When friends agree …
In the mid-90s of the last century, more than fifty leading world manufacturers of electronic equipment, joining forces, (!) Developed and adopted a new affordable digital video recording format with 5: 1 compression on magnetic tape. They called this format – DV (Digital Video). The revolution that the “video Bolsheviks” could not even dream of has come true! The aurora of the new affordable digital standard shot with such force that the analog standard SVHS was convulsed, and Betacam SP, the unattainable dream of small studios, flinched and began to lose ground.
Still – DV is the resolution of 500 lines horizontally, 54 dB signal-to-noise ratio (Betacam SP – 51 dB), and the width of the frequency range of the color rendering of 1.5 MHz (equal to Betacam SP). And it’s all in number !!! And that means no quality loss when dubbing. In a duet with the IEEE 1394 data transfer protocol, the DV format sang probably the most hit song since the invention of television.
Soon the first camcorders of the new digital DV standard appeared on the market. This is SONY DCR VX 1000, PANASONIC EZ-1. Finally, the SONY DCR VX 9000 is the most professional DV standard at the time. Every prospect of further development of the analogue standards SVHS and НI 8, in which mainly small and regional studios worked, came to naught.
New digital cameras were positioned as advanced household ones, but the technical quality of the footage made it possible to freely use them for professional video production. Even the trained eye of video engineers and editors at first could not distinguish the source of Betacam SP from DV on the monitor. Sometimes, subjectively, the second was even preferred because of the bright, color-saturated picture.
But still they continued to talk about DV as a domestic digital video recording format. For professional work, the eternal rivals SONY and PANASONIC have released their own DVCAM and DVCPRO formats, respectively. The whole thing is that really the same DV was at the core of these formats. Improvements were most likely cosmetic in nature. More convenience for linear editing, high speed tape, improved film quality, but the signal remained the same – DV. In cameras of these formats, a real improvement in quality was provided only by professional optics and larger-size CCDs.
The most reasonable was the company JVC. After analyzing the mistakes and achievements of competitors, she did not come up with her own format for this market sector, but brought DV to professional excellence. And she named her line of equipment – Professional DV. Thus, even ordinary users were able to take a step forward as the footage. Without changing the format, but, just making money, buy only a Professional DV camera from JVC – DV-500, 550 or 700 and continue to work further with familiar miniDV format cassettes.
But let’s leave the format war. The main thing – the advent of DV format cameras has become a catalyst for the development of PC mounting technology. Why digitize an analog video if you can shoot right away in digital ?!
Further, everything rested only on the CODEC (CODING and DECoding device). I needed a “translator”. Hardware or software.
At first, SONY reigned supreme in the codec market. Their “brainchild” DVVK-1 performed the necessary digital transformations in real time. The price set for it was somewhat overestimated (or rather dimensionless) – about one and a half thousand dollars. This increased the cost of devices using it.