Color finale pro vs standard plus#

Yes (DRV-100 & many camcorders: output only) SMPTE 259M SDI (serial digital interface)ĪG-D780 VTR NewsByte NLE with onboard VTR Sony & Canon camcorders and VTRs newer JVC camcorders (output only)ĭSR-200/200a, DSR-500, DSR-2000, DRV-1000ĪJ-D210/215 camcorders and AJ-D230 VTRs with optional adapter.

Color finale pro vs standard plus#

Will accept 2 ch 44.1 kHz, 16 bits via 1394 I/O locked (but some VTRs can be made to record unlocked via 1394)Ģ ch 48 kHz, 16 bits locked, plus one analog audio cue track plays back 32 kHz, 12 bits and presumably 44.1 kHz, 16 bits.ĭV & DVCAM tapes (DVCPRO in the DSR-2000 Oct ’99) Will accept 2 ch 44.1 kHz, 16 bits via 1394 I/O unlocked (but can record locked audio via 1394) Video8, Hi8 standard 120 minute tape: 60 min.ĥ:1 DVC-format DCT, intra-frame 25 Mbps video data rate (note: small is larger than miniDV cassette) (4.6/6.9 hrs possible using DVCAM 184 min tape) Professional / industrial / ENG / EFP / broadcastĬonsumer / professional / industrial / ENG / EFPġ5 microns (10 microns on some early gear) Panasonic also Philips, Ikegami, Hitachi.Ĭonsumer (although JVC makes a dockable DV VTR for the pro/industrial market) Technical Detailsįormat specifications and current equipment capabilitiesĬonsortium of 60 manufacturers including Sony, Panasonic, JVC, Canon, Sharp. The new stuff is listed at the top of the FAQ, so it’s a good place to start. Most people start with the FAQ, and cruise around from there. I lay awake for three nights, thinking “the world has changed: Digital For The Rest Of Us…” before buying a VX1000, and selling my pro/industrial EVW-300 3-chip, interchangeable-lens Hi8 camcorder to pay for it…

I was impressed by the live pix, but blown away by the off-tape playback, which looked as good as live. I first experienced DV in October of 1995, when I saw a Sony DCR-VX1000 hooked up to a 32″ Sony XBR monitor at Fry’s Electronics in Sunnyvale.