Streaming Media - December 2008/January 2009 - (Page 23)

device, most of the light entering the aperture is captured by a sensor, while a Bayer mask absorbs a high proportion of the light falling on each pixel. CMOS is allowing a cheaper entry into the HD and HDV realm. This is why technologies that enable the HDV movement are available at an affordable price, unlike those that enable the HD CCD movement. Neither technology has a clear advantage in quality. CMOS can potentially be implemented with fewer components; they use less power and provide data faster than CCDs. However, CCD is a more mature technology and is, in most respects, the equal of CMOS. Choosing the Right Camera All cameras have their advantages and disadvantages. It doesn’t matter if they are a camcorder, dockable, or box (industrial) camera. The typical camcorder is the video professional’s bread and butter. Camcorders are used in probably 90% of the industry because you can go to tape instantly or to a hard drive in some cases. Along with going to tape, they provide FireWire and analog outputs. As mentioned earlier, with the emergence of new technology, we are seeing prices drop, allowing an easier movement into the HD world. Another trend in the camera movement is to go away from camcorders to dockable cameras. Dockables offer the advantage of changeable recording formats. Maybe you have an event that requires a videotape recorder (VTR) back or camera control units. Obviously, dockables offer greater flexibility in these situations. They aren’t the cheapest route to go up front, but one camera can do the job of three or more camera formats. So in the long run, if you can afford this solution, it can pay for itself relatively quickly. If the dockable price is too high or you want to go for a smaller-sized camera, the box (industrial) camera is a great option. You can set these up to be controlled remotely or in a studio configuration. Their prices, in most cases, are affordable, and you can more than likely use the lenses you already have. The major drawback is that there is no camera back or VTR that is already on board or that can be attached. But then again, you’re not format-dependent. You can use a VTR of any format, and you can also hook up a CCU to give you more control over the black levels and color saturation. With so many camera options, what format should you use and what is best for the web? Well, you can use the three main formats: DV, HDV, and AVCHD. It really depends on what your shoots are now and how you want to position yourself for the future. Now, HD streaming is still small but growing. With more people getting cable modems that can handle higher bitstreams, HD is becoming more attractive. Granted, we are a long way from the days of postagestamp-sized video, but wouldn’t you love to see a greatlooking 1080 video stream at full frame rate? It’s coming, but who are the first players going to be? If the cost of HD still scares you and you don’t do enough other projects that can justify a full-blown HD camera, then the HDV route is probably the best way to go—just go progressive and skip the interlaced route. Keep in mind, however, that a progressive HDV camera like the JVC HD200 shoots the same resolution (1280x720) as a non-HDV HD camera like the Panasonic HVX200. Most TV and computer monitors are going away from cathode ray tubes (CRT). If you need to do interlaced video, go ahead and change from progressive to interlaced in postproduction. You will be happier in the long run. If you have never used a CCU before, it allows you to control almost every aspect of the camera. So when should you use a CCU and when should you go straight to tape? Most people associate CCUs with broadcast or multicamera shoots. The truth is that it’s up to your standards. If you’re satisfied with the default white balance, black balance, and filters, then go straight to tape. If you are not and want more, then look into CCUs. That said, not all cameras can use CCUs. The trend over the last few years has been to allow professional camcorders to be attached to CCUs. Most use them with dockable cameras, where you can put on a studio back and connect it with 26-pin cable or Triax. However, if you can’t afford a dockable with a CCU solution, a box camera may be right for you. You can find them with bayonet mounts and 2/3" CCDs along with many of the same features that the dockable cameras have. Almost all of the box cameras can be hooked up to some form of CCU. Some box cameras are better than others, and the price will reflect that. But you can’t beat their size for travel, and their cost is usually lower than the dockables. However, you can’t attach a VTR to the back of them. You can set them up in studio configurations with viewfinders and lens-control systems. But since you might want to use CCUs, the video will then go to your real VTR, where it will be processed by your personal settings. Yes, you can set filters and the pedestal. Some box cameras even have options to control remotely with pan and zoom. This is great, except then you need to do multiple multicamera shoots, and you may not have the staffing to do them all. WWW.STREAMINGMEDIA.COM 23 http://WWW.STREAMINGMEDIA.COM

Table of Contents Feed for the Digital Edition of Streaming Media - December 2008/January 2009

Streaming Media - December 2008/January 2009 Table of Contents User-Generated Politics Netflix Needs a Business Model Technology and Business Trends by the Numbers Improving Video Color Quality What Makes for Compelling Video? Game On: Bringing the NHL to IPTV Give! The New Era of Corporate Communications New Video Frontiers: Taking It Beyond the PC The HD Showdown: Codec Vendors Battle It Out for Supreme Quality The Ultimate Guide to Creating Online Video Content That Works, Part 2 Planning for Webcasting Success: Considerations for Deploying an Enterprise Video Communications Platform All Mobile Devices Are Not the Same Datmedia Datpresenter LSI Tarari Encoder Accelerator LCPX-6140 Gomez Active Streaming XF Transcoding for Global Reach Executive Visions 2009 The Revolution Is Being Televised

Streaming Media - December 2008/January 2009

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