Grande Vitesse Systems

gvs9000 vtr storage applications asset management


 
GVS9000 VTR recorder and playback specifications

Video Modes InPut:
• Dual Rec and Playback
• Dual SDI Link (SMPTE, 259M, 292/296,372M)
• 2K 2048 x 1556 24p, 24psF
• HD 1920x1080 4:4:4 1080psf
23.98 1080i29.97
• HD 1920x1080 4:2:2
• 720x486 720p 60 720p 59.9
• SD 720x576 625i 525i 29.97
Video Modes OutPut:
• Dual SDI link 4:4:4 (RGB)
• Dual SDI link 4:4:4:4 RGB plus Alpha channel Video + Key (YUV)
• Single Link 4:2:2 (YUV)
Analog: SD and HD Output, 12-bits, BNC:
• 12-bit component/composite/S-video analog I/O
• HD: YPbPr, RGB
• SD: YPbPr, RGB (component mode)
• Composite/YC (composite mode)
Audio:
• Quantization: 16-bit, 20-bit, 24-bit selectable
• 2-8 channels S/P DIF BNC audio
• 2-8 channels of AES/EBU XLR audio
• 8-16 channel embedded audio
• Upgrade option available to 96Khz or
GVS9000 Pro interface:
• RS-422: Sony P2 protocol 9-pin
• RS-232: 3-sub 9-pin
• FireWire 400/800 port
• USB 2x2.0 ports USB
• Headphone jack (audio monitoring)

HD444

 technical specifications:
• redundent power supply (opt)
• LTC Support
• 8/10-bit uncompressed AVI, BMP, DPX, JPEG, MXF, QuickTime, WAV, real-time Proxie and XML input during recording
192 kHz audio support
GVS9000 PRO :
• SDI, HD-SDI, analog HD/SD input/output
• 12-bit HD analog component I/O
• 12-bit component/composite/S-video analog I/O
• 10-bit embedded hardware HD to SD down converster
• DVCProHD embedded hardware
• HDV embedded hardware acceleration
Genlock BNC in/out and RS422 machine control:
• Analog: SD: Black Burst, Bi-Level; HD: Tri-Level (pro)
REC/Playback direct to SAN Storage:
• 4/8GB Dual or Quad Fiber Interface w/ GVSAN (opt.)
True universal converter (opt) SD <-> HD:
• 1080i29.97 <-> 720p59.94
• 1080i29.97 <-> 525i29.97
• 1080i25 <-> 720p50
• 1080i25 <-> 625i25
• 1080i23.98 -> 525i23.98 (rec)
• 1080pSF23.88 -> 720p23.98 (rec)
• 1080pSF23.98 -> 1080i29.97
• 720p50 <-> 625i25
• 720p23.98 -> 1080pSF23.98 (play)
• 720p23.98 -> 525i23.98 (rec)
• 525i29.97 -> 720p59.94
• 525i23.98 -> 1080pSF23.98 (play)
• 525i23.98 -> 1080i29.97 (play)
• 525i23.98 -> 720p59.94 (play)		 REC/Playback Interface:
• RS422
• Jog/Shuttle
• 4x9000VTR over network
• 4GB Dual or Quad Fiber Interface w/ GVSAN (Pro optional)
• Dual, Quad 100/1000Bit or 10GBit (opt)
• YUV and DVI out
Operating shock:
• 2940 m/sec2 (300 G)/2ms
• 1568 m/sec2 (160 G)/1ms
Nonoperating shock:
• 9800 m/sec2 (1,000 G)/1ms
Electrical and environmental requirements:
• Meets ENERGY STAR requirements
• Line voltage: 450-650W 100-125V AC or 200-240V AC
• Frequency: 50Hz to 60Hz, single phase
• Maximum current: 4.25A (low-voltage range)
• Operating temperature: 50¼ to 95¼F
(10¼ to 35¼C)
• Relative humidity: 5% to 95% noncondensing
• Maximum altitude: 10,000 feet
Size and weight:
 • Height: 3.46 inches / 87.89 mm
• Width:17.65 inches / 448.31 mm
• Depth: 19-21 inches / 482.60 mm
• Weight: 25-40 lb / 11.34 kg
The chart below is designed to provide viable information for calculating the storage requirements for your production environment based on 4.0TB storage and the total hours it delivers at different compression rates. It also gives a breakdown of how much storage you will need for 48 hrs. of video at these compression rates.
Time/Size Video Format
Date Rate Mbit/sec
Date Rate MB/sec
Storage For 1 Min/MB
15 Min. Require GB
Storage Require 1 Hour/GB
4 TB Provides Hours
48 Hrs. Requires Storage
4096x3112 23.98p RGBA
13,040
1,630
97,800
1,467
5,868
40 min
281,664 GB
4096x3112 23.98p YUVA
9,800
1,223
73380
1,101
4,403
54 min
211,334 GB
2048 x 1556psf 23.98
2,440
305
18,300
275
1,098
3.5 hr
33,000 GB
2048 x 1080p 24
1,700
212
21,740
191
764
5.2 hr
36,692 GB
2048 x 1080p 23.976
1,700
212
12,720
191
763
5.3 hr
366,335 GB
2048 x 1556psf 15
1,528
191
11,460
172
688
5.8 hr
33,000 GB
2048 x 1556psf 14.98
1,500
190
11,400
171
684
5.8 hr
32,832 GB
SMPTE 259
2,200
270
16,200
243
972
4.1 hr
46,656 GB
1080p 4.4.4 10-bit 29.97
2,000
249
14,930
224
896
4.5 hr
42,998 GB
1080p 4.4.4 10-bit 25
1,660
207
12,420
186
745
5.4 hr
35,770 GB
1080p 4.4.4 10-bit 23.98
1,600
199
11,940
179
716
5.6 hr
34,387 GB
1080i 4.2.2 10-bit 59.94
1,328
166
9,953
149
597
6.7 hr
28,666 GB
1080i 4.2.2 10-bit 50
1,100
138
8,280
124
497
8.1 hr
23,846 GB
1080p 4.2.2 10-bit 23.98
1,064
133
7,980
120
479
8.4 hr
22,982 GB
720p 4.2.2 10-bit 59.94
1,064
133
7,980
120
479
8.4 hr
22,982 GB
1080i 4:2:2 8-bit 59.94
1,000
124
7,465
112
448
8.9 hr
21,500 GB
1080i 4.2.2 8-bit 50
830
104
6,221
93
373
10.7 hr
17,916 GB
1080p 4.2.2 8-bit 23.98
800
100
6,000
90-
360
11.1 hr
17,280 GB
720p 4.2.2 8-bit 60fps
800
100
6,000
90
360
11.1 hr
17,280 GB
720p 4.2.2 8-bit 30fps
400
50
3,000
45
180
22.2 hr
8,640 GB
720p 4.2.2 8-bit 24fps
370
46
6,000
90
360
24.2 hr
7,949 GB
MJPEG2
270
34
2,025
30
122
32.9 hr
5,832 GB
ProRes 422 HQ
220
28
1,680
25
101
39.7 hr
4,838 GB
SD 10-bit Uncompressed
220
28
1,680
25
101
39.7 hr
4,838 GB
SD 8-bit Uncompressed
170
21
1,242
19
75
53.7 hr
3,577 GB
ProRes 422
145
18
1,088
16
65
61.7 hr
3,600 GB
DVCPRO HD
100
13
750
11
45
88.9 hr
2,160 GB
DVCPRO 50
50
7.7
462
7
28
143.3 hr
1,331 GB
MPEG2
32
4
240
4
14
277.8 hr
691 GB
MiniDV, DVCAM, DVCPRO
30
3.6
216
3
13
308.6 hr
622 GB
MPEG1
8
1
83
1
5
799.4 hr
240 GB
GVS9000 VTR Support Format With Large Number of Codec Options
480i 29.97
525i 29.97
625i 25
480i 29.97
720p 23.98 8 Bit Varicam
720p 23.98 8 Bit
720p 23.98 10 Bit Varicam
720p 23.98 10 Bit
720p 23.98 DVCPro HD Varicam
720p 23.98 DVCPro HD
720p 25 8 Bit Varicam
720p 25 10 Bit Varicam
720p 25 DVCPro HD Varicam
720p 50
720p 59.94
720p 59.94 8 Bit Uncompressed
720p 59.94 10 Bit Uncompressed
720p 59.94 DVCPro HD
720p 60
1080i 25 8 Bit Uncompressed
1080i 25 10 Bit Uncompressed
1080i 25 DVCPro HD
1080i 29.97 8 Bit Uncompressed
1080i 29.97 10 Bit Uncompressed
1080i 29.97 DVCPro HD
1080i 30 8 Bit Uncompressed
1080i 30 10 Bit Uncompressed
1080i 30 DVCPro HD
1080i 50 DVCPro HD
1080i 60 DVCPro HD
1080psf 23.98 8 Bit Uncompressed
1080psf 23.98 10 Bit Uncompressed
1080psf 23.98 DL 10 Bit Uncompressed Log RGB
1080psf 23.98 DL 10 Bit Uncompressed RGB
1080psf 23.98 DVCPro HD
1080psf 24 8 Bit Uncompressed
1080psf 24 10 Bit Uncompressed
1080psf 24 DL 10 Bit Uncompressed Log RGB
1080psf 24 DL 10 Bit Uncompressed RGB
1080p 24 HD
1080p 25 HD
1080p 29.97 HD
1080p 30 HD
1080p 50 HD
1080p 59.94 HD
1080p 60 HD
2048 x 1080P 23.98 10 Bit Uncompressed RGB
2048 x 1080P 24 10 Bit Uncompressed RGB
2048 x 1080 psf 23.98 10 Bit Uncompressed RGB
2048 x 1080 psf 24 10 Bit Uncompressed RGB
2048 x 1556 psf 23.98
2048 x 1556 psf 24
AVI525i 29.97
Apple ProRes 422 8/10-bit 145Mbps
Apple ProRes 422 HQ 8/10-bit 220Mbps
Cineon
DPX
HDV 720p30
HDV 1080i50/60i
 IMX
JPEG 2000 codec
NTSC 8/10-Bit Uncompressed
NTSC 23.98 8/10-Bit Uncompressed
PAL 8 Bit to DV
PAL P2 D10
PAL XDCAM D10 IMX30
PAL XDCAM D10 IMX50
PAL 8 Bit to DVCPro50
PAL 8 Bit to IMX-50Mb
PAL 8 Bit Uncompressed
PAL 10 Bit Uncompressed*.fcpre
DV PAL 24 @ 25
DV-NTSC 24p (23.98)
DV-NTSC Anamorphic
DV-PAL Anamorphic
DV50 - NTSC
DV50 - PAL
DV50 NTSC 24p (23.98)
DV50 NTSC Anamorphic
DV50 PAL Anamorphic
1080i 25 DVCPro HD
1080i 29.97 DVCPro HD
1080i 30 DVCPro HD
1080psf 23.98 DVCPro HD
1080psf 24 DVCPro HD
720p 23.98 DVCPro HD
720p 23.98 DVCPro HD Varicam
720p 25 DVCPro HD Varicam
720p 59.94 DVCPro HD
DVCPro HD - 1080p30
DVCPro HD - 1080pA24
DVCPro HD - 720p24
DVCPro HD - 720p25
DVCPro HD - 720p30
DVCPro HD - 720p6
DVCPRO - PAL 48 kHz Anamorphic
HDV - 1080i50
HDV - 1080i60
MPEG-1
MPEG-2
MPEG-4
MPEG IMX 8-bit NTSC - 30-50 Mbs
MPEG IMX 8-bit PAL - 30-50 Mbs - 48kHz
MXF P2 DVCPro 25 -10
MXF XDCAM PAL D25 D10 Imx30-50
MXF PAL HD MPEG2
MXF HD JPEG2K
MXF HD Uncomprssed
Uncompressed 8-bit NTSC 48 kHz
Uncompressed 8-bit PAL 48 kHz
Uncompressed 10-bit NTSC 48 kHz
Uncompressed 10-bit PAL 48 kHz
XDCAM HD - 1080i50 - 35 Mbps VBR
XDCAM HD - 1080i60 - 35 Mbps VBR
XDCAM HD - 1080p24 - 35 Mbps VBR
XDCAM HD - 1080p25 - 35 Mbps VBR
XDCAM HD - 1080p30 - 35 Mbps VBR
WMV
GLOSSARY OF ABBREVIATIONS & TERMS
TECHNICAL OPERATING SPECIFICATIONS OF GVS9000 VTR
4:2:2 A statement of sampling frequencies used to digitize the luminance and color difference components of a video signal. The term means that for every four samples of luminance (Y) there are two samples each of the color difference signals (B-Y and R-Y). Most commonly, the 4 represents sampling at 13.5 MHz. 4:2:2 at 13.5MHz sampling is one of a family of sampling sets described in Rec. ITU-R BT.601-5. It is incorrect to equate ‘601’ and 4:2:2.
AES/EBU Audio A digital audio interface jointly specified by the U.S. based Audio Engineering Society and the European Broadcasting Union. Operates at several sampling frequencies, 48 kHz for television equipment, and 44.1 for CDs are the most common. See AES3 / ANSI 4.40 for additional details.
Betacam SP Trademarked component analog videotape recording format consisting of the signals Y/R-Y/B-Y. Betacam SP is recorded on oxide or metal tape.
Chrominance The color information in a composite video signal. This information describes the hue and saturation of a picture, but not the brightness. The brightness and contrast are described by the luminance component of the signal. The signals I, Q, R-Y, and B-Y are all examples of chrominance information.
Closed Captions Program dialogue or narration encoded as electronic subtitles on Line 21 of the video signal and visible only with a captioning decoder.
Color Burst GVS9000VTR offers a sample of the subcarrier frequency placed after the trailing edge of horizontal sync. It is used in determining the decoded phase (color) of a composite analog video signal. Color Burst is inserted by GVS9000 VTR encoder to enable a decoder to regenerate the color subcarrier. May also be referred to as Burst.
Color Difference A signal that vanishes - that is, becomes identically zero - for pure luma without color. It is common in video to utilize a set of three signals, a luma signal and a pair of color difference signals, to convey a color image. The advantage of color-difference coding over R’G’B’ is that spatial and/or temporal filtering may be applied to reduce the information rate of the color difference components, with respect to luma, without being visually perceptible. Examples of color-difference pairs are B’-Y’, R’-Y’; Cb, Cr; Pb,Pr; I, Q; or U, V
Color Gamut: Serial Digital Interface. (SMPTE 259-M) A standard for serial transmission of digital video over coaxial cables. The 259-M standard supports composite digital and 4:2:2 component digital video formats using ITU-R BT 601 specifications for 525 and 625 line video, with 8 and 10 bit luminance sampling. Data transmission is based on a signaling rate of 270 Mbps or 360 Mbps with support for cable runs of several hundred meters.
Component Video Video consisting of three independent signals; one luminance and two color difference signals or Green-Blue-Red signals. Video whose original elements have been retained separately rather than combined (encoded) into a single signal known as composite video. Component video is technically superior to composite video, especially when repeated encode/decode processes are required. This is often the case during the production process. Also, any time video components are combined into a composite format, such as NTSC or PAL, it is never quite possible to obtain the exact original signals again. The bandwidth restriction of the composite formats is only one of several reasons for this. See composite video.
Composite Video A single signal with luminance, chrominance, sync, and color burst. A video signal in which the luminance and chrominance components have been combined (encoded) as in NTSC, PAL or SECAM. Any time a signal is encoded, the quality of the final signal available is reduced because absolutely perfect decoding is not possible (decoding is required to view the final picture). Composite video was developed in order to “squeeze” color information into the same broadcast bandwidth originally occupied by black and white. This avoided total replacement of all monochrome television transmitters and receivers. See Component Video. A video signal obtained by combining parts of at least two video signals, for example by keying or matting.
D-2 A 4Fsc sampled digital composite video recording format. This format samples the analog video signal on the I and Q axes in NTSC (PAL samples at + and – 135 degrees) and records a digital representation of the composite video (NTSC or PAL) onto 19mm tape cassettes.
D-3 A 4fsc composite digital recording format on 13 mm (1/2”) magnetic tape. It exists in three versions: for NTSC, PAL, and PAL-M systems. D3 has minor interface differences with D2 equipment.
D-5 A component digital tape recording format. It exists in two versions: with 13.5 MHz sampling rate and 18 MHz sampling rate, sometimes referred as D5H and conforming to ITU-R BT 601. A tape recording format based on ½” D5 tape but in this case recording component signals sampled to ITU-R BT 601 recommendations. D5 VTRs may well also play back D3 tapes with internal decoding providing component outputs. Care will be needed to identify the source tape as being composite or component where highest quality images are needed in post production.
D-6 High data rate VTRs (up to 1 Gbps) using 19 mm videotape on helical cassettes. (SMPTE 277M and 278M)
D-7 DVC-Pro series of VTRs. (SMPTE 306M)
D-9 Digital – S series of VTRs. (SMPTE 316M)
D-10 IMX series of VTRs. (SMPTE 365M)
Digital BETACAM A development of the original analogue Betacam VTR which records digitally on a Betacam style cassette. It uses mild intra-field compression to reduce the ITU-R 601 sampled video data by about 2:1. Some models can replay both digital and analogue Betacam Cassettes.
Drop-Out Video impairment appearing as specks during playback, caused by scratches or pieces of contaminant on the tape, leaving spots where no signal is recorded. With GVS9000 VTR there is no drop-outs.
DVCAM Trade name for professional version of the consumer DV format.
DVCPRO Trade name for digital compressed videotape recording format. DVCPRO equipment is backward compatible with consumer DV tapes, but has wider 18-micron head, higher tape speed and use azimuth recording. Sampling format is 4:1:1, which means that sampling frequencies are: Y –13.5 MHz, Pr/Pb – 3.375 MHz. Quantization resolution is 8 bits/sample.
DVS Descriptive Video Service. Narrated description of visual action for the vision impaired. Carried on separate audio track of video recordings and broadcast on a SAP channel.
Embedded Audio Method of transmitting a digital video signal together with accompanying (multichannel) sound by way of insertion of audio data packets in the digital video stream.
Encoder A circuit that takes component video input (e.g., R’G’B’) performs chroma modulation and luma/chroma summation, and produces composite color video (e.g., NTSC or PAL)
High Definition HD D5 A compressed recording system (approximately 4:1) for High Definition material on D5 cassettes. High Definition D5 supports both 1080 interlaced and 720 progressive standards. Four channels of uncompressed digital audio are included.
Horizontal Blanking The portion of the scanning line not carrying picture. In NTSC, the Horizontal Blanking Interval carries a synchronizing pulse and a color reference signal. Used to make the return trace of picture tubes invisible.
Horizontal Overscan A safety margin that manufacturers build into consumer television receivers to prevent them from displaying black edges on the sides of the picture, i.e., the entire active video line is not displayed.
Inter-Channel Timing The difference in propagation time between two or more channels. Differences in timing, or timing errors, create audible or visual discrepancies. Even errors in the nanosecond range can create color registration errors in component video systems.
Interlaced Scanning In video systems, the technique of scanning part of the lines of the image in a first vertical scan and adding the in-between lines in a subsequent vertical scan and adding the in-between lines in a subsequent vertical scan or scans. In standard analog television, 2:1 interlace is used: half of the lines are scanned in each field to create a frame out of two vertical scans. (see progressive scanning)
Letterbox A term used to describe a means of accommodating greater aspect ratio by adding blank area above and below the picture. The resulting image has a noticeable top and bottom border, not unlike what you would see looking through the slot of a letterbox. [4]. Letterbox is being used more frequently as 16:9 images are shown on 4:3 displays.
Lip-Sync Error In a system involving the simultaneous presentation of sound and motion video, the degree to which the audio and video are in sync. The name lip sync comes from the observation of a talking head scene, which is one of the most critical cases for audio/video synchronization.
LTC Longitudinal Time Code. Time code recorded on one of the audio tracks or on a dedicated linear time-code track on videotape. This can easily read when the tape is moving forward or backward, but not at a freeze frame, when time code recorded with the picture material (VITC) can be used, which all GVS9000 VTR support.
Luma Short form of the term Luminance. A signal that conveys monochrome or brightness information.
Luminance The monochrome component of a color video signal. Often designated “Y”.
MTS Multi-channel Television Sound See SAP.
Open Captions A program’s narration and dialogue displayed in video text, usually appearing in the lower-third of the television picture and visible without a caption decoder.
Progressive Scanning A scanning process where all the lines of the image are scanned by every vertical scan. (as opposed to interlaced scanning)
Reference Color Bars All GVS9000 VTR do offer test signal recorded at the beginning of a program or other recording that represents the video levels and other signal parameters used in the recording. The signal is specified by EIA RS-189A as modified by SMPTE EG-1.
Sampling Structure A three part number representing the number of samples of luminance and color difference components of a video signal. Common structures are 4:2:2, 4:1:1, 4:2:0.
4:2:2 – On each line of the image, luma is sampled at 13.5 MHz, each color difference signal at 6.75 MHz.
4:1:1 – On each line of the image, luma is sampled at 13.5 MHz, each color difference signal at 3.375 MHz.
4:2:0 – On each line of the image, luma is sampled at 13.5 MHz, the color difference signals are sampled at 6.75 MHz but at half the vertical frequency.
SAP Secondary Audio Program. An umbrella title for a variety of audio services offered in addition to normal program audio. SAP may include simultaneous translation of the program into a second language, program description for the vision impaired audience, local weather service information, or other uses
SDI Serial Digital Interface. (SMPTE 259-M) A standard for serial transmission of digital video over coaxial cables. The 259-M standard supports composite digital and 4:2:2 component digital video formats using ITU-R BT 601 specifications for 525 and 625 line video, with 8 and 10 bit luminance sampling. Data transmission is based on a signaling rate of 270 Mbps or 360 Mbps with support for cable runs of several hundred meters.
Setup In an NTSC composite signal, 7.5 IRE, the lowest point in the signal that luminance components are permitted. It should be noted that the color, or chrominance, components do not have this restriction. Also called Black Level. In component video systems setup is not used.
SMPTE Time Code (SMPTE 12M) A method of assigning unique identifying numbers to each frame of video recorded on videotape and some video servers. Time Code is important in editing and in automation. Each frame is identified with hours, minutes, seconds, and frame. There are two general methods of counting: Nondrop frame and Drop Frame. In video running at 29.97 frames (59.94 fields) per second (NTSC) the former accumulates an error of about 3.6 seconds in each hour. Drop Frame Time Code compensates by dropping frame 00 and 01 from the count at the start of each minute except minutes 00, 10, 20, 30, 40, and 50.
SMPTE 372M Dual Link 292M Interface for 1920 x 1080 Picture Raster
This standard defines a means of interconnecting digital video equipment with a dual link HD SDI (link A and link B), based upon the SMPTE 292M data structure. The source formats for this dual link interconnection are the picture raster formats, and digital interface representations as defined in SMPTE 274M. The total data rate of the dual link connection is 2.970 Gb/s or 2.970/1.001 Gb/s. This dual link also supports carriage of the embedded audio, the ancillary data, and the ID of the stream.
SMPTE 291M Ancillary Data Packet and Space Formatting
This standard specifies the basic formatting structure of the ancillary data space in the digital video data steam in the form of 10-bit words. Application of this standard includes 525-line, 625-line, component or composite, and high-definition digital television interfaces (750 and 1125 lines)and D-Cinema applications that provide 8- or 10-bit data ancillary data space. Space available for ancillary data packets is defined in the document specifying the connecting interface.
TBC Time Base Corrector. A device performing a time base correction function often with many other features, e.g. transcoding function as well as noise reduction.
Track As used throughout the TOS, Track is defined to mean a physical path on a tape. Channel means a signal path. More than one channel may be present on a track as in the case of an encoded signal.
VITC Vertical Interval Time code. Time code added into the vertical blanking interval of a TV signal. May be read by video heads from tape at any time pictures are displayed. Effectively complements LTC ensuring time code can be read at any time.
VITS Vertical Interval Test Signals. Test signals inserted in the lines of the vertical blanking interval of analog television signals.
Product specifications are subject to change without notice. ©1987-2019 Grande Vitesse Systems, GVS, GVS 90001U-IS, GVS9000 2U, GVS9000 2XU, GVS9000 VTR, GVS9000 2U VTR, GVS9000 2XU VTR, GVS90004NXU, GVS9000 4XU, GVS9000 2U, GVS90001U, GVSAN, ColorITReal, Color IT Real, HD-DV Tracker, MCR, Panoramic, GVS9000 1U, and GVSBASS are trademarks of GVS-Grande Vitesse Systems Inc, all other trademarks are property of their respective owners.


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