I loved Digital Betacam, and was Sony's first customer for the format
in New England. But it always bothered me that there was no way to
make a true "clone" ie. a bit-for-bit copy, the way you could with a
FireWire dub of a DV25 format like DV or DVCam. Instead, the Digital
Betacam player pulled the compressed bitstream off tape, decompressed
it (with error correction and/or error concealment) and spit out an
SDI signal which was then re-compressed by the Digital Betacam
recorder. If Sony had designed their decks with a true "clone" I/O
port, Oliver's "adjusting the machine" syndrome would have been much
more rare.
On Wed, Aug 29, 2012 at 2:17 PM, oliverpetersvidy
<oliverpeters@oliverpeters.com> wrote:
> > Terence Curren wrote:
> > To be fair, the program on digibeta should never have
> > to have any adjustments as it is digital. Just 1s and 0s. ....
> > ...If the bars are incorrect on a digibeta, I too would
> > be wondering where the errors were introduced into the chain.
>
> This is true and me, too, since I was the finishing editor on this series. As it turned out, the audio post facility was doing the final audio layback and then making an "air master" (digital copy) which was shipped to Discovery. I found out that the dub tech at the audio post facility was monitoring the DB edit master in composite and adjusting the machine to his scopes based on the bars when making the digital copy. He was in manual to do this, so this resulted in several IRE of difference on the copy (versus preset levels). The issue went away when I simply instructed him to leave the machine in preset when making the digital copy (aka "clone") and ignore what his composite scope said.
>
> - Oliver
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