controls, no jog and shuttle; and with Time Base Corrector (TBC) control available only with an optional remote TBC controller. These were represented by the UVW-1800, a very popular editing VTR (and companion UVW-1600 edit VTP), and the non-editing UVW-1400 VTR, and UVW-1200 VTP. The UVW-100 (and later 100B) one-piece camcorder rounded out the UVW series.
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Betacam and BetacamSP tape cassette shells varied in color depending on the manufacturer. Many companies sold Betacam tapes, sometimes of their own manufacture, sometimes re-branded. Fuji, Maxell, Ampex and 3M were just some of the major brands to do so.
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Ampex, Thomson SA and Philips each sold rebranded OEM versions of some of the Sony VTRs and Camcorders at various times in the 1980s and 1990s. Other than nameplates, these models were identical to the Sony models.
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Digital Betacam
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Digital Betacam L tape
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Digital Betacam (commonly referred to as Digibeta, d-beta, dbc or simply Digi) was launched in 1993. It supersedes both Betacam and Betacam SP, while costing significantly less than the D1 format. S tapes are available with up to 40 minutes running time, and L tapes with up to 124 minutes.
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The Digital Betacam format records a DCT-compressed component video signal at 10-bit YUV 4:2:2 sampling in NTSC (720×486) or PAL (720×576) resolutions at a bitrate of 90 Mbit/s plus four channels of uncompressed 48 kHz / 20 bit PCM-encoded audio. A fifth analog audio track is available for cueing, and a linear timecode track is also used on the tape. It is a popular digital video cassette format for broadcast use.
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Another key element which aided adoption was Sony’s implementation of the SDI coaxial digital connection on Digital Betacam decks. Facilities could begin using digital signals on their existing coaxial wiring without having to commit to an expensive re-installation.
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The main competitor to the Digital Betacam is DVCPRO50 format offered by Panasonic. Despite that DVCPRO50 uses 8-bit luma and color sampling and 50 Mbit/s data rate, it rivals Digital Betacam in visual quality.
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Betacam SX
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Betacam SX S tape
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Betacam SX is a digital version of Betacam SP introduced in 1996, positioned as a cheaper alternative to Digital Betacam. It stores video using MPEG 4:2:2 Profile@ML compression, along with four channels of 48 kHz 16 bit PCM audio. All Betacam SX equipment is compatible with Betacam SP tapes. S tapes have a recording time up to 62 minutes, and L tapes up to 194 minutes.
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The Betacam SX system was very successful with newsgathering operations which had a legacy of Betacam and Betacam SP tapes. Some Betacam SX decks, such as the DNW-A75 or DNW-A50, can natively play and work from the analog tapes interchangeably, because it contains both analog and digital playback heads.
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Betacam SX uses MPEG-2 4:2:2P@ML compression, in comparison with other similar systems that use 4:1:1 or 4:2:0 coding. It gives better chroma resolution and allows certain postproduction processes such as Chroma-key.
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This format compresses the video signal from approximately 180Mb/s to only 18Mb/s. This means a compression ratio of around 10:1, which is achieved by the use of mild temporal compression, where alternate frames are stored as MPEG I-frames and B-frames, giving rise to an IBIB sequence on tape.
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Together with Betacam SX, Sony introduced a generation of hybrid recorder, allowing use of both tape and disk recording on the same deck, and high speed dubbing from one to another. This was intended to save wear on the video heads for studio applications, as well to speed up online editing.
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Betacam SX also features a good shot mark feature, that allows marking of each scene for fast scanning of the tape, looking at recorded marks on each single cassette, and showing the markers to the operator.
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The cameras themselves are generally considered by most sound recordists to be quite noisy in operation, possibly because the amount of computer processing power, and subsequent generated heat, leads to cooling fans being used to keep the camera at a reasonable temperature.
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Betacam SX tape shells are bright yellow.
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Although Betacam SX machines have gone out of production, the format is still used by many newsgathering operations, including CNN, Canada’s CBC and CTV, San Diego’s KFMB-TV and NBC’s operations in the San Francisco Bay Area at KNTV and KSTS. Many news archives still contain SX tapes.
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MPEG IMX
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MPEG IMX is a 2001 development of the Digital Betacam format. It uses the MPEG compression system, but at a higher bitrate than Betacam SX. The IMX format allows for a CCIR 601 compliant video signal, with eight channels of audio and timecode track. It lacks an analog audio (cue) track as the Digital Betacam, but will read it as channel 7 if used for playback.
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Compression is applied in three different formats: 30 (6:1 compression), 40 (4:1 compression) or 50 Mbit/s (3.3:1 compression) which allows different quality/storage efficiency ratios. Video is recorded as MPEG-2 I frames only.
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With its new IMX VTRs, Sony introduced some new technologies including SDTI and e-VTR. SDTI allows for audio, video, timecode, and remote control functions to be transported by a single coaxial cable, while e-VTR technology extends this by allowing the same data to be transported over IP by way of an ethernet interface on the VTR itself.
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All IMX VTRs can natively playback Betacam SX tapes, and some, such as the MSW-M2000P/1 are capable of playing back Digital Betacam cassettes as well as analog Betacam and Betacam SP cassettes, but they can only record to their native IMX cassettes. S tapes are available with up to 60 minutes capacity, and L tapes hold up to 184 minutes. These values are for 525/60 decks, but will extend in 625/50. A 184 minute tape will record for, as the label itself specifies, 220 minutes.
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IMX machines feature the same good shot mark function of the Betacam SX.
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MPEG IMX cassettes are a muted green, however, the new XDCAM format allows recording of MPEG IMX on a tapeless format, Professional Disc.
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Betacam is a family of half-inch professional videotape products. It was developed by Sony in 1982. In colloquial use, “Betacam” singly is often used to refer to a Betacam camcorder, a Betacam tape, a Betacam video recorder or the format itself.
\r\nAll Betacam variants from (plain) Betacam to Betacam SP and Digital Betacam, use the same shape cassettes, meaning vaults and other storage facilities do not have to be changed when upgrading to a new format. The cassettes come in two sizes: S and L. Betacam cameras can only load S tapes, while VTRs can play both S and L tapes. The cassette shell and case for each Betacam cassette is colored differently depending on the format, allowing for easy visual identification. There is also a mechanical key that allows a video tape recorder to tell which format has been inserted.
\r\nThe format supplanted the three-quarter inch U-Matic format, which Sony had introduced in 1971. In addition to improvements in video quality, the Betacam configuration of an integrated camera/recorder led to its rapid adoption by electronic news gathering organizations.
\r\nEven though Betacam remains popular in the field and for archiving, new digital products such as the Multi Access Video Disk Recorder are leading to a phasing out of Betacam products in a studio environment.
\r\nBetacam / BetacamSP
\r\nThe original Betacam format was launched in August 7, 1982. It is an analog component video format, storing the luminance, “Y”, in one track and the chrominance, on another as alternating segments of the R-Y and B-Y components performing Compressed Time Division Multiplex, or CTDM.This splitting of channels allows true broadcast quality recording with 300 lines of horizontal luminance resolution and 120 lines chrominance resolution (versus ~30 for Betamax/VHS), on a relatively inexpensive cassette based format.
\r\nThe original Betacam format records on cassettes loaded with oxide-formulated tape, which are theoretically the same as used by its consumer market-oriented predecessor Betamax, introduced 7 years earlier by Sony in 1975. A blank Betamax-branded tape will work on a Betacam deck, and a Betacam-branded tape can be used to record in a Betamax deck. However, in later years Sony discouraged this practice, suggesting that the internal tape transport of a domestic Betamax cassette was not well suited to the faster tape transport of Betacam. In particular, the guide rollers tend to be noisy.
\r\nAlthough there is a superficial similarity between Betamax and Betacam in that they use the same tape cassette, they are really quite different formats. Betamax records relatively low resolution composite video using a heterodyne color recording system and only two recording heads, while Betacam uses four heads to record in component format, at a much higher linear tape speed, resulting in much higher video and audio quality. A typical L-750 length Betamax cassette that yielded about 3 hours of recording time on a Betamax VCR at its B-II speed, only provided 30 minutes record time on a Betacam VCR or camcorder.
\r\nIt may also be noted that Matsushita / Panasonic also introduced a professional 1/2″ component videotape format which used VHS style tape cassettes called “M-Format”. However, while Sony’s Betacam system rapidly became an industry standard, M format was a marketing failure. A followup format called M-II — effectively the Panasonic enhancement of M-format as SP was Sony’s enhancement of Betacam —was a great improvement. Though it was used as an internal standard at NBC for a time, it failed to make much headway in the marketplace. While technically M-II was in some ways an improvement over Betacam SP, Betacam SP had the overwhelming advantage of a high degree of compatibility with the existing (and very large) Betacam infrastructure.
\r\nBetacam was initially introduced as a camera line along with a video cassette player. The first cameras were the BVP-3, which utilized 3 saticon tubes, and the BVP1, which used a single tri-stripe Trinicon tube. Both these cameras could be operated standalone, or with their docking companion VTR, the BVV-1, (quickly superseded by the BVV-1A) to form the BVW-1 (BVW-1A) integrated camcorder. Tapes could not be played back in camera except in black and white for viewing in the camera’s viewfinder only. Color playback required the studio source deck at first, the BVW-10, which could not record, only play back. It was primarily designed as a feeder deck for A/B roll edit systems, usually for editing to a 1″ Type C or 3/4″ U-matic cassette edit master tape. There was also the BVW-20 field playback deck, which was a portable unit with DC power and a handle, that was used to verify color playback of tapes in the field. Unlike the BVW-10, it did not have a built in Time Base Corrector, or TBC.
\r\nWith the popular success of the Betacam system as a news acquisition format, the line was soon extended to include the BVW-15 studio player, and the BVW-40 Studio Edit Recorder. The BVW-15 added Dynamic Tracking which enabled clear still frame and jog playback, something the BVW-10 could not deliver. The BVW-40 enabled for the first time editing to a Betacam master, and if setup and wired correctly, true component video editing. It was also possible to do machine to machine editing between a BVW-10/15 and BVW-40 without an edit controller—a single serial cable between the units was all that was required to control the player from the recorder in performing simple assemble and insert editing. Additionally there were two field models introduced, the field recorder BVW-25, and the BVW-21 play only portable field deck.
\r\nAt its introduction, many insisted that Betacam remained inferior to the bulkier 1″ Type C and B recording, the standard broadcast production format of the late 70s to mid 80s. Additionally, the maximum record time for both the cameras and studio recorders was only half an hour, a severe limitation in television production. There was also the limitation that high quality recording was only possible if the original component signals were available, as they would be in a cp. If they had already been converted to composite video, re-converting them to components for recording and then eventually back to composite for broadcast, caused a severe drop in quality.
\r\nA BetacamSP tape used by WSVN.
\r\nIn 1986, Betacam SP was developed, which increased horizontal resolution to 340 lines. While the quality improvement of the format itself was minor, the improvement to the VTRs was enormous, in quality, features, and particularly, the new larger cassette with 90 minutes of recording time. Beta SP (for “Superior Performance”) became the industry standard for most TV stations and high-end production houses until the late 1990s. Despite the format’s age Beta SP remains a common standard for video post-production. The recording time is the same as for Betacam, 30 and 90 minutes for S and L, respectively. Tape speed is slightly slower in machines working in the 625/50 format, increasing tape duration of one minute for every five minutes of run time. So, a 90 minute tape will record 108 minutes of video in PAL.
\r\nBetacamSP is able to achieve its namesake “Superior Performance” over Betacam in the fact that it uses metal-formulated tape, as opposed to Betacam’s oxide tape. Sony designed BetacamSP to be partially forward compatible with standard Betacam, with the capability that BetacamSP tapes recorded on BetacamSP decks can be played in oxide-era Betacam VTRs (such as the BVW-15 and BVW-40 mentioned earlier), but for playback only. BetacamSP-branded tapes cannot be used for recording in consumer Betamax VCRs like oxide Betacam tapes, due to BetacamSP’s metal-formulation tape causing the video heads in a Betamax deck to wear prematurely, which are made of a softer material than the heads in a standard Betacam deck. However, BetacamSP tapes can be used without a problem in ED Beta VCRs, since the ED Beta format uses metal-formulated tape as well.
\r\nThe new BetacamSP studio decks were the players, the BVW-60 and BVW-65, with Dynamic Tracking and the Edit Recorders, the BVW-70, and the Dynamic Tracking model, the BVW-75. The BVV-5 was the BetacamSP dockable camera back, which could play back in color if its companion playback adapter was used. A new SP field recorder, the BVW-35, possessed the added benefit of a standard RS422 serial control port that enabled it to be used as an edit feeder deck. Though the four new studio decks could utilize the full 90-minute BetacamSP cassettes, the BVW-35 remained limited to the original Beta form factor 30-minute cassette shells. Answering a need for a basic office player, Sony also introduced the BVW-22, a much less expensive desktop model that could be used for viewing and logging 90-minute cassettes, but could not be configured into an edit system.
\r\nSony followed up the SP Field Recorder with the BVW-50, that could record and play the large size 90 minute cassettes. After this, the deck line was relatively stagnant and incredibly popular for a decade, aside from some specialty models that could record digital audio.
\r\nUntil the introduction of the BVW-200 camera though, the camera and recorder configuration was a docking system. The BVW-200 was an integrated camera recorder system. It sacrificed the flexibility of a docking camera in order to lose a substantial amount of weight. Eventually, non-docking camcorders became the most popular design by the mid-90s.
\r\nThe final BetacamSP camcorder was the BVW-600, which paired a digital camera front section, very similar to the one on the DigiBeta DVW-700, with an integrated BetacamSP recorder. Like every other Betacam camera system, and unlike the DigiBeta DVW-700, the camera could not play back in color without the use of an outboard adapter.
\r\nIn 1991, the less-expensive, “Professional,” PV line of BetacamSP decks was introduced. The PV line consisted of only three models: the full-sized PVW-2600 (VTP) and PVW-2800 (VTR) editing decks, and the PVV-3 camera-dockable VTR. These high quality machines were similar to the original BV series machines, but lacked the third and fourth audio channels. In 1993, the far less expensive UVW series debuted. These machines were considerably simpler, somewhat lower quality, and were designed primarily to be used as companions to computer systems, for industrial video, and other low-cost, yet high-quality, uses. The UVW decks possessed very limited front panel controls, no jog and shuttle; and with Time Base Corrector (TBC) control available only with an optional remote TBC controller. These were represented by the UVW-1800, a very popular editing VTR (and companion UVW-1600 edit VTP), and the non-editing UVW-1400 VTR, and UVW-1200 VTP. The UVW-100 (and later 100B) one-piece camcorder rounded out the UVW series.
\r\nBetacam and BetacamSP tape cassette shells varied in color depending on the manufacturer. Many companies sold Betacam tapes, sometimes of their own manufacture, sometimes re-branded. Fuji, Maxell, Ampex and 3M were just some of the major brands to do so.
\r\nAmpex, Thomson SA and Philips each sold rebranded OEM versions of some of the Sony VTRs and Camcorders at various times in the 1980s and 1990s. Other than nameplates, these models were identical to the Sony models.
\r\nDigital Betacam
\r\nDigital Betacam L tape
\r\nDigital Betacam (commonly referred to as Digibeta, d-beta, dbc or simply Digi) was launched in 1993. It supersedes both Betacam and Betacam SP, while costing significantly less than the D1 format. S tapes are available with up to 40 minutes running time, and L tapes with up to 124 minutes.
\r\nThe Digital Betacam format records a DCT-compressed component video signal at 10-bit YUV 4:2:2 sampling in NTSC (720×486) or PAL (720×576) resolutions at a bitrate of 90 Mbit/s plus four channels of uncompressed 48 kHz / 20 bit PCM-encoded audio. A fifth analog audio track is available for cueing, and a linear timecode track is also used on the tape. It is a popular digital video cassette format for broadcast use.
\r\nAnother key element which aided adoption was Sony’s implementation of the SDI coaxial digital connection on Digital Betacam decks. Facilities could begin using digital signals on their existing coaxial wiring without having to commit to an expensive re-installation.
\r\nThe main competitor to the Digital Betacam is DVCPRO50 format offered by Panasonic. Despite that DVCPRO50 uses 8-bit luma and color sampling and 50 Mbit/s data rate, it rivals Digital Betacam in visual quality.
\r\nBetacam SX
\r\nBetacam SX S tape
\r\nBetacam SX is a digital version of Betacam SP introduced in 1996, positioned as a cheaper alternative to Digital Betacam. It stores video using MPEG 4:2:2 Profile@ML compression, along with four channels of 48 kHz 16 bit PCM audio. All Betacam SX equipment is compatible with Betacam SP tapes. S tapes have a recording time up to 62 minutes, and L tapes up to 194 minutes.
\r\nThe Betacam SX system was very successful with newsgathering operations which had a legacy of Betacam and Betacam SP tapes. Some Betacam SX decks, such as the DNW-A75 or DNW-A50, can natively play and work from the analog tapes interchangeably, because it contains both analog and digital playback heads.
\r\nBetacam SX uses MPEG-2 4:2:2P@ML compression, in comparison with other similar systems that use 4:1:1 or 4:2:0 coding. It gives better chroma resolution and allows certain postproduction processes such as Chroma-key.
\r\nThis format compresses the video signal from approximately 180Mb/s to only 18Mb/s. This means a compression ratio of around 10:1, which is achieved by the use of mild temporal compression, where alternate frames are stored as MPEG I-frames and B-frames, giving rise to an IBIB sequence on tape.
\r\nTogether with Betacam SX, Sony introduced a generation of hybrid recorder, allowing use of both tape and disk recording on the same deck, and high speed dubbing from one to another. This was intended to save wear on the video heads for studio applications, as well to speed up online editing.
\r\nBetacam SX also features a good shot mark feature, that allows marking of each scene for fast scanning of the tape, looking at recorded marks on each single cassette, and showing the markers to the operator.
\r\nThe cameras themselves are generally considered by most sound recordists to be quite noisy in operation, possibly because the amount of computer processing power, and subsequent generated heat, leads to cooling fans being used to keep the camera at a reasonable temperature.
\r\nBetacam SX tape shells are bright yellow.
\r\nAlthough Betacam SX machines have gone out of production, the format is still used by many newsgathering operations, including CNN, Canada’s CBC and CTV, San Diego’s KFMB-TV and NBC’s operations in the San Francisco Bay Area at KNTV and KSTS. Many news archives still contain SX tapes.
\r\nMPEG IMX
\r\nMPEG IMX is a 2001 development of the Digital Betacam format. It uses the MPEG compression system, but at a higher bitrate than Betacam SX. The IMX format allows for a CCIR 601 compliant video signal, with eight channels of audio and timecode track. It lacks an analog audio (cue) track as the Digital Betacam, but will read it as channel 7 if used for playback.
\r\nCompression is applied in three different formats: 30 (6:1 compression), 40 (4:1 compression) or 50 Mbit/s (3.3:1 compression) which allows different quality/storage efficiency ratios. Video is recorded as MPEG-2 I frames only.
\r\nWith its new IMX VTRs, Sony introduced some new technologies including SDTI and e-VTR. SDTI allows for audio, video, timecode, and remote control functions to be transported by a single coaxial cable, while e-VTR technology extends this by allowing the same data to be transported over IP by way of an ethernet interface on the VTR itself.
\r\nAll IMX VTRs can natively playback Betacam SX tapes, and some, such as the MSW-M2000P/1 are capable of playing back Digital Betacam cassettes as well as analog Betacam and Betacam SP cassettes, but they can only record to their native IMX cassettes. S tapes are available with up to 60 minutes capacity, and L tapes hold up to 184 minutes. These values are for 525/60 decks, but will extend in 625/50. A 184 minute tape will record for, as the label itself specifies, 220 minutes.
\r\nIMX machines feature the same good shot mark function of the Betacam SX.
\r\nMPEG IMX cassettes are a muted green, however, the new XDCAM format allows recording of MPEG IMX on a tapeless format, Professional Disc.
\r\nBetacam is a family of half-inch professional videotape products. It was developed by Sony in 1982. In colloquial use, “Betacam” singly is often used to refer to a Betacam camcorder, a Betacam tape, a Betacam video recorder or the format itself.All Betacam variants from (plain) Betacam to Betacam SP and Digital Betacam, use the same shape cassettes, meaning vaults and other storage facilities do not have to be changed when upgrading to a new format. The cassettes come in two sizes: S and L. Betacam cameras can only load S tapes, while VTRs can play both S and L tapes. The cassette shell and case for each Betacam cassette is colored differently depending on the format, allowing for easy visual identification. There is also a mechanical key that allows a video tape recorder to tell which format has been inserted.The format supplanted the three-quarter inch U-Matic format, which Sony had introduced in 1971. In addition to improvements in video quality, the Betacam configuration of an integrated camera/recorder led to its rapid adoption by electronic news gathering organizations.Even though Betacam remains popular in the field and for archiving, new digital products such as the Multi Access Video Disk Recorder are leading to a phasing out of Betacam products in a studio environment.Betacam / BetacamSPThe original Betacam format was launched in August 7, 1982. It is an analog component video format, storing the luminance, “Y”, in one track and the chrominance, on another as alternating segments of the R-Y and B-Y components performing Compressed Time Division Multiplex, or CTDM.This splitting of channels allows true broadcast quality recording with 300 lines of horizontal luminance resolution and 120 lines chrominance resolution (versus ~30 for Betamax/VHS), on a relatively inexpensive cassette based format.The original Betacam format records on cassettes loaded with oxide-formulated tape, which are theoretically the same as used by its consumer market-oriented predecessor Betamax, introduced 7 years earlier by Sony in 1975. A blank Betamax-branded tape will work on a Betacam deck, and a Betacam-branded tape can be used to record in a Betamax deck. However, in later years Sony discouraged this practice, suggesting that the internal tape transport of a domestic Betamax cassette was not well suited to the faster tape transport of Betacam. In particular, the guide rollers tend to be noisy.Although there is a superficial similarity between Betamax and Betacam in that they use the same tape cassette, they are really quite different formats. Betamax records relatively low resolution composite video using a heterodyne color recording system and only two recording heads, while Betacam uses four heads to record in component format, at a much higher linear tape speed, resulting in much higher video and audio quality. A typical L-750 length Betamax cassette that yielded about 3 hours of recording time on a Betamax VCR at its B-II speed, only provided 30 minutes record time on a Betacam VCR or camcorder.It may also be noted that Matsushita / Panasonic also introduced a professional 1/2″ component videotape format which used VHS style tape cassettes called “M-Format”. However, while Sony’s Betacam system rapidly became an industry standard, M format was a marketing failure. A followup format called M-II — effectively the Panasonic enhancement of M-format as SP was Sony’s enhancement of Betacam —was a great improvement. Though it was used as an internal standard at NBC for a time, it failed to make much headway in the marketplace. While technically M-II was in some ways an improvement over Betacam SP, Betacam SP had the overwhelming advantage of a high degree of compatibility with the existing (and very large) Betacam infrastructure.Betacam was initially introduced as a camera line along with a video cassette player. The first cameras were the BVP-3, which utilized 3 saticon tubes, and the BVP1, which used a single tri-stripe Trinicon tube. Both these cameras could be operated standalone, or with their docking companion VTR, the BVV-1, (quickly superseded by the BVV-1A) to form the BVW-1 (BVW-1A) integrated camcorder. Tapes could not be played back in camera except in black and white for viewing in the camera’s viewfinder only. Color playback required the studio source deck at first, the BVW-10, which could not record, only play back. It was primarily designed as a feeder deck for A/B roll edit systems, usually for editing to a 1″ Type C or 3/4″ U-matic cassette edit master tape. There was also the BVW-20 field playback deck, which was a portable unit with DC power and a handle, that was used to verify color playback of tapes in the field. Unlike the BVW-10, it did not have a built in Time Base Corrector, or TBC.With the popular success of the Betacam system as a news acquisition format, the line was soon extended to include the BVW-15 studio player, and the BVW-40 Studio Edit Recorder. The BVW-15 added Dynamic Tracking which enabled clear still frame and jog playback, something the BVW-10 could not deliver. The BVW-40 enabled for the first time editing to a Betacam master, and if setup and wired correctly, true component video editing. It was also possible to do machine to machine editing between a BVW-10/15 and BVW-40 without an edit controller—a single serial cable between the units was all that was required to control the player from the recorder in performing simple assemble and insert editing. Additionally there were two field models introduced, the field recorder BVW-25, and the BVW-21 play only portable field deck.At its introduction, many insisted that Betacam remained inferior to the bulkier 1″ Type C and B recording, the standard broadcast production format of the late 70s to mid 80s. Additionally, the maximum record time for both the cameras and studio recorders was only half an hour, a severe limitation in television production. There was also the limitation that high quality recording was only possible if the original component signals were available, as they would be in a cp. If they had already been converted to composite video, re-converting them to components for recording and then eventually back to composite for broadcast, caused a severe drop in quality.A BetacamSP tape used by WSVN.In 1986, Betacam SP was developed, which increased horizontal resolution to 340 lines. While the quality improvement of the format itself was minor, the improvement to the VTRs was enormous, in quality, features, and particularly, the new larger cassette with 90 minutes of recording time. Beta SP (for “Superior Performance”) became the industry standard for most TV stations and high-end production houses until the late 1990s. Despite the format’s age Beta SP remains a common standard for video post-production. The recording time is the same as for Betacam, 30 and 90 minutes for S and L, respectively. Tape speed is slightly slower in machines working in the 625/50 format, increasing tape duration of one minute for every five minutes of run time. So, a 90 minute tape will record 108 minutes of video in PAL.BetacamSP is able to achieve its namesake “Superior Performance” over Betacam in the fact that it uses metal-formulated tape, as opposed to Betacam’s oxide tape. Sony designed BetacamSP to be partially forward compatible with standard Betacam, with the capability that BetacamSP tapes recorded on BetacamSP decks can be played in oxide-era Betacam VTRs (such as the BVW-15 and BVW-40 mentioned earlier), but for playback only. BetacamSP-branded tapes cannot be used for recording in consumer Betamax VCRs like oxide Betacam tapes, due to BetacamSP’s metal-formulation tape causing the video heads in a Betamax deck to wear prematurely, which are made of a softer material than the heads in a standard Betacam deck. However, BetacamSP tapes can be used without a problem in ED Beta VCRs, since the ED Beta format uses metal-formulated tape as well.The new BetacamSP studio decks were the players, the BVW-60 and BVW-65, with Dynamic Tracking and the Edit Recorders, the BVW-70, and the Dynamic Tracking model, the BVW-75. The BVV-5 was the BetacamSP dockable camera back, which could play back in color if its companion playback adapter was used. A new SP field recorder, the BVW-35, possessed the added benefit of a standard RS422 serial control port that enabled it to be used as an edit feeder deck. Though the four new studio decks could utilize the full 90-minute BetacamSP cassettes, the BVW-35 remained limited to the original Beta form factor 30-minute cassette shells. Answering a need for a basic office player, Sony also introduced the BVW-22, a much less expensive desktop model that could be used for viewing and logging 90-minute cassettes, but could not be configured into an edit system.Sony followed up the SP Field Recorder with the BVW-50, that could record and play the large size 90 minute cassettes. After this, the deck line was relatively stagnant and incredibly popular for a decade, aside from some specialty models that could record digital audio.Until the introduction of the BVW-200 camera though, the camera and recorder configuration was a docking system. The BVW-200 was an integrated camera recorder system. It sacrificed the flexibility of a docking camera in order to lose a substantial amount of weight. Eventually, non-docking camcorders became the most popular design by the mid-90s.The final BetacamSP camcorder was the BVW-600, which paired a digital camera front section, very similar to the one on the DigiBeta DVW-700, with an integrated BetacamSP recorder. Like every other Betacam camera system, and unlike the DigiBeta DVW-700, the camera could not play back in color without the use of an outboard adapter.In 1991, the less-expensive, “Professional,” PV line of BetacamSP decks was introduced. The PV line consisted of only three models: the full-sized PVW-2600 (VTP) and PVW-2800 (VTR) editing decks, and the PVV-3 camera-dockable VTR. These high quality machines were similar to the original BV series machines, but lacked the third and fourth audio channels. In 1993, the far less expensive UVW series debuted. These machines were considerably simpler, somewhat lower quality, and were designed primarily to be used as companions to computer systems, for industrial video, and other low-cost, yet high-quality, uses. The UVW decks possessed very limited front panel controls, no jog and shuttle; and with Time Base Corrector (TBC) control available only with an optional remote TBC controller. These were represented by the UVW-1800, a very popular editing VTR (and companion UVW-1600 edit VTP), and the non-editing UVW-1400 VTR, and UVW-1200 VTP. The UVW-100 (and later 100B) one-piece camcorder rounded out the UVW series.Betacam and BetacamSP tape cassette shells varied in color depending on the manufacturer. Many companies sold Betacam tapes, sometimes of their own manufacture, sometimes re-branded. Fuji, Maxell, Ampex and 3M were just some of the major brands to do so.Ampex, Thomson SA and Philips each sold rebranded OEM versions of some of the Sony VTRs and Camcorders at various times in the 1980s and 1990s. Other than nameplates, these models were identical to the Sony models.Digital BetacamDigital Betacam L tapeDigital Betacam (commonly referred to as Digibeta, d-beta, dbc or simply Digi) was launched in 1993. It supersedes both Betacam and Betacam SP, while costing significantly less than the D1 format. S tapes are available with up to 40 minutes running time, and L tapes with up to 124 minutes.The Digital Betacam format records a DCT-compressed component video signal at 10-bit YUV 4:2:2 sampling in NTSC (720×486) or PAL (720×576) resolutions at a bitrate of 90 Mbit/s plus four channels of uncompressed 48 kHz / 20 bit PCM-encoded audio. A fifth analog audio track is available for cueing, and a linear timecode track is also used on the tape. It is a popular digital video cassette format for broadcast use.Another key element which aided adoption was Sony’s implementation of the SDI coaxial digital connection on Digital Betacam decks. Facilities could begin using digital signals on their existing coaxial wiring without having to commit to an expensive re-installation.The main competitor to the Digital Betacam is DVCPRO50 format offered by Panasonic. Despite that DVCPRO50 uses 8-bit luma and color sampling and 50 Mbit/s data rate, it rivals Digital Betacam in visual quality.Betacam SXBetacam SX S tapeBetacam SX is a digital version of Betacam SP introduced in 1996, positioned as a cheaper alternative to Digital Betacam. It stores video using MPEG 4:2:2 Profile@ML compression, along with four channels of 48 kHz 16 bit PCM audio. All Betacam SX equipment is compatible with Betacam SP tapes. S tapes have a recording time up to 62 minutes, and L tapes up to 194 minutes.The Betacam SX system was very successful with newsgathering operations which had a legacy of Betacam and Betacam SP tapes. Some Betacam SX decks, such as the DNW-A75 or DNW-A50, can natively play and work from the analog tapes interchangeably, because it contains both analog and digital playback heads.Betacam SX uses MPEG-2 4:2:2P@ML compression, in comparison with other similar systems that use 4:1:1 or 4:2:0 coding. It gives better chroma resolution and allows certain postproduction processes such as Chroma-key.This format compresses the video signal from approximately 180Mb/s to only 18Mb/s. This means a compression ratio of around 10:1, which is achieved by the use of mild temporal compression, where alternate frames are stored as MPEG I-frames and B-frames, giving rise to an IBIB sequence on tape.Together with Betacam SX, Sony introduced a generation of hybrid recorder, allowing use of both tape and disk recording on the same deck, and high speed dubbing from one to another. This was intended to save wear on the video heads for studio applications, as well to speed up online editing.Betacam SX also features a good shot mark feature, that allows marking of each scene for fast scanning of the tape, looking at recorded marks on each single cassette, and showing the markers to the operator.The cameras themselves are generally considered by most sound recordists to be quite noisy in operation, possibly because the amount of computer processing power, and subsequent generated heat, leads to cooling fans being used to keep the camera at a reasonable temperature.Betacam SX tape shells are bright yellow.Although Betacam SX machines have gone out of production, the format is still used by many newsgathering operations, including CNN, Canada’s CBC and CTV, San Diego’s KFMB-TV and NBC’s operations in the San Francisco Bay Area at KNTV and KSTS. Many news archives still contain SX tapes.MPEG IMXMPEG IMX is a 2001 development of the Digital Betacam format. It uses the MPEG compression system, but at a higher bitrate than Betacam SX. The IMX format allows for a CCIR 601 compliant video signal, with eight channels of audio and timecode track. It lacks an analog audio (cue) track as the Digital Betacam, but will read it as channel 7 if used for playback.Compression is applied in three different formats: 30 (6:1 compression), 40 (4:1 compression) or 50 Mbit/s (3.3:1 compression) which allows different quality/storage efficiency ratios. Video is recorded as MPEG-2 I frames only.With its new IMX VTRs, Sony introduced some new technologies including SDTI and e-VTR. SDTI allows for audio, video, timecode, and remote control functions to be transported by a single coaxial cable, while e-VTR technology extends this by allowing the same data to be transported over IP by way of an ethernet interface on the VTR itself.All IMX VTRs can natively playback Betacam SX tapes, and some, such as the MSW-M2000P/1 are capable of playing back Digital Betacam cassettes as well as analog Betacam and Betacam SP cassettes, but they can only record to their native IMX cassettes. S tapes are available with up to 60 minutes capacity, and L tapes hold up to 184 minutes. These values are for 525/60 decks, but will extend in 625/50. A 184 minute tape will record for, as the label itself specifies, 220 minutes.IMX machines feature the same good shot mark function of the Betacam SX.MPEG IMX cassettes are a muted green, however, the new XDCAM format allows recording of MPEG IMX on a tapeless format, Professional Disc.', 'Betacam', '', 'inherit', 'closed', 'closed', '', '37-revision-6', '', '', '2011-02-02 20:49:57', '2011-02-02 20:49:57', '', 37, 'http://jlahijani.homeip.net:3010/betasptodvd.com/37-revision-6/', 0, 'revision', '', 0);
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`slug` varchar(200) NOT NULL DEFAULT '',
`term_group` bigint(10) NOT NULL DEFAULT '0',
PRIMARY KEY (`term_id`),
UNIQUE KEY `slug` (`slug`),
KEY `name` (`name`)
) ENGINE=MyISAM DEFAULT CHARSET=utf8 AUTO_INCREMENT=3 ;
--
-- Dumping data for table `wp_terms`
--
INSERT INTO `wp_terms` (`term_id`, `name`, `slug`, `term_group`) VALUES
(1, 'Uncategorized', 'uncategorized', 0),
(2, 'Blogroll', 'blogroll', 0);
-- --------------------------------------------------------
--
-- Table structure for table `wp_term_relationships`
--
CREATE TABLE `wp_term_relationships` (
`object_id` bigint(20) unsigned NOT NULL DEFAULT '0',
`term_taxonomy_id` bigint(20) unsigned NOT NULL DEFAULT '0',
`term_order` int(11) NOT NULL DEFAULT '0',
PRIMARY KEY (`object_id`,`term_taxonomy_id`),
KEY `term_taxonomy_id` (`term_taxonomy_id`)
) ENGINE=MyISAM DEFAULT CHARSET=utf8;
--
-- Dumping data for table `wp_term_relationships`
--
INSERT INTO `wp_term_relationships` (`object_id`, `term_taxonomy_id`, `term_order`) VALUES
(1, 2, 0),
(2, 2, 0),
(3, 2, 0),
(4, 2, 0),
(5, 2, 0),
(6, 2, 0),
(7, 2, 0),
(48, 1, 0),
(50, 1, 0);
-- --------------------------------------------------------
--
-- Table structure for table `wp_term_taxonomy`
--
CREATE TABLE `wp_term_taxonomy` (
`term_taxonomy_id` bigint(20) unsigned NOT NULL AUTO_INCREMENT,
`term_id` bigint(20) unsigned NOT NULL DEFAULT '0',
`taxonomy` varchar(32) NOT NULL DEFAULT '',
`description` longtext NOT NULL,
`parent` bigint(20) unsigned NOT NULL DEFAULT '0',
`count` bigint(20) NOT NULL DEFAULT '0',
PRIMARY KEY (`term_taxonomy_id`),
UNIQUE KEY `term_id_taxonomy` (`term_id`,`taxonomy`),
KEY `taxonomy` (`taxonomy`)
) ENGINE=MyISAM DEFAULT CHARSET=utf8 AUTO_INCREMENT=3 ;
--
-- Dumping data for table `wp_term_taxonomy`
--
INSERT INTO `wp_term_taxonomy` (`term_taxonomy_id`, `term_id`, `taxonomy`, `description`, `parent`, `count`) VALUES
(1, 1, 'category', '', 0, 2),
(2, 2, 'link_category', '', 0, 7);
-- --------------------------------------------------------
--
-- Table structure for table `wp_usermeta`
--
CREATE TABLE `wp_usermeta` (
`umeta_id` bigint(20) unsigned NOT NULL AUTO_INCREMENT,
`user_id` bigint(20) unsigned NOT NULL DEFAULT '0',
`meta_key` varchar(255) DEFAULT NULL,
`meta_value` longtext,
PRIMARY KEY (`umeta_id`),
KEY `user_id` (`user_id`),
KEY `meta_key` (`meta_key`)
) ENGINE=MyISAM DEFAULT CHARSET=utf8 AUTO_INCREMENT=17 ;
--
-- Dumping data for table `wp_usermeta`
--
INSERT INTO `wp_usermeta` (`umeta_id`, `user_id`, `meta_key`, `meta_value`) VALUES
(1, 1, 'first_name', ''),
(2, 1, 'last_name', ''),
(3, 1, 'nickname', 'jlahijani'),
(4, 1, 'description', ''),
(5, 1, 'rich_editing', 'true'),
(6, 1, 'comment_shortcuts', 'false'),
(7, 1, 'admin_color', 'fresh'),
(8, 1, 'use_ssl', '0'),
(9, 1, 'aim', ''),
(10, 1, 'yim', ''),
(11, 1, 'jabber', ''),
(12, 1, 'wp_capabilities', 'a:1:{s:13:"administrator";s:1:"1";}'),
(13, 1, 'wp_user_level', '10'),
(14, 1, 'wp_dashboard_quick_press_last_post_id', '280'),
(15, 1, 'wp_user-settings', 'm9=o&m4=o&m6=o&m5=o&editor=tinymce&hidetb=1&m10=o&m1=o&urlbutton=none&align=right&imgsize=full'),
(16, 1, 'wp_user-settings-time', '1299282744');
-- --------------------------------------------------------
--
-- Table structure for table `wp_users`
--
CREATE TABLE `wp_users` (
`ID` bigint(20) unsigned NOT NULL AUTO_INCREMENT,
`user_login` varchar(60) NOT NULL DEFAULT '',
`user_pass` varchar(64) NOT NULL DEFAULT '',
`user_nicename` varchar(50) NOT NULL DEFAULT '',
`user_email` varchar(100) NOT NULL DEFAULT '',
`user_url` varchar(100) NOT NULL DEFAULT '',
`user_registered` datetime NOT NULL DEFAULT '0000-00-00 00:00:00',
`user_activation_key` varchar(60) NOT NULL DEFAULT '',
`user_status` int(11) NOT NULL DEFAULT '0',
`display_name` varchar(250) NOT NULL DEFAULT '',
PRIMARY KEY (`ID`),
KEY `user_login_key` (`user_login`),
KEY `user_nicename` (`user_nicename`)
) ENGINE=MyISAM DEFAULT CHARSET=utf8 AUTO_INCREMENT=2 ;
--
-- Dumping data for table `wp_users`
--
INSERT INTO `wp_users` (`ID`, `user_login`, `user_pass`, `user_nicename`, `user_email`, `user_url`, `user_registered`, `user_activation_key`, `user_status`, `display_name`) VALUES
(1, 'jlahijani', '$P$BocXR2BbRbgq0rjKCg1WG8l1BOpFdx0', 'jlahijani', 'jlahijani@gmail.com', '', '2010-12-28 02:26:50', '', 0, 'jlahijani');
\r\n\r\nSome Digital Betacam equipment can also read Betacam and Betacam SP tapes. Along with the identical cassette size, this meant for easy upgrading.\r\n\r\n