Canon XL1 3CCD manual Choosing the right capture codec

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The SDI format, technically known as CCIR‐601 or 601, is superior in quality to component analog video and is the standard in professional and broadcast television.

Because it is digital and uncompressed, it can be edited and copied many times with no detectable loss of quality.

Originally meant for standard definition, but a high‐definition version, HD‐SDI, is growing in popularity as HD becomes more common.

SDI is typically only supported in high‐end gear and can be expensive, especially for SDI video monitors.

The video, and sometimes the audio, is carried in a single BNC cable.

• Digital audio:

There are many different digital audio formats.

Consumer‐grade digital audio is carried on electronic (such as S/PDIF) or optical (such as square TOSlink or round Miniplug) connection cables.

Digital video carries an embedded digital audio signal with the digital video signal. ‐ The most common professional‐grade digital audio format is Audio Engineering

Society/European Broadcasting Union (AES/EBU). A stereo channel of AES/EBU can be transmitted over single BNC or single XLR connection cables.

Choosing the right capture codec

When you capture content, you must choose an appropriate codec. The choice depends on the capture hardware you’re using, the format from which you’re capturing, and your storage requirements.

There are three basic types of codecs to choose from: DV, Motion JPEG, and

uncompressed.

1. DV codecs:

Ideal when capturing from a DV25 deck. Over a FireWire connector = perfect copy. ‐ The data rate of DV25 isn’t quite enough for optimal encoding from source with analog noise

The 4:1:1 color space also entails a loss in quality.

2.Motion JPeG codecs

Have been the leading format for high‐end video‐editing systems for some time.

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Contents Features How it worksCool stuff to play with and use Page Tips & Terminology Depth of Field Focus Composition Tip Hardware Video Audio ControlRCA XLR Video Paths Audio PathsSound Rifle MicShure Mixer Making the Mic StereoXL1 Audio Guide Digital Audio RecordingDigital Features Digital audio modes on the XL1Procedure Lighting Page NEW Terms Tips Compression Video CompressionFeatures of Compression DVD FormatsMobile Devices FundamentalsInternet Formats Human SensesHOW Compression Works Types of CompressionFrame Types and Compression Colour ModesColour Depths Colour Sampling Audio Compression Sample Used Sufficient forDVD, DAT BIT DepthChannels Page Page Signal Formats and Cables Page ANALOG‐TO‐DV Converters Digital formats Choosing the right capture codec Exporting video Understanding preprocessing Deinterlacing video Scaling Encoding Page Adjusting the frame rate Negotiating Frame Dropping Choosing a compression format Windows media players Windows media audio Wma codecs RealMedia Video Codecs PNG IMA Extras