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HD recorders, part II
- To: telecine at alegria.com
- Subject: HD recorders, part II
- From: "Mike (the Brit) Orton" <orton at 525studios.com>
- Date: Tue, 22 Jun 1999 12:07:56 -0700
- Resent-Date: Tue, 22 Jun 1999 14:08:29 -0500
- Resent-From: telecine at alegria.com
- Resent-Message-ID: <"_9ZAD.A.9CH.f89b3" at sun>
- Resent-Sender: telecine-request at alegria.com
- Resent-To: multiple recipients of <telecine at alegria.com>
Here's the second posting, from the flame-news group. Comments anyone?:
Date: Tue, 22 Jun 1999 12:12:31 -0700
To: flame-news at discreet.com
From: Mark Read <flame-user at hypercube.com>
Subject: Re: Phillips Voodoo HD recorder (ignore if busy)
Reply-To: flame-news at discreet.com
Although not a newcomer (IE: Toshiba; 1125, 1250), the Philips version of
the D6 is, in my opinion the single most important bridge of technology in
our industry today, having equal or exceeding importance to the advent of
sgi going into beta with their first run of HD-XIO cards.
I must also note my great enthusiasm for Philips having the insight to use
the same helical scan technology for data and video in the same machine. It
is the fastest data archiving tape deck in the world by leaps and bounds.
Passing the limits of DTF(12Mb/sec), DTF-2(24Mb/sec), DST(~20Mb/sec) and
even the hybrid and difficult to integrate, SONY DIR(32Mb/sec,64Mb/sec),
the Voodoo is designed for a massive 128Mb/sec while utilizing the
multi-host accessible data format of HIPPI(x2) for I/O. There is also talk
of Philips allowing this HIPPI to directly connect to the Datacine or the
Phantom, which would be a major time/money saver.
For years I thought that AMPEX could save the day (and Themselves) if they
combined DST(data) and DCT(video) but they saw that as giving a 2 for 1
deal..... now DCT is gone.
....enough about data (I'm a data freak).
You wanted opinions about the video format of D6:
Quite simply - I think it is WRONG that we(the post community) even
consider not having a non-compressed finishing format. I don't care how
good HDCam or the next "MPEG-37" compression format works. In standard def,
I have always found "funny" stuff happening when compositing material that
has gone through some form of compression, especially when various
compression formats are mixed.
I think that just because there wasn't a non-compressed alternative early
on, we started to believe that even though we have almost exclusively
finishished top-end work in the non-compressed "D1" format, we should now
go non-compressed just to get the job done! ......The fact that SONY (&
Panasonic ?) have got the industry by the "short and curlies" probably has
something to do with it too.
Raymond Legue' (Dutch Director) once said "Compression is a disease, it is
simply people trying to move or store more data than they can truly figure
out what to do with"
- I agree.
Compression is fine for everything but the master tape, otherwise we give
up our right to choose the format and ultimatly, the quality of our work.
The Voodoo D6 has many attractive features including:
- 1080i / 1080P
- It is roughly the size of a DVR-1000, though the lower cabinet is about
half the size.
- The cost. Frankly, I think anything below $200K list is acceptable (A
standard def D1 lists at ~$140K )
- The previously created Toshiba D6 was something to the tune of
- There is a data option that will cause this deck and format to cross into
the non-video data storage arenas needed in order to become a standard it
in post (film etc.). Not to mention other high capacity data markets such
as oil & gas, data mining etc.
- There is the next option of 4:4:4 video recording, another winner for
film to tape extremists.
In the end I don't really care if it is "D6" or "D66", though Voodoo has
addressed all of my concerns short of one:
- KEEP THE COST OF THE TAPE STOCK DOWN (under $ 200), EVEN IF YOU LOOSE
MONEY AT FIRST !!!!!!
Sorry for the ranting & raving....
Hypercube Media Concepts
Thanks to Cinesite for support in 1999
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