Sony Camcorder Serial Number

SonyCamcorderSerialNumberD 1 Sony Wikipedia. D 1 or 4 2 2 Component Digital is a SMPTEdigital recording video standard, introduced in 1. SMPTE engineering committees. Hospital Scheduling Programs more. It started as a Sony and Bosch BTS product and was the first major professional digital video format. SMPTE standardized the format within ITU R 6. CCIR 6. 01, also known as Rec. SMPTE 1. 25. M and EBU 3. E standards. D 1 or 4 2 2 D 1 1. It stores uncompressed digitized component video, encoded at YCb. Cr 4 2 2 using the CCIR 6. PCM audio tracks as well as timecode on a 34 inch 1. U MaticU Matic SP cassette. Sony Camcorder Serial Number' title='Sony Camcorder Serial Number' />The uncompressed component video used enormous bandwidth, 1. Mbitsec bit rate, for its time. The maximum record time on a D 1 tape is 9. Because of the uncompromising picture quality component processing and uncompressed recording, D 1 was most popular in high end graphic and animation production where multiple layering had previously been done in short run times via hard drives Quantel Harry, Henry, Harriet, Hal or Abekas DDR or via multiple analog machines running at once. Hard drives in the 1. Sony Camcorder Serial Number' title='Sony Camcorder Serial Number' />By contrast, the D 1 machine allowed 9. D 1 resolution is 7. NTSC systems and 7. PAL systems these resolutions come from Rec. A small variation removing the top 6 lines to save space was later introduced and made popular in the 14 inch DVDVCAMDVCPro formats and for digital broadcasting, which have 7. NTSC and is also used in DVD Video and Standard definition television. The D1 units are switchable between NTSC and PAL. LED D Cell Maglite Flashlight Parts with a D in front of the Serial Number D. In 2011 Panasonic released a camcorder capable of shooting in 3D, the HDCSDT750. It is a 2D camcorder which can shoot in HD 3D is achieved by a detachable. Luma is sampled at 1. MHz and Chroma at 6. MHz with an overall data rate of 2. MHz. Sampling at 1. MHz was used as it is a common multiple of NTSCPAL line rate 6x 2. MHz. The first inputoutput interface was a 2. SMPTE 1. 25. M and later updated to serial digital interface on coaxial cable SDI, SMPTE 2. M, 7. 5 coax, 2. MHz. Ancillary data can be put in HV blanking intervals. Color space for Y B Y R Y is also defined in ITU Rec. Rec. 7. 09 color space. Panasonics D 5 format has similar specifications, but sampled at 1. D 1s 8 bits. It had the advantage of development time as it was introduced much later than Sonys D 1 and two years after Sonys Digital Betacam format was unveiled. Sony Camcorder Serial Number' title='Sony Camcorder Serial Number' />The D 2 format system from Sony and Ampex soon followed two years later, using composite video in order to lower the bandwidth needed. This reduced D 2s price tag to half that of D 1. Since D 2 was composite digital as opposed to component, it could easily be dropped into the space and infrastructure of composite analog machines presently used at the time 2 inch Quadruplex, 1 inch Type C and 34 inch U Matic. Since less information was recorded on D 2 than on D 1, tape speed could be reduced and hold a maximum of 2. Sony Camcorder Serial Number' title='Sony Camcorder Serial Number' />D 1s 9. However, D 2 was still a compromise, being composite video. As broadcasters would later convert from analog to digital wiring, component digital infrastructure became feasible. Sonys popular component Digital Betacam would usher the transition of keeping the colors separated in component digital space D1D5 rather than combined together in composite space D2D3. Digital Betacam could play previous analog BetacamBetacam SP tapes which by now had built a library archive for broadcasters using its 12 inch tape format as opposed to the bulkier 1. D1D2 cassettes. Digital Betacam thus became the de facto standard definition broadcast editing, delivery and archive standard. Even as HD broadcasting and delivery became more commonplace in the U. S. after 2. 00. 8 2. Digital Betacam. Television shows such as CBS The Rachael Ray Show were still recorded and archived on Digital Betacam as late as 2. In the early 2. 00. Quadruplex and 1 inch Type C reel to reel TV programs from 1. Digital Betacam for library vault and re archiving purposes, especially since spare parts and engineers with the expertise to maintain 2 inch and 1 inch VTRs were diminishing with each passing year. D 1 was notoriously expensive and the equipment required very large infrastructure changes in facilities which upgraded to this digital recording format, because the machines being uncompromising in quality reverted to component processing where the luminance or black and white information of the picture and its primary colors red, green and blue RGB were kept separate in a sampling algorithm known as 4 2 2, which is why many machines have a badge of 4 2 2 instead of D 1. Early D 1 operations were plagued with difficulties, though the format quickly stabilized and is still renowned for its superb standard definition image quality. D 1 was the very first real time digital broadcast quality tape format. The original Sony DVR 1. U. S. MSRP manufacturer suggested retail price of 1. A few years later, Sonys engineers were able to drastically reduce the size of the machine by reducing the electronic processing to fit into the main cassette drive chassis, christened the DVR 2. U. S. cost to 1. An external single rack unit would enable the machine to record an additional key matte channel 4 2 2 4 or double the horizontal resolution 8 4 4 by combining two VTRs running simultaneously. Later SP and OS models ran Off SPeed, making them technically friendly for 2. D1 tape and allowing a single tape to provide both NTSC 5. PAL 6. 25 lines masters at one time. D 1 kept the data recorded as 1. However, purists call the 4 2 2 algorithm a form of compression at the sampling stage since half the color information is recorded compared to the full luminanceblack and white picture information. Relation to other tapeseditWhile early color television experiments were kept in the component domain of RGB, most color television broadcasting and post production was compromised in the 1. However, once the color and luminance information was combined, it could never truly be uncombined as cleanly as originated. Component video was rarely processed through a video facility as RGB, as it is in computer displays. There was a historical legacy need to maintain black and white signals. Further, as the human eye is more sensitive to black and white picture information than color, engineers calculated that with the size of the largest home television screen, the color video lines did not need to be sampled for every converted digital pixel. Sonys 1. 98. 2 news gathering 12 inch video format Betacam the first camcorder combination came up with a compromise, known as YUV. The Y was luminance, or the detail of the video picture, in black and white. It contained the sync frame needed to make a stable picture. If one connect the Y cable, one can still see a black and white image, but not if only connecting the other two color information channels. The UV was a math algorithm of R Y red minus luminance and B Y blue minus luminance. The green information was derived by the difference thus YUV is referred to as color difference processing. For example, if there are five black and white panda teddy bears in a box Y plus eight red apples R Y and two blueberries B Y and the total number of items has to equal 2. When engineers sought to process and record in real time the huge amount of digital data needed to make the first digital video tape format, keeping the Y, R Y, B Y or YUV algorithm was key to simplifying and reducing the initial picture information sampled, saving valuable space.