martin griffith wrote:

Eeyore wrote:
martin griffith wrote:
Jan Panteltje wrote:

Even studio quality (directly from a PAL camera) has all sorts of artefacts,
just where the right striped shirt.

I say: Just buy a good digital set :-)

Hmm, all the pro cameras I know come out in RGB or YUV.

Nobody in the professional world should be using PAL/NTSC in the
studio's primary signal chain today

Interesting you should say that. There must be tons of gear out there that's
'legacy' so-to-speak PAL.

I think you can still buy toy composite mixers, try BHphoto etc and
the camera control units (CCU) all had the usual PAL ScH and timing
adjustments, but rarely used, and don't forget that the (almost
obselete) Betacam SP format recorded in YUV anyway.

The PAL outputs are great for preview monitors, ie non critical, and
less wiring.

PAL is a very robust transmission format, but absolutely sucks in a
production setting

You would perhaps (or not) be amazed how much critical stuff like editing (for
feature films even- and I mean some really serious ones) is - or certinly was - done
from rushes that arrive on Beta SP tapes.

Given the huge investment in such kit I'd not be surprised if it's still quite
common.

Graham