Project type: all video

Sep

2021

XDCAM / XDCAM HD

XDCAM is a series of products for digital recording to Professional Disc, an optical disc format introduced by Sony in 2003.

We offer a range of delivery formats for our video transfers. Following International Association of Sound and Audiovisual Archives TC-06 guidelines, we deliver FFV1 lossless files or 10-bit uncompressed video files in .mkv or .mov containers for archives. We can also produce Apple ProRes mezzanine files for ease of editing. We provide smaller viewing files as H.264 encoded .mp4 files or on DVD. We're happy to create any other digital video files, according to your needs.

We can provide the appropriately-sized USB delivery media for your files, or use media supplied by you, or deliver your files online. Files delivered on hard drive can be for any operating system MacOS, Windows or GNU/Linux and filesystems (HFS+, NTFS or EXT3).

Due to variation in media duration and physical degradation, it’s not always appropriate to create fixed prices for our services. We’ve found that assessing media prior to confirming costs is a more accurate and fair method.

We offer free assessments - please contact us to discuss your project.

Sep

2019

CRVdisc

CRVdiscs (recordable LaserDiscs) were an early optical videodisc technology developed by Sony, and are seemingly rare. They resemble giant floppy discs - they are in fact a 12 inch laser disc held inside a plastic caddy.

We offer free assessments - please contact us to discuss your project.

Sep

2019

DVD

Storing video on optical media became very popular in the late 20th and early 21st centuries, with the Digital Versatile Disc (DVD) being the most flexible and cheapest way to distribute content ranging from movies to video games and data back ups.

To preserve the integrity of the original authored disc, such as its menu structure and other metadata, we would usually create an ISO disc image. This disc image can then be played as the original DVD was intended on any computer and doesn't require a DVD player.

We can also transcode to FFV1 lossless files or 10-bit uncompressed video files in .mkv or .mov containers for archives. We can also produce Apple ProRes mezzanine files for ease of editing. We provide smaller viewing files as H.264 encoded .mp4 files or on DVD. We're happy to create any other digital video files, according to your needs.

Due to the complexity of digital video and the varying needs of our clients, it’s not always appropriate to create fixed prices for our services. We’ve found that assessing projects prior to confirming costs is a more accurate and fair method.

Sep

2019

Video 2000

Video 2000 video cassette recordings can vary both in duration and in the extent of physical tape degradation, so we always assess tapes before confirming the price of a transfer.

We offer free assessments - please contact us to discuss your project.

For an introduction to our assessment and treatment processes, please see our guide to "what happens to your video tape".

Sep

2019

Philips N1500 / N1700 VCR

The Philips N1500 VCR (1972), was the world's first domestic video cassette recorder. The VCR format used large square cassettes, recording analogue video to half inch (12.7 mm) wide chrome dioxide magnetic tape.

At Greatbear we digitise all standards of VCR tape: VCR, VCR-LP and SVR.

N1500 and N1700 video cassette recordings can vary both in duration and in the extent of physical tape degradation, so we always assess tapes before confirming the price of a transfer.

We offer free assessments - please contact us to discuss your project.

For an introduction to our assessment and treatment processes, please see our guide to "what happens to your video tape".

In 1972, Philips released their N1500, the first successful consumer-level home videocassette recorder (VCR) system. Later variants included the N1700 VCR-LP (1977) and Grundig's Super Video (SVR) formats.

As with their revolutionary audio compact cassette mechanism, Philips offered the VCR system mechanism royalty-free to other manufacturers who agreed to maintain the design standard and use the VCR logo.

Read our blog articles: on the Philips N-1502 TV Recorder and Philips VCR – the first home video cassette recorder

Sep

2019

MII

MII was a professional analogue recording video cassette format developed by Panasonic in 1986, utilising component video recording on metal-formulated tape. There were 2 sizes of MII cassette produced, and at Greatbear we digitise both.

We offer a range of delivery formats for our video transfers. We use the International Association of Sound & Audiovisual Archives Guidelines for the Preservation of Video Recordings, delivering FFV1 lossless files or 10-bit uncompressed video files in .mkv or .mov containers. We create viewing files as H264 encoded .mp4 files or DVD. We can deliver any other digital video files, according to your needs.

MII video cassette recordings can vary both in duration and in the extent of physical tape degradation, so we always assess tapes before confirming the price of a transfer.

We offer free assessments - please contact us to discuss your project.

For an introduction to our assessment and treatment processes, please see our guide to "what happens to your video tape".

video standard	small MII cassette size supported	large MII cassette size supported	linear audio track supported	FM audio track supported	PCM audio track supported	preservation of LTC and VITC timecode supported

PAL	✓	✓	✓	✓	x	✓
NTSC	✓	✓	✓	✓	x	✓

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Sep

2019

D-9 / Digital-S

Digital-S was a professional digital video cassette format introduced by JVC in 1995. Its name was changed to D-9 in 1999 by the SMPTE. D-9 tapes were available from both JVC and Fuji. As a format, it fell out of use in the early 2000s. At Greatbear we can produce archive-quality transfers from Digital-S / D-9 cassettes.

D-9 / Digital-S video cassette recordings can vary both in duration and in the extent of physical tape degradation, so we always assess tapes before confirming the price of a transfer.

We offer free assessments - please contact us to discuss your project.

For an introduction to our assessment and treatment processes, please see our guide to "what happens to your video tape".

This format, while high quality with easy-to-service machines, was not widely used and as a result, good, low-use, working machines can be hard to find now.

This is a born-digital format yet a digital audio / video output was always optional with these models. Given that they were often used as a cheaper alternative to Sony's competing Digital Betacam system, the digital options are rarely fitted.

We have the following D-9 / Digital-S machines:

JVC BR-D750 E - PAL
JVC BR-D85 E - PAL with SDI (digital output) boards fitted
JVC BR-D51 E - PAL D9 / SVHS playback facility

video standard	D-9 / S-VHS ouput supported	280 Mbit/s SDI digital transfer of audio & video	2 channel audio output supported	4 channel audio output supported	preservation of timecode supported

PAL	Digital-S / D-9	✓	✓	✗	✓
PAL	S-VHS	✓	✓	✗	✓
NTSC	Digital-S / D-9	✗	✗	✗	✗
NTSC	S-VHS	✗	✗	✗	✗

Scroll to the right to view full table on smaller screens.

Sep

2019

D-3 / D-5 / D-5 HD

At Greatbear we transfer D-3, D-5 and D-5HD digital video tape. D-3 is an uncompressed composite digital videocassette format introduced commercially by Panasonic in 1991 to compete with Ampex's D-2. The D-3 format used ½" metal particle tape for recording PAL or NTSC signals sampled at 8 bits. The D-5 format (Panasonic 1994) used the same cassette as D-3 but recorded component signals sampled to CCIR 601 recommendations at 10-bit resolution (a development of Sony's D-1 format). D-5HD is the compressed HD-compatible version of D-5.

D-3, D-5 and D-5HD video cassette recordings can vary both in duration and in the extent of physical tape degradation, so we always assess tapes before confirming the price of a transfer.

We offer free assessments - please contact us to discuss your project.

For an introduction to our assessment and treatment processes, please see our guide to "what happens to your video tape".

The D-3 lossless composite digital video tape recorders made by Panasonic in the early '90s are rare now in the UK and have very little spares backup for key parts such as head drums. This rarity is in part due to the BBC's past heavy use of them and need for machines for their D-3 preservation project shown in the video below.

We have 4 working D-3 machines all with low head hours, so are in an excellent position long-term for preserving collections on this format.
Pansonic D-5 and D-5 HD are developments using the same 1/2" tape format of D-3 but recording a 10-bit uncompressed component digital video signal, and in its final incarnation component HD, in multiple standards.

Our machines include:

Panasonic AJ-D350E / JVC PR-D1000E
Panasonic AJ-HD3700A

video standard	D3 capture supported	D5 capture supported	D5 HD capture supported	preservation of LTC & VITC timecode supported
PAL	✓	✓	✓	✓
NTSC	✓	✓	✓	✓

Scroll to the right to view full table on smaller screens.

In 2013 the BBC had thousands of D-3 recordings in its archive and had a large scale but difficult preservation project due to the fragility of the D-3 tapes and the obsolescence of the VTRs. Richard Wright from http://preservationguide.co.uk has commented earlier in 2019 on this site that:

The 100k D3 tapes were all that were necessary to transfer. One large chunk of D3s were copies (two or more D3s of the same programme), and another large chunk were redundant, from the years when digitisation of analogue formats had a mixed economy, and produced one D3 and one digibeta. A third small chunk were D3s that were deselected: they didn't belong in the permanent archive (2nd versions of programmes cut for US sales, for example).

The BBC even made a short video about this project that can be viewed below:

Sep

2019

D-1 / D-2

D-1 and D-2 video cassette recordings can vary both in duration and in the extent of physical tape degradation, so we always assess tapes before confirming the price of a transfer.

We offer free assessments - please contact us to discuss your project.

For an introduction to our assessment and treatment processes, please see our guide to "what happens to your video tape".

Sep

2019

U-matic

U-matic is an analogue recording videocassette format introduced in the early 1970s which became widely popular, particularly in media and news-gathering contexts. According the Preservation Self-Assessment Program, U-Matic video tape ‘should be considered at high preservation risk’ due to media and hardware obsolescence: in the long term there is likely to be far more undigitised U-matic tape in the world than working machines capable of playing it back.

At Greatbear we have a collection of U-matic machines, including the late model Sony BVU-950 with internal Time Base Corrector, and are able to offer preservation-quality U-matic transfer of all variations and standards of U-matic video tape. This includes, PAL, NTSC and SECAM, Low Band, High Band (BVU) and SP (Superior Performance) U-matic tape to any digital file format.

VHS video cassette recordings can vary both in duration and in the extent of physical tape degradation, so we always assess tapes before confirming the price of a transfer.

We offer free assessments - please contact us to discuss your project.

For an introduction to our assessment and treatment processes, please see our guide to "what happens to your video tape".

As the U-matic format has been around for such an unusually long period for a video tape format, there are a wide range of machines for replay and digitising and several variations of these. We have built up a range of the more reliable and flexible later models which give us an ability to convert and transfer all standards and tape variations of U-matic.

Sony BVU 950P x 3 (Hi Band SP built in TBC board)
Sony BVU 800 NTSC (Hi Band / Low Band) x 2
Sony BVU 850 NTSC (Hi Band / Low Band)
Sony VO-9600P (Hi and Low Band)
Sony VO-9850P (Hi and Low Band) x 2
Sony VO-9800P (Hi and Low Band) x 3
Sony VO-7630
Sony VO-7030

Certain Sony U-matic machines featured a ‘Dub’ connector that can offer a higher-quality than composite connection between machines, similar to the y/c connector. We have the correct cables and equipment to utilise this connection.

video standard	U-matic recording	composite transfer supported?	dub (y/c) transfer supported?	preservation of LTC & VITC timecode supported?
PAL	Low Band	✓	✓	✓ (LTC only)
PAL	High Band	✓	✓	✓
PAL	SP	✓	✓	✓
SECAM	Low Band	✓	✓	✓ (LTC only)
NTSC	Low Band	✓	✓	✓
NTSC	High Band	✓	✓	✓
NTSC	SP	✓	✓	✓

At ¾ inch / 19mm, U-matic video tape is wider than almost all other video cassette formats and has a reputation of being quite tough. The polyester or PET-based tape is relatively thick compared to later Betacam and early digital formats.

We can resolve most problems that occur with U-matic tape:

Given the age of U-matic tape, and its widespread use over the years, it can and does degrade. Certain brands such as Ampex 187 and 197 suffer from binder hydrolysis and need 'baking' before it's safe to replay these.
Mould can grow on the unflanged edges of the tape pack and will stick the layers of tape together, needing treatment and manual unwinding, and usually re-shelling.
The clear leader at the beginning of each tape can become separated from the rest of the tape as the glue in the splicing tape dries up. The process of unwinding and rewinding tape can cause / exacerbate the problem.
Some early Sony brands can degrade in a way where the RF (radio frequency) off tape is very low in level, causing severe visual artefacts. Tapes like this often have a distinctive smell of wax crayons.

The U-matic analogue recording videocassette format was first shown by Sony in prototype in October 1969, and introduced to the market in September 1971. It was among the first video formats to contain the videotape inside a cassette, in contrast to the various reel-to-reel formats of the time.

When introduced by Sony they originally intended it to be a videocassette format oriented at the consumer market. This proved to be a failure because of the high manufacturing and retail costs. U-matic was however affordable for industrial and institutional customers, and it became very successful for business communication and educational television. As a result, Sony shifted U-matic’s marketing to the industrial, professional, and educational sectors.

U-matic is no longer used as a mainstream television production format, but it has found lasting appeal as a cheap, well specified, and hard-wearing format. The format permitted many broadcast and non-broadcast institutions to produce television programming on an accessible budget.

Keeping a U-matic machine running well will become more and more difficult in the near future. Sony in particular has discontinued or run out of many key spares, such as pinch rollers. Happily, Greatbear have a good supply of new spares and service items so are confident we can continue to offer high-quality U-matic transfer and restoration services for some time into the future.

Sep

2019

HDCAM / HDCAM SR

HDCAM and HDCAM SR video cassette recordings can vary both in duration and in the extent of physical tape degradation, so we always assess tapes before confirming the price of a transfer.

We offer free assessments - please contact us to discuss your project.

For an introduction to our assessment and treatment processes, please see our guide to "what happens to your video tape".

playback tape format / colour space	440 Mbit/s HD-SDI digital transfer of audio & video	2, 4, 8, 12 channels of audio supported	preservation of timecode supported	mastering of video files to tape

720 / 4:2:2 / 50P	✓	✓	✓	✓
720 / 4:2:2 / 59.94P	✓	✓	✓	✓

1080 / 4:2:2 / 50P	✓	✓	✓	✓
1080 / 4:2:2 / 59.94P	✓	✓	✓	✓
1080 / 4:2:2 / 60P	✓	✓	✓	✓

1080 / 4:2:2 / 23.98PsF	✓	✓	✓	✓
1080 / 4:2:2 / 24PsF	✓	✓	✓	✓
1080 / 4:2:2 / 25PsF	✓	✓	✓	✓
1080 / 4:2:2 / 29.97PsF	✓	✓	✓	✓
1080 / 4:2:2 / 30PsF	✓	✓	✓	✓
1080 / 4:2:2 / 50i	✓	✓	✓	✓
1080 / 4:2:2 / 59.94i	✓	✓	✓	✓
1080 / 4:2:2 / 60i	✓	✓	✓	✓

1080 / 4:4:4 / 23.98PsF	✗	✗	✗	✗
1080 / 4:4:4 / 24PsF	✗	✗	✗	✗
1080 / 4:4:4 / 25PsF	✗	✗	✗	✗
1080 / 4:4:4 / 30PsF	✗	✗	✗	✗
1080 / 4:4:4 / 50i	✗	✗	✗	✗
1080 / 4:4:4 / 59.94i	✗	✗	✗	✗
1080 / 4:4:4 / 60i	✗	✗	✗	✗

Scroll to the right to view full table on smaller screens.

Sep

2019

Digital Betacam / Betacam SX / MPEG IMX

Digital Betacam formats were widely used in television production in the late 20th and early 21st centuries, just prior to the adoption of high-definition (HD) video. As a consequence there are many tapes with valuable content at risk of deterioration and loss.

At Greatbear, we provide archival quality transfer of these 'born digital' Digital Betacam (aka DigiBeta or D-Beta), Betacam SX and MPEG IMX video tape recordings, in both PAL and NTSC standards.

We can transfer 2, 4 or 8 channel audio and preserve timecode.

DigiBeta, Betacam SX and MPEG IMX video cassette recordings can vary both in duration and in the extent of physical tape degradation, so we always assess tapes before confirming the price of a transfer.

We offer free assessments - please contact us to discuss your project.

For an introduction to our assessment and treatment processes, please see our guide to "what happens to your video tape".

Sony's range of Betacam video tape recorders have evolved using the same chassis and ergonomic layout from the BetaSP, BVW series through the DVW (Digital Betacam), DNW (Betacam SX), MSW (MPEG IMX) and HDW (HDCAM) series of machines. These machines are flexible, easy for engineers to service and offer high reliability and often tape and format interchangeability.
Sony also made the J range of smaller, more portable, desktop players that could play several formats and offer PAL / NTSC standards but with less connection flexibility and lower reliability and servicing ease.

These formats and machines were very popular with content creators and broadcasters and many still exist on the second hand market. Spares and parts are still available new from Sony but at very high cost with no guarantee of stocks in the future.

We have a range of DVW, DNW and J3 machines with supplies of key spares, including:

Sony J-3 SDI
Sony DVW A500
Sony DVW A510
Sony DNW-A65P (PAL / NTSC)

video standard	digital Betacam recording type	280 Mbit/s SDI digital transfer of audio & video	2, 4, 8 channels of audio supported	preservation of timecode supported
PAL	Digital Betacam	✓	✓	✓
PAL	Beta SX	✓	✓	✓
PAL	MPEG IMX	✓	✓	✓
NTSC	Digital Betacam	✓	✓	✓
NTSC	Beta SX	✓	✓	✓
NTSC	MPEG IMX	✓	✓	✓

Scroll to the right to view full table on smaller screens.

The half inch wide metal particle tape used for these three formats is much thinner than earlier analogue formats and so much less robust when physical problems happen. Any mould growth on the edge of the tape pack can be catastrophic, sticking the top or bottom edge of the tape layers together and ripping the tape when wound or played. DigiBeta and BetaSX tape is 14µm thick while MPEG IMX tape is 12.65µm.

We've found some 1990s era Sony branded DigiBeta tapes to shed on playback and gradually increase errors or playback conditions until first the audio crackles and disappears then visual artefacts appear in the picture. Tapes like this can be replayed and captured perfectly but do need some work before this is possible.

Machine obsolescence isn't a huge issue at the moment and generally these machines are reliable and long-lasting but this won't always be the situation, and key spares must be sourced and preserved for the future.

Digital Betacam / Betacam SX / MPEG IMX brands / models

Commonly-found tapes include:

BASF / EMTEC Digital Betacam Master range
- D6; D12; D22; D32; D40; D34L; D64L; D94L; D124L
Fujifilm D321 range
- Fuji D321-D6; Fuji D321-D12; Fuji D321-D22; Fuji D321-D32; Fuji D321-D40; Fuji D321-D34L; Fuji D321-D64L; Fuji D321-D94L; Fuji D321-D124L
Maxell
- Maxell B-D6; Maxell B-D12; Maxell B-D22; Maxell B-D32; Maxell B-D40; Maxell B-D34L; Maxell B-D64L; Maxell B-D94L; Maxell B-D124L
Sony
- Digital Betcam range: Sony BCT-D12CL; Sony BCT-D6; Sony BCT-D12; Sony BCT-D22; BCT-D32; Sony BCT-40;Sony BCT-34L; Sony BCT-64L; Sony BCT-94L; Sony BCT-124L.
- Betacam SX range: Sony BCT-194SXLA; Sony BCT-184SXLA; Sony BCT-124SXLA; Sony BCT-94SXLA; Sony BCT-64SXLA; Sony BCT-62SXA; Sony BCT-32SXA; Sony BCT-22SXA; Sony BCT-12SXA; Sony BCT-6SXA.
- MPEG IMX range: Sony BCT-184MXL; Sony BCT-124MLX; Sony BCT-94MXL; Sony BCT-64MXL; Sony BCT-60MX; Sony BCT-32MX; Sony BCT-22MX; Sony BCT-12M and Sony BCT-6MX.

Digital Betacam was launched by Sony in 1993, superseding the analogue Betacam and Betacam SP. As a ½ inch digital component video format, it was vastly cheaper and more accessible than the earlier, ¾ inch D1 format.

Betacam SX was introduced in 1996, as a digital version of the already popular Betacam SP, while being a cheaper alternative to Digital Betacam.

Both formats became popular with news-gathering and television production companies in the years prior to HD.

MPEG IMX was a 2001 development of the Digital Betacam format, encoding at a higher bitrate than Betacam SX.

Sep

2019

Betacam

Betacam (launched 1982) and Betacam SP 'Superior Performance' (1986) are the analogue versions of the Betacam component video format, on half inch cassette-based tape. The original Betacam tapes are often referred to as Betacam Oxide, due to their ferric oxide tape formulation. As with their digital successors (Digital Betacam / Betacam SX / MPEG IMX), Betacam Oxide and Betacam SP (aka Beta SP) were particularly popular in broadcast contexts.

At Greatbear, we've the wide range of equipment and experience needed to make the best quality transfers from all variations of Betacam video tape.

Betacam and Betacam SP video cassette recordings can vary both in duration and in the extent of physical tape degradation, so we always assess tapes before confirming the price of a transfer.

We offer free assessments - please contact us to discuss your project.

For an introduction to our assessment and treatment processes, please see our guide to "what happens to your video tape".

Betacam tape type	video standard	BVW75 analogue replay & digitising	DVW D-Beta replay & SDI transfer	4 audio channels captured	preservation of LTC & VITC timecode supported
Betacam Oxide	PAL	✓	✓	n/a	✓
Betacam SP	PAL	✓	✓	✓	✓
Betacam Oxide	NTSC	✓	✓	n/a	✓
Betacam SP	NTSC	✓	✓	✓	✓

Scroll to the right to view full table on smaller screens.

Betacam and Betacam SP used different tape formulations and not all machines are able to replay the earlier ferric oxide based recordings. Many of these earlier 'Oxide' tapes and some Betacam SP suffer from binder hydrolysis or 'sticky shed syndrome' and need treatment before they can be safely replayed and digitised.

The half inch wide tape used for these formats is thinner than earlier analogue formats at 14µm or 20µm thick. Any mould growth on the edge of the tape pack can be catastrophic, sticking the top or bottom edge of the tape layers together and ripping the tape when wound or played.

Betacam was a very successful and popular broadcast format and machine obsolescence isn't a huge issue at the moment. Generally these machines are reliable and long-lasting but this won't always be the situation, and key spares must be sourced and preserved for the future.

First developed by Sony in 1982, the Betacam component video format was aimed at the professional and broadcast market.

By recording luminance (Y) to one track and colour (R-Y/B-Y) to a separate track, Betacam was able to achieve 300 lines of horizontal luminance resolution and 120 lines chrominance resolution, on a relatively cheap cassette-based format (cf. 30 lines chrominance resolution for VHS, Betamax, U-matic and Video8 formats).

Betacam SP, which was introduced in 1986, replaced ferric oxide tape with denser, metal-formulated tape, allowing an increase in horizontal luminance resolution to 340 lines, and the development of larger cassettes, extending recording time to 90 minutes. Betacam SP also added FM audio recording to support four audio channels available for recording and playback.

Betacam SP became an industry standard in television acquisition and post-production in the 1990s.

Sep

2019

Betamax

Betamax was (aka Beta) was the first commercially successful, consumer-level, analogue videocassette recording format. It was developed by Sony and launched in 1975.

At Greatbear, we carefully restore and digitise all types of Betamax video cassette, recorded in PAL, NTSC, Beta-HiFi and Super Beta.

We also transfer PCM audio recorded to Betamax tape.

Betamax video cassette recordings can vary both in duration and in the extent of physical tape degradation, so we always assess tapes before confirming the price of a transfer.

We offer free assessments - please contact us to discuss your project.

For an introduction to our assessment and treatment processes, please see our guide to "what happens to your video tape".

Sep

2019

VHS

The Video Home System (VHS) cassette format dominated the domestic video tape market globally, from when it was launched in 1976 to its decline around 1996. Consequently there is a huge range of content stored on VHS tapes that is at risk of loss.

At Greatbear, we digitise VHS, S-VHS, VHS-C and D-VHS video tape recordings, in PAL, NTSC, and SECAM, at standard play (SP), long play (LP) and extra long play (ELP) speeds, where appropriate.

VHS video cassette recordings can vary both in duration and in the extent of physical tape degradation, so we always assess tapes before confirming the price of a transfer.

We offer free assessments - please contact us to discuss your project.

For an introduction to our assessment and treatment processes, please see our guide to "what happens to your video tape".

While VHS isn't as threatened by machine obsolescence as some formats, due to its worldwide popularity: not all machines were made equal. VHS video tape recorders were designed and built for all markets and prices - choosing the appropriate machines can make a significant difference to the stability and image quality for this format.

We use a combination of professional and domestic models chosen for their features, replay quality, ability to replay a range of recording variations and their ability to be repaired and serviced in the long term.

We use Sony SVO-5800 for PAL, standard play (SP) recordings and JVC S-VHS and D-VHS machines for LP and ELP recordings. We do have a wide range of VHS and S-VHS machines which can be used for larger projects / particular types or problematic tapes.

Our studio machines include:

VHS tape type	video standard	standard play (SP) speed supported	long play (LP) speed supported	extra long play (ELP) speed supported	12h / 24h timelapse security speed supported	parallel capture of longitudinal & hi-fi audio as separate stereo tracks
VHS	PAL	✓	✓	✗	✓	✓
VHS-C	PAL	✓	✓	✗	✓	✓
S-VHS	PAL	✓	✓	✗	✗	✓
D-VHS	PAL	✓	✓ (LS3 Mode)	✗	✗	✗
VHS	PAL-N	✓	✓	✗	✗	✗
VHS-C	PAL-N	✓	✓	✗	✗	✗
S-VHS	PAL-N	n/a	n/a	n/a	✗	✗
D-VHS	PAL-N	n/a	n/a	n/a	✗	✗
VHS	NTSC / M-PAL	✓	✓	✓	✗	✓
VHS-C	NTSC / M-PAL	✓	✓	✓	✗	✓
S-VHS	NTSC / M-PAL	✓	✓	✓	✗	✓
D-VHS	NTSC / M-PAL	✓	✓ (LS3 Mode)	✓	✗	✗
VHS	SECAM / MESECAM	✓	✓	✗	✓	✗
VHS-C	SECAM / MESECAM	✓	✓	✗	✓	✗
S-VHS	SECAM / MESECAM	n/a	n/a	n/a	n/a	n/a
D-VHS	SECAM / MESECAM	n/a	n/a	n/a	n/a	n/a

Scroll to the right to view full table on smaller screens.

VHS tapes can suffer from problems that affect other video tapes, but being a very common domestic format, they do tend to be mistreated in unusual ways more often.

Most domestic brands of VHS tape tend to not suffer from binder hydrolysis or sticky shed syndrome, so rarely need baking. Some brands aimed at the professional market, especially S-VHS types, have back-coating so can suffer, but this isn't that common in our experience.

Broken, smashed, mould-infested and water-damaged tapes are more common though, and careful re-shelling, cleaning and sometimes unsticking of the tape layers is necessary before replay can be attempted.

We have the VHS model of RTI Tapechek machine that's designed to clean and burnish the tape surface while also checking for damage. This can be useful occasionally but it's not appropriate for all tape problems and can, in some instances, cause more damage.

Given the worldwide popularity of the VHS format we can also replay and digitise TV standards less common in the UK and the slower recording speeds sometimes used too.

A common issue with VHS recordings is the soundtrack used. As the format evolved, a higher-quality, stereo soundtrack was possible in addition to the mono, linear soundtrack. Sometimes the HiFi soundtrack can suffer with noticeable audio dropouts. We can preserve both soundtracks in these cases so the linear soundtrack is still available and in sync when the HiFi soundtrack becomes problematic. Domestic VTRs will constantly switch between soundtracks which sounds odd and usually don't allow separated soundtracks.

VHS was developed by JVC in the early 1970s, and launched in Japan in 1976 and the US & UK in 1977. By the mid 1980s it had become the dominant system for domestic analogue video recording on tape cassettes.

S-VHS, launched in 1987, improved picture quality by increasing the horizontal luminance resolution to 420 lines per picture height (from 240 lines for VHS).

VHS-C was a compact form of VHS, launched by JVC in 1982 primarily for use in consumer-level analog recording camcorders.

D-VHS (Digital VHS, formerly Data VHS) was a digital video recording format developed by JVC, in collaboration with Hitachi, Matsushita, and Philips, and released in 1998.

Sep

2019

8mm video

8mm video cassette recordings can vary both in duration and in the extent of physical tape degradation, so we always assess tapes before confirming the price of a transfer.

We offer free assessments - please contact us to discuss your project.

For an introduction to our assessment and treatment processes, please see our guide to "what happens to your video tape".

video standard	8mm recording type	preservation analogue digitising supported	digital transfer supported	AFM audio soundtrack supported	PCM digital audio soundtrack supported	PCM multi audio: 6 digital tracks per tape supported

PAL	Video8	✓	n/a	✓	✓	✓
PAL	Hi8	✓	n/a	✓	✓	✗
PAL	Digital8	✓	✓	n/a	✓	n/a
NTSC	Video8	✓	n/a	✓	✓	✗
NTSC	Hi8	✓	n/a	✓	✓	✗
NTSC	Digital8	✓	✓	n/a	✓	n/a

Scroll to the right to view full table on smaller screens.

Video8, Hi8 and Digital8 are all relatively threatened video formats due to machine obsolescence and the fragility of the tape.

8mm video recording didn't have the market penetration that VHS tape had, in part due to its smaller size and resultant lower recording durations and the lack of pre-recorded material available. Consequently, most of the VTRs produced and sold for the 8mm format were portable cameras. Full-sized VTR decks for domestic or editing use do exist, but in much smaller numbers.

8mm video tape is very thin compared to older analogue video tape, and as a result is fragile to physical damage and from issues with mould. When contaminated with mould it is very vulnerable to splitting longitudinally. We regularly see Video8, Hi8 and Digital8 tapes that have been left in damp environments with mould growth on the edge of the tape pack. Unless dealt with carefully, it will always result in damaged tapes and playback error if play is attempted in their mouldy state.

Audio tracks can also be problematic with 8mm video, as there is no separate, longitudinal analogue audio track. The AFM and PCM audio tracks are recorded with the video, so any issues with the tape path alignment or head tip wear will cause partial loss or full loss of audio. Other analogue formats such as VHS, U-matic, Betamax and Betacam all had longitudinal analogue audio tracks that would still be accessible and audible independently from the video signal.

Common brands / models of Hi8 tape include: Sony ProME / E5-90HMEX.

Video8 was developed by Eastman Kodak in 1984 and boosted by the launch of Sony's Handycam in 1985. It was an entirely analogue format, and became very popular in the consumer camcorder market.

Hi8 was introduced by Sony in 1989, and comprised analogue video and audio, with provision for digital audio. Hi8 was short for "High-band Video8" and used improved recorder electronics and media formulation to increase the bandwidth of the luminance signal to 2.0 MHz (from 1.2 MHz bandwidth for Video8).

Hi8 was succeeded in 1999 by Digital8, a combination of the older Hi8 tape transport, but with a DV (Digital Video) codec.

Video8/Hi8 was popular enough with small-budget and amateur videographers for Sony to produce equipment for video editing and production. At Greatbear we often see 8mm video formats having been used by artists and independent film makers - see tape blog post: The Great Hip Hop Hoax

Sep

2019

DVCPRO

Common brands / models of DVCPRO video tape include: Panasonic AJ-P12M; Panasonic AJ-P24M; Panasonic AJ-P33MP; Panasonic AJ-P66M; Panasonic AJ-P66L; Maxell DVP-24M; Maxell DVP-66L; Fujifilm DP121-46M and Fujifilm DP121-66L.

DVCPRO video cassette recordings can vary both in duration and in the extent of physical tape degradation, so we always assess tapes before confirming the price of a transfer.

We offer free assessments - please contact us to discuss your project.

For an introduction to our assessment and treatment processes, please see our guide to "what happens to your video tape".

Sep

2019

DVCAM

DVCAM is a variation of the DV (Digital Video) tape format, released by Sony in 1996 and aimed at the semi-professional and smaller-budget professional market.

DVCAM uses the same type of tape and compression as DV and MiniDV but at a higher speed (almost 50% faster). It was more robust, with the tape being housed in a larger cassette.

DVCAM video cassette recordings can vary both in duration and in the extent of physical tape degradation, so we always assess tapes before confirming the price of a transfer.

We offer free assessments - please contact us to discuss your project.

For an introduction to our assessment and treatment processes, please see our guide to "what happens to your video tape".

DVCAM was launched by Sony in 1996, as their professional extension of the DV format, in competition with Panasonic's DVCPRO (1995).

The DVCAM format used 8-bit digital component recording with a 5:1 compression ratio and a sampling rate of 4:2:0. DVCAM's wider track pitch of 15 µm (compared with 10 µm for DV) facilitated frame-accurate insert editing. It also offered superior digital audio performance: a two-channel mode with 48 kHz/16-bit recording or a four-channel mode with 32 kHz/12-bit recording.

Its relatively small size and weight made it versatile for film makers. As Sony boast in their 2002 catalogue, Michael Winterbottom's feature film story of Factory Records, 24 Hour Party People, was recorded entirely on DSR-PD150P DVCAM camcorders!

Sep

2019

DV : MiniDV / HDV

DV (originally known as Digital Video Cassette or DVC) is a family of digital video tape cassettes and codecs, launched in the mid-'90s, of which MiniDV was the prevalant consumer-oriented version. The HDV development allowed high definition video to be recorded on DV tape (on both miniDV and the larger HDV-specific cassettes.)

At Greatbear, we carefully restore and transfer, at the highest quality, all variations of the DV video tape format, from MiniDV / HDV in PAL and NTSC. (See also our dedicated services for the related DVCPRO, DVCAM and Digital8 formats).

We offer a range of delivery formats for our video transfers. Following International Association of Sound and Audiovisual Archives TC-06 guidelines in digitising to uncompressed or lossless formats. We also recognise that for some born-digital recordings like MiniDV and HDV it is more appropriate to capture and preserve the direct DV stream with its associated metadata, and this is our preferred workflow with DV and HDV recordings.

MiniDV / HDV video cassette recordings can vary both in duration and in the extent of physical tape degradation, so we always assess tapes before confirming the price of a transfer.

We offer free assessments - please contact us to discuss your project.

For an introduction to our assessment and treatment processes, please see our guide to "what happens to your video tape".

DV VTRs are in some ways a rare transition between older analogue formats and a digital format used domestically and professionally.

Most of the Sony range of DV / DVCAM / HDV machines will replay tapes made on small, cheap, domestic MiniDV camcorders in addition to DVCAM tapes and the later High Definition, HDV recordings. This flexibilty can also be confusing and a range of machines are necessary for all format and standard variations.

The mechanical tape transports used in DV cameras and decks are also not all made equal and the cheapest are usually the least reliable long term, while being the most difficult to service. Some HDV decks also have tape burnishing and cleaning systems that can help to reduce the error rate on some tapes.
We have a range of professional and domestic DV video decks to reliably cater for the full range of transfer needs for this born-digital format.

Sony DSR 20 (PAL)
Sony DSR 25 (PAL / NTSC)
Sony DSR 1500 AP (PAL), Sony DSR 1500A (NTSC)
Sony DSR 2000P x 2 (PAL, LP capable)
Sony HVR M15E x 2 (PAL / NTSC, DV / HDV)
Sony HVR M35E (PAL / NTSC, DV / HDV)
Sony HVR-1500 (PAL / NTSC, DV / HDV)
JVC BR-DV600E x 2 (PAL)
JVC SR-VS20 x 2 (PAL, LP capable)

DV recording type	direct digital transfer to equivalent digital video file supported	SDI / HDSDI digital transfer of audio & video	2 / 4 channels of audio supported	preservation of timecode supported	preservation of DV stream metadata to logfile

DV SP 576i	✓	✓	✓	✓	✓
DV LP 576i	✓	✓	✓	✓	✓
DV SP 480i	✓	✓	✓	✓	✓
DV LP 480i	✓	✓	✓	✓	✓
HDV 1080/50i	✓	✓	✓	✓	✓
HDV 1080/25p	✓	✓	✓	✓	✓
HDV 1080/60i	✓	✓	✓	✓	✓
HDV 1080/30p	✓	✓	✓	✓	✓
HDV 1080/24p	✓	✓	✓	✓	✓

Scroll to the right to view full table on smaller screens.

The main problems with MiniDV arise from the size of the tape. The tape is very thin and fragile, and there is little margin for error if things go wrong. MiniDV tapes were commonly used in domestic camcorders, which had less well-built tape transports that made tape damage more likely. The machines were also prone to make unaligned recordings, leading to interchange problems - the ability to record on one machine, and play back successfully on another.

MiniDV used metal evaporated tape formulation which had a problem with excessive drop outs (on DV recordings this means the image becomes pixelated). If you have a glitch on digital tape it is likely that when repaired, parts of the recording will be lost. Compare this with analogue tape which degrades more gracefully, and can be spliced together so that the majority of the recording can be saved.

Dramatic degradation can affect all digital tape, even when there are no visible defects, leading to tapes becoming unplayable. We therefore recommend that you migrate your digital tape to files as soon as possible.

Commonly-found MiniDV / HDV tapes include:

Canon
- Canon DVM-E30; Canon DVM-E60
- Canon HDVM63AMQ
JVC
- JVC M-DV30ME; JVC M-DV60ME; JVC DVM30; JVC DVM60; JVC DV30; JVC DV60
- JVC PRO-HD DVM63
Maxell
- Maxell DVM60SE; Maxell DV60ME
Panasonic
- DVC range: Panasonic AY-DVM60FE; Panasonic AY-DVM80EJ
- Advanced Master Quality range: Panasonic HDVM63AMQ
Sony
- Sony DV 60PR4; Sony DVM60PR4; Sony DVM60PR3; Sony DVM60PRL; Sony DVM60PRR
- Digital Master range: Sony DVM63; Sony HDM-63VG; Sony DVM-63HD
TDK
- TDK DV60; TDK DVM60

DV refers to a family of codecs and tape formats launched in 1995 by a consortium of video camera manufacturers, led by Sony and Panasonic.

MiniDV was introduced in 1998 and is the consumer version of DVCAM.

HDV, developed by JVC in 2003, used the same tape format as MiniDV with a different video codec, allowing high-definition video to be recorded in camera.

MiniDV and HDV capture video and audio on to S-size high-density cassette tapes. The format delivered sound and video that is sharper and higher-quality than earlier analogue recordings. Another benefit was its flexibility and ease of transfer to devices such as laptops, where material could be easily edited.

It is still possible to buy MiniDV tapes today, and relatively easy to acquire the camcorders second hand, but they have largely been superseded by tapeless digital camcorders that record to memory cards and solid-state drives.

Sep

2019

2 inch quadruplex

2 inch quadruplex video tape was the first practical and commercially successful analogue tape format for recording video. It was developed and released for the broadcast television industry in 1956 by Ampex.

At Greatbear we transfer 2" quadruplex (aka quad) video tape (PAL, SECAM & NTSC) to digital formats.

2 inch quad reel-to-reel recordings can vary both in duration and in the extent of physical tape degradation, so we always assess tapes before confirming the price of a transfer.

We offer free assessments - please contact us to discuss your project.

For an introduction to our assessment and treatment processes, please see our guide to "what happens to your video tape".

2” quad was a popular broadcast analogue video tape format whose halcyon period ran from the late 1950s to the 1970s. The first quad videotape recorder made by AMPEX in 1956 cost a modest $45,000 (that’s c.£325,880 in today’s money).

2” quad revolutionised TV broadcasting which previously had been reliant on film-based formats, known in the industry as ‘kinescope‘ recordings. Kinescope film required significant amounts of skilled labour as well as time to develop, and within the USA, which has six different time zones, it was difficult to transport the film in a timely fashion to ensure broadcasts were aired on schedule.

To counter these problems, broadcasters sought to develop magnetic recording methods, that had proved so successful for audio, for use in the television industry.

The first experiments directly adapted the longitudinal recording method used to record analogue audio. This however was not successful because video recordings require more bandwidth than audio. Recording a video signal with stationary tape heads (as they are in the longitudinal method), meant that the tape had to be recorded at a very high speed in order accommodate sufficient bandwidth to reproduce a good quality video image. A lot of tape was used!

Ampex, who at the time owned the trademark marketing name for ‘videotape’, then developed a method where the tape heads moved quickly across the tape, rather than the other way round. On the 2” quad machine, four magnetic record/reproduce heads are mounted on a headwheel spinning transversely (width-wise) across the tape, striking the tape at a 90° angle. The recording method was not without problems because, the Toshiba Science Museum write, it ‘combined the signal segments from these four heads into a single video image’ which meant that ‘some colour distortion arose from the characteristics of the individual heads, and joints were visible between signal segments.’

Sep

2019

1 inch type A / type B / type C

At Greatbear we transfer multiple variations of 1 inch analogue video tape on open reels - from the rare type A format (Ampex, 1965), to type B (Bosch 1976) which was standard in Europe, and type C video tape (Ampex / Sony 1976), which was widely adopted by the professional video and broadcast television industries, particularly in the US & UK between the mid '70s to early '90s.

We are able to digitise all standards of 1 inch type A, B and C open reel video tape from the US (NTSC), UK (PAL) and (SECAM) with appropriate noise reduction. 1" type A video is commonly monochrome, while types B and C are colour. We now have access to a machine uniquely modified to play very rare type A colour tapes.

1 inch reel-to-reel video recordings can vary both in duration and in the extent of physical tape degradation, so we always assess tapes before confirming the price of a transfer.

We offer free assessments - please contact us to discuss your project.

For an introduction to our assessment and treatment processes, please see our guide to "what happens to your video tape".

1” format	video standard	audio channels supported	Dolby A noise reduction	Telcom C4 noise reduction	Dolby SR noise reduction	PCM digital audio	14” / 3 hour spools
A	PAL	1	n/a	n/a	n/a	n/a	n/a
B	PAL	2	✓	✓	n/a	n/a	n/a
C	PAL	4	✓	n/a	✓	✓	✓
C	NTSC	4	✓	n/a	✓	✓	✓

Scroll to the right to view full table on smaller screens.

One inch open reel video tape is especially susceptible to risks associated with age, hardware, and equipment obsolescence. It is also prone to risks common to other types of magnetic media, such as mould growth, binder deterioration, physical damage, and signal drop-outs.

A significant problem for the transfer of 1 inch type A, type B and type C tape, is the rarity of machines capable of playing these formats. Their considerable weight (70 - 80 kg) made 1" video machines more difficult to transport and preserve than subsequent, smaller cassette-based machines.

Our 1" machines are arguably some of the more complex electro-mechanical machines we have at Greatbear, when compared with other professional broadcast formats.To fully recalibrate a 1 inch type C machine, for example, can take a few days because of its size and complexity.

Recalibration is complicated by machines having multiple components which all need to be aligned in a very careful way for the best quality transfer – it is not a simple case of adjusting the machine as a whole and everything works fine. Each separate transport mechanism requires attention. This is then checked against the other parts to ensure that the machine operates, and after that, the electronics. The recalibration process is complete when a machine plays back the tape in such a way that reflects the quality of the recording, rather inconsistencies in the machine.

Another major threat to the future of such analogue transfers is that the highly-skilled people who know how to maintain and fix these machines are disappearing, as are the spare parts needed to do so.

1 inch video tape brands / models

Common brands / models of 1 inch video tape include: 3M/Scotch 480; 3M/Scotch 480 XST; Ampex 196; BASF VT26; Fuji H621; Fuji H261E; Kodak EVT-1000; Sony V-16 SP and Sony V1-K.

The Ampex Corporation introduced 1” (SMPTE) type A videotape in 1965. It was one of the first standardised helical scan open reel video tape formats in the 1” width. It was mainly used in industrial and institutional contexts because it did not conform to existing broadcast standards.

A significant problem was that the type A system did not record the vertical blanking interval, i.e. the time between the end of the final line of a frame or field and the beginning of the first line of the next frame. It was also restricted to 350 lines, while the NTSC standard was 525 and PAL / SECAM were 625 lines. The compromised quality of type A video led ultimately to the development by Ampex & Sony of the SMPTE approved type C format in 1976.

Despite being a composite video format like U-matic or VHS, (where video information is encoded on one channel), 1 inch type C has very high video quality. It approaches the quality of component video formats (where the video signal has been split into two or more component channels), as used in Betacam videotapes and the Panasonic MII.

The quality and reliability of 1 inch type C made it a mainstay in television and video production in television studios for almost 20 years, before being supplanted by more compact videocassette formats like Betacam, DVCAM, D-1, D-2 and DVCPro.

Sep

2019

½ inch Sony / EIAJ reel-to-reel / Cartridge

Before Betamax and VHS, the main consumer video recording formats used half inch reel-to-reel tape with small suitcase-sized recorders. The relative affordability of the Sony Portapak (1967) camera plus VTR system, made it a popular tool for artists, experimenters, and social commentators.

The EIAJ format in type 1, black and white was the most common format and will account for the majority of recordings. Type 2, colour specification also exists, and we are able to transfer both types, having Sony CV machines, Shibaden and Hitachi EIAJ models and even a Panasonic time lapse machine.

We are able to transfer all standards of ½ inch (EIAJ & CV-2000 series) / Portapak open reel video from the UK (PAL) and US (NTSC).

The commonly-used Sony V30, V60, V30H, V60H or V62 tapes often suffer from sticky shed syndrome and require careful treatment before it’s safe to replay them. We can also digitise Panasonic EIAJ video cartridges that are usually labelled NV-xxxx

½ inch reel-to-reel video recordings can vary both in duration and in the extent of physical tape degradation, so we always assess tapes before confirming the price of a transfer.

We offer free assessments - please contact us to discuss your project.

For an introduction to our assessment and treatment processes, please see our guide to "what happens to your video tape".

½" format	video standard	Sony High Density 'sticky shed' tapes treated	colour recordings supported	405 lines supported
EIAJ	PAL	✓	✓	n/a
EIAJ Cartridge	PAL	✓	✓	n/a
EIAJ	NTSC	✓	✗	n/a
EIAJ Cartridge	NTSC	✓	✗
CV2100	PAL	n/a	n/a	✓
CV2000	PAL	n/a	n/a	✓

These ½ inch open reel video tapes can be particularly tricky to transfer well, due to the often deteriorated state the tapes can get into, the age and lack of availability of spares for the machines themselves and the inherent lack of tape interchangeability that this early non-broadcast format has.

In addition to the rarity of working machines and lack of spares, many of these ½ inch tapes have physically degraded over the years as they can be over 40 years old. Tapes which have binder problems, shedding oxide or tapes with mould growth must be treated before a successful transfer can be made. These types of problem are common with this format and Sony branded V60H, V62 and V30H Helical Scan tapes can sometimes be the worst. We have successfully restored and digitised a range of tapes, including part of a batch found at Bristol City Football Club.

While the quality is not high with this video format - which often has inherent visual issues such as dropouts, skew and head clogs due to shedding - the material recorded is sometimes of a very valuable nature and much less common than recordings made on later and often cheaper domestic equipment.

Introduced by Sony (1965), the CV-2000 series were among the earliest video tape recorders. They utilised ½" wide video tape on open reels, with tape being threaded manually around the helical scan video head drum., They were the first fully-transistorised VTRs

The Portapak system arrived in 1967, with the Sony DV-2400 Video Rover: a two-piece battery-powered set, consisting of a black-and-white composite video camera and a separate record-only helical scan ½" portable video tape recorder. It required a Sony CV series VTR (such as the CV-2000) to play back the video.

CV-2000 series machines lacked the capacity for tracking adjustment - meaning tapes were not easily interchangeable between different machines.

In 1969 EIAJ (Electronic Industries Association of Japan) developed standardisation for ½" video tape, which became the norm for many manufacturers, including Sony with their AV series machines (which included tracking adjustability).

The EIAJ standard widened the adoptability of ½" video tape, and as machines became more affordable, the format became popular the early 1970s for non-broadcast use by businesses, schools, government agencies, hospitals, artists and even some home-consumers.

Portapak became a term for a variety of two-piece camera-plus-recorder systems manufactured by Sony, JVC and others, prior to the advent of camcorders.

½" video tape was superseded by easier-to-use cassette-based formats, such as Sony’s U-matic (1971).

Sep

2019

¼ inch Akai b/w reel-to-reel

Quarter inch video tape is an unusual format, developed by Akai in 1967 with the aim of producing a light-weight portable VTR and camera system.

¼ inch reel-to-reel video recordings can vary both in duration and in the extent of physical tape degradation, so we always assess tapes before confirming the price of a transfer.

We offer free assessments - please contact us to discuss your project.

For an introduction to our assessment and treatment processes, please see our guide to "what happens to your video tape".

The Akai 1/4" video format is one of the most threatened formats for several reasons.

The VT100, 110 range of VTR's were never as common as the 1/2" CV2100 and EIAJ range of Sony VTR's. As a result there are less available spare machines now, around 50 years later.
The reduced width of tape the Akai VT range of machines used meant they are much smaller and lighter. An advantage for portability but this makes them tricky to work on and not very reliable long term.
The head tips are small and extremely fragile on this format too. Of the 6+ Akai VT machines we have half have one broken head tip from either wear or more likely previous rough head cleaning attempts.
The use of 1/4" tape often meant audio tape was used but the much rougher surface finish of audio 1/4" tape would wear the head tips very quicky. Specially made variations of Akai, BASF and Scotch tape were the only recommended tapes for this format.

introduction to XDCAM transfer

XDCAM HD machines

XDCAM / XDCAM HD format variation

XDCAM / XDCAM HD risks & vulnerabilities

XDCAM / XDCAM HD recording history

introduction to CRVdisc transfer

CRVdisc machines

CRVdisc format variation

CRVdisc risks & vulnerabilities

CRVdisc recording history

introduction to DVD transfer

DVD machines

DVD format variation

DVD risks & vulnerabilities

DVD recording history

introduction to Video 2000 cassette transfer

Video 2000 machines

Video 2000 format variation

Video 2000 tape risks & vulnerabilities

Video 2000 recording history

introduction to Philips N1500 / N1700 video cassette transfer

Philips N1500 / N1700 video machines

Philips N1500 / N1700 format variation

Philips N1500 / N1700 video tape risks & vulnerabilities

VCR tape brands / models

Philips N1500 / N1700 video recording history

introduction to MII video cassette transfer

MII video machines

MII format variation

MII video tape risks & vulnerabilities

MII video recording history

introduction to D-9 / Digital-S video cassette transfer

D-9 / Digital-S video machines

D-9 / Digital-S format variation

D-9 / Digital-S video tape risks & vulnerabilities

D-9 / Digital-S video production & recording history

introduction to D-3 & D-5 video cassette transfer

D-3 & D-5 video machines

D-3 & D-5 format variation

D-3 & D-5 video tape risks & vulnerabilities

D-3 & D-5 video recording history

introduction to D-1 & D-2 video cassette transfer

D-1 & D-2 video machines

D-1 & D-2 format variation

D-1 & D-2 video tape risks & vulnerabilities

D-1 & D-2 video recording history

introduction to U-matic cassette transfer

U-matic video machines

U-matic format variation

U-matic tape risks & vulnerabilities

U-matic tape brands / models

U-matic recording history

introduction to HDCAM / HDCAM SR cassette transfer

HDCAM / HDCAM SR machines

HDCAM / HDCAM SR tape brands / models

HDCAM / HDCAM SR format variation

HDCAM / HDCAM SR tape risks & vulnerabilities

HDCAM / HDCAM SR recording history

introduction to Digital Betacam / Betacam SX / MPEG IMX cassette transfer

Digital Betacam / Betacam SX / MPEG IMX machines

Digital Betacam / Betacam SX / MPEG IMX format variation

Digital Betacam / Betacam SX / MPEG IMX risks & vulnerabilities

Digital Betacam / Betacam SX / MPEG IMX brands / models

Digital Betacam / Betacam SX / MPEG IMX history

introduction to Betacam cassette transfer

Betacam machines

Betacam format variation

Betacam tape risks & vulnerabilities

Betacam tape brands / models

Betacam video history

introduction to Betamax cassette transfer

Betamax machines

Betamax format variation

Betamax tape risks & vulnerabilities

Betamax recording history

introduction to VHS, S-VHS, VHS-C & D-VHS cassette transfer

VHS, S-VHS, VHS-C & D-VHS machines

VHS, S-VHS, VHS-C & D-VHS format variation

VHS, S-VHS, VHS-C & D-VHS tape risks & vulnerabilities

VHS, S-VHS, VHS-C & D-VHS history