Hello, you are already well informed and your workflow is not bad either. The EVO-9700P (I also have one) does not have a line TBC and that is something you are missing. I have an EVO-9850P. The image is much more stable with a Line TBC. Maybe get a digital 8 camcorder that can play hi8 and also have a TBC. Do you have davinci resolve with license? I recommend that, the free version lacks important options. 1. Capture certainly in uncompressed 10 bit 422 color space. 2. Import into DVR, set 720x576 PAL and enable interlaced processing. 3. set Deinterlaced quality in image scaling on DaVinci Neural Engine 4. Go to Clip Attributes and set from Auto to Full. This is necessary but requires a long explanation. 5. Do noise reduction with Temporal NR. (license version) 6. Definitely do not choose H264 or H265 for export. Afterwards, this could be done much better in a different way. either output uncompressed 10 bit 422 or prores hq or similar. 7. Optionally choose upscale with DVR superscale (x4)(license version). 8. install hybrid video. and ask for an explanation again. This would be too much now. here you will encode in h264 or h265. If you choose not to deinterlace and upscale in DVR, things are different. Just let us know what you want.

@@videotaperetro1126 Hi! Thank you for responding. It means a lot. I'm going to start from top to bottom. Currently I can't see any EVO-9850 on the market.. What about TBC at SE-800? On page 7 Manual says: "The SE-800 has a full frame synchronizer (also known as a time base corrector or TBC) at its Main and Sub Source inputs (2 total) to insure switches without distortion and smooth, well-regulated video at its output. In addition to its digital memory, a TBC also has controls that affect the look of the video that passes through it." OK, I'm not sure how much of a "full frame" TBC he does have but there must be some kind? Also recently I've noticed that there's different types of SE-800 available.. The one I own does have 3x SDI Digital output. I came across other SE-800 with only one digital output and it looked more like kind of DV port, but there was no SDI at all. Also the difference was with the sliders at the front panel "bottom left side". My does have Main, VCR, MUSIC, MIC/AUX. The other SE-800 I saw had MASTER, VIDEO, AUX-1, AUX-2/mic. I wonder if there's any difference between these two with internal components including TBC itself... I'm sure that there's some TBC devices which stabilising video really nicely. You mentioned about digital8 camcorders... I wonder if there's a big difference in video quality and colour reproduction comparing EVO-9700p+ SE800 vs Digital8 camcorder. Probably Digital8 camcorder footage will be more stabile... but what about the rest? ... 2nd message on its way

When it comes to capturing the video... I use OBS studio and DaVinci licensed full version. Responding to your points... 1. 16 bit 422 or 10 bit 420... and others, but there's no 10 bit 422 option. Unless I am doing something wrong.. What about "container format" in Settings/output/recording? "video bitrate"? I'm guessing I should set 50fps while capturing in OBS and also 50fps in Davinci? or? Sorry for such questions, I just want to be sure that all is set correctly. 2. While I'm still in OBS in "Properties for Blackmagic Devices"... "Mode" is set to 625i50 PAL, and I believe that's my camcorder output. Should I still "set 720x576 PAL" in DVR? 3,4,5,6,7. Done 8. I haven't tried yet, but I will. Same with ffmpeg. I do have it but I didn't touch it. I already spent days trying to absorb much as I can.. Hybrid video and ffmpeg will be my next step.

@@Michal12340 Hi Michal (I don't know if that is your name) What a "TBC" is is the subject of many discussions in many forums that deal with digitizing video tape. A lot of nonsense is told, but sometimes also correct information. Actually it's quite simple. There is a "LINE TBC" and a "FRAME BUFFER TBC". Due to the mechanical aspect in video playback, the speed variations in transport of the tape and the speed variations in the rotation of the video head, not all scan lines of PAL or NTSC video last the same length. In principle, one PAL scan line lasts 64 µs. In addition, all scanlines must start at the same time. All this is determined by sync pulses of one scan line, and therefore 625 scan lines for one full frame in PAL (interlacing is not taken into account in this explanation, but it should actually be) Because due to this variation not all lines have the same duration and they are not on starting at the same time, you will see wobbling lines in the image from left to right and vice versa. Those are "time base" errors. A "LINE TBC" will correct these errors. It will ensure that all lines start at the same time and last the same length and adds newly generated sync pulses to each scan line. This can be a simple analog "LINE TBC" to a modern digital "LINE TBC". Video recorders with a TBC have this "LINE TBC" and therefore correct these errors. From consumer VHS (or other) recorders to professional Betacam SP or other professional systems. "FRAME BUFFER TBC" is a TBC that only digitizes a complete frame without looking at the scan lines separately, so it takes over all "LINE TBC" errors and puts them in a buffer. Then the sync pulses are removed like a "LINE TBC" does and new ones are added. You have now also created a worthy broadcast level video signal without solving the "LINE TBC" errors. That's what the SE-800 does. Basically to be able to mix 2 (or more) unsynchronized video sources. In addition, the SE-800 also solves dropouts and other errors in your video because it actually generates a new video signal. So a combination of first a LINE TBC" and then a "FRAME BUFFER" TBC is desirable. Our great fortune is that the SE-800 outputs this digital signal via an SDI output and thus avoids having to digitize again via a card such as eg the KONA LHI from AJA. I am going to give a second answer for the other questions.

@@Michal12340 The 3 SDI connections you see on the SE-800 are: one direct SDI output that you must use. one SDI input to be able to "overlay" with another SDI source. one SDI output that has the mix of the 2. Don't worry about the last 2. The SE-800 also has a DV output (and inputs) (8 bit 4:2:0 color space 1/5 compression). But we don't use that. I don't know the type you mention without the SDI, but as far as "FRAME BUFFER TBC" is concerned, all are the same. (Every consumer video mixer of any brand is a "FRAME BUFFER TBC". The SE-800 also has an analog "black burst" just google what that is for, otherwise it will be too much here. There is a mixer that also has a " LINE TBC" and that is the Videonix MX1, mind you, this is a big exception. (Sony also had one but can't remember the type anymore) So if you use this behind your EVO-9700 then your video is perfectly stabilized. This of course it has no digital output, so you still have to digitize it yourself.

Hello, unfortunately I'm afraid not. The camera does not have a component (YPbPr) output. So only a Composite video output. Logically it is a full digital camera. There you can not achieve that quality. But... The Digital Betacam is already so good. So if you record with tape you achieve the same quality and possibly better. You have to buy a Digital Betacam player, take the digital output and connect it with e.g. a "Blackmagic UltraStudio Recorder 3G" via thunderbold to your PC or Laptop and capture with OBS studio or the included Black Magic software. e.g. Digital Betacam www.ebay.com/itm/364963431383?itmmeta=01J1078C8CR6CPAEBV556ERQT1&hash=item54f98403d7:g:A64AAOSw-pxmdcc1

Hello, that depends what you are comparing to. If you compare with cameras of this period and type, this camera certainly has a much better image. Today, cameras have evolved and are no longer comparable. But know that today's broadcast studio 4k TV cameras also have 3 2/3 inch CMOS sensors. Just look at Sony and Ikegami.

Read the discription. Its all there.

@@videotaperetro1126 I read it but I can't tell where you mention the video capture card you use?

@@salvatorev_ Hi, this is a "chain" The actual conversion from analog to digital is done by the SE-800. So it is not one capture card but consists of the parts I mentioned. So I do not use such a thing as a capture card. S-video out to MII Recorder AU-W35H for use TBC. S-Video out from AU-35H to S-VIDEO in Data Video Mixer SE-800 for use Frame buffer and digitize. SDI out from SE-800 to Blackmagic Design UltraStudio 3G Recorder SDI in. 3G Recorder Thunderbolt out to Laptop.

@@videotaperetro1126 If I understand correctly, you play the tape from the device and connect it where?

You should google the devices I list in my previous reply. Then you can get an idea of what I do. I will then answer you afterwards because then you can understand it better.

Is your laserdisc an NTSC device, so output is analog NTSC?

@@videotaperetro1126 My LD is NTSC but my Handycam is a Sony DCR-PC105E PAL region.

@@Retirednolongeractive Then I am afraid you are better off with a capture card or usb capture device and so save it on your computer in possibly the DV or other format. Then you can do it directly in NTSC format. Converting is a bad idea anyway, it gives a lot of quality loss. Keep in mind that you will have to deinterlace to get 60fps.

@@videotaperetro1126 well I’m okay with it since I have some decent l ones like the BMD Intensity Shuttle, Matrox MX02 Mini and Pinnacle Avid Liquid Edition Pro 6. For both NTSC and PAL video, I normally use Handbrake to deinterlace but for PAL if you selected 59.94 it would output 50fps.

I don't understand some of the comments. Not this one either.

@@videotaperetro1126 it was supposed to say CONVERSION but google Auto corrected it to conversation

Hello, thank you in advance for watching my videos. I understand your question. My answer may be a bit disappointing, but it is less about the camera and more about the way in which digitization is done. Digitizing SD PAL or NTSC video here on RU-vid usually looks bad and that is what you see. The V5000/6000 was just an ordinary consumer camera with a ton of options, which is why it had the PRO label on it. The best HI8 Amateur camera ever made that you should not carry on your shoulder is the Sony VX1 (PAL) or the Sony VX3 (NTSC). If you can still find it, buy it immediately! The best true PRO Hi8 stuff ever made is the EVV-9000 backend for broadcast cameras and the EVW-300 one-piece camera. Can I ask what you're going to do with it?

Thanks for the answer. Not disappointing at all, but surprising. So I don't need a pro Monster sized camera. Im making short movies for myself i don't like that digital Look nor pseudoanalog look. So a cam from the ccd-trv series would also archive a similar look, when its digitized and postproducted the right way?

@@SojaUhr Yes definitely. They are single sensor cameras and at that time bayer sensor colors were not so natural because of the limited number of photo sites (pixels). That's why I suggested the 3CCD VX1 or VX3. Digitizing in the right way and in high quality is the most important thing. That will make the difference. Just keep in mind that those handycams are very light have no stabilization and thus make very shaky images. Hence ammateurs liked to have a heavier shoulder camera myself included.

Does your digitization/workflow have a specific name or can you perhaps give me a link to a tutorial?

@@SojaUhr Now you open Pandoa's box. I have explained this in several other RU-vid videos in the comments. Over time I have made some adjustments. I have chosen this completely myself, so it is my personal preference. I wanted the maximum quality and not the easiest, cheapest and fastest. Anyway, here's a summary: Playback of videos on professional equipment. for VHS/Super VHS Panasonic AG-7750 for Video 8/Hi8 Sony EVO-9700P or EVO-9850 for Umatic Sony VO-9850 for Betacam Sony BVW-70 or PVW-2800 for M II format (not so common) PANASONIC MII - AU-W35H I have other High end consumer recorders... Analog output from s-video or component recorders (certainly not a composite) to Datavideo SE-800 mixer only for frame buffering. Digital SDI output from SE-800 to Blackmagic Design UltraStudio Recorder 3G. Capture in uncompressed 10bit 422 color space with ffmpeg (also possible in lossless ffv1 codec) or blackmagic software or OBS studio. Post-production in Davinci resolve (licensed version) Deinterlacing with davinci resolve neural engine, noise reduction and corrections. Upscale (4k) in Davinci Resolve with superscale. Output in Davinci Resolve in uncompressed 10bit 422 or sometimes DNxHR. Alternative: Deinterlace with QTGMC via vapoursynth via Hybrid video. (www.selur.de/) also upscale via Hybrid video with NNEDI3 method. Encoding with ffmpeg (Hybrid video) with H264 or H265 in 10bit 422 colorspace -superslow -constant rate -16 quantization factor. Upload to youtube. I did capturing before with my AJA Kona LHI in an old Mac computer. I know this is overwhelming when you hear this, but it also took me a while to arrive at this method.

Aha, ja jij kan het weten! Bedankt voor deze info.

Hello, thank you for your detailed response. I'm going to give some explanation and maybe say things you already knew, my apologies for this; I like to explain it long and straight, so hold on tight. First the Panasonic MII W35H: "The MII video format was developed by Panasonic in 1986 to compete with Sony's Betacam SP format. It was built upon the unsuccessful Matsushita / RCA 'M' format (1982)." So the recorder is from after 1986, more specifically from 1994. The recorder's TBC is a "LINE TBC" this type of TBC solves wobbly images and other unstable conditions due to small speed variations of the tape running and rotation of the video head, stretched tapes, etc. And this LINE TBC is one of the best I have ever come across. The image via the W35H is super tight, I think you've seen that. I can also use the TBC of my SONY PVW-2800 Betacam SP recorder or my Panasonic AG-7750 Super VHS recorder. My Digital 8 Camcorders that also play Analog Hi8 tapes with a LINE TBC also do less well. The LINE TBC also removes the sync pulses from the video signal and generates stable broadcast-worthy sync pulses. So I can also digitize without the SE-800. All capture devices accept the signal via a LINE TBC. Also my AJA KONA LHi, Black Magic mini converter and AJA V2DIGITAL. So I have plenty of choice. Without a TBC, forget it. And now the SE-800: The SE-800 is a prosumer mixing console. The kind that accepts unsynchronized SD video signals. Studio mixing consoles and all connected devices are all in sync by means of a "black burst" (reference sync pulses) and therefore do not require a frame buffer in the mixing console. So the SE-800 does. The manual mentions a TBC, but if you read carefully they talk about a FRAME BUFFER TBC. This is a completely different thing than a LINE TBC. A frame buffer takes each frame as it is (photo) into a buffer, keeps track of the image and adds new sync pulses to it. Because this is a mixing console it keeps track of the images from all inputs and puts them in sync using... that frame buffer so you can blend. This is done digitally (10bit 422 color space) So a frame buffer TBC does not care about the content. You can use a worn-out consumer VHS recorder with a worn-out tape as input, and it will produce a broadcast-worthy image. But nothing will have changed in the content, i.e. before our eyes the image will be very poor. The capture devices know nothing about the content and will digitize without any problems. Think of it as someone who takes a photo of a CRT screen 25 times per second and puts these photos in a timeline of an NLE and makes a video file from them. Maybe a crazy metaphor, but I can't think of any other. A real example: When I do FF or RW on the Hi8 recorder with only the LINE TBC of the W35H, the capture devices say no. With the SE-800 in between they show the reeling of the tape as you would see when connected directly to a CRT. So the SE-800 does have a function and the SDI output is the max. P.S. Almost all prosumer mixing consoles only have a Frame buffer, with a few exceptions. The Videonix MX1 is one of those, so it also has a real LINE TBC (10 bit 422) Voila, now I stop.

@@videotaperetro1126 Thanks for the detailed response! Very interesting, I was unaware that the MX1 had a line TBC. I actually have one of them, but haven't done really any testing with it. I was under the impression that it was a frame TBC as well. Is there any advantage to using the W35 on say VHS when the player itself has a line TBC? One thing I haven't been able to really determine is if the JVC/Panasonics with line TBCs do the buffering in 8 bit or 10 bit 4:2:2 as I'm guessing there's a potential for a bottleneck in color depth there. Also what hardware do find works best on multigenerational tapes to improve "baked in" line TBC errors?

@@orihalcon8693 Once you have passed through a line tbc or framebuffer tbc there is no point in passing through another line tbc. The perfect sync pulses created by the previous line tbc means that nothing more will happen through a subsequent line tbc. Especially not if you have passed through a frame buffer tbc because it creates a perfect image (even if the content looks wobbly and bad) so a next line tbc cannot do anything more. That also answers your question whether you can correct "backed in tbc errors". So no, you are actually asking if a line tbc is intelligent enough to understand what is on the image. A line TBC looks at the timing of the sync pulses and if they are perfect nothing happens. Maybe in a few years when AI technology is more advanced to interpret interlaced SD video and then correct that. (just kidding or not?). Don't worry about 8 or 10 bit. Most Line tbc's in prosumer vhs recorders work analog with a delay line as the linchpin in the circuit. Only the very last models were digital. We are not talking about a codec like today in modern cameras but hardware ad-da without storage or compression. PS. So always put a framebuffer TBC AFTER a Line TCB! A frame buffer is a solution for dropped frames and other sliders that a line tbc does not solve (unless all in one tbc's like the MX1)

​@@videotaperetro1126 Thanks again for the info! Do you have any tips on how to avoid or manage line dropouts? I know most VHS players do it internally to some degree, but a lot of those will produce a sort of "purple discoloration" where the bad line is.

@@orihalcon8693 Yes, I know what you mean. Unfortunately, I don't know of any miracle cure to fix this either. What I sometimes do when it's really bad is replay the tape. Chances are it's gone because it was probably a speck of dirt on the tape or head that is now gone. And then tinker around in the NLE to replace that frame.... And if it really needs to go, you can grab a piece of image from the previous frame in your NLE and place it over the glitch (masking). You must already have experience to do that. We (I) are not professional restorers, it remains a hobby. Serious dropouts are absorbed by the frame buffer.

I don't understand your comment. what do you mean?

hello, transferring to DVD means that you have digitized it but are not prepared to show it on RU-vid. You have to deinterlace and upscale. The DVD is standard interlaced PAL (or NTSC). DVD is mpeg2. If you record in a high bitstream, the quality is not too bad and can even be good for direct playback on your TV. But who still does it? If you absolutely want to make a DVD, it is better to do so via a DVD recorder on your computer. I still have an external one just in case....

@@videotaperetro1126 Hi just bought one of these, looking at your video's been very impressed with the quality and clarity, the card cannot strip Macrovision, you can use a Macrovision stripper, which i have 2 of and i am pretty sure the captures would be of excellent and amazing quality, the issue with some capture cards like HD versions from Hauppauge, Blackmagic they do not have a 3D Comb Filter or TBC without any of these the video's captured will not look good, artifacts, blockiness, tearing etc. The capture card you have used is for professional use and highly recommended

Hallo, ik wil je zeker helpen met digitaliseren. Kan je mij je workflow even vertellen? Dan kan ik daar op verder gaan. Je kan ook eens naar mijn andere videos kijken op mijn kanaal, in verschillende videos heb ik mijn workflow al een toegelicht. Lees ook de omschrijving van de videos.

@@videotaperetro1126 Handig! Zal ik zeker doen.

@@videotaperetro1126 Beste, ik heb veel van uw video's van uw kanaal bekeken en ben echt onder de indruk van de kwaliteit. Ik heb ook veel van de comments gelezen en ook een paar van de video's bekeken die u aanrade. Ik wil u eerst en vooral u bedanken voor uw tijd die u hier hebt ingestoken. Ik versta echter niet alles helemaal en hoop dat u een paar van mijn vragen kan beantwoorden. Ik zal even mijn huidige workflow uitleggen. Als u iets aanraad of zou veranderen vertel het me gerust op welke manier u het zou doen. Al mijn bronnen zijn DVD's van het PAL(MPEG Video version 2) 720x576 at 25fps Main@Main formaat, ik heb dit uitgelezen met MediaInfo. Ik rip de Dvd's met MakeMKV. Waarna ik ze in Handbrake steek. Ik weet dat u fan bent van een combinatie van andere programma's maar zou toch voor het gemak Handbrake willen blijven gebruiken. Ik vind de simpliciteit van Handbrake aangenaam. Mijn doel is om het geheel nog redelijk simpel en snel te houden. Echter hoop ik dat u kennis mijn instellingen van Handbrake zou kunnen optimaliseren. Ik vind het grootste probleem dat ik nu heb is de deinterlacing. Na het deinterlacen zit ik soms met interlacing artifacts, kwaliteitsverlies en soms niet echt een vloeiend beeld. De meeste van mijn vragen zullen dus over deinterlacing gaan. De Handbrake instellingen: Upscale naar 1920x1080 x265 encoder preset: fast encoder profile: Main encoder level: Auto 25fps constant framerate constant Quality: RF 18 Filters : Detelecine: Default Interlace Detection: Default Deinterlace : Yadiff: Preset: Default Colorspace: BT709, deze colorspace werkt goed voor mij en ik hoef geen color correction. Vragen: Hoe deinterlace ik het best: Yadif of Bwdif of decomb? Bob of geen bob? Moet ik dan de fps instelling naar 50fps constant framerate zetten en zo ja bij welke deinterlace instellingen wel en bij welke niet? En moet ik detelecine? Wat gebeurt er als ik detelicine als er geen telecine is? Is dit erg? Zelfde met deinterlace. Als ik deinterlace als er geen interlace is, is dit dan erg? Ik heb al een paar keer deze instellingen zelf geprobeerd maar op den duur zie ik het bos door de bomen niet meer en hoop op uw expertise. Als u voor de rest tips heeft vertel ze gerust. Om het beeld scherper te maken of de bitrate efficiënter bijvoorbeeld. Voor de sport upload ik mijn video's naar mijn RU-vid kanaal dus kijk gerust naar het resultaat. Alvast bedankt voor uw tijd.

@@geenkannaal78654 Ik snap ook niet veel van deinterlacing ;)

That's what my channel is about!

Of course, the raw images must first undergo the demosaicing process and then the editor applies a rec709 color gamut. The raw images are linear. that's what you get by default in Davinci Resolve. I did some touch-ups here and there, recovering highlights and black levels. And that's it.

If you don't have the RAW update, it's not worth the effort. The raw update simply turns this into a new camera. 4k DCI and raw cinemadng. 240 fps in cinemadng 2k and 120 fps in cinemadng in burst. You should then have the Convergent design Odyssey 7Q+ instead of the Atomos, which can only do up to 25 fps in 4k shooting. The advantage of an Atomos is that you can also record Prores raw if you have the license.

Yes a lot of compression artifacts in AVCHD. Nothing in Prores. Certenly in moving parts of the video. Also very clean noise in prores. Banding in blue skies. Nothing noticeable in Prores despite the camera's 8bit output. So for post-processing in Davinci Resolve, that's a pleasure. But I don't use the camera anymore.

Yes, its a B4 lens mount. Standard for all tv studio cameras even today. en.m.wikipedia.org/wiki/B4-mount

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Hello Filipe, no that is impossible. The video assist is a digital device with SDI digital inputs. The camera is an annalog device with composite PAL or NTSC output. If you read the comments in this video you will see that I first digitize the annalog signal with a mini converter from AJA the V2DIGITAL. It can also be done with other converters, the Blackmagic design Mini Converter Analog to SDI can also do it. Can be found pretty easily in the second hand market. Also keep in mind that only the old BMD Video assist can still process a digital SDI PAL or NTSC, so the 3G models. Any questions? Feel free to ask them.

Hello, I am not very familiar with Apple computers. You must have a capture device that captures in native resolution, so does not upscale or deinterlacing. You do that yourself with software afterwards. With OBS Studio you can capture in uncompressed 10bit 422 color space. I think this also works on a Mac. You do have to go deep into the settings to find that setting. And of course most importantly, high quality deinterlacing, noise reduction, upscaling.... That makes the good quality. I think the Elgato Video Capture is a good choice but have no experience with it. I use pro cards. Do NOT use the included software. Alternatively, you can buy a digital 8 camera that also plays HI8 and has a TBC. You can then connect via the DV output directly to your Mac? Or do macs no longer have dv input? (firewire, IEEE 1394) If you have any more questions let me know.

@@videotaperetro1126 Right now I’m using a clearclick 2.0 to record to sd card. I take the svid out of v5000 to input of clearclick. I’m Using premier pro to edit. What about the method you did in your other video? Using Svid to Sdi converter to Blackmagic Video assist capture? Would that work better than my current set up?

@@AllenMichael What I say my first answer is that you should avoid things like clearcklick like the plague if you want quality. Yes the suggestion you make with the converter and the BMD videoasist is also good. Well not the new version of the videoasist because it can no longer record SD video. Record in prores HQ. But then follows the long way to post production. Deinterlacing, enhancements, upscale.... If you load the SD video into Premiere it will deinterlace in shabby quality. So you will first have to deinterlace and upscale yourself in much better software and then edit. You see, it's all not that simple unfortunately. Clearclick is quick easy and cheap but quality is correspondingly poor. So it will be slow, expensive and difficult, there is no panacea unfortunately.

@@videotaperetro1126 I should avoid prores hq? I appreciate your help. I’m after good quality. I read up on the el gato and it’s 4x3 h.264. Would this be ok? Or am I better off with the a to d converter to older blackmagic video assist that focuses on SD and not HQ.

@@AllenMichael "Record in prores HQ" means you must record in this codec! Prores can be interlaced in SD resolution. The elegato is not h264. It is the included software that will record in this codec and with low resolution. The USB Elegato is a capture device that will be recognized as such by Windows. For the Mac I don't know but I think the same is true. So you can use other software with the elegato to capture. OBS studio for example or virtualdub the old faithful program. With these programs you can capture in any codec and in the original resolution. (SD is 720x576 PAL and 720x480 NTSC) both intrlaced. The solution with the BMD Video assist is also good but you have to buy it and it is much more expensive. Also the converter of course.

That's right. I left out the beginning and ending generics to make it a little shorter.

In dv 8bit 420 you can see compression artifacts. (Pixel peeping) Vhs and all consumer formats generate a lot of noise. Noise is also compressed because it is part of the video signal. Since noise contains a lot of fine details, this is where artifacts manifest themselves most clearly. If you use a good noise suppressor, preferably temporal, the noise reduction will work much better with as much information as possible. Compression artifacts is confusing for temporal noise suppression so it sometimes removes detail from your video signal that you don't want. Also 10 bit 422 is better because it makes the distinction between noise and non noise much clearer. So to answer your question, it's not about what you can visually perceive but to give as much as possible correct input to ALL post processes. And then in the final result you do see your difference!

@@videotaperetro1126 Thanks for reply. The thing is, I have searched and searched all over the internet and researched this for years now, and NEVER found a visual comparison that shows any difference between DV capture and no compression capture of VHS footage. I have now imported all my family VHS tapes using DV passthrough, from an S-VHS player. Do you know of a visual comparison between DV and uncompressed?

@@laurencewhite4809 I'm on vacation for a while. I'll try to give an example after.

​@@laurencewhite4809dv on pal is 4:2:0 color, so just pay attention to reds bleeding. on ntsc it's 4:1:1 so it shouldn't be apparent. offcourse, cheap capture card + mjpeg at 4:2:2 beats dv.

Bravo

Hello Cr, if you don't have much experience and are not so skilled in these matters I can recommend this youtube video. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-UkKaVyx1ukU.html Is a bit older but still ok. This is a method of deinterlacing in acceptable and correct quality. If you watch other videos of mine you will find explanations on how I do it. It is much more complex but also better, than what I suggest.

Hi Kyle, not quite right. Read this section in the article "INTRODUCTION OF HIGH-BAND AND SP FOR PAL COUNTRIES" oxfordarchiving.co.uk/privacy-policy/f/u-matic-low-band-high-band-video-tape-conversions-in-oxford-uk I have a VO-9850 (High-Band and Umatic-SP) and a VO-7630 (low band) and another low band portable. I can still tell you this: You can only record in High-Band and SP on an SP machine. Can reproduce Low-Band though. If you put a Umatic-SP cassette in the SP machine you can only record in SP mode. You cannot switch back to High-Band mode. The Dolby noise reduction for sound only works in SP mode. If you have recorded in Dolby, the machine automatically detects during playback that the sound has been recorded in Dolby and thus automatically turns on Dolby in playback. You cannot turn it off. So important to know that also High-Band has a higher FM modulation frequency and so also a higher luminance resolution for PAL. SP even better for PAL and NTSC but color frequency is the same as High-Band.