On Thu, 26 Jul 2007 22:35:45 +0200, martin griffith
wrote:

On Thu, 26 Jul 2007 20:51:59 +0100, in sci.electronics.design Eeyore
wrote:



martin griffith wrote:

On Thu, 26 Jul 2007 17:10:00 GMT, in sci.electronics.design 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.

Graham
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


Spot on.

It is akin to a high end HD digital video card also carrying a composite
output jack.