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DVCPRO HD supports native progressive format when recorded to P2 memory cards.
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DVCPRO and HD
The format has been superseded with DVCPRO HD.
DVCPRO HD, also known as DVCPRO100 is a high-definition video format that can be thought of as four DV codecs that work in parallel.
Like DVCPRO50, DVCPRO HD employs 4: 2: 2 color sampling.
DVCPRO HD uses smaller raster size than broadcast high definition television: 960x720 pixels for 720p, 1280x1080 for 1080 / 59. 94i and 1440x1080 for 1080 / 50i.
DVCPRO HD equipment offers backward compatibility with older DV / DVCPRO formats.
When recorded to tape, DVCPRO HD uses the same 18 μm track pitch as other DVCPRO flavors.
DVCPRO HD is codified as SMPTE 370M ; the DVCPRO HD tape format is SMPTE 371M, and the MXF Op-Atom format used for DVCPRO HD on P2 cards is SMPTE 390M.
While technically DVCPRO HD is a direct descendant of DV, it is used almost exclusively by professionals.
Tape-based DVCPRO HD cameras exist only in shoulder mount variant.
The main competitor to DVCPRO HD is HDCAM, offered by Sony.
DVCPRO HD supports native progressive recording at 50 or 60 frame / s in 720p mode.
Nevertheless, manufacturers often label cassettes with DV, DVCAM, DVCPRO, DVCPRO50 or DVCPRO HD and indicate recording time with regards to the label posted.
Cassettes labeled as DVCPRO have a yellow tape-door and indicate recording time when DVCPRO25 is used ; with DVCPRO50 the recording time is half, with DVCPRO HD it is a quarter.
DVCPRO and native
Tape-based DV variants, except for DVCPRO Progressive, do not support native progressive recording, therefore progressively acquired video is recorded within interlaced video stream using pulldown.
The DV standard, which debuted in 1996, has become widely used both in its native form and in more robust forms such as Sony's DVCAM and Panasonic's DVCPRO as an acquisition and editing format.
In April 2004, version 4. 5 of Final Cut Pro was introduced and branded by Apple as " Final Cut Pro HD " due to its native support for Panasonic's tape-based DVCPRO HD format for compressed 720p and 1080i HD over FireWire.
DVCPRO and progressive
The series was filmed with the Panasonic SDX 900 DVCPRO 50 professional camcorder in widescreen 25fps progressive mode.
DVCPRO and format
Panasonic video recorders that accept medium cassette can play back from and record to medium cassette in different flavors of DVCPRO format ; they will also play small cassettes containing DV or DVCAM recording, via an adapter.
Cassettes labeled as DVCPRO HD have a red tape-door and indicate recording time when DVCPRO HD-LP format is used ; a second number may be used for DVCPRO HD recording, which will be half as long.
Panasonic used its DV variant DVCPRO for all professional cameras, with the higher-end format DVCPRO50 being a direct descendant.
JVC developed the competing D9 / Digital-S format, which compresses video data in a way similar to DVCPRO but uses a cassette similar to S-VHS media.
In 1997, Sony bumped its Betacam series up to HD with the HDCAM standard and its higher-end cousin HDCAM SR. Panasonic's competing format for cameras was based on DVCPRO and called DVCPRO HD.
The format was intended for use in professional camcorders and used full-size DVCPRO cassettes.
::* DV ( 1996 ): Sony debuted the DV format tape with DVCAM being professional and DVCPRO being a Panasonic variant.
Final Cut Pro 5 also added support for Panasonic's P2 format for the recording of DVCPRO HD video to memory cards rather than tape.
Like DVCPRO Progressive, HDV-SD was meant as an intermediate format during the transition time from standard definition to high definition video.
The main competitor to HDCAM is the DVCPRO HD format offered by Panasonic.
DVCPRO and when
When recorded to tape, DVCPRO uses wider track pitch-18 μm vs. 10 μm of baseline DV, which reduces the chance of dropout errors when video is being recorded to tape.
DVCPRO and recorded
All DV variants except for DVCPRO Progressive are recorded to tape within interlaced video stream.
DVCPRO and P2
* Panasonic DVCPRO HD and AVC-Intra camcorders can record DV ( as well as DVCPRO ) onto P2 cards.
In professional video recording settings, such as broadcast television, videotape was still heavily used in the mid-to late 2000s, but tapeless formats like DVCPRO P2, XDCAM and AVCHD, are gaining broader acceptance.
The two data-recording camera systems which produced MXF at that time, Sony's XDCAM and Panasonic's DVCPRO P2, produced mutually incompatible files due to opaque subformat options obscured behind the MXF file extension.
Panasonic instead markets DVCPRO HD and P2 camcorders for field production of 720P or 1080i and 1080p images.
Since HDV was introduced, tapeless — or file-based — video recording formats such as DVCPRO P2, XDCAM and AVCHD have gained broad acceptance.
DVCPRO and memory
It features tapeless ( non-linear ) recording of DV, DVCPRO, DVCPRO25, DVCPRO50, DVCPRO-HD, or AVC-Intra streams on a solid-state flash memory.
DVCPRO and .
* DVCAM, DVCPRO — used in professional broadcast operations ; similar to DV but generally considered more robust ; though DV-compatible, these formats have better audio handling.
* DVCPRO50, DVCPROHD support higher bandwidths as compared to Panasonic's DVCPRO.
DVCPRO, also known as DVCPRO25, is a variation of DV developed by Panasonic and introduced in 1995 for use in electronic news gathering ( ENG ) equipment.
Unlike baseline DV, DVCPRO uses locked audio and 4: 1: 1 chroma subsampling for both 50 Hz and 60 Hz variants to decrease generation losses.
Like DVCPRO, DVCAM uses locked audio, which prevents audio synchronization drift that may happen on DV if several generations of copies are made.
DVCPRO Progressive was introduced by Panasonic for news gathering, sports journalism and digital cinema.
A long play variant, DVCPRO HD-LP, doubles the recording density by using 9 μm track pitch.
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