interested in using still images (taken from moving footage) from a Canon UC8Hi
camcorder in desk top publishing on a PC, for output by high quality laser and
tell me: what resolution would the image be, once on the PC?
resolution be high enough for use in a magazine style publication?
example pictures used in Video Camera magazine taken by a camcorder? If so,
which ones and what tape format were they filmed on?
for your help.
occasionally used captured images taken from camcorder recordings, to
illustrate articles, though it has to be said that itís usually fairly obvious
as the quality is noticably inferior to normal photographs. The final quality
of the digitised image will depend on the capabilities of the digitiser
hardware and software, but the main limiting factor is the source material. Put
simply a PAL video image is made up of 625 lines, of which fewer than 600 are actually
used to make up the picture. Horizontal resolution, or the amount of detail
that can be crammed onto a single picture line -- even on a high-band machine such as yours -- is no more than
400-lines (and thatís on a good day) therefore the maximum theoretical vertical
resolution will be 600 x 400, though by the time itís been through the mangle
itís going to be significantly less. A good digitiser card will yield a
printable image -- fine for simple documents, newsletters, ID cards etc -- but
you will need something a little more sophisticated, (a scanner, and photographic
source material), if you want to do any
serious desktop publishing.
TIME TO CHEWS
please recommend a VCR, as my Panasonic VCR decided to chew up the VHS tape and
then my daughterís Hitachi wouldnít work with my Sanyo EX33 editor.
the signal to record but would not pause at the desired edit points, so now I
am faced with the dilemma of buying a compatible VCR - or should I not bother
finding a compatible VCR; perhaps this editor is just a cheap gimmick of no
real worthwhile use?
could just stretch to a low priced S-VHS model but should I not progress to
Hi8? Would this then be a waste of
money or would I receive better picture quality as compared to 8mm to VHS?
I have just
purchased your magazine and find it to my liking, but I find it difficult to
understand the jigsaw puzzle of equipment available. Perhaps this could be explained in future issues with the
beginner in mind.
We spoke to
Sanyo about your problem and a spokesperson told us there were no known
difficulties with Hitachi VCRs, working with the EX33 camcorder, so maybe itís
worth going back to check on the set-up routines. The editing system on the
EX33 is quite basic, but itís by no means a cheap gimmick, within its
limitations it works quite well. As for your next VCR, thereís nothing to be
gained by buying a S-VHS or Hi8 VCR for this sort of application. You would do
better spending your money on a decent VHS machine. Hopefully you havení t been
put off Panasonic equipment, theyíre usually pretty good for editing, so too
are most other top-end VHS VCR made by other major brands, take your pick from
Hitachi, JVC, Sony, Toshiba etc., look out for machines with extra editing
features, front-mounted AV sockets are usually a good sign, and go for a stereo
model, rather than a mono one as they usually have better deck mechanisms. The only ones to avoid are the very cheap
models, which normally have picture quality to match. For the best results use
a good quality high-grade tape for your copies.
Panasonic camcorder has a snapshot function and I understand that it is
possible to make colour prints from the camcorder by using a Panasonic colour
video printer - NV MP1.
As I am a
relative newcomer to camcorders, I would appreciate any information you may
have on this subject and whether it would be financially viable to go to the
expense of purchasing a printer.
The MP1 is
just one of a number of colour video printers. Most of them work in the same
way; they take a video signal (still or moving), store it in a digital frame
store or microchip memory, then split the image up into its colour components.
The seperated colour signals are then fed to a kind of sophistciated fax
machine that uses a thermal printing head to transfer colour dyes from a roll
of coloured film, onto the prining paper. It makes several passes over the
paper, building up each colour as it goes; the finished print usually take
around a minute to complete. This process is called dye sublimation, and
depending on the make of printer, can work out at between 30 pence to around
£1.00 per print.
can look quite good, though the image source -- your camcorder -- is simply not
capable of resolving anything like the same amount of detail as a photographic
camera -- less so in the Ďsnapshot modeí on your machine -- so the pictures
will look a bit fuzzy. The bottom line is, if you want to take a picture of
something a cheap camera, even one of those throwaway types, will produce a
clearer sharper image than any video set up, at a tiny fraction of the price.
Video printers have their uses, though, and the main advantage is immediacy,
and the facility to select the image to be printed, but at their present stage
of development theyíre not a viable alternative to conventional photography.
may have been aired before but if so, I missed it! Is it possible to print a list of camera makes that use similar
I have a
Sanyo VMD6P which I wish to replace. I
have accumulated several batteries
including a belt, so I wish to purchase a new camera that will accept these
batteries - is it only Sony and Sanyo?
to be joking! Even hardened accessory dealers and manufacturers flinch at the
mention of camcorder battery compatibility charts. The last time we counted
there were over 80 different types of battery, to fit several hundred different makes and models of camcorders sold since the
mid 1980ís. Fortunately the NP style batteries used on your machine are the
most common, theyíre used on a wide range of badge-engineered machines, as well
as Sony and Sanyoís own. You can also get adaptor plates that will suit some
combinations of equipment, but in the end the only safe way to check is to take
one of your batteries with you, and try it out, when youíre out auditioning new
I have just
bought a Panasonic NV R11B camcorder.
Could you please advise as to the best mixer/editor in the lower price
range and how to make the best use of the built-in 5 pin edit function on the
camcorder. My VCR is a Panasonic NV-G7.
I tried to buy a UV filter for the camcorder and Panasonic do not yet have any
available for this model. This seems odd
that they should herald their new models before making sure the accessories are
quite a few new edit controllers on the market in the £170 to £200 price
bracket, that can be used with your camcorder and VCR, Check out the IQ Edit Studio,
Hamaís Easy Edit. Also consider our old favourite, the Videonics Thumbs-Up.
Panasonicís own budget edit controller, the VW-EC1 is very basic, having only a
4-scene memory, but it is quite cheap at £150 or less.
The R11 has
a 37mm filter thread and just about every accessory manufacturer has a wide range
of filters and adaptors that will fit, which is probably one reason why Panasonic
donít bother, they would be hard pressed to compete.
I have a
Sanyo VM EX30P camcorder with 5 cut random assembly edit facility, Sony SLV 415
VCR with control L and Hitachi VT 410E VCR.
By hard wiring the SLV 415 and IR linking the VT 410E I can control both
VCRs producing 2 first copies of the same tape.
The 5 cut
edits are somewhat limiting so Iím thinking of getting a Thumbs-Up edit
controller, but I think this will not give me RAE on first copies. Can I combine the RAE capability of the
VM-EX30P with the extra capacity of the Thumbs Up to give me the best of both
sound of it youíre trying to produce two second-generation copies
simultaneously, using two different VCRs, but I canít understand why you would
want to do such a thing. Once the cuts are stored in an edit controller you can
reel off as many consecutive copies as you like, thatís the beauty of controlled
assemble editing, itís repeatable. Making one copy at a time is obviously not
as fast, but thatís hardly a problem, unless youíre going into mass production,
in which case you need something altogether more sophisticated. You can use the
Thumbs Up with your machine, it has a Control L edit terminal, and a 62-scene
memory but Iím fairly sure you canít use it to control more than one VCR at a
time, unless they are both the same make and model and will operate from the
same IR commands.
Canon E110 does a good job for the type of camcorder it is, I would like to
have better picture quality, especially after editing.
start to consider the Hi8 system and a possible change to, say, the Hitachi
VME510 or the outgoing Sony CCD FX700 ( I donít fancy palmcorders).
researched the subject I find that my fairly new Panasonic NV-F77 VCR may not
be able to take full advantage of the better quality produced by a Hi8
camcorder. Is there any worthwhile
benefit to be had by changing to Hi8?
If so, which camcorder up to around £1000 with plenty of manual control
would you recommend please?
you copy or edit video recordings, on domestic analogue equipment, there will
be a noticeable reduction in picture quality brought about by an increase in
noise. The best way to minimise the effects of noise is to start out with as
good an original recording as possible, which in your case would mean moving up
to a high-band camcorder, either Hi8 or S-VHS-C, it makes little difference.
Second generation records made on your Panasonic VCR should look a lot better,
but if you want to minimise picture degredgation even further you should think
about editing to a S-VHS VCR. As for reccomending a specific machine, it would
be helpful to know what you want to use it for, and why you object to
palmcorders. The FX700 was a very good machine, and well worth considering if
you can find one at a reasonable price.
I have a
Toshiba VCR, model V-854B. One of its
features is a programme delivery control system which controls the recorder
should a scheduled programme be broadcast at a modified time.
tried this a few times with programmes which were scheduled to run late: the
recorder still seems to come on at the specified time in the timer. This is with the PDC enabled. I have tried all TV stations in my
region. Is this system on line in the
The only technical reference I can
find about video control signals is from a
Philips data sheet from 1986.
Your advice would be appreciated.
programme delivery control, originally known as Startext, is now a common feature on many new VCRs
built within the last year. It is designed to automatically correct VCR timer
settings, for late programme changes. Until recently only Channel 4 transmitted
the necessary data codes though now we understand the BBC and other ITV
companies are conducting trials. It works like this: a VCR with PDC, set to
make a time-shift recording, will not begin the recording until it receives the
correct Ďgo-codeí for that programme, transmitted by the broadcaster, in the
teletext data stream. The tuners in these VCRs remain active, scanning the
channels, incidentally one of the spin-offs of this technology is automatic
clock set and time adjust, another increasingly common VCR feature.
I am quite
happily making films using a very basic assemble edit method with an AV mixer
and audio cassette link up, I would sometime in the future like to try some
stunt film work, which requires slow motion and only certain VCRs have this
facility. Why donít camcorders have
this this slow motion facility more readily available? I read that the Sanyo VM EX370P 8mm at £650
has this facility. Can you please tell
me just how good this feature is and how many camcorders currently available
have the same slow motion facility?
answer is that the kind of slomo effect youíre after is not possible using current
domestic analogue video equipment. The slomo replay on 8mm and VHS equipment --
no matter how good it looks on TV -- is not recordable on another VCR. You will
just end up with an unstable mess. Slow-motion replay on VCRs (and a few
camcorders), relies on on the fact that TVs can display what amounts to a
garbled image, because of their superior picture synchronisation circuitry. Itís
possible to incorporate this technology into VCRs, but would anyone pay for it?
Weíve conducted some experiments using a DVC camcorder with slomo and this does
work, though the effect is quite jerky on the SonyVX1000, and thereís no speed
control; maybe you should wait a while.
YOU WEAR IT
point of view of performance and head wear, what is the difference between Hi8 Metal
Particle and Metal Evaporated tapes?
have a Canon UC8 Hi8 camera, a Screenwriter Titler, a Vanguard 305
Processor/mixer and a Toshiba V-711B VCR running into a Toshiba 2112DB TV (I
know that for Hi8 I should have S-VHS equipment, but give a working chap time).
is that when they are all in line there are faint but visible verticle wavy
lines on the TV screen. Having gone
through all of the equipment, disconnecting and reconnecting, it is the
Screenwriter that is seemingly generating the lines. They appear with just the
together. I have tried changing the
power output source as suggested in the instructions to no avail and changed
round the in-line sequence of the equipment.
any idea what I can do?
evaporated (ME) tapes had a reputation for causing accellerated head wear,
though manufacturing techniques have since been refined and in theory they
should have the same qualities as metal particle (MP) tapes. In fact video tape
is meant to be slight abrasive, in order to keep the tape path clean and the
polished. As far as performance is concerned the magnetic coating on ME tapes
can store more information than the coating on MP tapes, this gives a cleaner,
sharper picture, with less noise, at least that the theory. In practice, on
some Hi8 machines, thereís not a lot of difference between the best MP tapes
and ME formulations. Itís difficult to generalise, though, my advice is to conduct
your own trials and find the tape that best suits you and your equipment.
fault your detective work tracking down the source of interference,
unfortunately I have no instant remedy. Itís just possible thereís a peculiar
interaction between the Screenwriter and your TV, does the wavy line appear on
recordings, have you tried it on another TV? If the problem persists then Iím
afraid thereís not a lot you can do, apart from trying to exchange the unit.
” R. Maybury 1995 0711