REVIEW APRIL 25 , 2001
Dazzle Hollywood DV-Bridge
Bringing analog video into the DV world
Enter nonlinear editing and, with it, all flavors of data compression. All of a sudden those pristine images that took so much work to produce were being tainted by all sorts of artifacts. It drove me nuts! As hardware evolved and new compression codecs were developed, image quality began to improve, and prices started to drop. High-end professional editing gear offered pretty decent quality for those who could afford it, but consumer-grade equipment still offered pretty sad performance. As evolution continued, pros got uncompressed video, and the artifacts were gone. The promise of digital video was finally being delivered. But those with regular-sized pockets still had to deal with not only mediocre image quality but all sorts of other problems. That is, until DV.
DV brought to the average videomaker a great compromise between quality and cost. Ultra-fast and expensive SCSI disk arrays were not necessary anymore due to its ingenious 5:1 compression. Increased computer horsepower, faster IDE drives, inexpensive FireWire interfaces and new video editing software have helped to turn DV into a truly revolutionary format for nonlinear editing. It's true that DV is not a perfect format with it's 4:1:1 color handling and certain compression artifacts. But the quality is truly outstanding for the money.
As DV becomes the true standard for quality and as Macs and PCs are being shipped with 1394 interfaces, setting up a very capable nonlinear editing system has never been easier or more affordable. It's not surprising, therefore, to see professionals abandoning much more expensive technologies in favor of DV. Certainly not all footage that goes into an edit system originates in DV. Analog acquisition is still huge, and so is the availability of analog archival footage. Therefore, a good way to transfer analog video into the DV world is an essential part of the DV postproduction equation. While you can purchase an analog digitizing board for a computer and then convert the footage to a DV codec, it is much better to have the video converted to DV during the capturing process. This is exactly what the Dazzle Hollywood DV-Bridge does.
I have reviewed the Hollywood DV-Bridge on a 533 MHz G4 Mac. It was a perfect setup because the G4 already comes with two FireWire ports and is, therefore, ready to accept DV video. I have been using a $10,000 analog capture card on my NT-based nonlinear edit system, and I was wondering how well the $299 DV-Bridge would be able to handle the job. The source material I used for the review came from broadcast-quality MII raw footage, which is as good as analog gets, and it could easily show problems, if there were any.
admit that I was absolutely blown away by the results obtained from the
DV-Bridge. I have previously used a Sony DSR-PD150 DVCam camcorder to
convert between analog and DV when capturing on the G4 in Final Cut Pro
and I wasn't very happy with the results. The PD150 conversion lost a
considerable amount of luminance, resulting in images that were much darker
than the originals. I had to compensate for the level difference by boosting
the video using a proc-amp during the capture process. By the way, I have
tried two different PD150s and both gave similar results.
The next thing that I was anxious to find out was whether the conversion would introduce any objectionable artifacts. Playing back the captured footage on a broadcast reference monitor was another pleasant surprise. The video looked virtually identical to the original and, even in difficult to compress shots such as rippled ocean water, there were no visible artifacts. I have seen those a few times before on footage shot with a Sony VX-1000 DV camcorder and not seeing them on the MII captured footage was very nice. Because the video signal had been so wonderfully preserved during the digitizing process, the DV-converted footage looked absolutely great. In fact, it compared very well to the footage captured with the $10,000 card but with all the added advantages of the DV format in terms of interchangeability, storage requirements and overall usability. While other codecs may impose certain limitations, on the Mac DV can be used by any application seamlessly and it plays back at full resolution in real time on the computer screen.
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Paulo de Andrade is the producer of Film and Video Magazine online, Digital Post Production and Digital Animators. He can be reached at [email protected].