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Archive for the ‘VCRs’ Category
Saturday, November 19th, 2011
Has this ever happened to you? You insert a videotape into your VCR or camcorder. You press play…and hear a sickening sound. Nervous, you quickly press eject. The cassette begins to come out, but both ends of the plastic videotape remain snarled inside the machine. It can be quite scary when your precious videotape gets caught–or worse, shredded!
 While the reasons for VCR tape consumption varies, the most common cause is a defective pinch roller inside the VCR or camcorder. As shown in the diagram at right, a pinch roller presses up against the plastic tape as it exits the cassette shell, feeding it into a rotating capstan. All video recorders, from the earliest Betamax and VHS units to recent MiniDV cams, use a pinch roller as part of the tape-feed mechanism.
A pinch roller made of rubber, which means the part can change shape as it ages. As the rubber hardens and deforms over time, it naturally does not do so in an even fashion–resulting in a slightly misshapen pinch roller. This is exacerbated in the smaller tape formats (MiniDV and 8mm), where even the slightest distortion in the rubber can create problems.
If the pinch roller in your VCR or camera is beginning to deform, you may first notice a tape fluttering upon playback. As the problem becomes worse, the roller can damage the physical edge of a tape, since the roller is now skewering the feed slightly higher or lower through the tape path. In serious situations, the tape will be forced out of the feed altogether–and that’s when your tape can become physically creased or “eaten” by the machine.
Of all the parts in a VCR or video camera, the pinch roller is usually the first to require replacement. A quick look at the pinch roller in your unit may indicate the level of age: If the pinch roller appears shiny or glossy, that is a bad sign. New or fresh pinch rollers are dull and lack sheen. They only become shiny because of wear–and this is not a coating that can be wiped away. Only a new, replacement pinch roller will fix the problem.
So don’t immediately trash your VCR if it eats a tape! All it may require is a new pinch roller. Have your VCR serviced by a professional repair shop, and your unit should be good to go for many years.
Wednesday, October 19th, 2011
Have you ever noticed that your VCR or camcorder has an option to select different recording modes? Most often, these modes will be called SP or EP. On certain units, you will also see LP or SLP. But all you really need to know is this:
Always use SP!!!
 SP is an abbreviation for “standard play.” SP is the best mode to use for videotape recording because it will provide the clearest and most stable picture, both on your VCR or camcorder as well as other decks. On VHS and 8mm/Hi8 tapes, using SP will enable you to fit 2 hours of video on a single tape. On Mini DV and Digital 8, the SP maximum is one hour per tape. SP was the original recording mode developed by JVC for VHS recording, and the first pair of heads on a VCR or camcorder is always devoted specifically to SP.
But what about LP, EP, and SLP? What are they, and why shouldn’t you use them?
Let’s start with LP, short for “long play.” You rarely see LP mode on VCRs these days, but the setting did exist, primarily on Panasonic VCRs. Back in the dark ages of the VHS v. Betamax format war, the one advantage Betamax had was its ability to record 3 hours on a single tape. VHS was still limited to only 2 hours per tape. So Panasonic developed the LP mode, which could fit 4 hours of video on a single tape. JVC, the original manufacturer of VHS, was furious with Panasonic, which had previously agreed to not develop a lower-quality, longer-recording mode. (But ironically, the development of LP played a large role in VHS’s eventual triumph over Betamax.)
However, the tradeoff is that LP provides lower picture quality than SP. In order to fit twice as much video on the same amount of videotape, the video tracks have to be packed closer together and the tape has to be pulled through the VCR at half speed. Eventually, four-head VCRs were developed to mitigate these problems. One set of heads, at a wide width, are used for SP, and provide optimum picture quality. The other set of heads are used for the lower-quality speeds (LP and EP/SLP) and prioritize on tape economy. But because this second set of heads are narrower–to accommodate the slower tape speed–there is a reduction in video picture quality as well.
JVC retaliated against Panasonic by developing the 6-hour recording mode. This speed can be called either EP (JVC’s term, meaning “extended play”) or SLP (Panasonic’s term, building on their LP terminology and meaning “super long play”). The principles behind EP/SLP are the same as LP: the mode uses narrower heads and slower speeds to write video to the tape at reduced quality. In this case, because the tape is being threaded even more slowly and the video packed onto the tape even more tightly, the resulting quality is worse than LP.
Why did we specifically address the JVC-Panasonic snafu? Because this manufacturer dustup actually played a role in how certain VCRs react to tapes. JVC was so annoyed with Panasonic that it intentionally designed its VCRs to play LP tapes terribly. Even today, we often cannot use JVC VCRs to play LP tapes–they track the tapes very badly, adding a pronounced jitter and occasional dropouts. Fortunately, the same is not true of EP/SLP; in fact, Panasonic’s decks are usually better than JVC’s for EP/SLP conversion work.
LP and EP/SLP tapes–whether they are VHS, Mini DV, or something else–are almost always harder to stabilize during a video transfer. Tapes recorded in these modes are much harder to track, and can also show more color issues, audio problems, and frame skips than those recorded in SP. (Mini DV camcorder guides even caution you against recording in LP!) If the tape has been in storage for many years, that can exacerbate these problems as well.
That is why we advise to always use SP. Using LP or EP/SLP was more understandable in the past, when videotape prices could be high. But tapes are not expensive these days. Buy a few more tapes and record in SP, if you are still using a VCR or tape-based camcorder. You will end up with better-quality recordings, and gain better results if you have your tapes digitized in the future.
Thursday, October 13th, 2011
If you’re old enough, you might have fond memories of browsing in your local video store. Maybe you even remember when stores carried VHS tapes rather than DVDs! (A very long time ago!)
I remember discovering an entire section called “Musicals” in a small Quakertown, PA video store. (The name escapes me…it was near Woolworth’s. Anyone?) Quakertown had a Blockbuster and West Coast Video too, but they didn’t have a Musicals section. At this store, I discovered everything from Kismet to Fame…movies I had never seen on TV. (Kismet is still one of those rarely-seen flicks, but the “Not Since Ninevah” number is fabulous, and it has the same stars as Kiss Me, Kate.)
 Video stores began soon after the VCR was invented. These stores rented out pre-recorded Hollywood movies so consumers could watch their favorite films at home at their convenience–as opposed to waiting for a movie to come on TV or back to theatres. For 15-20 years, video stores were the only game in town, and while Blockbuster was the main big name, most towns also had independent video stores that were operated by true film-loving aficionados.
Then came Netflix. And Comcast On Demand. And YouTube, Hulu, the iTunes Store, and every other download option. And slowly but surely, the video stores began to dry up. Is there really any reason to pay for a hard copy these days?
If you read this blog regularly, you already know the many reasons we believe physical media is still important. Luckily, independent video stores are not completely gone either. These stores provide amazing customer service, hard-to-find flicks, and an obsessive dedication to movies. They are a niche market, to be sure, but these store owners are dedicated to providing film fans with alternate choices from the pablum served up weekly at the multiplex. Moreover, Netflix’s recent subscriber loss suggests that consumers may be moving away from mail services in favor of kiosk and store rentals. So video stores aren’t dead yet!
Saturday, October 15 will serve as the inaugural celebration of Video Store Day! Video Store Day is intended to promote all the small, independent video stores that are hanging in there: stores staffed by real people who can provide personal service and recommendations. Video Store Day was started and planned by a group of real video store owners who spread their message via video industry periodicals and various entertainment groups. They plan to hold this international event on the third Saturday of October every year.
So on Saturday, take a trip to your local video store! Chat with the owner and search out a new, obscure movie on the racks that you’ve never heard of. Celebrate the rich history of home video, and give your vote of confidence to a local business owner!
For more information, visit www.videostoreday.com.
Thursday, March 31st, 2011
For such a popular video tape format, VHS cassettes could definitely be a lot of trouble! Have you ever experienced the joy of a tape getting caught in a VCR? Or a tape that manually ejects as soon as you insert it? Or better yet, have you ever ejected a tape only to find out that the tape is partially out of the shell and all crinkled?
When these things happen, you may need to manually rewind or unwind your VHS tape. Luckily, that’s not too difficult a task.
 If you try to do this, you’ll notice quickly that the white tape wheels will not turn. They are locked on purpose. To unlock the reels, find a tool like a pencil or small screwdriver, and press the tip into the socket on the back of the VHS tape. Every VHS cassette has a button that, when pressed, will release the tape reels. Press the tool into the socket, and turn the wheels either with your fingers or with a small coin (a dime usually works well). The reels should begin to turn.
To more easily see the plastic tape, just flip the top cover open (using the release on the side of the tape). Use Scotch tape to secure it.
This process makes it simple to rewind a tape to the beginning (clear your schedule if it’s long!) or extract a crinkled tape for flattening. What if you’re still unable to turn the reels after pressing the release button? That likely indicates that there is a broken internal mechanism, or that a foreign object has become lodged inside the tape. You can unscrew the cassette and try to repair the damage, or better yet, take it to a qualified repair shop.
The great news is that even when a tape cassette is acting up, the video inside is rarely beyond repair!
Saturday, March 12th, 2011
We’ve collected a lot of great VCRs for the Timeless DVD rack over the years, but this guy has us beat.
“Marko,” who appears to be from eastern Europe, has a little oddity of a video on YouTube. This man has an extensive collection of VCRs. I feel quite secure in saying that it is likely more than the average person. They appear to be European models and while he does not discriminate between manufacturers, he does seem to have many Philips and Samsung models.
Why does he collect VCRs? Who knows? He does not deign to tell you. Indeed, most of the video is comprised of his reading feature lists off the faceplates. However, at the end of the presentation, he notes that a particular JVC is the “best.” It appears to be a model similar to JVC’s HR-S9000 line, and so we would definitely concur.
The other randomly weird thing about this video is the soundtrack. You get themes from The Exorcist, Police Academy (?), Mission Impossible, Ghostbusters, and Raiders of the Lost Ark, among others. I have to confess that I hadn’t heard that Police Academy theme for quite awhile–good stuff. So clearly Marko is a fan of ’80s movies, and so, more power to him.
Tuesday, October 26th, 2010
 In general, copyright law is a beneficial thing for everyone. But over the past ten years, various organizations have taken it to the extreme; most notoriously, the RIAA and its struggles to control music sales in a post-Napster/iPod/torrent world. But actually, entertainers and entertainment organizations have been flipping out over copyright issues for a long time.
In a post on Ars Technica, “100 Years of Big Content fearing technology–in its own words,” writer Nate Anderson examines some of the craziest copyright dustups over the past century. Most often, these problems occurred when a new invention disrupted a long-time business model (think Napster and music consumption).
A few highlights:
– In 1906, American march composer John Philip Sousa railed against the player piano and gramophone in a magazine editorial: “Now…come these talking and playing machines…to reduce the expression of music to a mathematical system of megaphones, wheels, cogs, disks, cylinders…” This was the first time in history that music did not have to be performed live to be heard, and Sousa worried that it reduced the accomplishments of real musicians. “I myself and every other popular composer are victims of a serious infringement of our clear moral rights in our own work,” he wrote. (Clearly, music and musicians survived.)
– In 1982, chief movie lobbyist Jack Valenti appeared before a congressional hearing regarding the VCR. At the time, the movie and music industries were engaged in a fierce legal battle to shut down the new device’s ability to record, largely because it enabled consumers to record TV and fast-forward through commercials. After comparing the VCR’s effect on the television market to bleeding, hemorrhaging, and savagery, Valenti came up with this gem: “The VCR is to the American film producer and the American public as the Boston strangler is to the woman home alone.” In this light, it’s not surprising why most of us pay for our television access these days.
– In 2002, DVRs began to grow in strength, and took the idea of commercial skipping to a whole new level. The CEO of Turner Broadcasting, Jamie Kellner, railed against the new device: “It’s theft. Your contract with the network when you get a show is that you’re going to watch the [ad] spots. … Any time you skip a commercial…you’re actually stealing the programming.” A few years later, an ABC executive was quoted as saying he would love nothing more than to eliminate the fast-forward button on DVR remotes.
The article also covers photocopying, audiotape and DAT recording, MP3s and Napster, and digital content in general. Check it out for a thorough review of copyright craziness through the years:
http://arstechnica.com/tech-policy/news/2009/10/100-years-of-big-content-fearing-technologyin-its-own-words.ars
Saturday, August 7th, 2010
DNR is a common term in electronics. It means “digital noise reduction.” One might think this might be valuable tool–and it can be. But DNR can also stir a lot of emotions for film preservationists and video transfer pros.
 At right is a basic example of DNR in action. The image on the right is the original film. The image on the left is the same image after extensive DNR processing. (Click the image for a larger example, which shows the details more clearly.)
Typically, film and video both show noise. This can range from simple grain in the picture to chroma noise (the red/blue mist that often hovers on top of the picture). Most of the better VCRs, such as the professional lines manufactured by JVC and Panasonic, include various settings for reducing noise. For instance, the JVC HR-S9000 series has a “TBC/DNR” button as well as a picture control setting, both of which adjust the amount of processing in the picture.
When using these types of filters in real time during a transfer, you generally search for a compromise, because removing noise always includes removing detail as well. But there is an ongoing debate about this in many video preservation forums. Some people would rather have more detail (such as the texture of the man’s face) than a smoothed-out, filtered picture. But other people are really bothered by excessive noise and want to completely remove it. So it generally becomes a matter of personal preference.
But both using and not using DNR can both be taken too far. Two DVDs that show the extremes of noise reduction are the releases of 1932′s Grand Hotel and 1942′s Now, Voyager. The DVD of Grand Hotel has very sharp detail in its scenes. But the grain and noise are so thick that they actually hamper the viewing experience. In one scene, Joan Crawford’s character is standing in a shadowed section of a scene, and her reaction to a critical plot point is all but obscured by the grain. In this case, more noise reduction would have helped improve the DVD by leaps and bounds.
By comparison, the DVD of Now, Voyager is a good example of DNR taken way too far. Apparently, this movie was ridiculously processed during transfer, over-filtered as well as over-sharpened. Strangely, for a movie from the 1940s, there is hardly a flicker of grain present in the entire film on DVD (a sure sign of too much DNR). The picture quality throughout appears incredibly sharp; but on closer inspection, skin and hair textures have been completely smoothed away. So it’s likely that the film experienced extreme DNR, followed by edge sharpening–both of which resulted in a presentation that no 1940s director of photography would have created.
In recent years, the transfer of classic films to Blu-Ray has ignited a new round of this argument. There is a trend of studios over-processing older movies for Blu-Ray release, and many film fans and cinephiles are not happy about it. Many studio “suits” reportedly believe that any grain in the picture is evil and should be stripped out (probably thinking that modern audiences expect every HD movie to look like it was made last year). As you can see from the images above, 100% noise removal is not always a good thing–especially where older films are concerned.
DNR should be used carefully to remove grain. As in the Grand Hotel example, if the grain in the film is coarse or distracting–particularly to the extent that it affects an actual scene–it should be removed. But on the other hand, film also has inherent grain in it. If you can’t see any grain at all when moving frame-by-frame in an older film, then it’s likely been scrubbed within an inch of its life–and this just isn’t natural. At that point, not only has the natural film grain been removed, but the textures in actors’ skin and hair and other details in the actual movie as well.
The bottom line is that every film or video tape is different. For videotapes, each tape requires its own settings, which includes choosing the best VCR to play it as well as the most ideal processing settings. At Timeless DVD, we try to strike a balance between removing some noise but not over-processing or over-softening the image. Much of video transfer is made up of compromises, and DNR is a great example.
Monday, July 5th, 2010
 All it takes is a hurricane, unexpected flooding, or month of solid rain, and your house can easily experience significant water issues. What do you do if your video tapes are a casualty of water damage? It actually doesn’t have to mean the video is lost forever–even if the tapes were completely submerged. But if your tapes are exposed to water, here are some pointers to keep in mind.
First, whatever you do, don’t play the tapes in your VCR! Playing wet or water-damaged tapes can further damage the tape, and more importantly, permanently ruin your VCR.
When you see that your tapes have water damage, move quickly. The longer the tapes sit in a damaged state, the worse the deterioration can become. Get the tapes transferred to DVD as soon as you can. We advise finding a video restoration service that specializes in handling environmentally-damaged tapes, since these folks will have the experience to repair and transfer your tape correctly. One such service is Video Interchange.
If you prefer to handle the transfer yourself (again: not recommended!), here’s what to do. First, if the tapes are still wet, submerge them into distilled water. This will wash any contaminants, such as chlorine, salt, or sewage, off the tapes. If the tapes have dried, skip this step–it’s best to not make dry tapes wet again.
To dry out a tape–either after the actual damage or the distilled water bath–extract the reels of tape from the cassette and place them in a cool, dark location. Ensure that the place also has good air flow; an oscillating fan can help with this. Don’t use any drying method involving heat (such as a hair dryer), since excess heat will cause tape to warp. When the tape is fully dried, replace the reels in the shell and try it out in the VCR. (Carefully!)
And one final note: analog tapes, such as VHS, usually survive water damage better than digital tapes, such as Mini DV.
Water damage to tapes is definitely a scary thing! But the good news is that a video transfer can usually be made from the tapes, preserving their essential video content.
Thursday, June 10th, 2010
There’s a lot of software and gadgets out there that imply that transferring VHS tapes to DVD is a snap. However, the truth is that VHS is one of the most difficult formats to transfer! Here are some of the potential issues we watch for when preparing to transfer a VHS tape.
 Before beginning a transfer, it is necessary to visually inspect the tape closely. (This is true of every transfer.) The first thing to do is make sure that the flap covering the plastic tape flips open and closed correctly. If a tape is broken, the hinge is frequently where the problem lies.
If nothing looks wrong there, then the plastic tape must also be checked for rips, mold, dirt, or water damage–all of which can seriously damage a VCR. And of course, give the cassette shell a once-over for any other cracks, peeling labels, or any issues that catch the eye. It doesn’t take much for a small defect to cause serious problems in a deck.
Then you must select the VHS deck to use–a harder prospect than it sounds! VHS was unarguably the most popular home video format throughout the 1980s and 1990s, which means that lots of different manufacturers made decks and video cameras. In general, each manufacturer developed its deck slightly differently, with JVC and Panasonic at opposite ends of the spectrum in terms of tape handling.
Because of all the different decks and camcorders that were out there, and by extension the many different ways a tape could have been recorded, it’s difficult to predict exactly how a tape will play when it is inserted in a given deck. It’s usually necessary to try each tape in more than one deck in order to obtain the most stable playback. Naturally, this is one of the most frustrating and time-consuming aspects of VHS transfer! We use a variety of the highest-quality decks out there, from different manufacturers, so we are usually able to circumvent the tracking and stabilization issues that cheaper consumer VCRs experience. But even with the best equipment, it still isn’t always possible stabilize aged tapes or recordings that were created with misaligned heads or tape transport errors.
Finally, there are restoration issues. Many older tapes experience image degradation, which involves everything from contrast to color shifts. The extent of these problems often depends on how well or poorly a tape was stored and cared for over the years. The only way to fix these issues is with a processing amplifier, also called a color corrector. Whenever we begin to transfer a tape, we work with the adjustments on our proc amp to set the black, the gain (white), the saturation, and the hue for the playback picture. Most tapes require at least some adjustment to the black and the gain. Dubbed tapes often need some saturation, while aged tapes are most often in need of some hue shifting.
Video transfer isn’t rocket science, but careful technicians will be aware of these issues and work to deliver the best VHS conversion possible. And that’s what we always do here!
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