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October 27th, 2011
We’ve examined the issue of DVD disc quality in a few recent posts. But did you know that the DVD burner you use is just as important as the actual DVD media? Just like DVD discs, DVD drives vary widely in quality. (This is especially true in 2011; the golden age of DVD drives peaked years ago.) You can buy a DVD burner now for $20–but does that mean you will get good burns out of it?
 In 2011, the best DVD drives are currently those manufactured by Pioneer, Sony Optiarc, and Samsung. Pioneer, in particular, is a long-time favorite of media enthusiasts, largely because they used the well-regarded NEC chipset in their drives for many years. In 2009, Pioneer switched to the Mediatek chipset–a slightly lower-quality option–and began outsourcing their drive manufacturing. Nevertheless, even with the Mediatek chipset, Pioneer is still the most reliable, well-respected drive available.
Sony Optiarc, however, is arguably right on Pioneer’s heels. Sony still uses the NEC chipset in its Optiarc drives, which produce excellent burn quality. (However, be careful: Optiarc drives can sometimes be rebadged LiteOns, so do your research on the model number before purchasing.) And finally, Samsung drives have long been regarded as decent options as well. They use the Mediatek chipset, and can often be packaged under the Toshiba name as well as Samsung.
So what problems can you expect to encounter with a drive other than one of these? Most notably, you will find that a bad drive will fail to burn correctly on a regular basis. In addition, “bad” drives often fail when using well-rated DVD media, such as Verbatim or Taiyo Yuden discs. They seem to function better with crappy DVD discs, but don’t be fooled: you will run into more problems with these discs in terms of playback compatibility or longevity.
Two of the worst drives are Hitachi LG and Matsushita. LG drives almost always use either a Renesas or Panasonic chipset–neither one is recommended. There is reason why, if a drive is built into a bargain computer or laptop, it’s usually an LG! Matsushita drives are often found in laptops too, particularly in Macs. On a personal note, the Matsushita drive in my 15″ MacBook Pro no longer reads any discs, after little usage–so I would definitely second this assessment.
And one final note: avoid so-called “slimline” drives. These types of drives are generally slower than full-size drives, and have a higher failure rate, even when using good media.
If you want good burns, you need good media and a good drive. Both are important factors in DVD production. You can’t buy a Pioneer burner and use Memorex media and think you’re getting a high-quality burned disc. Alternately, you can’t purchase Taiyo Yuden discs and use them accurately by burning with a cheap LG drive. Do your research when purchasing your equipment and supplies, and you’ll never go wrong.
October 24th, 2011
 What makes a person want to get into video?
It seems like a simple question, but for the hobbyist, there can be a number of answers. Some people just want to film family milestones. Others spend time editing their footage in iMovie and creating their own DVDs. And the most ambitious among us go a step further and tell actual stories through video, perhaps dreaming of becoming the next Steven Spielberg or Kevin Smith.
Filming is both a marvelous privilege as well as incredible responsibility. When you shoot with your camcorder, you alone are choosing the exact picture that the audience will later see. Your camcorder becomes your audience’s eyes, so to speak. They see the world as you see it. And if you’re doing it right, you can control your viewing audience’s attention.
Have you ever watched a movie and found yourself sucked into the story, with little thought of what’s going on in the theater or your living room? That’s when filming has done its job. But as you can imagine, it is a challenge, especially for amateurs.
Video hobbyists also manipulate the sound–the other half of what controls an audience’s attention. (Their ears, so to speak, taking the analogy above a step further.) And if you edit your video as well, that is another step toward controlling your audience and how they absorb your ideas.
Naturally, this level of responsibility may be a little intimidating to the newbie. So why are both beginners and pros drawn to video if it is so complex and challenging? I believe that people who are interested in video–whether filming, editing, or both–have something to express. It’s that simple. If you work with video, you are likely a keen observer of your world, with strong opinions and the need to communicate. Maybe you want to preserve your family’s activities for later generations, or you want to use your video camera to share a fictional story. But the bottom line is, you want to communicate something to someone.
Video is ultimately an outlet for creativity, just like writing, drawing, or singing. Like any performer, a video creator feels satisfaction when an audience views and understands his or her video. If you have created video, you likely know that feeling too. And at that point, all the learning, shooting, editing, and expenses are worth it–because you’ve made a video that expresses an idea that’s in your heart.
October 22nd, 2011
Copyright might seem an unusual topic for us to discuss in this blog. But copyright issues crop up all the time in video work. Many people–both consumers and professionals–use music and video clips without obtaining the correct permissions. It’s an easy mistake to make.
After all, how essential is it to pay for rights to all the songs that were playing on the radio when you videotaped your child’s birthday party? Do you really need to ask permission to film the guide who led your tour at Independence Hall? What if you want to put a quick clip from The Princess Bride at the beginning of your own wedding video? Who does that hurt?
If the video you are shooting or editing is mainly for your family and friends, then you likely won’t run into a problem. But it’s like speeding: 99% of the time you won’t get caught. But when that infringement cop does catch you, the legal consequences can be serious. So it’s important to have a basic understanding of copyright if you create video–from simple family slideshows to full-length movies.
From time to time, we are going to address some of the most pressing video-related legal issues. Today we’re going to wade in by discussing what copyright really is, and how fair use and public domain can play a role.
 What is a Copyright, Anyway?
This is the simple part: A person owns the rights to any work that he or she creates. This can include videos, films, music, plays, performances, sheet music, recordings, paintings, photos, writings, or anything committed to a medium in some way. These creations are termed “intellectual property.” (As a sidenote, some items that cannot be copyrighted are names, ideas, short phrases, expressions, and faces.)
If you want to use a video clip that someone else filmed and owns the rights to, you need to get permission from them. Alternately, you can see if the creation falls under the category of “fair use” or “public domain.”
The Fair Use Exemption
Fair Use is mainly intended for criticism, journalism, teaching, and parody. For instance, due to the First Amendment, critics can express any opinion they want about a copyrighted work, and even use clips or stills from the work to illustrate their point without violating copyright law. Or, a multimedia teacher can have her students work with video clips from a given movie to learn editing, since educational use of a copyrighted work is also permitted. Fair use is also why musicians such as Weird Al Yankovic or filmmakers such as Mel Brooks can lift melodies from Michael Jackson or stories from George Lucas without copyright infringement being applied.
However, the fair use exemption only includes as much of the copyrighted work as is needed to make the point. For instance, if a blogger posts three ten-second clips from a movie to illustrate certain points of his criticism, that is permitted. But if the blogger posts clips that together constitute the entire movie, with an uneven amount of criticism in return, that goes beyond fair use, since it reproduces more of the work that is required for the review.
What is Public Domain?
Copyright exists to protect the creator’s rights to earn money from his or her work. Therefore, once the creator dies, the work reverts to the public domain eventually. For instance, a Bach chorale is not copyrighted, since Bach died hundreds of years ago. However, a 2008 performance of that chorale would be copyrighted by the choir that performed it. But what about a recording of the chorale that was made in 1940? Well, that might or might not be.
It is frequently difficult to determine public domain applicability, since it can depend on when the creator died, when the work was actually copyrighted, and when it was published. And searching through the U.S. Copyright Office is not too easy. But in general, if a work is more than 75 years old, it’s probably in the public domain.
Bottom Line: When Should You Worry?
Let’s say you have a slideshow that uses copyrighted music or you’ve filmed someone outside your family without their express permission. Two things to check:
1) Are you going to show your creation to more people than just your family and friends?
2) Are you going to make money off your creation?
If the answer to either or both of these questions is “no,” then you probably will not run into a copyright problem.
The truth is, copyright issues generally arise when money is at stake. If you are hurting the copyright holder’s ability to make money or his or her creation, then you may run into trouble. But if you are not making money off your video, or impacting the original creation in any way, there is little chance there will be a lawsuit.
This isn’t an endorsement to keep violating copyright without thinking. It’s important to realize that if your creation does reach outside your immediate circle in some way, you might receive a cease-and-desist letter. But copyright cases that actually go to court usually involve public videos and deep pockets.
One important caveat: Timeless DVD’s discussion is not legal advice, and we are not liable or responsible for any instance of a copyright action resulting from the information in this post. Copyright law is complicated and changes all the time, and we are not legal experts. Our only goal is to get you started with some basic information. If you have a legal issue involving copyright, find a qualified attorney. Otherwise, use your common sense when shooting and editing, and you should be fine.
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.
October 16th, 2011
It’s hard to believe that the DVD format will soon celebrate its 15th birthday. DVD has become so embedded in our culture that it’s difficult to remember a time when we relied solely on videotape. DVD even predates widespread consumer use of the Internet!
But DVD itself had a difficult birth. Few people know that DVD is actually the result of an old-school, VHS-v-Betamax-style format war. In the mid-1990s, every electronics company was working on a “video-on-CD” project. Toshiba, Matsushita, and Hitachi (supported by Warner Brothers) created the super density (SD) digital video CD, while Sony and Philips (supported by IBM, Apple, Microsoft, and HP) developed the MultiMedia CD. Both formats used MPEG-2 compression, as well as a five-inch CD-size disc. The differences were in the actual physical layering of the disc and other specific technologies.
Eventually, a group was convened by IBM to find a compromise. In August 1995, the DVD was born from the physical layering of the SD digital video CD and the modulation technologies of the MultiMedia CD. The DVD was officially born in 1997.
 But unfortunately, DVD wasn’t yet ready for prime time. Movie studios were wary of the copyright-infringement implications of the new technology. This led to the development of content scrambling system (CSS) protection, DVD regional encoding, and DVD player parental controls. In addition, studios were hesitant to commit to yet another video format. But eventually, all the major studios began releasing their movies on DVD, with Paramount, Fox, and Disney being the most reticent. The first DVD player, the Sony DVP-S7000, cost about $1,000, and prices began falling quickly.
And yet, the biggest drawback for DVDs was that they could not record. Consumers wanted to use DVDs for personal recording, just like they did with VHS tapes. Around 2000, the first recordable DVDs began to appear. But just like the beginning of DVD, a format war loomed. Pioneer, Apple, and Compaq developed the DVD-R disc, Philips and HP pushed the DVD+R variation, and Matsushita and Hitachi advocated the DVD-RAM disc. However, since the three variations shared many similarities, most manufacturers solved the problem by making their units compatible with most or all of the three types. Like regular DVD players, recorders started out expensive: Pioneer’s first DVD recorder was priced at $17,000! Luckily, DVD burners experienced the fastest price drop in history.
Even though DVD is inarguably in its twilight years, it is still an incredibly useful and prevalent format, both in the U.S. and worldwide.
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.
October 10th, 2011
Well, that was short. Today Netflix head honcho announced that the ill-named, ill-conceived, and finally, ill-fated service Qwikster was history. ”It is clear that for many of our members two websites would make things more difficult, so we are going to keep Netflix as one place to go for streaming and DVDs,” wrote CEO Reed Hastings. Gee, ya think?
I give credit to Netflix for reversing this decision so quickly, but it still baffles me how such business decision even made it this far. It worries me when no one considers what customers actually want. How about a running a survey or focus group before you make a significant decision like this? Oh well. Moving on…
 In other news, a recent report shows that Blu-Ray is growing significantly. In 2010, 38% of all Blu-Ray players were shipped to North America, according to research firm The NPD Group. The study also predicts that the quantity of shipped Blu-Ray players will surpass shipped DVD players by 2015, when 105 million units are expected to arrive in North America.
The report also contained news on the DVD recorder front. Unsurprisingly, DVD recorders are expected to be completely eliminated in most of the world, save for some units shipped to Japan, over the next three years. It’s actually been a few years since decent DVD recorders were available in the U.S.; for some reason, they have always been more popular in Europe than here.
Blu-Ray recorders are expected to arrive, however–although it’s generally believed that many consumers will move toward devices that lack physical media access altogether. Even now, many Blu-Ray players have the ability to connect to the Internet wirelessly, and many consumers may prefer to opt for a device that simply has a large hard drive or other form of digital storage.
But we’ve said it before and we’ll say it again. First, the U.S. needs a stronger and wider broadband system to make streaming video the norm for consumers. Until that happens, consumers will not rely completely on non-physical media.
And secondly, cloud-based solutions do not solve the question of how best to preserve family films and videos. It’s OK for mass-produced content, but what do you do with a tape that is only going to be shown to your family? Do you want it up in the cloud, physically separated from your house? And what does that mean for ownership when a faceless company has full access to your footage? (Not to mention…what happens if that company suddenly folds and your video vanishes because it’s not actually in your possession?) A lot of questions still remain as these facets of technology advance.
October 8th, 2011
 Have you ever wondered what silica gel really is? It’s common to get little packets of the stuff when you purchase everything from purses and suitcases to camcorders and other electronics. Many of us just throw it out, but camcorder owners should think twice before trashing it.
Silica gel is actually intended to absorb moisture. Its purpose is to alert the videographer when moisture is collecting around a video camera–a condition that can affect how the camcorder operates, and the tapes or media as well. When the crystals change color, that is a sign that moisture is present.
So keep it in your camcorder bag. Even pack it around the camcorder if you wish. And silica gel can even be reused; just heat it gently and it will be as good as new.
October 5th, 2011
So you have hours and hours of video stored up. Some it is good, and some of it . . . well, not so much. (That time when the camcorder was turned on without your knowledge and taped your shoes comes to mind.) You really want to edit your videos into well-crafted, interesting family movies. But where do you start?
Well, the great news is that setting up a video editing studio in your home is not difficult or even expensive. Here are the steps to follow to turn your raw footage into awesome presentations.
 Step 1: Computer
The technological advances of the home computer during the past ten years have enabled everyone to try his or her hand at editing video. Aside from your camcorder or tapes, a good computer is the first thing you need. Either a Mac or a Windows PC will work; this choice largely depends on which platform is most comfortable to you. A current, new computer will be fastest and offer the most abilities, but even a five-year-old computer should work fine for basic programs. Just keep in mind that video editing is one of the most processor-intensive computer tasks out there (alongside gaming), and so the faster the processor and the more RAM your computer has, the better off you’ll be.
Step 2: Software
We are often asked which software program is the best for a newbie editor. On the Mac, the answer is simple: iMovie, iMovie, iMovie. It’s the best starter program on either computer platform. But if you’re on Windows, try out Windows Movie Maker, which has seen a number of improvements over the years. And if you’re hungering for a stronger program, look at Final Cut Pro (Mac), Adobe Premiere Pro (both), or Sony Vegas (Windows). Just keep in mind that the more advanced the program, the steeper the learning curve and price tag as well.
Step 3: Connect your camcorder to the computer
If you have a digital camcorder (Mini DV, Digital 8, Flash, hard drive, etc.), you will now connect your camcorder to the computer. This is ideally accomplished with a Firewire cable (which will be the fastest), but USB works too. If you have an analog camcorder (such as VHS-C or Video 8/Hi8), you’ll need a digital converter card or box, such as the units made by Grass Valley. And if you already have your files as DV AVI or MOV files–such as those provided by Timeless DVD–you can skip this step.
Step 4: Capture your video or load your files
Again, this step depends upon the type of video you have, and how your exact software program works. If you have analog or digital tapes, your software will likely have a “capture” tool, which connects to the camcorder and converts the video on the tapes to files on your computer in real time. If you have a tapeless camcorder, the software should be able to automate importation of the files that are on the card or camcorder. And if you have DV AVI or MOV files, all you have to do is open the files in your project–they should load instantly. Naturally, save everything you capture!
Step 5. Time to edit!
Finally, you’re at the step you’ve been waiting for! Time to edit your raw video into something shorter and wonderful. Take your time, read the software manual, and watch TV shows or movies for inspiration (particularly documentaries or other non-fiction programs). Don’t stress. Video editing will not damage any of the raw video files you captured, so any editing choice can be redone a hundred times. Your main goal is to cut out long, boring sections of video. Keep that in mind, and you should do fine.
Step 6. Export your masterpiece
When you’re finished editing, you’ll need to show off your hard work to the world. The best export format depends upon how you wish to show the video. If you want to watch it on your TV, or give copies to others, a DVD is the natural choice, and almost every program has DVD export options. If you want to upload it to YouTube or your iPad, MPEG-4 is the best option–it’s the format preferred by YouTube and has the ability to compress video into small file sizes with excellent picture quality. Or take a look at the options your software offers–maybe there’s an option that works perfectly for your exact goals.
Remember, people go to school to learn how to edit! So don’t be hard on yourself. Don’t rush, and read a manual if you need to in order to learn the technical tools of the software. Even professional editors started out somewhere! After a few hours spent editing your video, we’re guessing that you’ll be hooked on this creative, engaging hobby too!
October 2nd, 2011
It’s no secret that DVD is on the wane, at least for Hollywood and film releases. But is the delivery of movies and television over the Internet the only way to turn around the 40% decline in home entertainment revenue?
 According to the Los Angeles Times in a recent article, that is exactly what movie studios believe. Over the next few years, there will likely be an explosion of options in streaming video, including everything from web-connected TVs to movie-sharing tools on Facebook, as the studios try desperately to reverse their declining fortunes. As the LA Times puts it, streaming may cause the biggest shift in home entertainment since the launch of DVD in the late 1990s (over a decade ago!).
But while streaming movies is undoubtedly growing, revenue hasn’t even begun to compensate for the drop in DVD sales. Most analysts believe the main reason is that while many movies are available on DVD, far fewer are available for streaming. And customers simply aren’t used to paying for streaming; witness the recent outcry over the Netflix price hikes. Studios are delusional if they think that streaming a new movie will someday earn the same dollar amount as a DVD or Blu-Ray purchase.
Finally, when you compare the ease of DVD to streaming, there is an important contrast as well. DVD was adopted quickly because it was simple: purchase a DVD and play it in your DVD player. DVD was essentially a videotape in a CD shell–an easy concept for consumers to understand and buy. But streaming a movie can be incredibly complex, because there are simply too many confusing options, not to mention the question of how to get the movie from your computer to your den’s 40″ TV. And even if you get the movie downloaded, you’re usually limited to playing it on a single device, which is far less convenient than a disc that can be taken from the living room, to the computer, to the DVD player in the minivan.
The article also addresses the 28-day new release rental delay, as well as the new premium video-on-demand system, both of which we wrote about in a 2010 blog post. In short, some studios may begin imposing longer wait times for DVD rentals and streaming options for new movies, in an effort recoup slowing theater and DVD sales. (Disney, Paramount, and Sony still allow rentals the same day a film is released, and Sony also recently began making some new movies available for streaming purchase two weeks before the DVD release.)
Ultimately, the Hollywood studios want customers to begin using a cloud service, where you can access any movie or show you own from any digital device you have. It’s a great idea, but you are still limited by your Internet connectivity to access movies that you own. Personally, I vastly prefer having my favorite movies only dependent upon my DVD player.
At Timeless DVD, our main thoughts on this situation revolve around how the growth of streaming and the wane of DVD will impact home video transfer. It’s fine to download a movie that a million other people want to download as well. But what is the best and most convenient way to access the digital transfers of your home video tapes? For the foreseeable future, DVD will probably still be the best option for family home movies–but we’re keeping our eye on it.
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