MILLER VIDEO & FILM
950 Battery St • SAN FRANCISCO, CA 94111
• AVID Adrenaline Mobile Edit System
• FinalCut Pro HD Mobile Edit System
• Sony HDCAM HDW-F500
• Panasonic D5 AJ-HD3700b
• Sony HDCAM SR SRW-5500
• Panasonic DVCProHD HD-1400
• Sony HDV HVR-1500A
• JVC HDV BR-HD50U
• Sony XDCAM PDW-U1
• Sony NTSC Digital Betacam DVW-A500
• Sony PAL Digital Betacam DVW-A500P
• Sony NTSC DVCAM DSR-1500
• Sony NTSC DVCAM DSR-45
• Sony PAL DVCAM DSR-45
• Sony Betacam UVW-1800 (PAL/NTSC)
• Sony Betacam BVW-70 (NTSC)
Displays, Converters and Measurement Equipment
• AJA HDP DVI to HDMI Converters
• AJA Gen10 Tri-Sync Generators
• Tektronix WFM-300 Waveform/Vectorscope
• Leader LV7700 Multi-format Waveform/Vector Scope
• Pioneer PRV-LX1 DVD Recorder
• JVC DT-V24 SDI/Component LCD Display
• Videotek DL-850HD SDI Legalizer
• Videotek DL-810SD SDI Legalizer
• SD Standards Conversion via ALCHEMIST with Phase Correlated Motion Compensation
• HD to SD Downconversions via HDCAM, HDCAM SR, DVCProHD and HDV as well as file based sources.
• DVD Duplication Services
• DVD Authoring from any file or tape format.
• "Slow PAL" HD Framerate conversions going from 23.98 to 50i/25psf or 25psf to 23.98/59.94i.
ALCHEMIST STANDARDS CONVERSION
• Phase Correlated Motion Compensation
• CleanCuts™ for precision editing
• ARC for High Quality Aspect Ratio Conversion
LUXURY EDIT SUITES
• Full AVID or FinalCut Edit Systems
• High end Audio and Video monitoring
• Video scopes and Audio Metering for precise output
• Full editor/tech services
• Comfortable environment
• Located in the beautiful Presidio of San Francisco with plenty of parking available
CLIENTS - PAST & PRESENT
• Harris Digital
• Tippett Studios
• Dr. John Gray
• Goodby, Silverstein & Partners
• Viz Media
• Chiat Day
...and many more including film makers, editorial companies, ad agencies and corporations. Miller Video has serviced the San Francisco Bay area's video post production needs for 20 plus years.
POST PRODUCTION SERVICES
• Standards Conversion
• Video Deck Rentals
• Final Cut Rentals
• AVID Rentals
• Video Transfer
• Online Editing
• Quality Control
• Edit Suite Rental
• DVD Duplication
AVID ADRENALINE DNX HD INCLUDES:
• AVID Adrenaline w/ DNX HD
• Full Component/SDI Patchbays
• Drive Arrays stripe for Uncompressed Bandwidth
• Mackie Mixer
• Full Range Audio Monitors
• (2) 24" LCD Displays
• (1) 24" SDI Edit/Client Monitor
• Workstation Desk
ALL SYSTEMS HD, NTSC SD or PAL SD Compatible
FINAL CUT PRO HD INCLUDES:
• FinalCut Pro Studio Suite Version 7
• Full Component/SDI Patchbays
• Drive Arrays stripe for Uncompressed Bandwidth
• Mackie Mixer
• Full Range Audio Monitors
• (2) 24" LCD Displays
• (1) 24" SDI Edit/Client Monitor
• Workstation Desk
ALL SYSTEMS HD, NTSC SD or PAL SD Compatible
VIDEO PRODUCTION COMPANY
CORPORATE VIDEO PRODUCTION
DIGITAL VIDEO PRODUCTION
FILM PRODUCTION COMPANY
MOVIE PRODUCTION COMPANY
FOLLOW MILLER VIDEO
Miller Video & Film has been providing production and post production services to the San Francisco Bay Area production community since 1991. Located in the prestigious San Francisco Presidio , the company's facilities are located within one of the city's largest parks. We are next door to the San Francisco Film Centre which includes edit facilities, production companies, and the San Francisco Film Society . And just a few blocks away is the new Lucas Film Digital Arts Center(LDAC) . And with all that going on, you might think parking is a problem, but in fact there is a huge parking lot with more than 1000 free parking spaces that are always available. All within 2 miles of the Golden Gate Bridge , Miller Video & Film's facilities are luxurious and comfortable.
Miller Video & Film's facilities include AVID Media Composer and Final Cut Pro edit bays. Our main edit suite is over 400 square feet and can easily seat 6 or more people very comfortably. Our machine room houses lots of broadcast quality gear including Sony HDCAM, Sony HDCAM SR , Sony Digital Beta cam , Sony Beta cam SP , Panasonic DVCproHD, Panasonic DVCpro-50 , Sony HDV, DVD authoring and DVD Duplication. Our edit systems handle standard definition as well as uncompressed High Definition (HDTV) . In addition, high end standards conversion gear can convert from NTSC to PAL and vice versa using Snell & Wilcox with Motion Compensation . (See our Standard Conversions page for more info.)
In addition to our editing and dubbing services, we also provide rentals for Avid Adrenaline & Media Composer, Final Cut Pro systems, as well as studio deck rentals and hard drive systems, such as high throughput drive arrays for HD bandwidth.
We also provide media conversion which allows us to convert most formats into internet playable media files such as QuickTime , Windows Media , and Real Player. We also encode for DVD's in both PAL and NTSC and can create interactive DVD menus in both formats.
Please give us a call to find out what we can do for you.
AVID Media Composer Adrenaline systems feature fully integrated video and audio patchbays, VHS recorder, realtime DVD recorder, mixer, broadcast quality NTSC and PAL monitoring, Dual LCD Displays, professional speakers, workstation desk and a wide range of decks which include Digital Beta cam, Beta SP, DVCAM, etc. This system rolls into any edit suite or MCR and in easily interfaced with equipment and machines on-site. Multiple drive configurations, including firewire, SATA Arrays and SCSI LVD Media Docks, available upon request.
The Final Cut Pro 7 HD systems feature fully integrated video and audio patchbays, Mackie Mixer, Broadcast quality monitoring, Dual LCD Displays, professional speakers, workstation desk and a wide range of decks which include Digital Beta cam, Beta SP, DVCAM, HDCAM, DVCPROHD and HDV. This system rolls into any edit suite or MCR and in easily interfaced with equipment and machines on-site. Multiple drive configurations, including firewire, SATA Arrays and SCSI LVD Media Docks, as well as VHS recorder, realtime DVD recorder, available upon request.
All systems are completely mobile and fully configurable according to needs. Seasoned technicians setup and test systems onsite and are available for tech support throughout the rental period. Whether it's an add-on edit suite in your facility or a edit-on-the-fly setup at a hotel or video shoot, Miller Video & Film is an all in one mobile edit solution. Here is a list of clients who have trusted Miller Video & Film, time and again, to deliver quality equipment and service...
Final Cut Pro on an Apple Mac Pro with 8-drive SATA array is fully capable of realtime capturing and editing HD material. Our editing package includes DVD Studio Pro, Compressor, Soundtrack Pro, and QMaster, which allows you to use other G5s on the network for faster rendering of files.
The AJA Kona 3 on an Apple Mac Pro supports 4:2:2 and 4:4:4 HD input and output as well as realtime down conversion and cross conversion. Other features include analog recording and playback of SD and well as HD playback via analog down conversion for suites lacking HD monitoring capabilities. It works in conjunction with our Final Cut Pro systems that include a sata drive array for full recording and playback of HD 8bit or 10bit uncompressed in realtime. This system can be used with our Sony HDCAM, HDCAM SR, Panasonic AJ-HD1400 or Sony HDV decksas well as all our other standard definition decks such as Digital Beta, Beta SP, and our standards conversion system. The system is fully mobile and easily integrates into any edit suite or MCR.
Sony HDW-F500 HDCAM
Supports 24, 25, 29.97, 30, 50i, 59.94i frame rates at 1920 x 1080 resolution.
Features Down Conversion at PAL or NTSC Frame rates with letterbox, anamorphic or edge cropped formatting via serial digital output. Dolby E 5.1 Compatible.
Features Up Conversion, Down Conversion and Cross Conversion as well as Multi-format, PAL or NTSC, playback of Mini DV, DVCAM, DVCPRO 25, DVCPRO 50, DVCPRO HD. Capable of up converting standard definition Mini DV, DVCAM, DVCPRO 25, DVCPRO 50 tapes to HD in real time as well as DVCPRO HD down conversion to standard definition. Supports 24, 25 and 30 frame rates at 720p or 1080i. Compatible with varicam cameras for seamless 24p integration with Final Cut Pro HD via Firewire 400.
Sony HDCAM-SR format is the high end of High Definition television. Models include SRW-5000, SRW-5500, and the SRW-5800. This VTR also allows recording and playback of the well-proven HDCAM format. Applications range from HDTV to digital cinematography. Key features include high-quality 1080i, 1080PsF, or 720P recording and playback, a wide array of internal format conversions, including 4:4:4 to 4:2:2, legacy playback of Digital Beta cam tape formats.
Cross conversion in HD High Definition is also possible using HDCAM-SR ability to convert 1080 to 720. This is useful in transferring HDCAM, HDCAM-SR to other HD formats like Panasonic D5, Panasonic DVCproHD, and Sony HDV. 3:2 pull down can also be managed in cross conversions.
The SRW-5800 HDCAM-SR Studio Recorder is equipped with the same key features as SRW-5500 and SRW-5000 recorders in the series. This deck records 1920 x 1080 resolution 10bit HD signals using MPEG-4 Studio Profile with visually loss-less compression. Video data rate is 440Mbps and 880Mbps is also possible with HKSR-5803HQ option. 12 channels of 24-bit discrete uncompressed audio can be recorded. Multiple frame rates are supported i.e. 1080 23.98/24/25/29.97/30PsF, 50/59.94/60i and 720 50/59.94P. 1080 50P and 59.94P are also supported with HKSR-5803HQ by using double speed recording mode. RGB4:4:4 signals can be recorded and played back with option cards. The HKSR-5803SQ supports 4:4:4 SQ mode only and the HKSR-5803HQ supports both 4:4:4 SQ and HQ mode. By using HKSR-5802 option, it can playback HDCAM and Digital Beta cam tapes. Up-conversion output is possible when playback Digital Beta cam tapes. HKSR-5001 format converter option for SRW-5000 and SRW-5500 can be used for SRW-5800, too. This versatile format converter allows 2-3 pull down and 1080i or 1080PsF to 720P conversion or vice versa. Color space conversion between 4:4:4 and 4:2:2 is possible as well. HKSR-5803HQ option enables X2 transfer of Video, Audio and Timecode to specified server in 1080 50i (25PsF), 60i (30PsF), 24PsF and 720 50/59.94P over HD-SDI dual link by using 880Mbps mode.
Here are some of the features:
1080 recording and playback at multiple frame rates: 23.98PsF, 24PsF, 25PsF, 29.97PsF, 50i, 59.94i in HDCAM and HDCAM-SR formats.
720P recording and playback (HDCAM-SR only)
Switchable 4:4:4/4:2:2 recording
High quality MPEG-4 studio profile compression
High quality audio recording: 12 channels, 24-bit audio at 48kHz in the HDCAM-SR format
Internal format conversion including up and down conversion, 4:4:4 to 4:2:2 conversion. 10 bit 4:2:2 and 4:4:4 recording. 12 x 24 bit audio channels. Down conversion and cross conversion to 4:2:2 and SDI.
Playback of Digital Beta cam format tapes
Long recording time on a single cassette of up to 155 minutes at 1080/24PsF
Frame accurate insert and assemble editing
Dynamic tracking playback
Dynamic Motion Control (DMC) playback
Selectable picture modes including squeeze, letter box and edge crop
Audio output channel routing: can route audio to any HD-SDI or SDI output
Off-speed playback capability
Built-in tele-file read/write capability
GENERAL THINGS TO KNOW ABOUT HD
The 720 formats, used with DVCPro HD and D5, are all progressive. The 1080 formats, which include HDCAM, D5, and DVCPro HD, are capable of both progressive and interlaced frame types, depending on the frame rate and format you choose.?
Unlike NTSC, or PAL Standard definition formats, HD outputs it's image in square pixels instead of rectangular pixels. Some HD formats sample internally using rectangular pixels but resample on output to square pixels. This is done to effectively compress the signal in order to save space.
Another method of space saving is luminance and chrominance sub-sampling. For instance, DV uses a 4:1:1? color sampling scheme. The first digit represents a full sampling of luminance, i.e. the 4 means that luminance is sampled once for every pixel in the image. The second and third digit represent a %25 sub-sampling of chrominance, Cr and Cb respectively, meaning color components are sampled with every 4th luminance sample on each horizontal line. With HDCAM, for instance, 3:1:1 means that luma is sampled horizontally at three quarters of the full luminance sampling rate and chrominance is sampled at 1/4 of the full chrominance sampling rate on the Cr and Cb channels.
Quantization, as it refers to pixel sampling, is another way in which space is saved on recorded tape formats. HDCAM uses 8bits per pixel to store on tape but upsamples on output in order to accommodate full 10bit streams. D5 and HDCAM SR are capable of recording 10bit streams to tape.
Sony HDCAM is capable of 1080 resolution at frame rates of 23.98, 24p, 25p, 29.97, 50i, 59.94i and 60i. The codec stores video at 1440 x 1080(non-square pixels) and is unsampled to 1920 x 1080 using an 8bit DCT compressed 3:1:1 recording, which breaks down to a compression value of 4.4:1. Though it stores in 8bit, it handles 10bit input and output with a recorded video bitrate of 144Mbits. It uses 4 channels of AES/EBU 20-bit/48khz audio and supports Dolby E surround sound using using existing audio channels.
HDCAM SR uses a higher particle density tape stock and records with an increased bitrate of 440Mbit/s. It produces a 4:4:4: RGB recording with 10bit input and output. HDCAMSR uses a MPEG-4 compression scheme and expands the audio capability to 12 channels at 48khz/24bit.
Unlike formats such as DVC Pro, HDCAM and HDCAM SR do not share tape stock compatibility. Sony differentiates the stock by using an orange lid for HDCAM and a Cyan lid for HDCAM SR.
DVCPro HD(A.K.A. D7-HD) is a Panasonic HD format that uses the same tape stock as DVCPro running at a faster transport speed. It does 720/60p and 1080/60i, and will soon support 1080/24p.
A derivative format called Varicam uses the DVCPro HD codec to create a varible framerate, from 4 to 60fps, to create rapid or slow motion effects used in film. It can also be used to shoot in 24p, thus approximating the "look" of film. An important thing to remember is that the transport speed of the tape does not change but instead still runs at 60fps and creates duplicated frames and flags them for identification on output. Programs like Final Cut Pro can identify these flags and remove them, hence creating a true varible frame rate clip. In the case of a 24fps tape, it is essentially like a reverse telecine. Varicam is only available in 720p.
DVC Pro HD uses 6.7:1 compression and encodes using 4:2:2 color sampling. DVCProHD streams at a native bitrate of 100Mbits, and supports 10-bit input and output with up to 8 channels of audio. Like HDCAM, DVCPro HD uses a prefiltering process that takes a 720p source and stores it at 960 x 720 and a 1080 source and stores it at 1280 x 1080(1440 x 1080 for 50i) and unsamples the video to full resolution on playback. DVCPro HD can also be recorded to cameras supporting the P2 card(PCMCIA), which can then be imported into systems such as Final Cut for editing, all without the use of tape.
A common source of confusion is with tape stock. Since DVCPro tape can be used with DVCPro, DVCPro50 and DVCPro HD, the running times printed on the tape apply differently. Panasonic has three different color codings for tape stock to help with figuring out tape run times. Yellow is for DVCPro. If you have a yellow tape and it says 66/33, then you'll get 66 minutes with the DVCPro format and 33 minutes with the DVCPro50 format. You can also use this tape for DVCProHD, however, keep in mind DVCProHD uses 4x the amount of space as DVCPro thus you will only have 16.5 minutes of run time. A blue lid signifies DVCPro50 and the run time printed on the tape will be for DVCPro 50. This time you will get twice as much run time if you record DVCPro and half as much run time with DVCPro HD. The red lid identifies? the the run time printed on the tape as a DVCProHD run time and, of course, the math works in reverse when recording DVC Pro and DVC Pro 50.
HDV is a prosumer format which records highly compressed MPEG-2 on a mini DV tape. The interframe-compressed MPEG-2 streams at 19Mbits per second for 720p and 25 Mbps for 1080i. 384 Kbps MPEG-1 Layer 2 stereo audio is used for during encoding. The interframe encoding is good for storing high quality video at a lower bitrate but makes it more difficult to edit.
The method of compression uses a GOP, or group of pictures. This means a series of I-frames(intra-frames) and B and P(bi-directional predictive and predictive) frames encode as much as 12 to 15 video frames into 1 GOP. Since predictive frames cannot be decoded individually, the entire GOP must be decoded in order to edit those frames. Editing on GOP boundaries is possible without decoding, but limits editing accuracy. Complex transitions are prone to artifacting and fair better if the Mpeg-2 is decoded first, posing an additional inconvenience. Just to belabor the point, HDV footage also tends to cause editing systems to work harder as independent cells have to be continually rebuilt by the NLE when cuts are made.
The interframe compression method also increases the impact of dropouts or errors in the bit stream. This is because of the error or dropout will effect all frames in the GOP. Unfortunately, this is just an accepted drawback of the format.
All this said, programs such as Final Cut 5 have developed their software to edit HDV with only a few hang-ups. Apple's Intermediate Codec, though requiring much more drive space, transcodes the HDV format to an intermediate format. It helps maintain quality and system efficiency while editing in Final Cut.
Understanding HDV's response to light and motion is important to producing good results with minimal artifacts. Recent films and TV shows have established work-flows when handling and shooting HDV to minimize incident. It should be noted, however, that many broadcasters only accept HDV in a limited capacity and likely only with prior consent.
Whether it's on-line finishing or off-line editing, Miller Video & Film offers a wide range of choices for post production editing. For standard definition projects we rely on the industry standard for quality in our AVID Adrenalines and for standard definition and high definition we use Final Cut Pro HD 7 on Ultra fast Mac Pros with high speed drive arrays. All the systems we offer are mobile but are also available in our deluxe edit suite, designed with client comfort and usability in mind. With our sophisticated edit bay to MCR interface, we can route any machine to our edit bay quickly and easily. Clients benefit from skilled technicians capable of accommodating almost any technical need on the fly.
Aside from being a full blown editing facility, Miller Video & Film can also offer an endless array of format conversions, tape or digital. We also have high quality standards conversion capabilities for NTSC projects with content headed overseas and for conforming tapes in PAL format to your NTSC project. All equipment we use meets broadcast standards and includes HDCAM, Digital Beta cam, Beta SP, DVCAM among others. Have a tape and you can't play it or don't know what it is? Just ask... chances are we can handle it and get it into a format you can use.
Whether it's on-line finishing or off-line editing, Miller Video & Film offers a wide range of choices for post production editing. For standard definition and high definition projects we rely on the industry standard for quality in our AVID Adrenalines and Final Cut Pro 7 on Ultra fast Mac Pros with high speed drive arrays.
All the systems we offer are mobile but are also available in our deluxe edit suite, designed with client comfort and usability in mind. With our sophisticated edit bay to MCR interface, we can route any machine to our edit bay quickly and easily. Clients benefit from skilled technicians capable of accommodating almost any technical need on the fly.
Quality editors can be provided to fit the specific need of the project. Be it straight cutting or graphic/effect intensive work, we have long list of trusted editors covering a vast range of experience. In addition, our extensive resources make it possible to assemble a wide variety of professionals such as camera operators, producers and other crew, for video shoots and production teams. Our clients have come to count on us for our service in handling projects that include TV commercials, corporate videos, web video content, music videos and feature films.
Aside from being a full blown editing facility, Miller Video & Film can also offer an endless array of format conversions, tape or digital. All equipment we use meets broadcast standards and includes HDCAM, HDCAM SR, Digital Beta cam, Beta SP, DVCAM, DVCProHD among others. Have a tape and you can't play it or don't know what it is? Just ask... chances are we can handle it and get it into a format you can use.
One of our most sought after services is our high quality standards conversion for NTSC projects with content headed overseas and for conforming tapes in PAL format to your NTSC project. Our Snell and Wilcox Alchemist provides the highest quality standard conversion possible using it's sophisticated Ph.C., or Phase Correlation motion compensation algorithm and it's patented CleanCuts technology.
We also handle digital formats such as QuickTime. Files can be easily transferred to tape or compressed to other formats such as Windows Media, RealNetworks streams, MPEG-1, MPEG-2, MPEG-4, the HD capable H264 among many others. Need your video streaming on your website? We can create a version of your video that's optimized for the web and it's end user. Showing your video at a meeting or convention kiosk? We can help you get your video into a format that your laptop or PowerPoint presentation can handle without choking.
All transfers are done by trained techs who monitor your materials using broadcast quality waveform vectorscopes and color critical monitors. If there are illegal color, black or luma levels, we can correct them using high quality legalizers. Our Alchemist includes color balance controls and vertical and horizontal enhancement features to help improve overall picture quality and sharpness on troublesome projects. Wherever possible, transfers are processed in the digital domain in order to maintain maximum quality. We can also provide high quality time base correction for older VHS and 3/4 tapes as well as other "funky" or antiquated formats.
Where many video production houses often neglect the audio aspect of client materials, Miller Video & Film takes care to optimize your audio for the analog and digital realm. We measure and meter every aspect of the signal chain in order to make sure no tape goes out over-modulated or distorted. We can also offer audio compression for program that may be too dynamic(i.e. really loud and then really quiet) using or TC Electronics Finalizer. This affectively decreases dynamic levels so you can print levels "hotter" to tape without worry of distortion. The process also improves the perceived volume of quieter passages. A rule of thumb for your production, should it be for broadcast, is to print audio to peak around 0vu(+2 or +3db for transient audio) for analog and do your best to keep it from going over -10 for digital. This helps to ensure that your tapes transfer optimally back and forth between the analog and digital domain. It's a common mistake to print all the way up to zero on a digital beta tape because, typically, your bars are set to -20 and this causes a 20db range between what's considered nominal gain and peak gain. Any analog source you record to using your bars as a reference, WILL DISTORT. Any broadcaster that doesn't have the luxury of checking bars to program is going to be irritated, to say the least. Printing audio to digital tape at such a hot level is not necessary because the noise floor of digital tape is much lower than analog tape and the extra signal to noise ratio is hardly worth the trouble it causes in the long run.
DVD AND BLU-RAY
In combination with MPEG-2 compression, Miller Video & Film also offers DVD and Blu-ray authoring. We can build your DVD or Blu-ray from tape or QuickTime files and create menus using your graphics or graphics we create. For DVDs we can duplicate significant quantities using our DVD duplication towers. We provide all this and full-color printing on disc.
We also provide real-time DVDs or Blu-rays using our Pioneer PRV-LX1 DVD recorder for DVDs and our JVC SR-HD1500 for Blu-rays. This is a great lower cost solution for one-offs or discs not requiring menus without sacrificing image quality.
Need to layoff your show to Digi-Beta? We can it bring right to your front door... and if you need it we'll set it up for you as well. Decks, Edit systems, monitors , hard drive arrays, all at your disposal. From the time we walk in your door we can have a functioning AVID or Final Cut up and running in around and hour. All our edit systems come with fully configured audio and video patch bays and multiple video and audio harnesses to accommodate any deck or peripheral configuration you need. All systems present themselves with a pleasing visual aesthetic for client-friendly environments and can be installed with a minimum footprint in mind. With all our rental equipment comes the quality assurance of qualified tech support by phone or on-site if needed.
ALCHEMIST STANDARDS CONVERSION WITH MOTION COMPENSATION, by SNELL & WILCOX
Miller Video & Film is proud to offer the Snell & Wilcox Alchemist standards converter which is famous for its fantastic quality. Using its superb and powerful Ph.C. (Phase Correlation) Motion Compensation Technique, we can bring you stunningly sharp and crystal clear video free from the smearing, blurring, and juddering, which is common with most standards converters available. This is the ultimate in standards conversion equipment and Snell & Wilcox Alchemist is the Rolls Royce of standards conversion world-wide. When you want your conversion to look as good as possible, we can deliver a broadcast master quality standards conversion that is fit for network broadcast in the North America, Europe, Asia, and all countries using PAL and NTSC.
Snell & Wilcox Alchemist Ph.C. is the result of years of research and experience in producing the world class standard in standards conversion hardware. The converted images are high quality and will pass quality assurance at any broadcast facility in the world. Even the most complex video material is delivered with clarity that is free from artifacts. Motion artifacts from moving objects, camera pans and zooms, and frame flicker, are virtually eliminated by the Alchemist. Performing SD standards conversion between 60hz (59.94) and 25hz, the resulting output looks great.
This system can also be used to produce great looking down conversions from various HD formats including Sony HDCAM, HDCAM SR, Panasonic D5, DVCproHD, Varicam, and HDV. When shooting in High Definition with NTSC compatible frame rates, remember that a high quality standards conversion process is necessary to produce PAL standard definition formats such as Digital Beta cam (Digibeta), Beta cam SP (Beta SP), DVCAM, Mini DV, and DVDs. And of course, just the reverse is necessary to produce NTSC down conversions from HD frame rates that are PAL compatible. For instance, an HD tape shot at 25 frames would require both down conversion and standards conversion to produce a NTSC standard definition tape at 29.97 frames per second.
The Alchemist uses Motion Compensation, also known as Motion Estimation, which analyzes video and shifts the pixels in each frame (or field) so that they match up perfectly, even excelling in complicated scenes featuring fast moving object in motion, high detailed graphics, and mixed film and video source materials. The Alchemist is even capable of applying Motion Compensation to just the portions of the frame where they are most needed, through a matt system that is built in.
In addition the Alchemist can control aspect ratio conversion which can change anamorphic images to letter box, correct aspect ratio errors in source program material, and simultaneously eliminate lines of noise that sometimes are sometimes seen it the extreme edges of video program. This assures clean and solid video even out to the far edges of the screen, which is important for DVD playback on computer screens that do not overscan their video playback.
The Alchemist also offer the Clean Cuts feature, which uses a scene detection system to keep motion artifacts from crossing frames. This allows for clean edits when working with standards converted tapes in the edit bay. For instance, the editor will not lose a frame or two in an extracted edit because it contains artifacts from a previous shot, as a result in lesser quality standards conversions without Clean Cuts. Clean Cuts is a trademark feature of Snell & Wilcox standards converters with that option.
The Alchemist hardware is an Emmy Award winning proprietary technology enabling standards conversions to look artifact free. Major networks have used the Alchemist to convert the Olympics to both PAL and NTSC feeds to their satellites. The Emmy's have awarded this honor to Snell & Wilcox's Alchemist Ph.C. because this technically superior converter delivers tremendous viewing quality for television in both NTSC and PAL standards. NBC used Snell & Wilcox's Emmy award winning motion compensation equipment since the 2000 Olympic games in Sydney Australia. This is a system that provides superior video quality using both serial digital I/O and analog video
In addition the Alchemist can be used to create DVD's in both PAL and NTSC format. When converting from one standard to the other, our DVD's, are authored using the Alchemist to help create MPEG video in PAL and NTSC formats, which will help assure your DVD looks great in any country, regardless of its broadcast standard.
Be assured that Miller Video & Film will handle all your format conversions from PAL and NTSC using the broadcast industry's best standards conversion equipment, the Alchemist. Ask for it by name.
Video formats from around the world are often incompatible. Video tapes in any format (such as Digital Beta cam, Beta cam (Beta) SP, DVCAM, DVCpro, VHS) will not play on machines used in countries that use an incompatible television standard. For instance, a Digital Beta cam PAL tape will not play in a Digital Beta cam NTSC machine. Click here for a list of countries that use each standard. When shipping tapes from one country to another, be sure to check compatibility to avoid disappointment by the recipient. Simply ask us to convert the broadcast standard before shipping.
There is a vast array of incompatible formats being used worldwide. American broadcasts in NTSC will not play on gear used in Europe for instance. And Japan has its own flavor of NTSC. But using broadcast quality gear made by Snell & Wilcox, Miller Video & Film's standards conversion system can convert most formats to be played in most countries.
What follows is a discussion of international broadcast standards and how standards conversion equipment works.
NTSC - National Television System Committee
The NTSC broadcast standard started in the United States in 1941 as a specific television format. It is used in the US, Canada and Japan, although Japan uses a slight variation of the American and Canadian standard. NTSC frame rate is 29.97 frames per second, although commonly rounded up to 30 for general discussion. Within these 30 frames are 60 fields in an interlaced pattern. Although the resolution of NTSC is lower than that of PAL or SECAM, its frame rate is faster, which reduces the apparent flicker. Cable and satellite systems provide decent color stability, although broadcast through the airwaves can be affected by multi-path distortion when received through an aerial antenna. This resulting error causes phase distortion which can cause the color shifts. Although broadcast engineers sometimes derisively call NTSC "Never The Same Color," the quality of the broadcast can be quite good for standard definition television. It should be noted that the actual technical name for NTSC is NTSC-M, although it is most commonly called simply NTSC.
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