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Major cable suppliers such as Belden and GEPCO publish guides that correlate at least two factors: Signal bandwidth or SMPTE standard (standard def, HD, 3G, etc) Cable length There are three other factors that make a difference: the quality of the connectors, the quality of the physical installation of the connectors on the cables, and the quality of the ...


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I've shot 4k footage since 2014, and when mastering in 1080p, I often use digital zoom in post. There are multiple factors I would look at. Cameras that use a single sensor will display debeyering artefacts when examining the direct pixel readout (mushier detail and reduced colour information). This issue is nicely improved when downsampling 4k to 1080p, ...


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Another option is to rent an appropriate deck from an equipment supplier. I don't know your local market so I can't recommend one, but I'm certain there are some in London. With a pro or semi-pro deck you should get advantages of speed and quality for much less cost than buying, and with no wear on your camera. You also retain the use of the camera if you ...


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Film may have better long-term archival stability. For theatrical exhibition, 35mm film still has a more uniform distribution and exhibition system outside the US and Europe. People like Chris Nolan prefer to use film because there aren't any widely-available digital processess that can do an IMAX-style presentation, with a huge negative area and screen. ...


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The quality of the image is a big part of why film has been preferred for so long. This Wikipedia article (http://en.wikipedia.org/wiki/Digital_versus_film_photography) really outlines well the technical advantages. However, you asked about favoritism between the two formats. I think another consideration is cost, familiarity, and accessibility. When I got ...


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Assuming DVD quality would be enough, you may consider archiving 720p mpeg-4 files with a bitrate of 2 Mbits, which would equate roughly to 1 hour = 1 GB data. That would mean 27,000 hours = 27,000 GB = 27 Terabytes. So you need to consider a 50 TB storage system (including redundancy and overhead) and a tape backup system as well (LTO-6 has an uncompressed ...


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There are lots of things to consider before committing to an operation of this size, but there is also an imperative to act quickly. Given that it's SP Betacam and Umatic the tapes are probably beginning to reach the end of their playable life. In a decade they may all be paperweights. A good place to start is the U.S. Federal Agencies Digitization ...


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300 Feet is about as far as you can take SDI or HD-SDI; before it needs to be reclocked. So no, 150 M is too far. Also the quality of cable; and if it's being run in parallel with other cables that cause interference can affect how long you can go. You can reclock at the half way point using a distribution amplifier, and you'll lose 1 frame of sync for ...


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Well if you take a look at the mandalorian, almost every background is computer-generated. Sure, the actors are real, but almost nothing else. If you're looking for entire cgi-sequences, you can take a look at the marvel movies. Many of the fight-scenes are completely CG. Asking what's important for photorealism is a hefty question. There's a bunch like: ...


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The resolution is correct, but your understanding of how that is measured is confused. Analog video consisted of a series of continuous horizontal lines. Don't confuse the number of vertical lines with "lines" of horizontal resolution. When you talk about horizontal lines you're actually talking about how many line pairs—or literally how many ...


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Turns out the answer is yes. Such format is called CinemaDNG and is used for professional video production since 2009. Here's the spec for the format: http://download.macromedia.com/pub/labs/cinemadng/cinemadng_p1_spec_091009.pdf Among other things it supports: Integer sensor values of any bit depth from 8 to 32 bits Arbitrary size color filter arrays ...


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You need a video capture device or a capture card. It will encode the analog video and audio into digital codecs (like H264 for video and AAC for audio, or other codecs depending on your needs and price range).


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For that kind of quantity, you probably want to look in to a robotic solution that can load and transfer tapes unattended in to a cataloged system. Doing a quick search showed SAMMA as one promising option. I don't have any direct experience with this particular kind of problem, but I can't imagine that manual tape loading or buying an entire robotic ...


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Quite simply, the quality of digital only recently overtook film. Film is capable of capturing both high resolution (due to it's large size) and high dynamic range (due to it's chemistry). It allowed for very high quality images captured very quickly which was ideal for the film industry. Early in the development of high end digital cameras, the primary ...


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The digital chain has so many advantages unrelated to quality that as soon as it reached a 'good enough' level for capture the playing field tilted for good in its favor. And of course it didn't stop improving at 'good enough'. As a taking medium, celluloid film still has the sort of hard-to-define characteristics that make some pine for vinyl music. But ...


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There is no reason that your camera should have problems playing back 200 hours of tape and as the signal is digital and was presumably recorded on your camera, there shouldn't be much in the way of quality loss. The video is either read correctly or not. If you do get read issues (showing up as either dropped frames or blocky artifacts) then it might be ...


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Verify again that your source is indeed a stereo source and that your cabling is TRS cabling. I own this same camera and have been able to record audio in full stereo and also on only one side of the stereo spectrum.


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According to the Using Commercially Available Microphones section on page 76 of the manual for the HF G20, it should be possible to connect a stereo microphone to the external mic connection. There may be some problem with the kind of a source you are using or the way you are connecting it.


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