Posting For DV Materials

We started shooting DV in 1995 and been digital a lot longer than that. We work from all formats and master to Digital Betacam, but consider us DV experts.

DMZ finishing of DV (6mm) materials is DIFFERENT!

1) DMZ has been finishing DV materials since 1995 and were the very first facility in the world to get a cover article on their use of the format (Video Systems Magazine, December 1995). We were also New York’s first independent DigiBeta finishing facility. We have been serving broadcasters, ad agencies and independent producers for over 15 years.

2) DMZ is the first post-production facility in the world to have specialized in preparing DV materials for blow-up to tape, and the only one that actually performs their own tape to film transfers. This tight integration between video mastering and tape to film transfer means superior, more consistant results and lower prices.

3) DV materials are quantized at 8 bit resolution, this means that a smaller number of bits are used to describe color than in a 10 bit broadcast format like DigiBeta; this results in poor tonal contours (smoothness of color transitions) and even posterization. Through our mastering process, we convert all DV materials to full 10 bit video.

4) DV materials are sampled at 4:1:1, unlike full 4:2:2 broadcast formats like DigiBeta; this means that colors are less accurate, less saturated and have only half the possible resolution. At DMZ, we remaster all color information through a fully digital color corrector, manipulating video primaries and restoring the materials to full 4:2:2 color sampling.

5) DV materials are significantly compressed which may result in artifacts, particularly in complex scenes and those with significant motion. While we can't eliminate artifacts that occur in the camera, because we immediately translate the material from DV to SDI, we avoid the build up of artifacts from repeated decodes and encodes that can occur in native DV editing systems.

6) DMZ maintains a staff colorist and the highest quality processing and monitoring equipment for realtime, professional color correction. All-in-one systems do not work in real time and are rarely operated by dedicated experts in color correction.

We conclude with a discussion of The Tape to Film Process

back to top of article
Top of Page
Contact Info
© 2001, 2002 Digital Media Zone