HD2200
SECTION 4
HD22 14/03/01 Version 1 Issue 2
4.6
CONVERT
The following menus relate to the conversion from
the input signal to the output signal.
MODE
The mode types are:
Auto
The machine will try and
establish the best processing
mode using the selected input
and output standards to make the
choice.
Video > Video
The machine is forced to treat
both the input and output as
video material, i.e. with field-to-
field motion.
Film > Film
The machine assumes that both
the incoming and outgoing
material will be film based. The
input can be either 2:2 film or 3:2
film. The output field-rate is
defined by the selection of the
output standard in the OUTPUT
STANDARDS menu, and the
appropriate film mode signal will
be seen on the output. For
example, for a 525 (480) / 29i
output, the machine will create a
3:2 sequence. The machine will
pair up the incoming material to
form film frames before filtering.
For details of the film sequence
set-up see the CONVERT – FILM
CTL and FILM AP menus.
VIDEO CONTROL
The following menu items are all related to the
temporal conversion of video (not film) based
signals. The HD2200 contains a video
synchroniser for conversions where the input and
output field rates are not locked together. These
settings also affect the way that the
synchronisation is performed.
The options are as follows:
Auto
Selects Synchronise mode when
the input and output field rates are
the same and optimise mode when
they are different.
Optimise
The unit operates as in the
Synchronise mode but monitors
the amount of slippage between
the input and output timing. When
the slippage exceeds a preset
value the unit performs an
interpolation to move to the next
available minimum blur temporal
position. The effect of this is to give
the same high performance as the
Synchronise mode but without
periodically discarding or repeating
a field; for example, in 59.94 to
60Hz mode only about half a
second of interpolation occurs in
every 16 seconds. However,
because of the system used, the
video delay through the machine
can vary by up to plus or minus
half a field.
Interpolate
The output is always interpolated
from the input. This will give the
smoothest output but at the
expense of potential blurring of
moving objects.
Synchronise
Gives the highest performance
with minimum output blurring. If the
input and output field rates are not
identical it can cause field drops or
repeats which may have the effect
of causing moving objects to
judder.
VIDEO APERTURE
The video apertures vary the temporal sharpness.
The options are:
Studio 1
The most diffuse temporal aperture.
Useful for stills and slow-moving video
with fading cuts.
Studio 2
Sports1
Sports
2
The sharpest temporal aperture.
Appropriate for fast-moving material
with fast pans and field-based cuts,
etc.
