From rjn@hpfcso (Bob Niland) Fri Jan 3 15:22:04 1992 From: rjn@hpfcso.FC.HP.COM (Bob Niland) Newsgroups: rec.video Subject: LD#01: Introduction to Laser Video Message-ID: <7970671@hpfcso.FC.HP.COM> Date: 30 Dec 91 19:52:19 GMT Organization: Hewlett-Packard/FSY Ft.Collins,CO,USA Lines: 1039 re: ..but it can't even record? Revised: 30 Oct 91 What is the appeal of laser video disc (LD)? Why might it interest you, even if you already own a VCR? In a nutshell: 1. LD is to VCR as CD is to audio cassette. 2. If you collect movies, LD is the closest alternative to actual projection prints, which are hard/impossible to get, cost several hundred dollars per, fade and wear out. 3. If you are buying new release video tapes at $89.95, you can get higher quality and more functionality for less money with discs. 4. Right now is the Golden Age of NTSC laser video. (If you live in a PAL country, read on.) The purpose of this article is to expose LD technology to those unfamiliar with it. This article is focused on home entertainment laser, and not industrial or interactive, although these other uses share much of the technology. There are several problems with the video industry in general and the laser biz in particular. One of them is the lack of solid technical information that end-users need to make informed decisions; hence, this article. LD Advantages (compared to VCR): * No media wear in careful use. * Potential for archival media shelf life. * Higher resolution image. Higher s/n. Smaller time-base errors. * High quality analog sound, and often full-digital sound. * Widescreen formats more frequently encountered. * Lower purchase price (for media). * Used media of acceptable quality. Lending possible. * No bootleg media. * Random access. * No Macrovision copy protection (and attendent image jitter). * Still-frame subjects available. * More extensive liner notes. * Theatrical trailer sometimes included. * Pre-production material sometimes included. * Computer control of Pioneer players via Macintosh. * LD "combi" players (common) can also play your CDs. LD Disadvantages (compared to VCR): * Does not record. * Entry-level LD player price ($300) slightly higher than VCRs. * Fewer rental outlets. * Title availability lower and more unpredictable than VHS. * Media may require flipping after 30 or 60 minutes. What is LD? LD stands for LaserDisc, now the industry-wide term for consumer laser video (Pioneer recently surrendered their trademark on the term). During its life, the format has also been known as LV (LaserVision) and CDV (Compact Video Disc). The players are also sometimes referred to as VDPs (Video Disc Players). LD, you may be surprised to learn, was first demonstrated by Philips and MCA in 1972, and has been on the market since 1978, or about as long as VCR and twice as long as CD. There are about 650,000 players in home use in the U.S., and over 2 million in Japan. The U.S. installed base is increasing at over 15,000 units per month. LD should not be confused with the Japanese VHD or the discontinued RCA CED videodisc systems (I have a separate article available on CED). Physical Media Types: There are three major types of consumer laser video media: 12-inch video discs, 8-inch video discs, and 5-inch "CD-Video" discs (CDV5). All LD players can handle 12- and 8-inch. All but one early "combi" player can handle CDV5 (which format is comatose anyway). The traditional 12- and 8-inch media are of acrylic construction, and are always two-sided, although sometimes only one side contains program material. LDs are literally two single-sided discs glued together, and the edge of the disc is often sticky for this reason. The LD center hole is larger than a CD's, and there is a small label on both sides. The hole and label are about the same size as on a 45 rpm vinyl record. LDs, like CDs are packaged "loose", and not in a carrier like CD-ROM caddies or the old CED discs. The storage jacket is the same kind of cardboard sleeve used for LPs. From more than a few feet, it is difficult to tell if you are looking at the jacket of the video disc or the soundtrack LP. The 5-inch (CDV5 or just CDV) media is the newest, and probably the most familiar appearing, since it is externally identical to the common audio-only CD. CDV5 is single-sided, as CD is. The difference, denoted by the "CD-Video" logo and gold-colored data surface, is that a CDV5 can contain just under six minutes of full-motion video/audio plus 20 minutes of audio-only, compared to 80 minutes of audio-only on a conventional CD. As with CD, CDV5 is polycarbonate on the data side, and lacquer on the label side. Any LD player that can handle CDV5 can also handle audio-only CD. There are only a few dozen titles available on CDV5, and as far as I can tell, none have been released since 1989. Polygram (the predominant CDV5 label) announced in 1990 that they would produce no more. A new single-sided 8-inch format is announced, the "8-inch LD single". It is LD8 format, but polycarbonate construction (like a CD) and about the same thickness as a CD, requiring a spacer when played in most pre-1989 machines. Some 8- and 12-inch LDs are referred to as CLDs ("Compact Laser Disc"). This means that, like CDV5, only some of the chapters (tracks) have both video and audio. The remaining chapters are audio only. CLDs are almost always music video discs. Other buzzwords: LD players (whether combi or not) do NOT presently support CD-ROM, or CD-ROM/XA (audiofiles), DVI (compressed video) and CD-I (interactive multi-media) formats. Only Karaoke LD players support CD+G subcode text. Data Formats: Encoding: As with VCR and unlike CD, there is no single world-wide format for LD. Only LDs made for the North American and Japanese markets have U.S.-standard NTSC {specifically: M/NTSC-3.58} 525 line 60 Hz video and analog sound modulation. All consumer optical media play from the inside out, and the data for side "1" is on the opposite side of the medium from label surface "1". Discs from Europe and other markets are likely to be in EuroStandard PAL {specifically: I/PAL-4.43} 625 line 50 Hz format, and will not play on current American machines. The PAL LD (also called LV or CDV) catalog is under 1000 titles at present. However, multi-standard players, such as the Sony MDP-515D, Sony MDP-533 and Pioneer CLD-1450, are available in Europe. These may or may not require a multi-standard TV/monitor. There are reportedly no SECAM discs. SECAM countries use PAL for laserdisc. As with VCRs, for North American customers, the only significant "grey market" media source is Japan. Encoding is really a non-issue for NTSC consumers, and U.S.domestic discs are sometimes not even labelled "NTSC". Color: An LD can store a Color or Black & White signal. It can also handle any 3D format compatible with broadcast TV, although I remain unimpressed with 3D implementations to date. Ancillary in-video features are also available. Many discs have Closed-Captioned text encoded in scan line 21 for the hearing-impaired, and this is noted on the jacket. Copy-protection schemes are possible on LD, but no one is doing it yet, and common vertical interval implementations (like Macrovision) are evidently prohibited by the format license. Rotation modes: LDs can be mastered for either constant linear velocity (CLV, variable rpm), like a CD, or constant angular velocity (CAV, constant rpm), like an LP. All consumer players can handle either format. Some releases even mix the modes, with the initial sides being CLV and the final short side being CAV. Some films are initially released in both CLV and CAV "collectors" editions. What does this mean to you? CAV is also known as "standard play" or "full feature play". Only CAV provides all motion control capabilities on all players (at the expense of more platters and shorter 30 minute sides). CAV also provides constantly improving signal-to-noise ratio as the program proceeds toward the outer edge, but this is typically not noticeable on properly manufactured discs. CLV is also known as "extended play". One hour per side playing time results in lower prices and less flipping. In return, you give up all the other CAV features, unless you have a high-end 1988 or later vintage player with on-board digital field store, a feature which adds $250 or more to the price of otherwise equivalent machines. (Only a few high end industrial players have digital FRAME store.) The majority of disc titles are available only in CLV. This state of affairs is unlikely to change until such time as true still-frame, frame-seek and auto-stop are available on CLV, at which time CAV will become even less common. .------------------------------------------------------------------. | | |Ordinary | Digital*| | Capability (NTSC discs) | CAV | CLV | CLV | |====================================|=========|=========|=========| | Rotation velocity (rpm) | 1800 |1800..600|1800..600| | Maximum time per side (minutes) | 30 | 60 | 60 | |------------------------------------|---------|---------|---------| | Simple fast forward/reverse | Yes | Yes | Yes | | Variable fast forward/reverse | Yes | No | Yes | | Variable slow forward/reverse | Yes | No | Yes | |------------------------------------|---------|---------|---------| | Pause (with blank display) | Yes | Yes | Yes | | Still frame (field on digital CLV) | Yes | No | Yes | |------------------------------------|---------|---------|---------| | Seek to chapter | Yes | Yes | Yes | | Seek to time | No@ | Yes | Yes | | Seek to frame number | Yes | No | No$ | `------------------------------------------------------------------' * Digital field-store CLV is a feature of the player, not the media. The industrial Pioneer LD-V8000 can perform a true CLV still frame, and may be the ONLY LD player that can. @ Current time is stored in the vertical interval on CLV discs. That structure is used for frame number on CAV discs. However, the P-Q subcode fields of the digital audio track can contain elapsed/ remaining track/side time on CAV discs. Few digital sound discs have P-Q subcodes (aka Table Of Contents or TOC), and no players currently support seeking/programming based on TOC data. $ CLV timecodes can contain a 0..23 or 0..29 frame number sequence within the second, but only industrial players like the LD-V8000 provide true CLV frame seek. The equipment: The modern LD player looks just like an oversize CD player (and indeed, "combi" players handle CDs as well as LDs). All current models are horizontal tray-loading designs. Earlier models, like the 1981 Pioneer VP1000, are top spindle loading, just like early CD players. Unfortunately, all tray loaders except the Sony MDP-series have felt support pads that touch the LD in the data region during loading and unloading. Further, the trays on many tray-loaders do not expose the entire tray. Some care is required to insert and load a disc without scuffing the plastic enclosing the data surfaces. Generally, LDs are more robust than vinyl LPs, but I use the same handling precautions. Laser Karaoke: Karaoke is a Japan bar/nightclub craze in which inebriated patrons sing the lyrics to instrumental pop tunes. Laser Karaoke players are normal players plus four features: - they have a CD+G decoder to extract the sing-along lyric text, and mix it with the video signal, - they have a microphone input so that you can sing along with the on-screen lyrics of laser karaoke discs, - they often have pitch control, and they have a vocal-killer circuit that either blends the two stereo channels in opposite phase or uses Pro-Logic style DSP to cancel front-center signal, which generally eliminates or dramatically reduces the lead vocal on regular non-karaoke CDs and LDs. LD Advantages Narrative: * No media wear in careful use. As with CD, and unlike CED and VHD videodisc systems, LD is a non- contact medium during play. There should be no wear in normal use, even if you freeze a single frame on screen for hours on end. (Some users are concerned with heat buildup in early gas-tube laser players, but all contemporary players use low-power solid-state lasers, so this should not be an issue for an adequately ventilated player.) In my opinion, LDs are slightly more susceptable to handling damage than CDs, because, unlike CDs, the video signal and (analog) sound embody no error correction, other than a "dropout compensator", which can replace a single lost scan line with a duplicate of the previous line. A deep concentric scratch is both visible and audible. Radial scratches and light scuff marks tend to be invisible. A regional LD/VCR retailer reports that he has far less damage problems and far longer rental life with LDs than with tapes. Of the 500 or so LDs I have auditioned so far, I have witnessed severe handling damage on two discs. Someone had loaded one in an older top-loading player with the shipping screw still in place, and spun it up. I had limited success in polishing out the damage with an aircraft canopy restoration kit. The other disc was spun up in a contemporary player with some foreign object inside. I had complete success in polishing out the resulting circular scuff/scratch. (I have an article available on LD care & repair). * Archival media shelf life. The theoretical shelf life of a *properly manufactured*, and properly stored LD is the same as that of a CD; essentially unknown, and possibly longer than the photographic negatives/prints from which the disc was made (certainly longer than many 1950s- and '60s-vintage dye-coupler tri-pack color negatives and prints). There are no known deterioration modes for properly made and stored discs. Contrast this with an optimistic shelf-life of 20 years for magnetic tapes of all kinds (less if used often). Tapes have several known deterioration modes: print-thru; binder breakdown; base stretch; not to mention physical abrasion wear and signal loss due to external fields (magnetized VCR components, speaker magnets, CRT deflection coils, and degaussers). Note that I emphasized "properly made disc" above. Of the major disc pressing sources, only 3M seems to understand how to routinely make an immortal disc. I have a separate articles available on LD quality, identifying LD defects and the interpretation of LD mint marks (i.e. who cast or pressed it). Discs do fail on the shelf, and do experience other manufacturing defects more immediately evident. I have had several discs with "laser rot" (purchased used). I have also purchased new (non-3M) discs with contaminants under the acrylic. I have had no trouble replacing or getting an offer of refund or credit for the clearly defective discs. Three and five year warranties are common on LD media, although Pioneer's is unstated and currently they appear willing to replace anything they ever made and/or distributed. The initial defect rate for LDs is lower than for pre-recorded VCR tapes. The rate seems to be slightly higher for LDs (about 2%) than for CDs (which are about 1%). It is difficult to tell because there is significant variance in how various players handle marginal and defective discs. * Higher resolution image. Higher s/n. D1 and D2 "Digital Video Transfer" declarations on the jacket notwithstanding, the video storage format on LD is ANALOG. The pulse-FM data structure on an LD (unlike ordinary VHS/Beta), is defined to hold all the information present in the composite video signal. Depending on source material and the transfer to disc, LD is above live TV broadcast quality: For NTSC, I understand that this is 425 TVL (luminance lines horizontally) and about 482 visible scan lines, compared to 330x482 for broadcast. Techno-trivia: the NTSC signal is FM encoded on disc as: sync tip at 7.6 MHz, blanking level at 8.1 MHz and white level at 9.3 MHz. Compare this further to 250x482 for typical VHS (Real-time recorded. Pre-recorded is probably less). Only recently have Super-VHS and ED-Beta approached LD capability. Of course, pre-recorded material is not yet widely available in these new VCR formats, and may never be. Even using S-VHS/ED-Beta to tape off-air still only reaches the 330x482 inherent in the broadcast signal. Compared to LD, all consumer tape formats also fall short in time-base stability, chroma resolution, video noise and audio fidelity. Although the video signal-to-noise ratio (s/n) appears to be about the same for LD and VCR hardware, it is probably not the same for mass-produced pre-recorded material. The LD process (casting or stamping) theoretically does not degrade the signal from master to copy. The tape process (magnetic contact printing) does. The tape copy loses information compared to the master, as well as over time. All LD players have time-base-correction; mechanical, optical or digital. TBC eliminates the horizontal line jitter and color errors so common on tape. Digital TBC, present on high-end players, appears to convey no significant advantages over the conventional opto-mechanical schemes. LD video output signal connections: Video - All players provide a composite video output, which uses the "video" or "aux" input on the TV/monitor. Contains no audio. RF - Most consumer players also provide an RF (radio frequency, "channel 3/4") output. The RF video signal quality is often slightly degraded from the composite. Contains mono audio. Y/C - Mid-range and high-end players often provide a Y/C (component or separate luminance/chrominance, aka "S-Video") output, but its value is debatable. On my Pioneer CLD-3070 and Sony XBR-32 setup, there is no visible difference between composite video and Y/C configurations. The native signal format on LD is composite, so Y/C output is only worthwhile if the Y/C separator circuit in the LD player is more sophisticated than the one in the TV/monitor, and the TV is accurate enough to tell. So far, the only player for which Y/C out is always superior is the $3500 Pioneer LD-S2 (the S2's composite is re-combined). The Y/C output contains no audio. * High quality analog sound, and often full-digital sound. There are two types of sound possible on LDs: - FM Analog sound, mono or stereo, with or without "CX" noise reduction. - Digital sound, mono or stereo (in addition to analog sound). All NTSC LDs have FM analog soundtracks (mono or stereo), and many have full digital ("CD-Video" style) soundtracks as well. All LD players can handle stereo analog sound. LD had stereo long before VCRs or broadcast TV did. Movies have had stereo soundtracks for a surprisingly long time, too. The 1954 "Twenty Thousand Leagues Under the Sea" is stereo, for example. LD analog sound, at 75 dB s/n, is comparable to broadcast FM radio and superior to 35mm mag/optical film tracks and VHS Hi-Fi (but with fewer dropouts, less compansion effects and no 60Hz helical scan artifacts). LD analog sound is far superior to VHS linear analog sound. LDs were considered the "high fidelity" video media even before digital sound. LD analog stereo is dual-carrier FM, not MTS (multiplexed) stereo. All players have at least one set of 1/L(eft) and 2/R(ight) RCA audio output jacks with which to feed an external amplifier and speakers. The RF (CH 3/4 radio frequency video) output contains either L+R or the currently selected audio channel. The composite video and Y/C (S-video) outputs contain no audio at all. To my knowledge, no LD players re-encode stereo audio into MTS at the RF output. If your TV does not have separate L/R audio inputs, and you are not feeding the LD audio into an external audio system, you may only be able to hear mono. LD stereo (both analog and digital) is true two-channel discrete sound with virtually no crosstalk. Consequently, it is possible to find LDs of monophonic movies where the movie track is in one channel, and a commentary or alternate language is on the other. Voyager Press (Criterion Collection) routinely includes informative and entertaining material on the second channel. All players have controls for selecting analog/digital and left/right/both audio. Aside: On some industrial or educational interactive video discs (a variety of LD called "IVD"), analog channel 2/R contains either Sony- or Pioneer-specific binary download programming code to control features of "Level II" industrial LD players. CX noise reduction is the rough LD equivalent of Dolby-B on VCR. CX is only used on the LD analog channels. Over half of the LDs in print are CX encoded. Some antique players require out-board CX decoders. There has been a lot of debate about whether to CX or not to CX. Criterion Collection, for example, only uses CX when the original audio source material has wide dynamic range (i.e. frequently not on early optical soundtracks mastered on film). They have ceased using it where the programs on the two channels are different, as it can cause decoder mistracking. With the advent of digital sound, the issue is moot. Digital sound: NTSC LDs may also have CD-style digital audio (with full error correction). These channels are also discrete, and are in addition to the analog channels. All new home players have digital sound except for Pioneer's 1989 (and quickly withdrawn) entry-level LD-870, which is analog/CX-only. Due to bandwidth limitations, PAL (Euromarket) LD media can have only analog sound (in which case the discs are called LV) or only digital sound (then called LD or CDV), but not both. Digital sound LDs may also have CD-style "Table Of Contents" (TOC) info in the P/Q subcodes, but current LD players don't seem to be able to do much with TOC beyond displaying the track count and total time. The majority of LD titles assume that you only have analog sound capability in your player, with the digital content merely duplicating the analog. This is changing. The recent Criterion Collection CAV edition of "Taxi Driver" has the complete dialog/music/FX soundtrack only on the digital channels. The analog channels are: a running commentary by Scorsese on 1/L with movie track under; and the Bernard Herrmann music (only) soundtrack on 2/R. If you have only an analog player, you cannot hear the movie. On at least one other Criterion ("The Graduate"), the movie track is in stereo only on the digital channels. An analog-only player can only yield mono soundtrack. Stereo soundtracks, whether analog or digital, may be encoded for matrix "surround" effects. You need an appropriate processor (external to the LD player), four (or more)-channel amplifier and matching number of speakers. I have a separate article available on surround sound. Surround-processed discs seem to sound like plain stereo on a stereo- only system, although the soundstage may seem wider than for plain- stereo discs, since anti-phase is used to place sound in the surround (rear) channel. The most common format is "Dolby Surround" - the consumer term for theatrical "Dolby Stereo" or Dobly MP matrix (same encoding, too). Discs bearing the double-D [DOLBY SURROUND] logo are so-encoded. Discs bearing the double-D [DOLBY STEREO] may be. Other terms are "matrix surround" and "Ultra Stereo". Films made from 1965 on, and simply marked "Stereo" may or may not have surround processing. Unfortunately, the video disc industry has a problem with adequate labelling. The "Digital SOUND" or "CD-Video" logo sometimes appears only on the disc label, inside the jacket, where you cannot see it before purchase. Warner's has used the phrase "Digitally Processed", which is apparently means "Digital SOUND". Surround processing is not always noted on the external or internal packaging, may appear only in the on-screen credits, and even that may not reflect what was actually mastered onto the disc! * Widescreen (letterbox and matted) formats more frequently encountered. (This issue is not unique to LD. If you own a VCR, understand this.) The television screen's width-to-height (aspect) ratio is 1.33 to 1 (or 4:3). This is very close to "Academy Ratio" (1.37:1), which is how films were composed and photographed until about 1950, when TV closely copied that ratio, became widespread, and became a threat to motion picture theatres, or so Hollywood thought. +---------------+ .=========. | Projected | : TV : | Widescreen | : Frame : | Movie Image | : : +---------------+ `=========' 1.50:1 to 2.65:1 1.33:1 Largely to compete with TV, Hollywood made films in "widescreen" processes like Cinemascope, Techniscope, Vista-Vision, Todd-AO, Technirama, Cinerama, Panavision, etc. They are all slightly different, but share one attribute: They are "hard" widescreen formats and their projected-image aspect ratios exceed 1.33:1. Some are as high as 2.65:1. Many directors, particularly during the 50s and 60s, filled the entire wide frame with important action or other visual material; some still do. When transferring "hard" widescreen movies to 1.33:1, there are two choices: 1. 2. .===============================. : Black : +--.==================.-------+ +-------------------------------+ | : : | | | | : Panned : | | | |L : and : | | | |O : Scanned : LOST | | Letterboxed TV Image | |S : (Cropped) : | | | |T : TV Image : | | | | : : | | | +--`=================='-------+ +-------------------------------+ : Black : <- TV frame moves -> `===============================' <- back & forth -> 1. Crop-off or anamorphically "squeeze" some of the original frame. Cropping, often called "panning and scanning", and preserves detail at the expense of information. It is often done very sloppily. In early widescreen movies, two-character dialog ends up as "talking noses" at the edges of the TV screen. The scanning may lurch back and forth across the image, trying to stay with the "important" visual content (or simply with the currently more famous actor). Where the image cannot be cropped, it is anamorphically processed, which squashes the image left-to-right, but leaves the height unchanged. Circles become ellipses. Title sequences are often so "squeezed", resulting in tall, thin distorted action under the titles. 2. Put more of the original wide image on the TV screen, leaving blank/grey/black space at the top and/or bottom of the screen. This is called "letterboxing" (or "videoscoping" by Criterion), and preserves *information* at the expense of detail. Compared to standard VHS, LDs have detail to spare, and I strongly prefer this presentation. You may have seen this in some recent music videos on TV or on TBS, but you probably have not seen it in a broadcast of a movie on generic network TV. The most frequently encountered presentation on broadcast TV and VCR is cropped. The use of letterboxing on LD releases is growing rapidly. Often you have a choice of aspect ratios. One LD label (Criterion Collection) routinely preserves aspect ratios. Recent Speilberg productions (e.g. "Color Purple", "Innerspace" and "Empire of the Sun") and MGM re-issues (e.g. "Ben-Hur" and "Doctor Zhivago") are also widescreen. Until recently, Japanese imports more often used widescreen than U.S. releases. This appears to be the result of both Japanese film purism and the desire to put the Kanji subtitles outside the picture (in the lower blank band). Unfortunately, for a variety of reasons, Japanese discs are priced at about twice what we pay for domestic ones. (I have a separate article available on imports.) If you haven't had a chance to compare a widescreen and a cropped version of the same film, you may literally not know what you are missing, except for a vague feeling of claustrophobia as you watch one these "chopped and squashed" films. On the other hand, a letterboxed presentation like "BladeRunner" at 2.2:1 or "Ben-Hur" at 2.65:1 (the current recordholder) really requires at least a 25-inch TV with at least 350 lines of horizontal resolution. Matted format: Not all theatrical widescreen formats are "hard" formats (where the letterboxed image is blank because there is nothing there on the print or negative). Some formats are "soft" widescreen: .===============================. : "protect for TV area" : <--Absent on "matted" LD +-------------------------------+ | | | | | | | Composed theatrical image | | (Matted LD image) | | | | | +-------------------------------+ : "protect for TV area" : <--Absent on "matted" LD `===============================' Don't automatically assume that the film you saw theatrically at 1.85:1 six months ago has been cropped for home video. Video is now a bigger market than theatres for some material. Many films are being shot "spherical soft matte" at 1:37:1 and are being *masked* (cropped) for theatrical presentation! When transferred to video, such works may be 1.33:1 full-frame, 1.33:1 zoomed-in, panned and scanned from the 1.7/1.85/2.4:1 compositions, or matted (leaving letterbox-like bands). During principal photography, the masked-out areas are usually "protected" in that they are kept clear of microphones, cables, etc., but they contain nothing crucial to the composition. However, special effects for the film may only have been made to cover a 1.66 area. Even when free of errors, inclusion of the protection bands may diminish the impact of the composition, which is why some directors and LD producers mask it off (example: Criterion Collection "The Princess Bride"). Some VistaVision films were also photgraphed in soft-matte widescreen (although not in consideration of eventual TV use). I will eventually have a more detailed article on aspect ratios. Please note that the LD industry does not consistently use "letterbox" to mean "hard widescreen source material". Matted soft widescreen transfers are often mis-labelled "letterbox". * Lower purchase price (for media). Discs cost about twice as much to manufacture as tapes, but discs usually sell for less. It might amuse you to know why... Video mechandising trivia: VHS tapes are the dominant home video medium. Most people rent tapes rather than buy them. The film studios don't get a percentage of the rental revenue. All they get is income from the initial sale of each pre-recorded tape. And the video stores are in hot competition with each other to get new titles fast. It is somewhat a "captive market". The first tape sales are therefore targetted at, and priced for, video rental stores - not for collectors. Consequently, new tape releases are priced very high ($80-90 is common). It is not until the the video store demand is satisfied that the studios drop the prices to levels attractive to individual movie collectors ($30-40). When that market is satisfied, prices may drop further for the "Kmart" mass-market customers, $10-20 per tape. In contrast, LD is, for the moment, a "sell through" market. The major purchasers of new LD releases are individual movie collectors. LD rentals are not a big market, and there is no low-end mass-market at all. LDs, even major titles like "Top Gun", are typically introduced at $30-40 (for CLV), and stay there. Many recent titles have come in at well below $30. Incidentally, routine 10% discounts are common for LD. I have a separate article available on LD mail order sources. Two exceptions to the generally low prices in the LD market are Criterion Collection and CBS/Fox. Criterion releases run from $40-70 (CLV) and $60-125 (CAV). They are worth it because they seek out the finest possible source material (archival negatives, etc.) and deliver the most complete product, often with generous motion and still-frame supplements. CBS/Fox widescreen titles are about $10 higher than Criterion, and generally have no supplements. CBS/Fox is currently testing the waters to see if the market will sustain this new rental-style pricing philosophy. I suspect it may backfire, as not only collectors, but low-volume dealers will decide they cannot to invest $70 on an otherwise unexceptional CLV title. Related tidbit - the LD release of widely anticipated titles is often delayed from the tape release by a month or two. "Bambi" and "Roger Rabbit" fit this model. The reason is that video retailers often don't order (or get) enough copies of new titles to satisfy their demand. They are strongly tempted to make local (illegal) copies. If they have only a tape to use as a master (and they defeat the simple copy protection) they still end up with an inferior duplicate, one that some picky customer may complain about (or report to the FBI). If they have a laser disc available, they can make illegal copies that are higher quality than the legit prerecorded tapes. The intro delay is allegedly to discourage this practice. * Used media of acceptable quality. Used video tapes have an aura similar to that of used cars. In the worst-case scenario, a flaky tape can wreck the heads in your VCR. More typically, the retailer may be selling it because it is damaged or worn out. The (in)famous scene that you bought it for has been played/paused so many times that the oxide, picture and sound aren't even there any more. Also, due to the wear on tapes when played, and the potential for severe tape damage, serious video collectors are reluctant to loan out their tapes. Used LDs, on the other hand, are like used CDs. Laser rot aside, if they physically look ok, they probably will play like new. The random access capability of LD makes it easy to skip through and QA a used disc in the store (which I routinely do). My collection has a sizeable percentage of used discs. I can't tell them from the new ones. With agreement on careful handling, many LD collectors are willing to swap discs for auditioning. I have a sample loaning agreement, available on request. And the prices of used discs are appealing. My average used disc has been $14.00, with a low of $8.00 and a max of $25.00. One local store also used to sell his rental inventory, knocking off $1.00 per recorded rental. I obtained some hard-to-get titles that way, and cheaply at that. I refuse to buy cropped movies at normal retail prices, but I will take a chance on them at used prices. If you seek used or "cutout" merchandise, make sure you and the dealer understand each other on the matter of defects, which are more likely on older pressings. Most dealers will accept the return of any disc they sell, regardless of what bin it came from. But in the case of older titles, the dealer may not be able to replace it with the same title. Find out what recourse is available to you in that case. * No bootleg media. Have you ever bought or rented a tape that turned out to be a 2nd- generation copy, or worse, a low-quality EP or LP recording (when the box said "SP")? Tape piracy is common, and it is also not unusual for dishonest rental customers to duplicate a rental tape, and swap the labels onto to dub before returning it. Because LD is a read-only medium, and because there are only a dozen pressing plants world-wide, and fewer (and thus better known) distribution channels, piracy is unheard of. New discs are virtually certain to be authentic. However, there is one scam to watch out for... When buying used discs or when renting re-releases: Crooked customers will sometimes rent a new edition/transfer/pressing, and swap the discs for older platters from their own collection. You may end up with a defective pressing of a cropped transfer of the pre-restoration edition of the film - in analog mono instead of digital surround. Always check disc labels, catalog numbers and side counts against the packaging. (Although reported, I have yet to have this happen to me.) * Random access. (Obviously, you never have to "rewind" an LD.) All players can randomly seek to start-of-disc in seconds, and to "chapter marks" (the equivalent of "tracks" on a CD) if the disc has chapter marks on it (not all do). The lack of them can be a considerable annoyance on music videos. The lack of chapter marks is not generally considered a "defect", unless advertised on the jacket but not present on the disc. So if none are listed, and you care, make sure you investigate before leaving the store. The possible range of chapter numbers is 0 thru 79, per side. Virtually all CLV players can seek-to-time with at least one minute resolution. If the disc is so coded, contemporary players can seek to one second resolution. Unfortunately, the timecode resolution of CLV discs is never noted on the jacket, but fortunately, 1-second is now the most common. All players and discs can perform a blank-screen pause (indefinitely) and skip fore and aft at high speed (described earlier). CAV discs can seek to individual frame numbers (if the player or remote has a keyboard), and play forward and reverse at unusual speeds, often in the range 1/3x to 3x. Single-frame-step fore and aft is also available. The newer players have a "jog wheel" that allows variable speed slow/fast-mo fore and aft. I have a more detailed article available on the curious world of CAV still frame, and how 24 frame-per-second film is transferred to 60 field-per-second video. Since this is frequently asked about: A handful of arcade video games (e.g. "Space Ace", "Dragon's Lair") were based on a pair of CAV laser players feeding a video monitor. These are no longer made (and few are in use). The discs are now collector's items, and will display, but cannot be "played", on consumer hardware, unless you have a pair of players and the original controlling software. * Still-frame subjects available. The seek-to-frame plus the still-frame capability allows LDs to contain material unthinkable on videotape. A CAV LD can store 54,000 individual still images per side. Discs with all the photos from the Voyager spacecraft mission exist, as well as photos of all the art in Louvre, 250,000 aviation stills from the Smithsonian Air & Space, etc. It is also possible to mix motion and stills. Criterion Collection LDs often follow the feature presentation with background material such as: production stills; related text material; outtakes; interviews; set design art, etc. The player automatically pauses on stop-coded still frames, and you are prompted to STEP forward or press PLAY to resume full motion. * More extensive liner notes. The larger container required for a 12-inch disc invites the inclusion of supporting text and illustration. And at least in the case of Criterion Collection editions, you get it. Full credits, dates and details of sourcing (negatives used, whose "cut", etc.). Sometimes the notes are included as still-frame text on the disc itself. For example, the CC "High Noon" includes, on disc, the complete short story from which the screenplay was ostensibly drawn. The Criterion CAV edition of "Ghostbusters" includes a complete shooting screenplay. * Theatrical trailer sometimes included. When there is space on the final side after the feature, and an original theatrical trailer ("coming attractions ad") can be located, it is often included on the disc. If you frequently host "video parties", this may be a useful tool for teasing your audience. Trailers, by the way, often contain scenes not in the actual film. And, because they are created long before the film is "in the can", the music in the trailer may also be completely different from that in the film. * Computer control of Pioneer players via Macintosh. Industrial LD players routinely provide a full-duplex RS-232C port for computer control and status readback. Consumer players have not provided RS-232C since the early 80s. Pioneer players do have a Control-In and Control-Out port, and the Voyager Company has built an adaptor ("The Box") which allows a Macintosh PC to control the player via that port or the IR remote sensor, depending on player model. Voyager offers HyperStack Mac software for many of their CAV titles. If you need computer control, particularly from a non-Mac PC, consider getting an industrial player. * LD "combi" players (common) can also play your CDs. All current low-end and mid-range LD players are "combi" players (see above). Only a few high-end units (such as the Pioneer LD-S2) are LD8- and LD12-only. If you don't already own a CD player, an LD combi player usually makes a satisfactory first player. In contrast to dedicated CD players, LD players are often about a year or two behind in convenience features - for example, CD-carousel capability arrived on combi players in 1990, several years behind CD players. In my experience, LD players do not provide the same level of audiophile performance that a state-of-the-art CD player can. If you care about CD performance, be sure to test the player as you would a dedicated CD player. I have an article available on how to buy a CD player (not part of the LD standard article archive). LD Disadvantages Narrative: * Does not record. Neither do CDs and LPs; even if an economical recording LD machine is ever introduced, it is too late for LDs to dominate the video market the way that VCRs have. In audio, if you want quality playback, you get a CD or LP player. If you want to record, get a cassette or DAT deck. 65% of American homes have a VCR. The typical LD owner is likely to have both a VCR and an LD. The recording issue is really a non-issue as the LD product is currently positioned. * Entry-level LD player prices higher than VCRs. New LD players run from $300 (discounted) to $3500. You can get a VCR for under $200. If you are concerned about features, the prices of comparable LDs and VCRs are about the same. You can get a used player from $100 up. Sight&Sound recently advertised a used Pioneer LD-700 for $125 and a (2nd generation digital sound) CLD-909 for $225. The only significant missing feature on pre-1987 players is digital sound. The video performance appears to equal Pioneer's current low-end machine (CLD-990). Conventional wisdom in the LD world says to avoid players prior to the VP-1000 (circa 1981). Having once bought a used VCR, I would not do that again (worn out head). An LD player seems less prone to wear, and even if it doesn't work properly, at least it won't eat your media (as long as you remember to remove that pesky shipping screw :-). * Fewer rental outlets. LDs are rented, at a typical price of $2.00 per day. Due to the longevity of the medium, you can often rent titles that are long out of print. However, unless you live in a major market (L.A., NYC, S.F.Bay, greater Boston, etc.), you may have trouble finding an outlet. Here in Fort Collins, CO (a city of 100,000), we had no outlets within 50 miles between 1986 and 1990. Until the two stores opened recently, I bought discs, swapped them with friends, but did not rent. There are reportedly some 2400 LD stores in the U.S., including a few chains, and over a dozen national mail-order sources. Several import and export. If you are renting for auditioning of the program material, rather than for routine viewing, this is not a big deal. Rent tapes. Buy discs. Or, simply borrow discs. Establish loaning agreements with your LD acquaintances. If you are interested in renting Criterion titles, be advised that some LD rental stores do not rent them, esp. CAV titles. * Fewer titles available. There are some 6,000 titles in print in U.S. release, and about 10,000 in Japan, with some overlap. New titles are appearing in the U.S. at a rate of several dozens per month. By contrast, I would guess that there are over 50,000 total titles available on tape. I'm not particularly concerned. Of the 300 or so titles that I would like to eventually own, it appears that only two are available only as Japanese imports and less than a dozen have yet to appear on disc at all. If I get desperate, I can always get the tape, I suppose. At the moment, new titles of interest are coming to market about as fast as my budget will allow me to buy them. Regarding those Japanese titles... Unlike Japanese audio CDs, Japanese LDs may have modified contents. Japanese moviegoers are more critical than Americans, and insist on original-language presentation, rather than dubbing. So unless the disc is widescreen, the Kanji subtitles may appear on-screen and in-picture. An accurate Japanese LD catalog is required to know for sure. I have a separate article available on imported LDs. Also, Japanese films censor some types of nudity acceptable in U.S. [R] rated films. "THX-1138", George Lucas' first film, available on disc only in Japan at the moment, has had this flesh-colored airbushing done to it. There are no uncensored [X] or [NC-17] films at all in Japan. * Media requires flipping after 30 or 60 minutes. Sometimes the 60 minute breaks on CLV discs provides a useful intermission for the audience. CAV discs (30 min.) are more annoying. If you are a professional couch potato, or prefer to watch films in a single sitting, theatre-style, this is a consideration. Side breaks are also sometimes poorly chosen (or not chosen at all, resulting in an abrupt interruption of a scene). In any case, 1988 saw the introduction of the first autochanger (Pioneer LD-W1, plays 4 sides). 1989 saw the introduction of the first single- platter players with 2-sided capability (Pioneer 2070, 3070 and the high-end CLD-91). These have all been twice replaced by subsequent models, and joined in 1990 by competing brands with "auto-reverse". Pioneer calls two-sided play capability "alpha turn". Side change takes about 15 seconds (by hand or automatically). * Unpredictable title availability. LD titles listed in catalogs and announcement flyers are often not available in adequate quantities, available at published dates, and sometimes not available at all. There are several factors involved, one has a hidden benefit to the LD collector. LD producers sometimes announce titles before they have the rights completely nailed down. This may be carelessness, but there are other causes as well, such as "surprise" old contracts that turn up late, and contain language that failed to anticipate LD (e.g. "We hereby assign to OneTimeVideo the LP, cassette and video tape rights to 'Revenge of the Valley Girls III'. All other rights are retained." So who has the LD rights? LD producers also often announce titles after clear rights have been obtained, but before acceptable mastering source elements have been located. This is apparently what held up the long-awaited letterbox release of several titles, including "The Magnificent Seven". MGM/UA says that the entire old United Artist vault materials are in sad shape. They had to go to Rome for decent print of "The Good, the Bad and the Ugly". Criterion Collection often announces that they will offer a title when they get the rights, long before they have collected, collated, annotated and transfered all the CAV supplements they are so famous for. Criterion, at least, does not advertise an orderable catalog number until about 45 days before first LD shipment. The practice of pre-announcing has the advantage that the major dealers often offer 15% pre-release pre-order discounts, sometimes 20% on megatitles. The dealers get a larger discount on large initial stocking orders, and they can pass it on. (Conversely, if the title attracts little or no stocking orders, the producer may cancel it altogether.) Pre-announcing also allows you to learn if an existing generic LD from one of the major labels will be soon be joined by CAV and/or CLV editions from Criterion Collection. In general, you can stay about six months ahead of the industry, and budget purchases carefully. Once rights and source material have been obtained, the LD producer must schedule transfer time and pressing time, further complicated if closed- captioning or other special-processing is used. LD jacket artwork and editiorial content needs to be prepared as well. There are a limited number of video houses who perform quality, LD-compatible telecine transfers; fewer yet who offer digital transfers. There are only eight pressing plants worldwide that are routinely available for NTSC LDs. If they all are flooded with "megatitles", as they were with "Batman", "Indy-III" and "Bambi" early in 1990, lower volume titles get delayed. Pressing plant capacity also affects inventories of back-titles. New issues often sell-out, and are not re-pressed for six months or more. If you are just starting out in LD, expect some frustration in finding all the back titles you seek. Having been at it for three years now, I have been able to locate all the back-catalog titles I want, most of the out-of-print titles, and new releases are arriving about as fast as I can afford them. The pre-announcing has allowed me to plan purchases carefully. New and improved transfers are being introduced all the time, but I have yet to find myself regretting a purchase due to a "surprise" release of an improved product. The Golden Age... NTSC LD is growing faster now than at any time in its 13 year history. There are more titles than ever, with new ones appearing faster than the average collector can afford to buy them. The media, film-to-video transfer quality, and disc features are better than at any time in the past. Disc prices are stable, and a higher percentage of catalog titles are actually available than at any time in the past. Current LD technology is fully compatible with professional line doublers and consumer IDTV (Improved Definition TV - if you can find an IDTV set that's tolerable, and I haven't). Although HDTV (High Definition TV) is getting a lot of press lately, U.S. broadcast is at least five years away, and HD-LD is today only being demonstrated (in Japan, at under 20 minutes per CLV side). In any case, future HDTV laser players will almost certainly handle current NTSC discs. Furthermore, the final standards chosen may not be much of an improvement over properly delivered NTSC and PAL, may introduce serious problems of their own, and may be well less than full "HDTV" quality in consumer magnetic and optical (if any) implementations. Consider laser, even if you already own a VCR, and particularly if you don't yet own a CD player. I see no point in waiting. Copyright 1988, 1989, 1990, 1991 Robert J. Niland All Rights Reserved Permission is granted for automatic redistribution of this article, unedited, through the Usenet video newsgroups and the Internet VIDEOTECH Digest. Permission is granted for each Usenet reader, each VIDEOTECH subscriber and each person who received this article via electronic mail from the author to retain one electronic copy, and to make hardcopy reproductions of this edition of this article for personal non-commercial use, provided that no material changes are made to the article or this copyright statement. All other copying, storage, reproduction or redistribution of this article, in any form, is prohibited without the express written consent of the author, Robert J. Niland. Regards, Hewlett-Packard Bob Niland 3404 East Harmony Road Internet: rjn@FC.HP.COM Fort Collins UUCP: [hplabs|hpu*!hpfcse]!hpfcla!rjn CO 80525-9599 From rjn@hpfcso (Bob Niland) Fri Jan 3 15:22:21 1992 From: rjn@hpfcso.FC.HP.COM (Bob Niland) Newsgroups: rec.video Subject: LD#02: Intro to (Japanese) Import LDs Message-ID: <7970672@hpfcso.FC.HP.COM> Date: 30 Dec 91 19:53:08 GMT Organization: Hewlett-Packard/FSY Ft.Collins,CO,USA Lines: 509 re: An introduction to Japanese import LDs Part: 1 of 3 Rev: 24 Mar 91 Part: 2 of 3 Rev: 24 Mar 91 Part: 3 of 3 Rev: 24 Mar 91 Japan uses the NTSC American television standard, and is therefore is the only major laser disc market outside the U.S. that is potentially a source for North American consumers. With the introduction of multi-standard LD players in Europe, import of NTSC discs (both US and Japanese) to PAL countries has recently become a significant business. That is not the topic of this import article. The purpose of this series of articles is to share what I have learned so far about this source, and encourage others to contribute their experiences. .-----------------------------------------------------------------------. | Market Attribute (typical) | North America | Japan | |=============================+====================+====================| | Television & LD standard | M/NTSC | M/NTSC | |-----------------------------+--------------------+--------------------| | Media list price range | $25-50 | $50-100 | |-----------------------------+--------------------+--------------------| | Installed base of players | 400,000 | 2,000,000 | |-----------------------------+--------------------+--------------------| | Available titles | 6,000 | 10,000 | |-----------------------------+--------------------+--------------------| | "Foreign" dialog processing | Dubbed English | Japanese subtitles | |-----------------------------+--------------------+--------------------| | English closed-captioning | Often | Never | |-----------------------------+--------------------+--------------------| | Typ. widescreen processing | Pan&scan, shifting | Pan&scan, with | | | to mat/letterbox | many mat/letterbox | |-----------------------------+--------------------+--------------------| | Censorship | None to speak of | Yes: See narrative | |-----------------------------+--------------------+--------------------| | Typ. product documentation | Skimpy | Extensive, but... | |-----------------------------+--------------------+--------------------| | Typical LD rotational mode | CLV | CLV | `-----------------------------------------------------------------------' Legality: ======== Many Japanese LDs bear U.S. copyrights and a legend stating "For Sale only in Japan". As with CDs (LPs and books, for that matter), if there is a U.S. copyright holder for the work, they can theoretically prohibit or otherwise regulate commercial import of the work. Consequently, few dealers will STOCK imports copyrighted in the U.S. (without permission of the U.S. holder). Several CD retailers have been busted for stocking "parallel imports" or are under consent decree to cease and desist. Works copyrighted only in Japan are evidently not a problem. (Grey market hardware is also generally not a problem from a legal standpoint.) However, under a provision of U.S. copyright law, there is apparently an exclusion allowing individuals to import works for their own use. (I have not researched this, and the Berne Convention may or may not alter it in the future.) Consequently, it is legal to personally bring back discs from Japan. Since few of us go there or have contacts, U.S. mail order firms are interpreting this exclusion to mean that they can act as your agent, and individually import works for you on a per-order basis. So, yes, you can get any LD in print, but it will take a couple of months, or more. Also, the price you will pay depends on the value of the Yen at the time your dealer gets the order acknowledged from Japan. If one currency moves strongly against the other in the meantime, you could get a pleasant or nasty surprise. Pricing: ======= If you have had a yen for an import, but have hesitated, it is probably because of price. A Japanese title will cost you roughly twice the identical domestic release. This is not due to the expense of importing it; for example, if you examine a stateside import catalog, you will notice that they state local Japanese prices in Yen. A typical price is 7800 Yen, or about $78.00 before shipping charges. None of the importers that I am aware of offer any discounts on imports. The high prices are due in part to the weakness of the dollar against the Yen, but there also seem to be major structural differences between the U.S. and Japanese LD markets. It appears that Japanese producers are deliberately keeping prices high, much as U.S. video tape producers did in the early days of VCRs (and often still do during the first year or so of many new tape releases). Recent reports indicate that the Japanese market is slowly evolving to sell-thru, and prices are falling. High tape prices failed as a sell-thru strategy in the U.S., for several reasons. The courts threw out the "fair trade" laws many years ago, eliminating direct control of retail prices by producers. We also have the "doctrine of first sale", which implicitly allows people to rent whatever they buy (and the studios get no rental royalties). Instead of milking an end-user sell-thru market, the studios unwittingly created a massive tape rental market. U.S. producers are now experimenting with lower first-release prices, in an attempt to bypass the rental market and sell huge quantities directly to end users ("E.T." and recent Disney titles are examples). I have a feeling that legal and market conditions are vastly different in Japan. Product distribution is an elaborate multi-layer scheme, with prices virtually dictated by the original producer at all levels. I have been told that there are no LD rentals in Japan, probably a result of legal conditions. Anyone with insight on this is welcome to comment. Incidentally, the Yen price of a Japanese title is often encoded into the initial digits of the catalog number. For example, on those I have... Title Label Catalog No. Yen Invoice (incl. ship.) Dragonslayer Bandai LA098L14046 9800 $90.50 Local Hero Tohokushinsha K88L-5061 8800 $85.89 Tune-Up A.V. Sony 50LS5023 5000 $56.50 The bottom line: a Japanese title is expensive, and this seems unlikely to change anytime soon. The question becomes: is it worth it? Features, Advantages, Benefits: ============================== What can a Japanese disc provide that you can't get here? * Titles unavailable on domestic discs - easily over half the Japanese catalog are titles never released on disc in the U.S.; for example (until recently), "Local Hero" above, a huge number international animation works, and of course, domestic Japanese productions. * Widescreen - the Japanese video consumer apparently prefers original aspect ratios, and prefers original language dialog. Matting and letterboxing not only preserve the image, they also allow the Japanese subtitles to appear outside the image. The space needed for the subtitles is also apt to cause the image to be closer to the full original aspect ratio, and not just less severely cropped. A few years ago, Japan was the leading source of widescreen LDs. A few titles are still only available in W/S from Japan, but they are rapidly losing their leadership as US labels discover that domestic LD purchasers prefer original aspect ratios. Japanese catalogs (in translation) often phonetically specify widescreen transfers as either "VistaVision" or "Cinemascope". These terms roughly approximate the domestic terms "matted" and "letterboxed", with respective aspect ratio ranges of 1.50-to-1.85:1 and 1.9-to-2.3:1. * Original running times - due to the desire of U.S. theatre owners to run more than one screening per evening, and the industry's low estimate of the American attention span, U.S. releases are sometimes shorter than the original director's cut. This is particularly true for imported films. "The Last Emperor" ran 2 hours 9 minutes in U.S. theatres (and on the Nelson discs). Laser Disc Newsletter (LDN) reports that the Japanese LD set runs 3 hours 39 minutes (this is unconfirmed). * Original language - if you are interested in non-English works, and hate dubbing, a Japanese disc is more likely to provide the original dialog (albeit with Japanese subtitles). Incidentally, even on U.S.-sourced works, if the original film had English subtitles (e.g. the bar scene in "Star Wars"), that English may be absent (or be in Japanese) on the Japanese disc. * On the other hand, if you don't mind dubbing, some Japanese discs are "multi-audio", and have between two and four different soundtracks on them. You may be able to obtain a domestically unreleased title with English on one of the channels. Obviously a four-channel disc requires a player with digital audio capability. * Side break frames - Japanese discs are more likely to fade to black at side end, and resume the feature immediately on the subsequent side. Until 1990, U.S. releases (except for Criterion) often displayed an End-of-Side title and begin subsequent sides with the idiotic zooming LaserVision logo. Frameless side switching is much less distracting, especially if you have a multi-side player or autochanger. Fortunately, new domestic releases are shifting to frameless side changes. * Chapter marks - Japanese discs used to be more likely to have them. * Liner notes - The three imports I have include inserts with extensive text, and in the case of "Dragonslayer", still photos. The disc jacket artwork appears to have been created specifically for disc, rather than being a rehash of the VHS package. The only comparable treatment in the U.S. is on the Criterion Collection label. Unfortunately, the supplemental material included with the imports is all in Japanese :-( * Alternate disc rotation modes - Although "Star Wars" is now available in a letterboxed domestic edition (and a nice one at that), it is CLV. If you want CAV, you'll have to import for the time being. Caveats: ======= * On-image subtitles - Works filmed in 1.37:1 Academy ratio, cropped (panned-and-scanned) down to the 1.33:1 TV ratio, or filmed for soft- matte but transfered full-frame, will almost certainly have the Japanese subtitles in the picture, usually horizontally on the bottom or vertically on one side. Even some widescreen discs have subtitles in-picture. This happens when the only available "master" is a Japanese theatrical print or internegative with the titles already present, and/or the producer can't justify re-mastering the theatrical release for video. * Censorship - Genital nudity (male or female) is verboten in Japan. Although there appear to be a large number of "adult" titles, the exposure is evidently limited to breasts. This puritanism is a legacy of General MacArthur's administration of Japan during the post-war occupation (but then, so is the convenient fact that they use NTSC instead of PAL, SECAM or something invented locally.) Even in such "socially redeeming" works as George Lucas' "THX 1138" the offending details have been airbrushed or digitally scrambled out. As far as sex is concerned, if the film you seek bears anything beyond a [PG-13] rating, make sure you can tolerate tampering before ordering. Violence does not seem to be censored; however, LDN reports that scenes of WW-II Japanese attrocities in China were trimmed in the Japanese release of "The Last Emperor". * Language - If the work was filmed in English, odds are that the original soundtrack will be present, but don't assume it. If the work was not English, be very careful. The Sight&Sound import catalog has a column for this. * Source quality - particularly for U.S. films. The Japanese producers may have had to make their video master from an ordinary projection print, and may not had access to an inter(neg/pos) much less the original negatives. Consequently, don't assume that the Japanese version of a random 1963 film will improve on the faded color of the domestic disc. * Pressings - On two of the three discs I listed above, only the style of the "mint marks" provide clues as to who pressed them. Even one of my Japanese co-workers can find no printed information on the disc jackets about the manufacturer on the other two. If you are avoiding discs pressed by a particular vendor, you may have trouble getting information. So How Can You Tell? =================== Having now cautioned you about disc contents, you are doubtless wondering how to collect the necessary "decision support data". The answer is: * Subscribe to LDN. Douglass Pratt reviews significant imports. His compilation book "The Laser Video Disc Companion", includes a number of those reviews. * Order an actual Japanese catalog from "Juke Box Japan" (about $5.00). Don't expect me to translate it for you :-) * Patronize mail-order dealers who provide the information in English. Swell, sez you. Where do THEY get it? Well, it turns out that the Japanese are fanatics for detail. Based on the discs I have, the vendors seem to conform to a standard set of data blocks on the disc jacket. They list: price, catalog number, rotational encoding (CAV/CLV), running time, video encoding (color/NTSC), sound (mono/stereo/surround/CX/digital), aspect ratio and presumably language. This level of detail is reflected in actual Japanese LD catalogs I have seen. At least one domestic importer (Sight&Sound) carefully translates and transcribes all this and more into their own import catalog. Mistakes are made, however. The Sony "Tune-Up A.V." claims to be "CLV" right on the disc jacket. It is CAV. Now Before You Pick up the Phone... ================================ Make sure you actually need an import. It would be a shame if you went off-shore for a disc about to be introduced in widescreen domestically, or worse, one that is already available (e.g. "Forbidden Planet"). Despite the small size of the LD market in the U.S., there is surprising choice in disc presentations of individual titles. Just because the MGM/UA disc of "2001" is cropped beyond belief, don't assume that it's your only choice (there are both CAV and CLV letterboxed versions from Criterion). In particular, memorize the Criterion Collection catalog. CC discs, even the elaborate CAV editions, cost no more than generic Japanese imports. Also stay abreast of what MGM, CBS/Fox, Warners and other recent letterbox converts (even Paramount!) have planned. Read LDN, and make inquiries in rec.audio or rec.arts.movies. I can generate a list of all known/planned Voyager Press (Criterion) discs on request. Sources: ======= I have a separate summary available on LD mail-order (and Colorado retail) sources. You also need... *** Laser Disc Newsletter Suite 428 496A Hudson Street New York 10014 NY $25.00/year, 12 issues Free sample issue available on request. A subscription will quickly pay for itself in avoided doggy discs, domestic or import. Each LDN issue also lists all (known) planned domestic releases, which could save you from a needless import. LDN often reviews domestic "anime" titles, and does NOT often review import "anime" titles, but does list new releases from all sources. Bob Niland Internet:rjn@hpfcrjn.FC.HP.COM UUCP:[hpfcse|hplabs]!hpfcla!rjn _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ re: a review of an Academy-ratio Japanese import LD Part: 2 of 3 Revised: 24 Mar 91 In the accompanying discussion of imports, I mentioned... Title Label Catalog No. Yen Invoice (incl. ship.) Dragonslayer Bandai LA098L14046 9800 $90.50 Local Hero Tohokushinsha K88L-5061 8800 $85.89 Tune-Up A.V. Sony 50LS5023 5000 $56.50 I have a brief article on "Tune-Up" available, but both the disc and the discussion are skippable. This article covers the first of the other two. Local Hero ========== For those unfamiliar with the work: "Local Hero" (1983) is Bill Forsyth's unpredictable and whimsical story of a yuppie Huston oil company site negotiator (Peter Rigert) dispatched by eccentric exec Burt Lancaster to purchase an entire coastal village in Scotland. Mark Knopfler composed and performed the score. Until March 1991 this film was not available on a domestic U.S. LD. It is one of my favorites, and had it been available, I would have bought an LD player many years earlier than I did. It is now available on Warner Bros. catalog# 11307. The difference between the import and the new domestic disc are evidence of the maturation of the domestic LD market. Disc K88L-5061 has the following attributes: Aspect ratio: 1.33:1 Soundtrack: English, mono CX analog Subtitles: White, one or two horizontal lines near bottom of frame Running time: 107 minutes (compared to 111 for the theatrical release) Chapter marks: None Side change: Frameless (black) Timecode res.: 1 second Manufacturer: Markings consistent with Pioneer Video Corp., Japan List Price: 8800 Yen (about $88) Other: Extensive liner note insert (in Japanese). Domestic disc 11307 has the following attributes: Aspect ratio: 1.33:1 Soundtrack: English, mono digital and CX analog Subtitles: Running time: 112 minutes Chapter marks: 29 Side change: Frameless (black) Timecode res.: 1 second Manufacturer: Pioneer Video, Inc. (USA) List Price: $34.95 Other: Closed-captioned The import K88L-5061 runs 5 minutes less than WB 11307. LH is a [PG] film, so there was nothing to censor. K88L is missing a few seconds of one scene (Happer picking up the phone in his kitchen for the second time). It is not critical and was probably omitted because Japanese phones can't behave that way and the audience would have been confused. Where are the rest of the missing five minutes? Answer: the import is time-compressed. When I synced up the two discs to find the missing time, the sound on K88L was constantly getting ahead of the picture on WB 11307. It appears that two or three times per second, a field is dropped during a 3-2 pulldown. Since the disc media could hold 120 minutes, I have to assume that the Japanese video transfer was originally done for broadcast, and the time was trimmed for commercials. WB 11307 also has a sharper image, truer colors, clearer sound and less video noise. It is clearly a new, quite possibly digital, video transfer. Both discs are presented in the same framing. Having never seen the film in a theatre, I am not certain what the original aspect ratio was (probably 1.66:1 soft matte), and the on-screen credits provide no clue. In any case, there is no obvious cropping. Consequently, it is difficult to make a case that the LH disc should have been letterboxed, with the subtitles (if any) placed below the image. Regarding the subtitles: although I have seen the work several times, and presumably would pay less attention to the main action, I found that I tuned-out the subtitles most of the time. They were only evident when their content was numeric or roman characters (as when the Danny Olson character is not speaking English). The numbers are slightly distracting because they don't necessarily match the dialog. Dollars are evidently converted to Yen and measurements to metric! A co-worker who borrowed the disc also reported that neither he nor his wife were bothered by the subtitles. I obtained K88L through "Laser Island" in Brooklyn. It took three months to get. Dealing with Laser Island (and presumably Juke Box Japan) is presently a pain, because they don't accept credit card orders. You have to call for a price estimate, send a deposit check for 20% of that amount, wait for notification of disc importation, send a check for the balance, then wait for shipment. Personal checks (as opposed to money orders or certified checks) slow the already-laborious process. The Bottom Line: =============== At the time, the import disc was the only game in town, and was almost exactly what I expected. (The catalogs didn't mention the CX encoding.) I have no regrets about the purchase, but anyone wanting a copy of "Local Hero" will be happier with the clearly superior WB 11307. Bob Niland Internet:rjn@FC.HP.COM UUCP:[hpfcse|hplabs]!hpfcla!rjn _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ re: a review of a letterbox Japanese import LD Part: 3 of 3 Revised: 24 Mar 89 This is the second of two reviews. Dragonslayer ============ For those unfamiliar with the work: This is a 1981 Disney film, directed and written by Mathew Robbins. It is not necessarily for children, and were it remade today, it would probably be a TouchStone release. Set in 6th century England, the premise is that dragons (and wizards) were real. The king is sacrificing virgins to placate the regional reptile. A band of villagers, headed by Caitlin Clarke, petition aging wizard Ralph Richardson to help. The job ends up involving his apprentice, Peter MacNicol. ILM did the special effects. The dragon was ILM's first use of the "go-motion" model animation technique. I had never seen "Dragonslayer", and originally bought the cropped domestic LD release only because it was $13 in the used-disc rack. I expected a predictable "swords and sorcery" flick, and was surprised to discover an intelligent work with convincing production values (and, for Disney, a surprisingly casual contempt for religion). The brief nudity in one scene is not censored on either disc. Comparative attributes: The domestic disc Dragonslayer Paramount LV 1367 $29.95 list Aspect ratio: Cropped to 1.33:1 Soundtrack: English, CX (Dolby surround, not documented on jacket) Running time: 110 minutes Chapter marks: None Side change: "End of Side" frame, zooming LV logo at start of side. Timecode res.: 1 minute Manufacturer: Pioneer Video Corp., Japan (Note: The domestic PVI repressing of this title has 1 second codes) The import Dragonslayer Bandai LA098L14046 9800 Yen $90.50 paid Aspect ratio: 2.0:1 letterboxed Panavision, near top of screen Soundtrack: English, CX and digital Dolby surround (documented) Subtitles: White, one or two horizontal lines below frame Running time: 110 minutes Chapter marks: 11 Side change: Frameless (black) Timecode res.: 1 second Manufacturer: Markings consistent with CBS/Sony, Japan "Dragonslayer" was filmed in 2.35:1 anamorphic Panavision 35. The domestic disc (LV1367) is obviously cropped. A lot of ILM's work on the dragon is simply chopped away. Main characters are missing from scenes, particularly group scenes. In a scene where magic fails the apprentice, you can't see that a crowd is witnessing it. The credit roll after the movie, which begins some time before fade-to-black, is anamorphically squeezed, even though the credits would have fit if the frame was merely cropped! However, all of this is no surprise to those of you familiar with the problems of pan-and-scan. Furthermore on LV1367, the images are grainy, the colors are a little washed out and one shot is reversed (disrupting up the continuity). The side change titles are distracting. How does the import fare? ======================== The LA098L14046 "Dragonslayer" is one of several widescreen Disney films which were re-released by Bandai (Japan) last spring in letterbox format. According to Laser Disc Newsletter, there are no plans for letterboxed release in the U.S., which is why I ordered an import. On the Bandai disc, the image is darker, crisper and seems to have more detail, despite the smaller size of objects compared to pan and scan. Some scenes have extraneous brightness at the bottom edge of the frame. This is not a serious problem, and appears to be a video mastering defect, not a disc error, and is not correlated with the presence of subtitles. "Dragonslayer" is a dark movie for the most part, and the bright subtitles would be very distracting but for the fact that they are below the frame. I attached some velcro pads to the monitor bezel and strung a strip of black polyethelyne across the screen, and - poof! end of subtitle problem. Aside: there is a lot of authentic Latin dialog in "Dragonslayer". The subtitles display it as well as the English, but I can't tell if the text is translated or phonetic. I obtained the disc through "Sight & Sound" (aka Wok Talk) in Waltham Mass. It took six weeks and was trivial to order. One phone call, a credit card number, and the disc simply appeared six weeks later. The charge did not appear on the card account until shipment. However, don't assume that six weeks is typical. The companion letterboxed import "Twenty Thousand Leagues..." never showed up at all. Unfortunately, Bandai's rights reportedly ran out, and these two works, as well as "Tron" and "Mary Poppins" will be unobtainable in widescreen until Buena Vista takes over LD production for Disney in Japan. When re-issued, they may not be in exactly the same presentation format, so beware. The bottom line: =============== I am very satisfied. Even if "Dragonslayer" appears in a domestic letterbox release, I might skip it and keep this import. Bob Niland Internet:rjn@FC.HP.COM UUCP:[hpfcse|hplabs]!hpfcla!rjn From rjn@hpfcso (Bob Niland) Fri Jan 3 15:22:26 1992 From: rjn@hpfcso.FC.HP.COM (Bob Niland) Newsgroups: rec.video Subject: LD#03: Surround Sound Message-ID: <7970673@hpfcso.FC.HP.COM> Date: 30 Dec 91 19:53:33 GMT Organization: Hewlett-Packard/FSY Ft.Collins,CO,USA Lines: 920 re: #03 The soundtrack comes after you... Revised: 19 Dec 91 Surround sound is available from stereo VHS/UHV/IRD/cable and broadcast TV, stereo video tape, laser video disc and a few audio CDs. The topic is included in my LD article series because surround is frequently the next enhancement sought after obtaining an LD player. There has been a fair amount of discussion over the years in rec.video, rec.audio and rec.arts.movies on the subject of surround sound. Much of it has concentrated on theory; why recovery of 3 or 4 channels of sound from 2 channels of data is [im]possible, what artifacts are introduced, etc. The objectives of this article are to address the questions: - Why should you care about surround? - What is the "return on investment"? - Is it worthwhile upgrade, or just a distracting acoustical gimmick that will quickly grow tiresome? - How important is it compared to other system upgrades? - What else do you need to know that the salesperson and literature won't tell you? Some History: Surround sound is not new. Disney's "Fantasia" (1940) had discrete 6-channel sound, as did the Cinerama series of movies in the 50s. Surround sound in the home is not new either. 15 years ago it was called "quadraphonic". Indeed, the "Dolby Surround" system of today is not much different from the CBS "SQ" matrix system of a decade ago. "Dolby Stereo" = "Dolby Surround" = "Dolby MP", for home purposes. Many of the "stereo" soundtracks on your laser video discs and VHS tapes have long been encoded for surround. This is because the encoding for "Dolby Stereo" (Dolby Motion Picture matrix, or simply Dolby MP) is the same as for home "Dolby Surround". It is easier to simply transfer the encoded signal from the theatrical audio master (or release print) to the video master, than to decode to simple stereo or go back to the pre-encoded audio elements and remix. Unfortunately, most of the press coverage of surround has focused on technical specifications, and none that I have seen attempts to give you any idea of what surround actually *sounds* like. Let me start with that... The Experience of Surround: * It may be a very long time before we have convincing 3-D video, but effective 3-D audio is here today. The audio portion of a surround presentation fills the entire listening space. * The difference between surround sound and conventional stereo can be as dramatic as the difference between stereo and mono. * To demonstrate this, during a sequence when the surround channel is active, try switching "effects OFF" on the processor. The consequence is that the sound collapses to the front of the room. Switch it on, and sound floods the room. * Observation: you can notice the *difference*, but on a tastefully mastered surround program, you often don't consciously notice the presence. The program is simply more involving. The psychological distance between you and the program is reduced. The image may still be at arm's length, but the sound joins you in the room. * Of course, on a tastelessly mastered work, herds of objects noisily zooming out into the room can become an irritation, but films like that are apt to be infested with myriad artistic defects of other kinds. The surround effect is almost subtle. Unless you have been informed that you are listening to a surround-encoded program on a surround system, you are likely to simply have a more engrossing viewing experience, without necessarily knowing why. You quickly get accustomed to hearing "rear" sounds from behind, after all, in real life(TM) that's where they come from. However, the general public is not clamoring for surround, 70mm, wide aspect ratios or 60 frames/sec., because they are not consciously aware of the contributions made by these technologies. None, including surround, is quite as profound and easily identifiable as the difference between, for example, silent-vs-sound or B&W-vs-color. Surround may not be getting the public attention it deserves, but then, the lack of technology awareness is desirable in art. You don't want the medium to overshadow the message. Putting Surround in Perspective: It is possible to create a home surround theatre whose sound exceeds that of your local 35mm "Dolby Stereo" movie hall. You will not be able to exactly duplicate the directionality of a 70mm Dolby hall, but at least the audio fidelity of the home laserdisc setup can equal or exceed that of 6-channel magsound film. However, surround sound is NOT the first step in a home theatre. If you are watching VHS tapes on a 13-inch dime-store TV and listening to the audio through the TV, or even the 5-inch speakers of a $100 discount store "rack" system, then begin your upgrade elsewhere. Don't get surround until you have high quality in the following other areas... * Signal source: The absolute minimum for tape is VHS linear (analog) stereo. VHS linear mono is incapable of surround, and you may not be satisfied with linear stereo. I suggest a LaserDisc player, Satellite IRD, quality stereo from cableTV or reliable local stereo VHF/UHF broadcast. Since there is not much surround broadcasting, and quality cableTV is so rare, making the jump to laser lightspeed will do more for your viewing pleasure than adding surround to an analog VHS setup. If LD is inappropriate for you, then a VHS HiFi deck is indicated. * Monitor: I suggest at least a 23-inch display (whether direct-view, front- or rear-projected) with at least 350 lines of real horizontal resolution, composite video input, and capable of correct setup for geometry, size (overscan), black level, white level and chroma. View at distances of between 4 and 8 picture heights. * Audio: The main (front) channels need to have speakers with fairly flat on- and off-axis response, with no resonances, no breakup or distortion at moderately loud listening levels, and backed by an amplifier of adequate power that adds no problems of its own. The treble response needs to be flat to 7KHz or more, and the bass response needs to reach down to at least 100Hz - the lower the better, since film/video programming has much more deep bass than music. If, for example, you can't tell the difference between CD and pre-recorded audio cassettes on your system, you probably need a complete audio upgrade. Note on MTS: VHF/UHV broadcasts encoded for NTSC-MTS stereo can carry surround, but the stereo signal is often trashed by the local broadcaster or cable operator, leaving you with a mono, [re]simulated stereo or highly distorted stereo signal. Don't get surround just for MTS programs unless you are certain that you have reliable access to solid stereo programming, and you have decent MTS decoder in your TV (many MTS decoders are junk, even in "hi end" sets). Note on Mono: If you play a surround-encoded signal on a mono VCR or TV, or through a mono audio system, mixing the left & right together, any sound intended for the "surround" channel will be cancelled out altogether and will be inaudible. For this reason, some stereo surround material is labelled "non-mono compatible". In fact the surround channel component of ALL surround program material is non-mono-compatible. Some surround titles: If you get an opportunity to demo surround, make sure you are using source material that is worthy of the system. Be advised that: a. Many video sources with surround sound aren't so identified on the media jacket. Sometimes your ears or the "Dolby Stereo in Selected Theatres" that appears in the trailing credits are your only clues. b. Conversely, the appearance of "Dolby" in the trailing credits is no guarantee that a Dolby-ized stereo master was used for the video release (although it is rare that this is not the case). c. Even if "Dolby" or "surround" appears on the jacket, the effect may be less than dramatic, and may be largely ambience and echo. The following laser video disc (LD), from the IMAX movie, is what I use for surround demos: The Dream is Alive {CAV} (Ferguson, 1985) Lumivision LVD9019 The following two laser disc titles also have very effective surround programs. I cannot vouch for the non-Criterion pressings of "Ghostbusters". I also cannot tell you anything about tape editions. Empire of the Sun {CAV} (Spielberg, 1988) WB 11844 Empire of the Sun {CLV} (Spielberg, 1988) WB W11573 (P-51 attack scene) Ghostbusters {CAV} (Reitman, 1984) Criterion CC1181L Ghostbusters {CLV} (Reitman, 1984) Criterion CC1182L ("Slimer" scene in hotel) There are several test discs available for calibrating systems (and verifying that your dealer's demo system is correctly set up). The most easily available is: A Video Standard (Kane, 1989) RR LD-101 The following LDs also have surround programs. Although they are somewhat less dramatic than those above, they are more pronounced than several other "surround" discs I have examined. Ben-Hur {the current letterbox edition} (Wyler, 1959) MGM ML101525 Die Hard (McTiernan, 1988) CBS/Fox 1666-80 Dragonslayer (Robbins, 1981) Bandai LA098L14046 Dragonslayer {Cropped} (Robbins, 1981) Paramount LV1367 LadyHawke (Donner, 1985) WB 11464LV Ruthless People (Abrahams,Zucker, 1986) Touchstone 485AS Star Trek III - The Search for Spock (Nimoy, 1984) Paramount LV1621 Star Trek III - The Search for Spock[WS] (Nimoy, 1984) Paramount LV12954 Star Wars (Lucas, 1977) CBS/Fox 1130-85* The Witches of Eastwick (Miller, 1987) WB 11741A/B One title to avoid: Dolby Technologies: How They Work Pioneer 05458 Although a useful tutorial, it contains NO demo material. Many of the articles referenced below also list demo titles. * This is the new letterbox CLV edition with digital sound. 1130-80 (CLV) and 1130-84 (CAV) are cropped, although probably still surround. _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ How does surround work? [Over]simply stated, sound intended for the "surround" channel is recorded in the normal left & right stereo channels, but out of phase with respect to each other. Anti-phase is "rear" (surround). In-phase balanced in both left and right is "center" or "dialog". Other sounds are left, right or some blend. Some hall-dependent delay may be added (by the playback processor) to the signal sent to the surround channel so that listeners far back in the theatre won't hear the surround signal (esp. simulated echo) prior to the original front channel sound. In the Dolby system, the surround channel also employs mild (5 dB) Dolby B noise reduction. Depending on the decoder, other signal processing and channel amplitude manipulation (steering) may be applied to attempt to cancel various signals out of channels where they aren't "supposed" to be. Normally the effect is subtle and effective. To hear the steering in action (and struggling), play a dual-audio program, such as a laserdisc with a monophonic soundtrack on analog channel 1/L and a commentary on 2/R. With Pro Logic, the sound will jump all over the place. (Of course, a really smart unit may just give up in the face of such mistreatment, and shut down decoding.) If you listen to an un-decoded surround program on an ordinary stereo setup, you may detect the out-of-phaseness of surround signals (particularly on headphones - see postscipt). The soundstage may appear to be wider than your speakers, or you may actually have a psycho-acoustic experience of sound from behind you (I noticed this on the "LadyHawke" LD, prior to having a surround processor.) Technically stated, the "Dolby Stereo" MP Matrix ENCODING looks like: Source Sounds As Encoded Lt Left ----> + -------------------------------------------------+---> Left Source ^ ^ Total | 5 dB | | 100-7K Dolby +90 deg Ctr ---> -3 dB Surround ---> -3dB ---> band ---> B NR --->| Source | Source pass Encode -90 deg | | v v Rt Right ---> + -------------------------------------------------+---> Right Source Total Pre-recorded "surround" programs have Lt and Rt in the left and right stereo channels. To extract the left/center/right/surround, you need a DECODER. A primitive decoder merely passes Lt to left, Rt to right, then isolates and subtracts the Lt and Rt, sending the Lt-Rt result to the surround speakers. Yes, you can simply wire the surround speakers and a potentiometer across the (+) terminals of the left and right front speakers. Don't expect wonderful results. If you want to try this, see the June 1991 issue of Audio magazine for tips. A branded "Dolby Surround" decoder sends Lt-Rt thru a delay line (typically 20 mSec), then thru a 7 KHz low-pass filter (to keep natural and azimuth error caused left/right source phase noise from being heard as surround) and a 5 db (vs 10 on audio cassette) Dolby B-type noise reduction decoder. A master volume control and input balance controls are also provided. Lt and Rt may also be isolated, summed (Lt+Rt) and sent to the Center output. In any case, a maximum of 3 dB of separation is achieved between each adjacent pair of: left-center-right-surround-left. A "Dolby Surround: Pro Logic" decoder replaces the simple Lt-Rt (surround) and Lt+Rt (center) extractions with an active adaptive matrix decode step. For signals intended for one output, this circuit attempts to cancel them in the others. It also analyses the soundfield for signal dominance, and focuses the sound toward those outputs. The net result is that 30 dB of separation is possible between any two channels. Dolby Labs publishes a "Principles of Operation" pamphlet that goes into more detail. Incidentally, don't bother looking for any "Pro Logic" recordings. Pro Logic is used only in the playback processing. The encoding (recording) of Dolby Surround always uses the "Dolby Stereo" (aka "Dolby MP") matrix described above. Other moviesound and home surround terms: "Ultra Stereo", "Chace Surround" and "matrix surround" are DolbyMP/Surround- compatible anti-phase encoding schemes that do not bear the Dolby logo. You may encounter these terms on program material. They will work on your Dolby decoder. "SRS" and "Q-sound" are not, as far as I know, Dolby-compatible. They are 2-channel schemes that process the signal on playback (SRS) or prior to recording (Q) and attempt to simulate 3-D sound placement with only the normal two front stereo speakers. The effect may be limited to a small "sweet spot", and I don't recommend additional Dolby Surround processing. I have SRS on my Sony XBR TV, and with or without my external Pro Logic decoder switched in, SRS-on is principally a "hum enhancer" and "listener phase torture device". SRS is no substitute for Dolby, as far as I'm concerned. Q-sound I have not heard extensively. Dolby A, B, C, S and SR are noise reduction processes that have nothing to do with surround except that Dolby Surround uses a modified Dolby-B on the surround signal, and VHS linear stereo uses normal Dolby-B on both channels. Dolby HX-Pro is a variable-bias technique for analog tape recording and has nothing to do with playback, much less surround. Dolby SR-D and Cinema Digital Sound (CDS) are digital sound encoding formats for 35 and 70mm filmstock. SR-D uses the vertical film area between the sprocket holes. CDS replaces the existing optical tracks. Although 35mm SR-D and CDS will motivate producers to create cleaner original sound tracks, the LD digital sound format is already superior to both. "THX" is a LucasFilm trademark for several things, two of which are related to home surround: 1. "THX Theatre" - THX is a certification process. Theatres bearing the logo are periodically tested to ensure that they meet LucasFilm standards for audio environment and playback of surround-encoded film. 2. "Re-recorded in a THX theatre" - THX logos on films and recordings indicate that the final mixdown was done with the recording console and engineer located in an actual THX-certified theatre. This is intended to ensure that the film audio will playback in a consistent and predictable manner in all THX theatres. 3. THX crossover - LucasFilm lists recommended audio components for THX theatres. They also make a crossover, bearing the THX brand, which is only used in actual motion picture theatres. 4. Home THX - LucasFilm has a testing and certification process for home audio equipment (other than processors). Those models which are submitted by the maker, and pass the tests, may exhibit the branding. THX branded equipment provides the promise of effective home theatre, but can still sound hideous if improperly set up and calibrated. THX-branded equipment does NOT usually include dealer installation and adjustment. 5. THX Surround channel de-correlation - Future THX-certified decoders are likely to be required to provide a small amount of digital pitch shift between the [two] surround speaker channels. This is supposed to eliminate "imaging" and provide a more defocused surround sound. The Lexicon CP-3 reportedly has this feature already, but it is not clear that other current THX-branded processors do. The Equipment: Here is what a largish Dolby surround setup looks like in the home. You can easily get by with only four speakers/channels (I do). ============== Screen _ ....._..... _ | | : | | : | | /___\ : /___\ : /___\ Left Front : Center : Right Front :.........: Subwoofer | : __/| | |\__ |__ | : | __| \| | |/ Surround Audience Surround : | : _____ | _____ \ / : \ / |_| | |_| Surround : Surround Room: Any size room is acceptable if the decoder has adjustable rear delay. With fixed delay, you must get the surround speakers properly located with respect to the front speakers and the delay value. See "surround" speakers below. Center: In both the theatre and the home, only a small portion of the audience is sitting near the centerline. Those near the sides might hear front channel sound (sounds equal in both left & right speakers) as coming from the front speaker nearest their side. If the processor has a "center" output, it attempts to isolate in-phase, balanced sound, usually dialog, which it thinks should be "front center". It sends it to the center output and attempts to cancel it from the other outputs. That way, everyone hears "dialog" from the screen center speaker. Further, if you rely on the "center" sound to consist of an equal-and- in-phase signal emitted from both left/right front speakers, the sound waves will not arrive in-phase at all listening positions. For example, a 6-inch difference in distances to L/R speakers results in a 180-degree group delay (and total cancellation of the direct wavefront) at 1000Hz. LucasFilm reports that center-channel dialog is easier to understand if it comes from a single speaker. I am not yet using a center speaker, and can't contribute further comment. Subwoofer: Although film sound has much more bass energy than music, due to sound effects, the case for a subwoofer in a surround setup little different than for a normal stereo setup. If your front speakers have wimpy bass, and you don't want to upgrade them, and you have lots of money, get a subwoofer (and maybe an amp to drive it). If your system can reproduce cleanly down to 40Hz, you are probably OK as is. Pay attention to where the low-pass crossover is. Having a filtered subwoofer output in the surround process *plus* a filter or crossover in the subwoof itself is not a "sound" idea. Surround: Notice that the side and rear speakers are *all* labelled "surround". In a textbook Dolby theatre setup, there are a number of them and they all emit the same signal. The point of having multiples is that each thus runs at a lower volume, the surround field is more uniform, and listeners near an individual surround speaker won't have their attention drawn to it. Theatres use multiple surround speakers to achieve coverage. The LucasFilm-recommended number of home surround speakers is two, located to the SIDE, and not behind the audience. Dolby recommends that the surround speakers be located 5 feet closer to the average listener than the front speakers, and that the "surround" signal be electronically delayed by 20 milliseconds (for a net arrival delay of 15 mSec compared to "front" sound). The Dolby publications "a listener's guide" and "Pro Logic Principles of Operation" both include distance-time nomographs. Surround speakers: You may be able to get by with modest surround speakers. In the Dolby mode of your decoder, the sound sent to these speakers is rolled off above 7 KHz, and although rolled off below 100 Hz during ENcode, it is NOT rolled off below 100 Hz during DEcode. Any deep bass naturally out of phase in the original left and right sources will appear in in the surround channel (particularly if the processor has a subwoofer output). A case can be made for matching the speakers all around. Several people have reported significant bass energy from their surround speakers, and some processors send full-range material to the surround speakers when in proprietary (non-Dolby) surround, ambience or venue simulation modes. A newly emerging LucasFilm/THX recommendation is that the home surround speakers NOT be pointed at the audience. The new THX-certified speaker from Cambridge Soundworks, for example, has its bass cone pointed at the audience, but has two mid/high cones per unit, wired out of phase (dipole) and pointing sideways. Furthermore, LucasFilm is suggesting that the sound sent to each of the surround speakers be slightly different ("de-correlated"), and they are currently requiring digital pitch shifting for this. You typically don't need a 14-inch woofer or thermonuclear tweeter for the surround speakers, or much amp power for that matter. Any decent bookshelf speakers and well-mated amp will do. I'm using a retired 55 W/ch receiver, driving a pair of Cambridge Soundworks "The Surround" units ($400/pair). It features an acoustic suspension mini with 4-inch woofer and 2 tweeters in push-pull dipole. Further note: If the speakers and amps are not all identical, it will not be trivial to ensure that they are all in phase and balanced. For phasing, I suggest testing one pair (each non-identical) in a simple stereo setup (with a mono signal), and correlating the polarity markings on the binding posts. Be sure to use the eventual amp channels for this, as some amps invert the signal. How to select a processor: Step 1: Is your system ready for a decoder? You may need (or want) a new main receiver or amplifier. The surround process requires exporting the raw stereo-matrix signal at the pre-amp (line) level in the receiver/amp, then feeding the decoded front signals back in at that point. The input stages of the receiver/amp handle the matrix signal; the main output stages handle only the decoded "front" signal. Receiver or Amp __________ _________________ | Surround |---Lt---| Pre :: Power |---L---|Spkr< | Source | | :: | | e.g. LD |---Rt---| :: |---R---|Spkr< | VCR,CD | | Ext Proc Loop | `----------' `--Out------In----' | | ^ ^ v v | | .------------------. .------. | In Front-Out |-->| Rear |---|Spkr< | Surround Decoder | | | | Center SubWoof |-->| Amp |---|Spkr< | Out Out | `------' `------------------' | | v v .-----. .-----. >Spkr|---| Amp | | Amp |---|Spkr< `-----' `-----' Dialog SubWoof If you do not have "external processor" capability, but have a separate "record in" selector switch, you'll need to: - route the Surround Source into the "LD" or "VCR" input as usual, - set "record source" to select that input, - route the record-out jacks to the decoder, - route decoder front-out back into "AUX" or "TAPE2" or a similar unused line input, and - select "AUX" or "TAPE2" on the receiver/amp main selector switches. Another work-around is to: - feed the surround source (if you only have one) directly into the decoder Lt and Rt inputs, - feed the decoder "front" line outputs into the main (stereo) receiver or amp (AUX or other line-level in), and - feed the "center" "surround", "subwoofer" outputs directly to the secondary amps line-level inputs. Step 2: Pick a Processor (or Receiver with integrated decoder). As far as brands and models, I cannot help you very much. My only exposure to surround has been via the Lexicon CP-1, which has both certified Dolby Pro Logic and a variety of other modes. I can't really say whether or not the lack of auto-azimuth, use of ordinary Dolby or simple matrix decoding would be disappointing by comparison to Lexicon's all-digital Pro Logic. I would look for the following features (prioritized): * Pro Logic (adds less than $100 to new receivers nowadays). * Master volume control. * Auto-balancing on input (for programs recorded out of balance). * Adjustable rear-channel delay. * All calibrations from front panel and/or remote control. * Auto-test-tone program for calibration (more below). * Non-volatile storage of adjustable parameters (below). * Effects defeat (below). * Auto-azimuth to remove group delay of source program channels out of phase or independently time-delayed (as when sharing a single DAC on LD). When you demo, I suggest starting at the top so that you have a standard to shoot for in a lower-priced decoder. Have the salesperson run through the setup proceedure, and listen to a surround test disc (like Reference Recording's LD-101, "A Video Standard"). This will show you how much trouble the process is (or isn't) and more importantly, will ensure correct store setup. Far too often, I have heard simple stereo setups in stores that are out of phase. I estimate the chances of a correct surround demo at about 5%, rising perhaps to 50/50 at a "high end" store or "video salon". If you are considering getting an integrated receiver/decoder, I suggest getting ONLY a receiver with the Pro Logic brand, as it may otherwise be difficult to upgrade to Pro Logic later. There are some things to watch for, lest you end up with missing or duplicate components in the system and/or high "hassle coefficient": * Tuning processor input gain, balancing the outputs, setting surround delay, etc. are critical for acceptable performance. Does the processor have easy step-by-step instructions? Does it include a built-in pink noise generator for matching levels (or a separate tape/LP/CD with such a signal?); if not, consider getting a copy of the Reference Recordings LD-101 "A Video Standard" LD. Unfortunately, many calibration programs jump from channel to channel, never turning on pairs simultaneously. It is very difficult to accurately set levels this way, particularly if you must leave the central seating position to make the adjustments. I use a sound pressure level meter (Radio Shack 33-2050, about $40), parked at the listening center. Since only comparative levels matter, you can also use a microphone feeding any metered recorder. Adjust the record level (in PAUSE) to about 0dB, and set levels for all channels. Incidentally, if using "phantom center channel mode" (no center/dialog amp/speaker), ignore the "center" test signal and just get left/right/surround balanced. * Does the processor or receiver supply its own surround channel amp(s)? If so, how many, and with what power? Is the power adequate for the speakers selected? Is the impedance matched to the number of speakers? * If a subwoofer output is provided, is it producing flat response, or does it incorporate a low-pass filter? What does the subwoofer itself require? Does the subwoofer include its own amp? How seamless is the response overlap between the subwoofer(s) and the bass response of the front and dialog (if any) speakers? * If your main speakers are driven by an integrated amp or receiver, does it have an "external processor loop" that allows separation of the pre-amp and power amp? If not, you may encounter complications in signal source selection and front/rear volume balancing. * Is there a single master volume control for all channels, controlled by the remote? Having that control duplicated on the front panel of the processor is a plus; a servo-driven ganged potentiometer is ideal. (The Lexicon CP-1 has *only* remote volume buttons, but does have "mute".) * Are "effects" defeatable, allowing simple front-only stereo/mono? Can you bypass the processor altogether for critical ordinary stereo listening? * Does the processor have user-alterable presets for Dolby decoding, vendor-unique decoding, stereo ambiance enhancement and any other modes you will frequently use? Are the settings non-volatile (preserved thru power-off)? Finally, a feature to watch out for. If the decoder does not bear the double-D [)(] Dolby logo, find out why. The missing logo indicates that the vendor is unwilling to submit their design to Dolby for inspection, change requests, re-submission, etc. leading to an official approval. There are reasons why this might be: 1. They focused their design on low-cost and/or time-to-market, and were unwilling to pay the royalty for using the Dolby logo, and/or put up with the certification delay. 2. They don't like the Dolby spec, and think they have a superior decoding scheme. Of course, they could have done both their own and Dolby's. If the decoder (alone) sells for more than about $500, this is probably the explanation. 3. Their decoder is too primitive and/or low in quality to pass Dolby qualification. It may also lack even simple processing, like surround channel delay. If the processor is built-in to a receiver, monitor or other component, listen carefully. If possible, A/B-it against a quality stand-alone decoder. Step 3: Install, calibrate and enjoy your surround system. Step 4: Use of a surround system for music. If after reading all of the above, you suspect that there is an awful lot of processing being done on the original stereo signal, you are correct. Do you want to have all that switched on when playing ordinary stereo music on the same system? I suggest "no", unless the music was specifically recorded for surround (as a few CDs have been recently). When playing music on my system, I switch from Pro Logic mode to "small hall ambiance". If your processor doesn't have any alternate modes, it is doubly important that it have an "effects off" mode. You may not like what Pro Logic does to non-surround stereo music, particularly if you are critical audiophile. ____________________________________________________________________________ References: Available free from: Dolby Laboratories 100 Potrero Avenue San Francisco CA 94103-4813 Write for: "Dolby Pro Logic Surround Decoder - Principles of Operation" "Dolby Surround - a listener's guide" "Heard Any Good Movies Lately?" (a list of Dolby Stereo films) "Question about Dolby Surround" "What is Dolby Surround" Here are some recent magazine articles on surround and decoders. The ones marked (*) are by Bill Sommerwerck, who has been writing intelligently about surround since before it was even "quad". Surround sound overview Stereo Review Apr 91 Home theatre sound overview Video Mar 91 Surround sound buyer's guide Video Review Oct 90 Surround sound overview Video Review Sep 90 Surround sound overview BD Notebook Dec 89 Surround sound overview Stereo Review Nov 89 Surround sound overview Video Review Sep 89 Surround Sound and THX Stereo Review Nov 91 THX home theatre equipment summary Video Nov 91 Recommended Components Stereophile Oct 91 Home theatre sound survey Video Review Sep 91 THX theatre sound system Audio Sep 89 Surround sound survey Stereophile Aug 89 * Atlantic Technology Pattern system Stereo Review Aug 91 AudioSource SS-Two Dolby Surround decoder High Fidelity Oct 88 AudioSource SS-Three Surround decoder Audio Dec 91 dbx CX1 surround sound integrated amp Stereophile Sep 88 Denon AVC-2000 integrated surround amp Stereo Review Sep 89 Fosgate 3608 surround sound decoder Perfect Vision Fall 89 Fosgate DSL-2 Pro+ surround processor Video Apr 91 Fosgate DSM-3610 Surround Processor Audio Mar 89 Hitachi HA-V5EX A/V amplifer Video Review May 91 JVC AX-V1050V surround receiver Audio Aug 91 JVC RX-801V surround receiver Stereo Review Oct 89 JVC XP-A1010 digital acoustics processor Audio Sep 89 JVC XP-A1010 digital acoustics processor High Fidelity Jan 89 JVC XP-A1010 digital acoustics processor Stereophile Dec 89 * Kenwood KA-V8500 A/V surround receiver Video Review Oct 91 Kenwood KR-V9010 surround receiver Stereo Review Nov 89 Lexicon CP-1 surround sound decoder Stereophile Jan 89 * Lexicon CP-1 surround sound decoder Audio Nov 89 Lexicon CP-1 surround sound decoder Perfect Vision Fall 89 Lexicon CP-1 surround sound decoder Video Review Jan 90 Lexicon CP-2 surround sound decoder Stereophile Dec 89 Lexicon CP-2 surround sound decoder Audio Mar 91 Lexicon CP-3 THX surround sound decoder Perfect Vision Wint 91/92 Lexicon CP-3 THX surround sound decoder Video Review Jan 92 Luxman F-114 surround sound processor/amp Audio Nov 91 NEC PLD-910 surround sound processor High Fidelity Oct 88 NEC PLD-910 surround sound processor Stereophile Aug 89 * Optimus (Radio Shack) STAV-3200 A/V receiver Video Review Feb 91 Onkyo A-SV810PRO A/V integrated amplifier Video Jul 91 Onkyo A-SV810PRO A/V integrated amplifier Video Review Jul 91 Onkyo A-SV810PRO A/V integrated amplifier Stereo Review Aug 91 Onkyo TX-SV50PRO A/V surround receiver Video Nov 91 Onkyo TX-SV70PRO A/V surround receiver Video Review Nov 91 Pioneer AVX-4900S A/V surround receiver Video Nov 91 Pioneer SP-91D digital sound processor Stereo Review Dec 89 Pioneer SP-91D digital sound processor Perfect Vision Summ 90 Pioneer VSX-D1S A/V (surround) receiver Video Review Mar 91 Pioneer VSX-D1S A/V (surround) receiver Stereo Review Jan 91 Proton SD-1000 surround decoder Audio Apr 91 Sansui AV-7000 a/v receiver Video Review Dec 91 Sansui AV-7000 a/v receiver Stereo Review Nov 91 Sansui RZ-9500AV A/V receiver Stereo Review Feb 91 Sansui RZ-9500AV A/V receiver Video May 91 Shure HTS 5300 Home Theatre Sound (entire system) High Fidelity Jul 89 Shure HTS 5300 Home Theatre Sound (entire system) Video Review May 89 Shure HTS 5300 Home Theatre Sound surround decoder Audio Jul 89 Shure HTS 5300 Home Theatre Sound surround decoder Stereophile Aug 89 * Shure HTS 5300 Home Theatre Sound surround decoder Perfect Vision Wint 91/92 SSI System 4000 II surround processor BD Notebook Dec 89 SSI System 4000 II surround processor Audio Mar 91 Sony SDP-777ES digital surround processor Audio Aug 89 Sony TA-E1000ESD digital surround amplifier Audio Jun 91 Synergex ESP-7R surround sound decoder Perfect Vision Fall 89 Technics SA-GX505 A/V surround receiver Video Nov 91 Technics SA-GX505 A/V surround receiver Stereo Review Oct 91 Yamaha DSP-3000 surround sound processor Stereophile Sep 89 * Yamaha DSP-A1000 digital surround amplifier Audio Jun 91 Yamaha DSP-A1000 digital surround amplifier Stereo Review Jul 91 Yamaha DSR-100 surround sound decoder Stereophile Aug 89 * ____________________________________________________________________________ Some related surround traffic from other contributors (>) & my replies. > Whenever possible, I use headphones when watching a movie on laserdisc. > I use a good pair of Sony headphones, the enclosed kind that kill any > external sounds, model MDVR-6 or something like that. Some movies are > truly awesome this way. > How does surround sound compare to headphones, in terms of the > listening experience? I don't watch video with phones on, but for the purposes of answering this query, I got out the MDR-V6's and gave it a try. Generally: Normal stereo speakers: Wall (or "stage") of sound in front of you. Stereophones: Line of sound between your ears. Surround speakers: Field of sound all around you. The headphone experience is one of having all the audio happening inside your head. This is certainly "different" than stereo speakers. Whether or not it is "better" is a matter of taste and exposure. On an ordinary stereo program, once the brain has learned to associate the sounds with the visual action, there's not much difference between phones and speakers. Stereo video soundtracks share the same problems that musical works (esp. early stereo recordings) have when heard via phones. If individual sounds are fed into the mix (say, the left channel) without bleeding some reverb (into the right), they sound artificial. They sound pasted on, and not part of the program. In a speaker (or theatre) setup, this is not a problem, because the room adds the necessary blending and ambiance. On undecoded surround programs, however, I noticed two more things: 1. The anti-phase encoding of surround information can be distracting. 2. There is no sense of "front" and "back". On (1): An effect that is supposed to be a sound moving from front center to rear center is a sound that starts in-phase and shifts to anti-phase. If you are sensitive to phase (as I am), it is slightly annoying. The "location" of the sound shifts from head center to "both ears at once". It does not move front-to-back. On (2): Given a stationary head and sound source, the way that the human auditory system determines "front" and "back" is through subtle amplitude, phase and group delay differences between the sound at each ear, plus frequency contouring, local reflections at each ear, and bone conduction. The head and outer ear re-shape the sound spectrum, based on the direction of the source. This is why, in real life(TM) or in a surround speaker setup, sounds from behind you are experienced as coming from behind you. Real life(TM) surround is therefore completely different than matrix/Dolby encoded surround. The encoded signal is not at all naturally directional to the headphone listener. Building headphones with 4 speaker assemblies doesn't help, either. Vendors (even Stax) try this from time to time with little success. It is possible to largely re-create a 3D listening experience for headphones via a special sub-species of stereo known as "binaural" recording. This requires a two-track recording made using an anatomically correct human head dummy, with microphones in the ear canals. The resulting work preserves all the directional cues imparted by the human anatomy. Obviously, the work must be heard via earphones (optimally, the intra-aural in-the-ear type, so as not to add any further anatomical processing). Some radio dramas (including Stephen King's "The Mist") have been recorded binaurally. Very few musical recordings are made this way, and to my knowledge, NO video programs have binaural tracks. The apparent bottom line: * For ordinary stereo programs, headphone listening is an acceptable alternative to speakers, perhaps even preferrable, depending on your tastes and listening environment constraints. * For surround programs, headphones are no substitute for speakers unless the program is binaurally recorded (and no video material is). Bob Niland /-------------------------------------------------------------------------/ > I think these laserdisc titles also have at least some great surround > utilization: > Back to the Future > E.T. - The Extra-Terrestrial > Poltergeist > Star Trek II - The Wrath of Kahn > Young Sherlock Holmes > These titles at least have great overall sound and may have good surround > too (I can't remember for sure about the surround part): > Predator > Robocop > Star Trek IV - The Voyage Home > Starman > 2010: The Year We Make Contact - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - > The absolute *BEST* disc for surround sound is _For All Mankind_. The > launch of a Saturn 5 can't be matched, and stage separation ... WOW! [Note - A correspondent who was working at the Cape at the time reports that although impressive, the "surround" sounds on this disc are completely faked. - rjn] > A low cost way to get into surround sound is with the Radio Shack decoder. > You can get it plus a pair of speakers (Minimus 7's?) for about $200. If > you switch it to use all of it's amp power for the back channel speakers > and use your hifi for the front, it works pretty well. It only has a few > watts of power (15 or so?). My front channel is a pair of Altec-Lansing > 15" Voice of the Theater speaker systems driven by a 130 watt per channel > amp. /-------------------------------------------------------------------------/ * For surround programs, headphones are no substitute for speakers. >> Would one of those "quad" headphones work for this case? (I remember >> the four speaker headphones being sold at the peak of the quad fad.) > I suspect it depends on how fussy you are. I have a pair of Koss quad > headphones from the old quad days. My father was into that non-fad and I > ended up with them, along with his old receiver. The headphones did > produce a kind of four channel effect, although not the same effect that > was produced by the speakers. In the same manner, I can decode surround > sound with the QS matrix decoder in the receiver, but sounds tend to > wander about the room and seperation is not as good as in the theaters. I > would guess that I have something nearly as good as the low end surround > sound decoders, but not nearly as nice as the new pro logic decoders. /-------------------------------------------------------------------------/ re: >> * For surround programs, headphones are no substitute for speakers. > Would one of those "quad" headphones work for this case? (I remember > the four speaker headphones being sold at the peak of the quad fad.) Well, as I said in the quoted article: >> Building headphones with 4 speaker assemblies doesn't help, either. >> Vendors (even Stax) try this from time to time with little success. Let me elaborate. Keep in mind that this is just a "thought experiment". I have no actual experience with 4-element headphones. The directional cues that occur to me are: * Ear effects: (the "pinna" is the external part of the ear) directional response envelope local reflections in the pinna * Head effects: (comparing one ear to the other) diffraction of sound when one ear is masked. arrival-time differences response/amplitude differences * Body effects: feeling louder and/or lower frequency sounds on one side * Conduction: A fair amount of mid- and low-frequency energy reaches the inner ear via bone conduction. Dummy microphone heads are even being made with false skull bones for this reason. * Environment: With "real" sounds, the location of the sound with respect to the listening environment is stable as you move your head. Even when you are "still", your breathing alone is moving your head enough to cause several degrees of phase difference at voice frequencies, not to mention shifting your position in any room standing wave patterns. With 4-element phones, assuming that the "rear" elements are actually at the rear of the housing, the only cues preserved (maybe) are the pinna effects. The head, body, conduction and environment effects are totally lost, because the sound from any single element is heard only in one ear, and the relationship between ears and sources is constant. I'm not even sure that the pinna effects are detectable, given that the sound from any element is bouncing around in the phone housing as well as off the ear. I suspect that it is possible to detect a difference between 2-element and 4-element operation of quad-phones, but I'll bet a cup of HP coffee that quad-phones provide a very unsatisfactory surround experience, beyond allowing you to employ the decoder to remove the anti-phase and Dolby-B encoding of the raw stereo signal. Regards, Hewlett-Packard Bob Niland Internet: rjn@FC.HP.COM 3404 East Harmony Road UUCP: [hplabs|hpfcse]!hpfcrjn!rjn Ft Collins CO 80525-9599 EOF From rjn@hpfcso (Bob Niland) Fri Jan 3 15:22:30 1992 From: rjn@hpfcso.FC.HP.COM (Bob Niland) Newsgroups: rec.video Subject: LD#04: LD Quality (old) Message-ID: <7970674@hpfcso.FC.HP.COM> Date: 30 Dec 91 19:53:57 GMT Organization: Hewlett-Packard/FSY Ft.Collins,CO,USA Lines: 266 re: Laser Disc media quality Summary revised: 30 Mar 91 Analysis revised: 09 Jan 89 Summary Remarks: A reader writes... > For some time I have been considering getting a Laser Disk Player ... > ...However, the apparent problems in quality control among even the best > disk producers is REPEATEDLY reported on this bulletin board....Am I > getting into a technology where I will be returning every other disk for > defects?....It sure sounds like it...Are things improving?...The reported > problem rate seems to far exceed anything I have heard/seen for CDs, LPs, > and audio tapes. Before giving a direct answer, let me ask you to keep two things in mind: 1. Tapes WILL degrade with time. They are an ephemeral medium. LD is the only consumer video medium that has a chance at archival life. Although I've only been in the market for three years, I have one 1978-vintage LD that plays as well now as it did when it was made. 2. LD consumers are picky. We bought into the technology to get higher quality, so we are by definition more sensitive to defects, even minor ones that go unnoticed on tape. Also, the nature of the disc encoding format results in defects appearing as visual artifacts that are uncommon on tape and broadcast, and therefore more noticeable. The answer(s): A. If you purchase ONLY new releases, you can expect a first-play defect rate of about 2%, and a long-term defect rate of another 2% (for a total of 4%). The 2% is an estimate, because the prognosis for disc longevity is constantly changing as the pressing plants tweak their processes. By comparison, CDs have an initial-defect rate of about 1% and a long term defect rate too low to measure. B. If you buy 1987 or newer back-catalog or used titles, you can expect defect rates of about 4%. C. If you buy pre-1987 back-catalog or used discs, the defect rate can reach as high as 30% (unless the disc was manufactured by 3M, for which the rate is 0% during 1983-1987). There is some really old material still out there. In 1990, I bought a factory-sealed 1981 title pressed by the long-defunct DiscoVision, and a used DiscoVision pressing from 1978. According to a regional dealer (who has been in the video disc business from the beginning), LDs have a higher defect rate than CDs, but a lower rate than tapes and LPs. LP and tape media wear and deteriorate a little with each playing. CDs do not, and seem to be exceptionally stable. The thing that sets LD apart from other consumer media is that some individual discs may degrade with time, whether they are played or not. This is a phenomenon unfamiliar to consumers, and is disconcerting to those expecting LDs to behave like LPs or "12 inch CDs". The phenomenon is known colloquially as "laser rot". It is evidently a deterioration of the data layer due to any of the following: * mechanical shear stress due to bending, warping or thermal cycles. * chemical attack on the data layer from contaminants in the glue. * oxidation of the data layer from gasses contained in voids in the glue, that penetrate the "protective layer" between the glue and data. * chemical attack or oxidation of the data layer from contaminants dissolved in water that migrates thru the glue or exterior acrylic layers (acrylic is slightly hygroscopic). * chemical or oxidation attack through the disc edges (the data layer extends to the inner and outer edges). * relaxation deformation of the data layer due to improper pressing of the acrylic substrate. Laser rot can happen on the dealer's shelf or in your home, and takes anywhere from 2 months to 5 years to become evident. You can minimize your risk by following the tips in my "care & repair" article (LD#13), available separately on request. If you do business only with LD dealers who offer unlimited warranties, you will probably not get burned. I have returned for exchange or credit some 20 LD titles in the last three years (of over 250 purchased). 6 were new pressings, 8 were back-catalog and 6 were used. I have yet to get stuck with a defective disc. There are other defects which occur on LDs. I have another article (LD#17) summarizing these (as well as non-defects that people complain about). _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ re: Laser Disc time capsule 09 Jan 89 Note: ^^^^^^^^^ Note, as of 02 Dec 91: I have examined several hundred additional LDs since I wrote this report. Domestic Sony (DADC), Kuraray (Japan), Mitsubishi (Japan) and substantially more Technnidisc production is now reaching the market as well. Until I revise this report (not before 1992), the balance of it is useful only if you buy used discs and/or back-catalog titles. This article reports on the results of a casual investigation into the quality of laser discs (LDs) pressed by four major media manufacturers. It covers 210 disc titles representing production from 1980 to the present. The actual platter count is probably about 250. {Some comments were added on 10 Jun 89, preparing to mail this in response to a request. The new comments are delimited with braces, as is this comment.} A co-worker obtained the idle inventory of a defunct LD dealer in Florida. The discs involved had apparently been in storage for several years. In an unrelated activity, a local (Colorado) LD dealer routinely sells used and "cutout" discs. Most of these discs are obtained from failing dealerships or liquidated personal collections. I have bought more than a few of the local used discs, and they were the primary motivation for taking advantage of the "Florida opportunity". Although I have been buying LDs for less than a year, I have already encountered a significant number of defective LDs. Fortunately, I have been able to get replacements from my primary local dealer. Nonetheless, I am concerned about the long term prospects for my collection and I was interested in taking a peek at the past. Both LD sources (Florida and my own collection) represent a nearly random sample of product from: * MCA DiscoVision Associates (USA, "DVA", aka MCA VideoDisc, Inc.) * Pioneer Video, Inc. (USA, aka Pioneer Video Manufacturing) * Pioneer Video Corporation (Japan, aka Universal Pioneer) * Minnesota Mining & Manufacturing (3M, St. Paul, Minn.) (Note that the distinction is by pressing plant, not by studio, label or distributor.) I say "nearly random" because many of these discs were pre-owned, and presumably DOA discs have already been culled out, as well as some which suffered fast deterioration ("infant mortality"). However, there is a small amount of DOA data present, as I have included all the new discs I have bought in the last year. Table: left number = quantity sampled right number= percent defective +=======+===========+============+============+===========+ | Year |DiscoVision| Pioneer | Pioneer | | | Made | (DVA) | USA | Japan | 3M | +=======+===========+============+============+===========+ | 1980 | 2 50% | - - | - - | - - | +-------+-----------+------------+------------+-----------+ | 1981 | 4 100% | 1 0% | 16 38% | - - | +-------+-----------+------------+------------+-----------+ | 1982 | - - | 5 40% | 19 26% | - - | +-------+-----------+------------+------------+-----------+ | 1983 | 3 67% | 17 20% | 10 30% | 4 0% | +-------+-----------+------------+------------+-----------+ | 1984 | - - | 25 32% | 2 0% | 2 0% | +-------+-----------+------------+------------+-----------+ | 1985 | - - | 20 15% | 2 0% | 3 0% | +-------+-----------+------------+------------+-----------+ | 1986 | - - | 21 10% | 2 0% | 3 0% | +-------+-----------+------------+------------+-----------+ | 1987 | - - | 17 6% | 1 0% | 3 0% | +-------+-----------+------------+------------+-----------+ | 1988 | - - | 9 0% | 1 0% | 13 0% | +=======+===========+============+============+===========+ | Total | 9 78% | 115 18% | 53 26% | 28 0% | +=======+===========+============+============+===========+ Notes: "Defect" = A visible or audible abberation that is unlikely to be in the source material or video master. Defects include: color snow, video "static", noise bars, streaks, speckles, loss of tracking, audio hiss, pops and cyclical ("helicopter") noise. Defects judged to be the likely result of handling damage were not counted (and many of the Florida discs were in rough shape). I counted only defects severe enough that I would endeavor to replace the title, if it were mine. Also, only defective TITLES were counted, not merely defective platters or sides. It only takes one spot on one side of a multi-disc set to ruin the whole title. Defects were located by sampling the beginning and end of each side, plus at play-time intervals of approximately 10 minutes. I did not watch all 210 titles all the way through, so there may be additional undiscovered defects. Year Made= Date of manufacture is somewhat indeterminate. Only Voyager (Criterion Collection) routinely documents "nth Printing, 19xx". Technidisc puts a visible mastering date in the data layer. Everyone else keeps mum. Disney doesn't even copyright the artwork on the package. So, I used the latest date shown on the disc, label or packaging, i.e. the year of earliest possible manufacture. In some cases, e.g. Pioneer Artists, the catalog number is a clue. In the absence of the above, I interpolated the Pioneer batch number stamped or inscribed on the data layers. In any case, most of the discs could easily have been made in a year LATER than the one listed. They could not have been made earlier unless the label post-dated the copyright, which is probably illegal. In particular, since the DVA manufacturing facility was taken over by US Pioneer, the 1981 and '82 US Pioneer production may have taken place in 1983. OTHER LABELS: The sample size was too small to include the following in the above table: Technidisc: USA. I have examined only 3 discs made by this firm. Two were 1988 production and have no apparent defects. The third was mastered on 02/05/85 and had the most severe "laser rot" I have ever seen, with high levels of video and audio noise. A grid-like pattern is visible in the aluminum data layer. It appears to be either the glue or oxidation of the Al resulting from voids in the glue. {I have now seen six Technidiscs from "The Prisoner" series. At least two have unstable chapter numbers and timecodes. I have confirmed that this is a disc problem.} PDO: Philips-Dupont Optical, U.K. I have seen only one disc, new production, with no apparent defects. PDO is the major maker of CDVs and has long experience in CDs. Criterion is now using PDO for non-DigitalSOUND LDs. {I have seen several more PDO discs now, and one disc was mis-assembled. Both sides contained side 1 program material. If this is the only kind of error that PDO can make, I won't worry about them.} Other Japan:I have seen only one, a CBS/Sony, also new production. {Much more Japanese production has since turned up.} Disctronics:(aka LaserVideo and now "Disc Manufacturing, Inc.") I have only seen CDVs from this firm and have no other data. {The initial batch of Reference Recordings LD-101 test discs was made by Disctronics. So far, so good.} CONCLUSIONS: Please draw your own conclusions. For myself, this data confirmed my impressions about the major disc makers. My personal purchase guidelines remain: * I buy 3M product, any vintage, without hesitation. I have encountered defects since writing this report, but I fully expect that once fixed, they stay fixed. * I buy Pioneer/Japan 1987 or later production without hesitation. * I buy any other production only where long-term exchange or replacement recourse is established. Several mail-order dealers offer unlimited dealer warranty. * I buy used/cutout discs only where refund/exchange/replacement is available (and local dealers do offer this). * I insist on detailed sales receipts (not just cash register tickets). * I inspect and play all purchases within 10 days. * I save receipts forever. * I keep Pioneer's customer service number current and handy. I buy Pioneer (of any variety) only because of Pioneer's reputation for standing behind their product. I have a separate article (LD#09) available on how to identify pressing plants and distributors. Regards, Hewlett-Packard Bob Niland 3404 East Harmony Road Internet: rjn@FC.HP.COM Fort Collins UUCP: [hplabs|hpu*!hpfcse]!hpfcla!rjn CO 80525-9599 From rjn@hpfcso (Bob Niland) Fri Jan 3 15:22:34 1992 From: rjn@hpfcso.FC.HP.COM (Bob Niland) Newsgroups: rec.video Subject: LD#05: LDCA Disc Returns Message-ID: <7970675@hpfcso.FC.HP.COM> Date: 30 Dec 91 19:54:25 GMT Organization: Hewlett-Packard/FSY Ft.Collins,CO,USA Lines: 338 re: when the snowstorm is on the screen and not outside the window... Originally written: 10 Mar 89 last revised: 10 Nov 91 | Although I have encountered my share of defective LDs, I normally exchange them through my local retailer. However, as an experiment, I once used the official Pioneer process, and wrote this summary (03/89). A co-worker recently (10/91) initiated a return, and provided revised information. This | process does not apply to product distributed by Image Entertainment, although it might be a last resort for any IMAGE discs pressed by PVI or PVC, that can't be returned any other way. Since I haven't personally used this process since 1989, I rely on you, the | readers, to notify me of any changes to the process. If you return any | discs to LDCA using this advice, please let me know how it turned out even | if there are no changes. | :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: If you own LDs, you have some chance that one or more of them will become defective during your lifetime. If defective upon purchase, you have recourse through virtually all retail and mail order vendors. However, some vendors and most labels (studios) attempt to limit their liability to 30 or 60 days. If the disc gradually turns sour, you may not discover it until years later, at which time: the apparent warranty period has expired; you have lost the receipt; the vendor has disappeared, or you simply don't recall where the disc was obtained. What then? Laser Disc Corporation of America (Pioneer LDCA), is the major distributor of discs in the USA. Pioneer long ago recognized that if consumers had no recourse, the "laser rot" problem would sink the industry. They could also have announced that they wouldn't replace discs after say, 3 years. That would also sink the industry. Consequently, Pioneer has an unlimited semi-secret warranty on all the discs that LDCA handles, including, apparently, some not actually pressed by Pioneer (!). How does it work? Here are the steps I suggest you follow: 0. Make sure the disc is really defective. Test the disc on someone else's player, or a dealer's. You need to find at least one other player, preferably a Pioneer, that duplicates the problem. I suggest using older low-end models, such as the LD-838D. Visually inspect it. Remember that the data is on the opposite side from the label, and the disc is played from the inside out. Try to locate the defect. I have an article (#13) available on care&repair of LDs. If the obstruction is physical damage to the disc (gouge, scratch, or other abrasion), LDCA may not accept it. You may be able to fix it yourself using my article as a guide. However, if you take this step, and fail, you may render the disc unreturnable, particularly if you leave a cloudy smudge on the surface. 1. Hunt for a receipt. If you bought your disc at a local store, or one of the national mail order houses advertising unlimited warranty, and can document that, they will probably help you out. Even if you didn't, keep it handy. In my case, I didn't have the receipt and wasn't positive about where I bought the disc. If you bought the disc used, I wouldn't volunteer that, although I wouldn't lie about it if asked. Laser rot has nothing to do with how many owners a disc has had. 2. Try to determine if the disc is one that LDCA/Pioneer will accept. I have an article available on LD "mint marks" (#9). My reading of the situation is that LDCA will accept any of the following: - Anything in the original shrinkwrap, and bearing the LDCA sticker. The current LDCA device is a blue-on-silver rectangle stating "LDC America" and "Pioneer Group". Incidentally, I recommend removing the shrinkwrap, and using separate poly sleeves to protect the jacket. Shrinkwrap, if taut, can warp a disc. I peel off the sticker and apply it to the disc jacket. You can also cut out the sticker and drop it into the jacket for future reference. - Anything with the initials LDC, LDCA, PVI or LDV embossed into the lower left corner of the rear side of the jacket. You may need to tilt the jacket in the light to make it out. Such product may have been manufactured by other vendors, but was handled by LDCA. - Anything known to be distributed only by LDCA, such as Pioneer Artists, Pioneer Special Interests, etc. - Anything identical to current or past LDCA-distributed product, pressed by anyone. This is particularly valuable on older Technidisc production. Check the catalog number of the disc against current and past LDCA catalogs. - Anything ever made by Pioneer Video, Inc. (USA), unless obviously distributed by a competitor (but see below). - Anything ever made by Universal Pioneer Corp. (Japan), unless obviously distributed by a competitor (but see below). - LDCA reportedly may accept DVA discs - actually pressed by "MCA | VideoDisc, Inc.", "MCA DiscoVision" or "DiscoVision Associates", | particularly if the title appears in the current LDCA catalog, and | especially if the catalog number matches. | I have no idea what their policy is on "cutouts" - discontinued titles with a hole punched in the disc jacket. If the above criteria are met, I would insist on replacement, but since the title is almost by definition out of stock, and the hole flags it as having been purchased at a steep discount, I would not be surprised if choices of replacement titles are restricted in some way (but then that's why "cutouts" are so deeply discounted, right). LDCA may not accept anything "Distributed exclusively by IMAGE Entertainment" and bearing that logo or the logo of any other competing DISTRIBUTOR, even if LDCA also distributes (or used to distribute) that title. However, some labels, like Criterion, are available from multiple distributors, and an "IMAGE" logo may appear only on the shrink wrap. I would not expect LDCA to accept it unless it was a Pioneer pressing. And if you know that it is a Pioneer pressing, and LDCA resists, ask for information on how to contact PIONEER VIDEO INC customer service (not LDCA). Aside one - on defective Criterion and Voyager titles, always contact | Voyager Company first. They are generally responsible about replacing | defects. Their address & phone number is on all disc jackets. | Aside two - IMAGE has a five year warranty. There is an address (no phone) listed on their jackets. They generally insist that you initiate a replacement through the original seller, or any other convenient IMAGE dealer. I have no idea what their process is after that. They do distribute some Pioneer-made discs. 3. This step and the contact name have changed since the last edition of | this article. If you call the customer service number and ask for Donna | Harley (formerly Donna Gaskins), she will just tell you to do the | following anyway. | | You need to write a letter, and send it to: | Pioneer LDCA | 1058 East 230th Street | Carson CA 90745 | atten: Donna Harley | | Although LDCA hasn't published a list of what information they require, | I suggest you include the following: | * Adequate return address. | * Daytime phone number (and home if well out of the PST/PDT timezone). | * List of discs to be replaced, and for each: | - Title | - Catalog number | - Defect type(s): Use simple consumer English. Don't assume that | rec.video terms like "laser lock" or "servo slide" will mean much, | although Donna has been the official contact for many years, and | presumably has heard it all by now. | - Defect location(s): side, time/frame | - EDP number of current LDCA version of title, if known, and if not... | - Clues to Pioneer's involvement with the title (mint marks, embosses, | stickers, etc. - Ask for my LD Mint Marks article #9). | - Explanation of why you are unable to replace/exchange the disc | through the original dealer. | * What equipment you used for testing the disc(s). | | Reasons for being unable to effect a dealer return might be: | | "I received this disc as a gift, and have no record of where it was | bought". | | "I bought this disc back before I realised that laser discs can | deteriorate with time, and I did not keep the receipt, or any other | record of where it was purchased." | | "The dealer refused to accept return." (I suggest that you not | elaborate, particularly if the disc was clearance/cutout/used, etc. If | LDCA needs to know more, they will ask.) | | "The dealer is no longer in business (or no longer in the laser disc | business). | You might also thank LDCA for their assistance in resolving the problem, and remind them that until the laser video medium is as stable as CD, standing behind the product and providing efficient customer service is essential to the survival of the industry. A sample letter is appended to the article. I further suggest that you | NOT mention this article or me. I can't see any benefit in it. I am not | speaking for Pioneer and they have no idea who I am. About all you might | accomplish is to convince them that there is some conspiracy afoot. | | Send the letter. DO NOT INCLUDE THE DISC(S). Without a "DD" return | authorization number, LDCA will not accept the discs. | 4. When LDCA gets the letter, Donna will fill out a worksheet, assign a return authorization number (a "DD" number) and send you a return packet. The worksheet shows: date, DD#, customer name, address, phone#, and then one for each disc, listing: title, EDP#, problem, "AVAIL" or "N/A". Two of these items deserve comments. EDP# - This is the LDCA stock number of the disc. I don't know if Donna uses only the current catalog to look these up. I suspect she has access to a complete historical database of LDCA product, otherwise the "AVAIL, N/A" columns would be largely irrelevant. In any case, if she can't come up with an EDP#, there may be some question about whether or not LDCA will accept return. This is why it is worth your while to attempt to identify the maker and/or distributor of your disc(s) before calling. AVAIL - N/A - If the title is out of print or out of stock, you will be asked (in the packet) to select one or more alternate replacement titles. According to rumor, these may be ANY titles in the LDCA catalog, not necessarily of the same value. You might want to have some titles in mind when you call, even if you think your disc is in stock. In my case the title "The Conversation" was in stock. I picked a comparable alternate replacement title, but got "The Conversation". This is speculation: LDCA might reserve the right to ship the cheapest version of any alternate title requested. If you still have the receipt, they might also insist on providing only titles of equivalent value. 5. If things haven't changed much since 1989, a week or so later, you will receive a 9x12" envelope containing: - A laser-printed form letter with instructions. - A copy of the worksheet described above. - A form for you to list alternate titles. - A blank bill of lading form. This looks like what dealers use to return discs, as it contains a variety of "reason" codes. The instructions don't mention whether to fill it out or not. - A peel-off sticker for each defective disc, upon which to describe the side#, location, audio/video problem, frame/chapter# etc. - One peel-off return address label, providing free First Class USPS return postage to Pioneer (note - no carton is included). - A current "Customer Service Software Order" form, showing what is currently in stock at LDCA. - A current LDCA retail catalog. - A current New Release Sheet. - A one-page "LASERDISC TIP SHEET" containing suggestions for the care and maintenance of laser discs. 6. Fill out all this paperwork. Apply the defect sticker on the disc jacket where it does not obstruct the name "Pioneer", or cover the LDCA logo or emboss. 7. Remove any and all stickers (except the one listed above and any others that identify the product as being from Pioneer/LDCA). In particular, I would remove any stickers that mark the disc as having been purchased used, or having been a rental disc. My experience indicates nothing to suggest that rental use or prior ownership has any effect whatever on laser rot. 8. If you have previously replaced the typical Pioneer U-shaped poly sleeve with an aftermarket lined paper sleeve, put an old sleeve back. Insert the disc in the jacket with the sleeve opening toward the top of the jacket (not towards the opening). Swapping sleeves is not a required step, but since you won't get your aftermarket sleeve back, why throw away the 25 cents it cost you? 9. Pack the disc(s) in an appropriate carton. Unless you plan to pay for UPS, Federal or other private carrier shipping, your disc is going USPS (aka The Post Office), and may be subject to "transit trauma". Pack it such that the disc and jacket can survive being dropped from over your head onto a concrete floor, hitting the corner of the carton; or, can survive being in the bottom of a full mail bag dropped from waist height. The cartons used by mail order houses are generally adequate, so start saving them. LDCA may reasonably refuse to replace an inadequately packed disc that is destroyed in the mail. Alternatively, you can insure the shipment, at your own expense. 10. Mail it. Wait "4 to 6 weeks". My replacement arrived in exactly 5 weeks. Other than a picking list, no documentation or explanations accompanied the replacement shipment. Regards, Hewlett-Packard Bob Niland 3404 East Harmony Road Internet: rjn@FC.HP.COM Fort Collins UUCP: [hplabs|hpu*!hpfcse]!hpfcla!rjn CO 80525-9599 ____________________________________________________________________________ Sample Letter: 1234 Your Street YourMunicipality YourState 12345 Month, Day 1991 (000) 000-0000 {days} (000) 000-0000 {night} LaserDisc Corporation of America 1058 East 230th Street Carson, CA 90745 atten: Donna Harley Dear Ms. Harley, I have a defective Pioneer laserdisc which is in need of replacement. "Forward to the Past, Part 5", MCA catalog number 00-000 This disc was purchased about a year ago at a retail store in the area. I had just started buying laserdiscs and I was not aware of the potential for quality problems. Consequently, I did not keep the receipt, have no record (or recollection) of which of several stores that might have been, and therefore cannot return it to the dealer. I don't know the LDCA EDP number for this disc, but I have noticed that the the abbreviation "LDC" is embossed in the lower left corner of side two of the jacket. Markings on the disc's surfaces are consistent with those on others in my collection that are known to have been pressed by Pioneer Video, Inc. Since purchasing the disc, I have noticed an increasing amount of color snow (video noise) throughout side 1, worsening towards the end of the disc and especially noticeable in dark and red areas of the image. The chapter number displayed on the player and the TV is also unstable and the reading "21" frequently flickers on the display. The equipment used included a Pioneer CLD-3070, a Sylvania VL7200 and a Pioneer LD-838D, with two different monitors. The disc exhibits the same problems on all systems. Thank you for your prompt attention to this matter. I might add that until laserdiscs become as stable and reliable as compact discs appear to be, the willingness of Pioneer and LDCA to stand behind their product is essential to the continued success of the laserdisc business. Best regards, Your Name From rjn@hpfcso (Bob Niland) Fri Jan 3 15:22:38 1992 From: rjn@hpfcso.FC.HP.COM (Bob Niland) Newsgroups: rec.video Subject: LD#06: Intro to Criterion Collection Message-ID: <7970676@hpfcso.FC.HP.COM> Date: 30 Dec 91 19:54:58 GMT Organization: Hewlett-Packard/FSY Ft.Collins,CO,USA Lines: 302 re: > I am anxious to buy or rent the recently-released 50th-anniversary > edition of The Wizard of Oz with its SAP by film historian Ron Haver > and extra footage/promos/etc." > Is the Wizard disk set worth $100? Here is a slightly edited version of something I wrote a while ago, with another generic-vs-Criterion comparison following it. _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ re: Introduction to Criterion Collection Date: 26 Nov 89 Revised: 22 Nov 91 There are two major names in laser video: Voyager Company/Janus Films ...and... Voyager Company/Janus Films are the producers of "The Criterion Collection" of video discs, in their own words: "...a continuing series of both classics and important contemporary films...". After a slow start in 1985, CC is now over 150 titles (many available in both CAV and CLV), and about 50 under the companion Voyager label. They are releasing new ones at the rate of 3 to 4 per month. I have available an electronic listing of their catalog. Unlike LDCA, IMAGE and most of the rest of the LD industry, Voyager Company has always kept ALL of their titles available for order at all times. They are sometimes hard to find just before a repressing, but no titles are "out of print". CC discs are not cheap. Where generic laser titles list from $24.95 to 49.95, CC titles list from $39.95 (CLV titles) to 49.95 thru 125.00 (for CAV titles). Why might they be worth your attention? I used to own a "generic" edition of the "The Wizard of Oz". Let me compare it to the CC edition that just replaced it in my collection... MGM/UA ML100001 $34.95 This disc is CLV and was probably made from the same video master used for VHS and Beta tapes. The video master was evidently made from a recent projection print. The disc has (eight) chapter-marks (generic discs often have none), but has only ordinary analog (FM) sound, not CX-encoded. There is nothing else on the disc except the movie. The media is pressed by Pioneer-USA and the inner sleeve is the normal clumsy U-shaped unreinforced poly bag. The opening and closing Kansas sequences are in straight B&W. This disc is certainly superior to the tape version and is eminently watchable, but not outstanding. The credits and liner notes on the back jacket appear to be the same as on the tape, and are sparse. MGM has since released a new CLV edition made from archival materials, and mastered in digital sound: catalog number ML101656. If you decide to skip the Criterion, certainly avoid ML100001. Criterion Collection CC1159L $99.95 This is a 2-disc set entirely in CAV. It is an all-new transfer from MGM's archival 35mm negative and 35mm positive optical soundtracks. The colors and image appear to be brighter and more detailed than on the MGM disc. The image quality alone would not justify the higher price. The Kansas sequences were restored to their original monochrome sepia tone coloring (see footnote*), as used in the 1939 theatrical prints. The set has 37 chapter marks. The discs were pressed by 3M and are supplied in rectangular paper-reinforced poly-lined sleeves. The sound is monophonic digital and and dual-channel analog. The regular soundtrack is on the digital channels and analog channel 1/L. Analog channel 2/R contains an optional commentary by film historian Ronald Haver which runs for the length of the film. The filmtrack also runs under the commentary at reduced volume, and is brought up when Ronald needs it to make a point or has nothing to say himself. The gatefold jacket has complete credits, a lengthy essay by Mr. Haver, biographical material on all the major players and contributors to the movie, as well as photos of lobby posters. A liner insert describes the film/video transfer and identifies the color-bar/grey-scale still-frame. (This frame is common on CC CAV discs. Page 108 of the January 1989 "Video Review" has an article on how to most effectively use it to calibrate your TV/monitor.) After the conclusion of the film on side four, there are 8 chapters of supplemental material, including: 30. Stills from the 1903 stage play of "The Wizard of Oz". 31. Footage from the 1925 silent movie of "The Wizard of Oz" 32. Promotional footage and stills. 33. Production stills. 34. 16mm (18.5fps) home movie footage taken by composer Harold Arlen, including makeup tests and the "Jitterbug" sequence not used in the film. 35. An unused dance number ("If Only I had a Brain"). Judy Garland's radio debut of "Over the Rainbow" is on channel 2/R. 36. Publicity and advertising stills/footage. 37. 1956 re-issue theatrical trailer, and a Munchkin interview on channel 2/R. Benefits commonly found on other CC releases include: original aspect ratio ("videoscoping"), restoration of cut/lost footage to full original running times, complete text of the short story from which the film was made, and storyboards. CAV titles also include a single frame of NTSC color bars. CC is the only label still extensively using CAV ("standard play") rather than CLV ("extended play"). For those for whom CAV is too expensive (or the 30 minute side breaks too frequent), they eventually release their CAV titles in CLV. Obviously, they need to drop the still-frame and on-screen text material, but the motion supplements are omitted on CLV as well. Speaking of expense, "Wizard" is the most expensive 2-disc set that CC had released to date (Nov 89). I suspect this is due to having used 3M, the digital sound mastering and the generous amount of supplemental material provided. Criterion titles are distributed by LDCA, Image and Voyager itself. You can mail-order directly from Voyager at full list price. I am told that if you do this, each title includes a coupon for each platter, and that six coupons may be redeemed on single platter from another title. Free multi-platter titles require correspondingly more coupons. Regards, Hewlett-Packard Bob Niland 3404 East Harmony Road Internet: rjn@hpfcrjn.FC.HP.COM Fort Collins UUCP: [hplabs|hpu*!hpfcse]!hpfcla!rjn CO 80525-9599 * As originally intended, this brownish tint makes the transition from monochrome to full color less jarring when Dorothy opens the door after landing in Oz. "Coloring" does not mean "colorized". It is probably worth mentioning that Turner Entertainment owns MGM/UA. Ted Turner has been re-issuing colorized B&W movies for the broadcast market. He has already colorized "It's a Wonderful Life" and jokingly threatened to colorize the opening of "Wizard", as well as "Citizen Kane" (recently prevented by the Welles Estate). The largest single source of Criterion releases in 1988 and 1989 were MGM properties. All were drawn from unadulterated MGM archival materials. The CC "Wonderful Life" and "Kane" are in B&W. Ted may sell colorized stuff to the TV stations, but he was clearly making untouched raw materials available to CC and probably the art/cult theatre circuit. MGM has since been sold by Turner Ent., and is now owned by Time/Warner. _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ 8. From: rjn@hpfcso.HP.COM (Bob Niland) Date: Sun, 25 Nov 1990 Subject: Encounters of the Laser Kind Newsgroups: rec.video re: A close encounter with Close Encounters. The long-awaited Criterion Collection CAV laser disc release of Steven Spielberg's "Close Encounters of the Third Kind" arrived on store shelves this week. CC1241L is the first widescreen video transfer of this film. It is also the first video release of the original theatrical cut of the film (with edit points and per-side supplements that also include all the 1980 "special edition" material). In addition to these attributes, CC1241L has some novel LD features, described later in this review. Disc data: Criterion Collection (Voyager Company) catalog number CC1241L, a 1990 transfer, letterboxed 2.1:1 aspect ratio, 3 platters/6 sides (all CAV), Pioneer Video Inc.(PVI, US) pressings, digital surround sound, CX surround sound (during program - supplements not CX), 89 chapter marks, fade-to-black side changes, source material: 35mm interpositive, $124.95 list price (see footnote). Compared to: RCA/Columbia catalog number VLD-3095, a 1983 transfer, cropped and squashed 1.33:1 aspect ratio, 2 platters/3 sides (all CLV), running time 132 minutes, Pioneer Video Inc.(US) pressings (although some are PVC: Pioneer Japan), analog CX stereo, no chapter marks, no supplements, one minute timecodes, blue title card side changes, $39.95 list. CC1241L was initially provided in a double-gatefold jacket. Although this is a little clumsy at first, folding the right pocket all the way back provides easy access to all three discs (in lined paper sleeves). In the past, Criterion used boxes for sets of more than two platters. Although slightly more accessible, boxes provide no lateral support for the discs, and don't allow side pressure to prevent warps during storage. I prefer the double jacket. It also fits in standard polyethylene LP outer sleeves, and boxes do not. The reprinted first edition discs are now supplied in a box. CE3K was filmed in anamorphic Panavision 35, at an aspect ratio of 2.35:1. At a transferred aspect ratio of 2.1:1, CC1241L cures all of the compositional ills that plague the older VLD-3095. Not only does CE3K have many scenes where important action is happening at both edges of the screen, it also has some subtitled scenes (Sonora Desert) where English subtitles exceed the width of a 1.33:1 crop. On VLD-3095, these scenes are anamorphically distorted (insufficiently unsqueezed) in order to keep all the text within the TV safe-title area. Incidentally, on CC1241L, these subtitles are still in-picture, and not in the lower letterbox band. The color, contrast and saturation are right-on with CC1241L, whereas VLD-3095 has lower contrast and has the orange-biased reds that seem to be characteristic of RCA/Columbia transfers. Despite the fact that VLD-3095 "fills" the screen, it seems to have no more fine detail than CC1241L. The PVI pressing quality is good-to-excellent on CC1241L, with only a few transient white noise speckles. Aside - I had expected the CAV CE3K to be a 3M pressing. The day I picked it up, there were several other new Criterion titles on the shelf. All were PVI pressings. 3M's recent troubles may have put PVI in the leadership position for quality. The Program: If you play CC1241L straight through, you see the original 1977 theatrical edition, plus one 1980 model shot of Roy Neary's truck being shadowed by a UFO - left in at Spielberg's request. Each side auto-stops at the supplement section (if any). The supplement sections for sides 1, 2, 3 and 5 include scenes added for the 1980 cut, plus dummy chapter marks, presumably to facilitate programming on some players. The main program is chapter-marked not only for each principal scene, but also for each edit point where material was deleted or added to transform the 1977 version to the 1980 version. Instructions are included on the "important notes" card that describe how to program your player to recreate the 1980 edition. If you rent CC1241L, make sure the card is included. I tried this on the first platter. Programming both sides required 20 program steps (the limit on my CLD-3070). It was time-consuming to set up and the results were not 100% smooth. The "special" program sequence also fails to delete the power plant scene, absent on the 1980 cut, and which is buried inside chapter A/7. When jumping from main program to supplement and back, the player also displayed "seeking" messages on screen (this behaviour varies from player to player and can be suppressed on some models). Although I have no great fondness for the 1980 "special edition", some people do, so be advised that CC1241L will not provide a convenient way to watch the "special edition", unless you have a computer-controlled player. There will be a CLV version of CE3K from Criterion in 1991, and probably one >from RCA/Columbia a little later. One of these is likely to be the 1980 edit. As with "Lawrence of Arabia", and probably "Ghostbusters", I suspect that RCA/Columbia negotiated the right to release their own LD from the Criterion D-1 video transfer masters (after a suitable delay). If they're smart, the Criterion CLV will be the 1977 cut, and the RCA will be the 1980. Note: VLD-3095 is still available. The Sound: The digital and CX/analog Dolby Surround sound on CC1241L is a new transfer, >from a Dolby DS-4 processor, fed by 4-channel 35mm magnetic elements. VLD-3095 is plain stereo, and of course was mastered years before LD digital sound. The sound on VLD-3095 is badly distorted during loud passages, and particularly when any amount of bass is present. It appears that RCA either had the gain too high on the 1-inch video master or overmodulated the LD analog subcarriers during the mastering of VLD-3095. The Supplements: In addition to the "special edition" material, there are 31 supplement chapters on CC1241L that are related to CE3K. Each begins with an auto-stop title card. There are the "usual" copious still and motion pre-production materials and a color bar frame. There are also several video interviews that are produced in a unique fashion. The screen looks like this: ___________________________________ | ______________ ______________ | | | | | | | | | Person 1 | | Person 2 | | | | | | | | | | | | | | | | analog 1/L | | analog 2/R | | | |______________| |______________| | | _______________________________ | | | | | | | Related scene(s) from CE3K | | | | | | | | | | | | | | | | digital surround | | | |_______________________________| | |___________________________________| I have not watched all the supplements, but the typical sequence is that the "person 1" interview will start full-screen (with audio on analog 1/L), then zoom back to the corner, at which time person 2's interview is revealed and its audio starts on 2/R. The bottom of the screen contains the original movie scene(s) that they are independently discussing. The digital channels contain the original soundtrack for those scenes. Other times, the "person" boxes will be in a different location, on top of full-frame action material. You must run each interview at least twice to take in all the information. This means that it will take the average viewer about 90 minutes to watch and step through what is nominally a 30 minute CAV side. Since the person boxes contain mostly "talking heads", and the scene box is almost as large as the letterboxed image of the main program, the resolution loss of the three scaled-down images is inconsequential. CC1241L is a novel production, even for the Criterion label, and all in all, is an impressive outing. Voyager Company has raised the standard for content on high-end LD titles. I doubt that other pretenders to the LD throne, particularly CBS/Fox, will meet it. Regards, Hewlett-Packard Bob Niland 3404 East Harmony Road Internet: rjn@hpfcrjn.FC.HP.COM Fort Collins UUCP: [hplabs|hpu*!hpfcse]!hpfcrjn!rjn CO 80525-9599 Footnote: The list price is $124.95. I paid $99.95 at a local store, who had it on sale at the time. All Criterion titles may be had at 25% off from the mail-order firm J&R Frogg. EOF From rjn@hpfcso (Bob Niland) Fri Jan 3 15:22:43 1992 From: rjn@hpfcso.FC.HP.COM (Bob Niland) Newsgroups: rec.video Subject: LD#07: Voyager LD List Message-ID: <7970677@hpfcso.FC.HP.COM> Date: 30 Dec 91 19:55:35 GMT Organization: Hewlett-Packard/FSY Ft.Collins,CO,USA Lines: 342 Discs with catalog numbers are actually orderable, with the possible exception of C2005L, which was replaced by two separate discs. The "CC____" entries are planned or announced, and I have no further info. Get on the Voyager mailing list, the Sight&Sound mailing list or subscribe to Laser Disc Newsletter. Pressing plants may change when editions change (e.g. "Swing Time"). Contributions of missing information are always welcome. Prices? "If you have to ask, you can't afford it." :-) Call Voyager at (213) 451-1383 for their current price list. Regards, Hewlett-Packard Bob Niland 3404 East Harmony Road Internet: rjn@hpfcrjn.FC.HP.COM Fort Collins UUCP: [hplabs|hpu*!hpfcse]!hpfcrjn!rjn CO 80525-9599 _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ Laser Video Discs, defaults: 22 Nov 91 NTSC,Theatrical cut,Live action,12",CLV,4:3 uncropped,MAS,Color,English MFR, TOT #SIDES CATALOG TITLE (ATTRIBUTES) DIRECTOR YR MIN LABEL NUMBER ================================================== == ==== ====== ========== Adam's Rib (B&W) Cukor 49 :101 E2Crit CC1147L Adventures of Baron Munchausen,The(W/S,___)Gilliam 89 =126 __Crit CC_____ Adventures of Robin Hood, The (2AS/MDS) Curtiz 38 :102 _2Crit CC1215L Adventures of Robin Hood, The (CAV,2AS/MDS) Curtiz 38 :102 M4Crit CC1166L All That Bach (_DS) 85 :50 _1Voya V1042L Ancient Egypt, A Visual History (CAV,___) ______ __ ___ __Voya V______ Annie Hall (W/S,MDS) Allen 77 :94 _2Crit CC1231L Arsenic and Old Lace (MDS) Capra 44 :118 _2Crit CC1279L Asphalt Jungle, The (B&W) Huston 50 :112 P2Crit CC1126L L'Avventura (CAV,W/S,MDS,B&W,ESOP) Antonioni 60 :143 _6Crit CC1162L Bachdisc (CAV) 88 :60 M2Voya V1013L Bad Day at Black Rock (W/S,MDS/2AS) Sturges 55 :81 _2Crit CC1265L Beauty and the Beast (CAV,2AS/MDS,B&W) Cocteau 46 :93 __Crit CC1245L Beloved Rogue (Silent,_DS,Tinted B&W) Crosland 27 :99 _2Voya V1048L Big Chill, The (W/S,MDS) Kasdan 83 :103 _2Crit CC1233L Black Narcissus (2AS) Powell 46 :101 _2Crit CC1138L Black Orpheus (CAV) Camus 59 :103 __Crit CC2002L Black Orpheus (MDS) Camus 59 :103 _2Crit CC1172L Blade Runner (W/S,QDS/QCX) Scott 82 :118 P2Crit CC1169L Blade Runner {current} (CAV,W/S,QDS/QCX) Scott 82 :118 P4Crit CC1120L Blade Runner {initial} (CAV,W/S,QDS/QCX) Scott 82 :118 M4Crit CC1120L Blob, The {:86} (W/S,MDS) Yeaworth 58 -82 P2Crit CC1165L Blow-Up (W/S,CAV) Antonioni 66 :111 P2Crit CC1148L Breathless (2AS,B&W) Godard 59 =89 __Crit CC_____ Burn! [Queimada!] {:132} (W/S,MDS) Pontecorvo 68 -112 _2Crit CC1261L Caesar & Cleopatra (_DS/2AS,B&W) Pascal 46 =134 P_Crit CC_____ Cage Aux Folles, La (W/S,_DS,ES?P) Molinaro 78 :91 _2Crit CC1274L Carnal Knowledge (MAT,MDS/2AS) Nichols 71 :96 _2Crit CC1275L Carrie (CAV,SDS/SCX) DePalma 76 :97 __Crit CC1278L Casablanca (B&W,MDS) Curtiz 42 :103 _2Crit CC1287L Casablanca (CAV,B&W,MDS,2AS) Curtiz 42 :103 M4Crit CC1179L Children of Paradise{Fr.}(CL/AV,MDS/2AS,B&W) Carne 45 :195 _4Crit CC1249L Chimes at Midnight (___,___) Welles 67 =115 __Crit CC_____ Citizen Kane (MCX) Welles 41 :119 _2Crit CC1115L Citizen Kane (CAV,MCX) Welles 41 :119 P5Crit CC101L Citizen Kane {50th ann.} (MDS) Welles 41 :119 __Crit CC1285L Citizen Kane {50th ann.} (CAV,MDS) Welles 41 :119 __Crit CC1259L Close Encounters {1977 Ed.} (W/S,QDS) Spielberg 77 :135 _3Crit CC1242L Close Encounters {Dual Ed.}(CAV,W/S,QDS) Spielberg 77 :135 P6Crit CC1241L Comic Book Confidential (CL/AV,_DS) Mann 88 :85 _2Voya V1038L Confidential Report (MDS,B&W) Welles 55 :99 _2Crit CC1277L Creation of the Universe (_DS/2AS) Ferris 85 :90 _2Voya V1034L Dance of Darkness (SDS) Velez 89 :55 _1Voya V1023L Darling {:122} (___,B&W) Schlesinger 65 +127 _3Crit CC1155L Devil and Daniel Webster,The(MDS/2AS,B&W) Dieterle 41 -104 _2Crit CC1243L Diabolique {French} (MDS,B&W,ESIP) Clouzot 54 :114 _2Crit CC1283L Dominoes (CAV,_DS) Re 88 :59 _2Voya V1033L Dr. Strangelove (CAV,W/S,B&W,MDS) Kubrick 64 :93 _4Crit CC1280L Dream Machine II: Computer Dreams (CAV,SDS) 88 :60 P2Voya V1012L Dream Machine III (CAV,SDS) 91 :60 _2Voya V1047L Dream Machine: The Visual Computer (CAV,SAS) 87 :58 P2Voya V1001L Eadweard Muybridge (CAV,B&W) Sheldon 89 :30 _1Voya V1028L Eight and a Half{8-1/2} (W/S,ESIP,MDS/MCX) Fellini 63 :138 __Crit CC1177L Ephemeral: To New Horizons (CAV) Prelinger 88 :60 E2Voya VP1010L Ephemeral: You Can't Get There From Here (CAV) 88 :60 E2Voya VP1011L Evergreen (B&W) Saville 34 =90 __Crit CC_____ Fellini Satyricon (CAV,W/S,_DS,Ital-EngSbt)Fellini 70 =158 _6Crit CC1135L Films of Ray & Charles Eames, V1 (CAV,_DS) _______ 89 :49 _2Voya V1045L Films of Ray & Charles Eames, V2 (CAV,_DS) _______ 89 :58 _2Voya V1046L First Emperor of China, The (CAV,2DS) _______ 91 ___ __Voya V1051L First National Kidisc, The (CAV,MDS) _______ 81 :30 _1Voya V1025L Five Easy Pieces (W/S,MDS) Rafelson 70 :98 P2Crit CC1196L Floating Weeds (MDS/MCX) Ozu 59 :119 _2Crit CC1183L For All Mankind (QDS/2CX) Rienert 89 :78 P2Voya V1018L For All Mankind (CAV,QDS/2CX) Rienert 89 :78 M4Voya V1019L Forbidden Games {:87} (French,Dub2,B&W) Clement 51 +102 _2Crit CC1130L Forbidden Planet (CAV,W/S,SDS/SCX) Wilcox 56 :99 M4Crit CC1153L Forty-Ninth Parallel (B&W,MDS/2AS) Powell 41 :117 __Crit CC1240L Fun & Games (CAV,MDS) __ :60 _2Voya V1026L Ghostbusters (W/S,QDS/QCX) Reitman 84 :105 _2Crit CC1182L Ghostbusters (CAV,W/S,QDS/QCX) Reitman 84 :105 M4Crit CC1181L Gold Rush, The (Silent,MDS,B&W) Chaplin 25 :82 _2Voya V1044L Graduate, The (W/S,2AS/SDS) Nichols 67 :105 M2Crit CC1168L Graduate, The (W/S,2AS/SDS) Nichols 67 :105 P2Crit CC1168L Graduate, The (CAV,W/S,2AS/SDS) Nichols 67 :105 P4Crit CC1115L Graduate, The (CAV,W/S,2CX/SDS) Nichols 67 :105 P4Crit CC1115L Grand Illusion (CAV,2AS,B&W) Cain 37 :114 __Crit CC1114L Great Escape,The {:168}(CL/AV,W/S,MDS/2AS) Sturges 63 +171 _4Crit CC1273L Great Quake of '89, The (CAV) ______ 89 ___ __Voya V1031L Green for Danger (_DS,B&W) Gilliat 46 =93 _2Crit CC1220L Hard Day's Night, A (SDS/SCX,B&W) Lester 64 :90 _2Crit CC1175L Hard Day's Night, A (CAV,SDS/SCX,B&W) Lester 64 :90 P4Crit CC1113L Harder They Come, The (W/S,MDS) Henzell 72 :104 _2Crit CC1282L Harold Tovish, Sculptor (CAV) ______ 89 ___ __Voya V_____ Help! (SDS/SCX) Lester 65 :90 _2Crit CC2004L Help! (CAV,SDS/SCX) Lester 65 :90 _3Crit CC2003L Here Comes Mr. Jordan (MDS/2AS,B&W) Hall 41 :93 _2Crit CC1262L Hidden Fortress (CAV,W/S,MCX,ESOP,B&W) Kurosawa 58 +139 P5Crit CC1111L High Noon (CAV,2AS,B&W) Zinnemann 52 :85 M3Crit CC1107L High Noon (MDS/2AS,B&W) Zinnemann 52 :85 _2Crit CC1173L History DisQuiz, The (CAV,MDS) __ :60 _2Voya V1027L Horse's Mouth, The {:93} () Neame 58 +118 _2Crit CC2005L Horse's Mouth, The {:93} (MDS) Neame 58 +118 _2Crit CC1171L I Love Lucy (CA/LV,2AS) _______ 90 :90 _2Crit CTC1000L Ikiru (MDS,B&W,ESIP) Kurosawa 52 :143 P3Crit CC1224L Imagine the Sound (_DS) _______ 81 :92 M2Voya VP1022L Invasion of..Body Snatchers (W/S,MCX,B&W)Siegel 56 :80 _2Crit CC1174L Invasion of..Body Snatchers(CAV,W/S,2AS,B&W)Siegel 56 :80 _3Crit CC1108L It (Silent,MDS,B&W) Badger 27 :72 _2Voya V1039L It's a Wonderful Life (CAV,2AS,B&W) Capra 46 :130 P6Crit CC1112L James Bond (theatricals) Crit Dr. No (CAV,W/S,MDS/2AS) Young 62 :111 _2Crit CC1234L From Russia With Love (CAV,W/S,MDS/2AS) Young 63 :118 __Crit CC1266L Goldfinger (CAV,W/S,SDS/2AS) Hamilton 64 :111 __Crit CC1267L Jour de Fete {French :87} (MDS/MCX,ESIP,B&W) Tati 48 -76 __Crit CC1207L Killing, The (MAS,B&W) Kubrick 56 :84 P2Crit CC1164L King Kong (2CX,B&W) Cooper 33 :101 _2Crit CC1116L King Kong (CAV,2CX,B&W) Cooper 33 :101 P4Crit CC102L King of Hearts {:110} (W/S,MDS/MCX) de Broca 66 -101 _2Crit CC1225L Knife in the Water {Polish} (MDS,ESIP) Polanski 62 :94 _2Crit CC1268L Kremlim, The (CAV,_DS/2AS) 90 :30 _1Voya V1037L Kwaidan (W/S,MDS,ESOP) Kobayashi 64 :164 P4Crit CC1237L Lacemaker, The (French,W/S,ESIP,MDS/MCX) Goretta 77 :107 _2Crit CC1222L Lady for a Day (_DS,B&W) Capra 33 :95 _2Crit CC1269L Lady Vanishes, The (MCX,B&W) Hitchcock 38 :97 M2Crit CC1104L Last Picture Show,The (___,B&W) Bogdanovich 71 =118 __Crit CC_____ Last Picture Show,The(CA,W/S,DS/2AS,BW)Bogdanovich 71 +122 __Crit CC1271L Last Tango in Paris (W/S,MDS,ES_P) Bertolucci 72 :129 _2Crit CC1232L Lawrence of Arabia {restr'd} (W/S,SDS/SCX) Lean 62 :217 M4Crit CC1197L Lawrence of Arabia {restr'd}(CAV,W/S,SDS/SCX) Lean 62 :217 M8Crit CC1185L Life and Death of Colonel Blimp, The (2AS) Powell 43 :163 _3Crit CC1137L Lola Montes (W/S,_DS) Ophuls 55 :110 P2Crit CC1213L Lola Montes (CAV,W/S,__S) Ophuls 55 :110 __Crit CC2001L Lolita (B&W,MDS) Kubrick 62 :152 __Crit CC1276L Louvre Compendium w/hyperstack (CAV) ________ 90 Stil __Voya V1049L Louvre, The; Vol.1 (CAV) ________ 89 ___ __Voya V1020L Louvre, The; Vol.2 (CAV) ________ 89 ___ __Voya V1021L Louvre, The; Vol.3 (CAV) ________ 89 ___ __Voya V1022L Love Goddesses, The {:87} (MDS) Turell&Ferguson 65 -78 _2Voya V1024L Magnificent Ambersons, The {:131} (CAV,2AS) Welles 42 -88 M4Crit CC1109L Midnight Cowboy (CAV,W/S,MDS/2AS) Schlesinger 69 :113 _4Crit CC1270L Miracle in Milan {Ital,:101} (MDS,B&W) de Sica 51 -95 _2Crit CC1247L Miracle of Life {Swedish} (CAV,_DS) Nilsson 86 :60 _2Voya V1035L Mon Oncle {French} (MDS,ESIP) Tati 56 :117 _2Crit CC1205L Monterey Pop (CAV,SDS) Desmond 69 :88 __Crit CC1163L Monterey Pop {:88} (SDS) Desmond 69 :88 _2Crit CC1164L Mozart: The "Dissonant" Quartet (CAV,_DS/2AS) ____ 91 :106 _2Voya V1041L Mr. Arkadin _2Crit CC1277L Mr. Hulot's Holiday (CAV,B&W) Tati 53 :86 P3Crit CC1119L Musee d'Orsay (CAV,2AS) ______ 90 :___ _2Voya V1036L Naked Kiss, The (W/S,MDS/MCX,B&W) Fuller 64 :90 _2Crit CC1184L Night at the Opera, A (MDS,B&W) Wood 35 :92 _2Crit CC1202L Night at the Opera, A (CAV,2AS,B&W) Wood 35 :92 P3Crit CC1131L Night of the Hunter, The (_AS,B&W) Laughton 55 :92 M2Crit CC1128L North By Northwest (CAV,W/S,MAS) Hitchcock 59 :136 M6Crit CC1145L North By Northwest (W/S,MDS/MCX) Hitchcock 59 :136 _3Crit CC1226L Notorious (MDS/2AS,B&W) Hitchcock 46 :101 P2Crit CC1204L Notorious (CAV,MDS/2AS,B&W) Hitchcock 46 :101 P4Crit CC1203L Parade (MDS/MCX,B&W) Tati 74 :88 _2Crit CC1246L Paths of Glory (MD_,B&W) Kubrick 57 :87 _2Crit CC1157L Persistence of Vision: Vol.1 (CAV) ________ __ ___ __Voya V1008L Persistence of Vision: Vol.2 (CAV) ________ __ ___ __Voya V1009L Persistence of Vision: Vol.3 (CAV) ________ __ ___ __Voya V1010L Playtime (___) Tati 68 =152 __Crit CC_____ Poetry in Motion (_DS/_CX) Mann 82 ___ __Voya VP1020L Power of Myth, The (MCX) Campbell/Moyers 87 :360 E6Voya V1014L Princess Bride, The (MAT,QDS/QCX) Reiner 87 :98 P2Crit CC1194L Princess Bride, The (CAV,MAT,QDS/QCX) Reiner 87 :98 M4Crit CC1140L Producers, The (W/S) Brooks 68 :89 M2Crit CC1136L Psycho (___) Hitchcock 60 =109 __Crit CC_____ Pygmalion {:96} (MAS,B&W) Asquith & Howard 38 -90 P2Crit CC1133L Raging Bull (W/S,SDS,B&W) Scorsese 80 :128 _3Crit CC1238L Raging Bull (CAV,W/S,SDS/2AS,B&W) Scorsese 80 :128 _6Crit CC1230L Rashomon (MDS,2AS,B&W,ESIP) Kurosawa 50 :87 _2Crit CC1149L Rebecca (MDS/MCX,B&W) Hitchcock 40 :130 __Crit CC1999L Rebecca (CAV,MDS/MCX,B&W) Hitchcock 40 :130 __Crit CC1998L Red Balloon, The () Lamorisse 56 :34 P1Crit CC2000L Red Beard (W/S,MDS,ES_P,B&W) Kurosawa 65 :185 _4Crit CC1239L Regard for the Planet (CAV) Garanger 89 Stil __Voya V1017L River, The (B&W,MDS) Renoir 51 :99 _2Crit CC1176L Rules of the Game [French] (CAV,MDS/2CX,B&W)Renoir 39 :107 __Crit CC1150L Sabotage (B&W) Hitchcock 36 :76 P2Crit CC1117L Salamandre: Chateaux of the Loire (2_S,CAV) ______ 88 ___ __Voya VP1006L Salt of the Earth (M__,B&W) Biberman 53 =94 _2Voya VP1005L Scaramouche (CAV,2AS) Sidney 52 :118 M4Crit CC1132L Scaramouche (MDS/MCX) Sidney 52 :118 _2Crit CC1193L Secret Agent (MAS,B&W) Hitchcock 36 :86 P2Crit CC1118L Seven Samurai,The (CAV,W/S,2AS,ESIP,B&W) Kurosawa 54 :203 E8Crit CC1167L Seven Samurai,The (W/S,MDS/2AS,ESIP,B&W) Kurosawa 54 :203 _4Crit CC1236L Seventh Seal, The (CAV,2AS,B&W) Bergmann 56 :96 __Crit CC1110L Seventh Seal, The (_DS/2AS,B&W) Bergmann 56 :96 P2Crit CC1212L sex, lies and videotape (W/S,QDS) Soderbergh 89 :101 _2Crit CC1217L sex, lies and videotape (CAV,W/S,QDS) Soderbergh 89 :101 _4Crit CC1216L Shampoo (W/S,MDS) Ashby 75 :110 _2Crit CC1272L Shock Corridor (W/S,MDS/MCX,B&W/C) Fuller 63 :101 _2Crit CC1189L Shoot the Piano Player(W/S,EngSbt,Dub2,BW)Truffaut 63 :84 _2Crit CC1143L Show Boat (MDS) Whale 36 110 _2Crit CC1191L Show Boat (CAV,MDS) Whale 36 110 M5Crit CC1144L Silverado (W/S,QDS) Kasdan 85 :132 _3Crit CC1229L Silverado (CAV,W/S,QDS) Kasdan 85 :132 _6Crit CC1229L Singin' in the Rain (MDS) Kelly 52 :103 _2Crit CC1210L Singin' in the Rain (CAV,MDS/2AS) Kelly 52 :103 M4Crit CC1152L Smiles of a Summer Night (B&W,MDS,ESIP) Bergmann 55 :108 _2Crit CC1251L Some Like it Hot (W/S,MDS,B&W) Wilder 59 :121 _3Crit CC1286L Some Like it Hot (CAV,W/S,MDS/2AS,B&W) Wilder 59 :121 _5Crit CC1180L Son of the Sheik,The (Sil,MDS,tintB&W) Fitzmaurice 26 :68 _2Voya V1043L Sparrows (Silent,MDS,Tinted B&W) Beaudine 26 :84 _2Voya V1052L Spirit of the Beehive (MDS,Spanish,ES__) Erice 73 =98 _2Crit CC1122L Steamboat Bill,Jr. (Silent,MDS,tinted B&W) Riesner 28 :71 _2Voya V1040L Strada, La (Ital,Dub2,B&W) Fellini 54 :94 P2Crit CC1129L Summertime (MDS) Lean 55 :99 _2Crit CC1190L Sunday, Bloody Sunday (W/S,MDS) Schlesinger 71 :110 _2Crit CC1284L Swing Time (2AS,B&W) Stevens 36 :103 _2Crit CC1200L Swing Time {current edition} (CAV,2AS,B&W) Stevens 36 :103 P4Crit CC1106L Swing Time {initial release} (CAV,2AS,B&W) Stevens 36 :103 M4Crit CC1106L Taxi Driver (W/S,MDS,2AS) Scorsese 76 :116 _2Crit CC1281L Taxi Driver (CAV,W/S,MDS,SCX) Scorsese 76 :116 _4Crit CC1219L TED 2 {Technology Enter. Design conf.} () 90 ___ __Voya V1030L That Obscure Object of Desire (MAT,MDS,ESIP)Bunuel 78 :104 _3Crit CC1223L Theatre of the Imagination{audio only}(2DS) Welles __ 3:xx __Voya V1012L Third Man, The (MCX,B&W) Welles 49 :104 _2Crit CC1105L Thirty Nine Steps, The (M__,B&W) Hitchcock 35 :87 _2Crit CC1103L Three By Scorsese (MDS) Scorsese __ :109 _2Voya V1032L American Boy (MDS) Scorsese __ ___ __Voya V1032L Italian American (MDS) Scorsese __ ___ __Voya V1032L The Big Shave (MDS) Scorsese __ ___ __Voya V1032L Three Penny Opera, The (2AS,B&W) Pabst 31 :113 _2Crit CC1139L Throne of Blood (CAV,MDS,B&W,ESIP) Kurosawa 57 :105 _2Crit CC1252L Tokyo Olympiad (CAV,W/S,MDS/MCX,ES_P) Ichikawa 89 :170 P_Crit CC1227L Tootsie (CA/LV,W/S,MDS/2AS) Pollack 82 :116 __Crit CC1264L Tunes of Glory () Neame 60 :106 _2Crit CC2005L Tunes of Glory (MDS) Neame 60 :106 _2Crit CC1170L Twelve Angry Men (M__,B&W) Lumet 57 :92 _2Crit CC1127L 2001: A Space Odyssey (W/S,QDS/SCX) Kubrick 68 :149 P3Crit CC1235L 2001: A Space Odyssey (CAV,W/S,QDS/SCX) Kubrick 68 :149 M6Crit CC1160L Umberto D (_DS,B&W) DeSica 52 :90 P2Crit CC1214L Van Gogh Revisted (CAV) _____ 89 ___ __Voya V1016L Vancouver Disc, The (CAV) __ ___ _2Voya V1015L Vengeance is Mine (CAV) _________ 79 :143 __Crit CC1134L Vienna, The Spirit of a City (CAV) Leber 89 :25 M1Voya V1031L Vincent Van Gogh Revisited (CAV) _____ __ ___ __Voya 1016 Viola, Bill - Selected Works (CAV,SAS) ________ __ :55 _2Voya V1003L Viola, Bill: I do not Know What it is I..(CAV,SAS) __ :89 _2Voya V1004L Wages of Fear,The {:156,Fr} (MDS,B&W,ESIP) Clouzot 52 -148 _3Crit CC1244L West Side Story (W/S,SDS) Wise 61 :150 M3Crit CC1192L West Side Story (CAV,W/S,SDS) Wise 61 :150 M6Crit CC1178L White Mane (B&W) Lamorisse 52 :38 P1Crit CC2000L Wild Strawberries (MDS,ESIP,B&W) Bergmann 57 :90 _2Crit CC1250L Willow (W/S,___) Howard 88 =125 __Crit CC_____ Wizard of Oz, The (CAV,MDS/2AS) Fleming 39 :101 M4Crit CC1159L World Alive w/floppy (CAV,_DS) _______ 91 :25 __Voya V1050L Yojimbo (W/S,MDS,B&W,ESOP) Kurosawa 61 :110 P2Crit CC1211L Young and Innocent (B&W) Hitchcock 37 :82 _2Crit CC1116L Zulu (W/S,SDS/SCX) Endfield 64 :138 P3Crit CC1154L ===LEGEND:======================================================= 14 Sep 90 The information in this dataset format is intended to meet the needs of the LD purchaser. It focuses on data about the LD release, and not on the recorded work itself. For example, title, director and year are included because that is the minimum data required to uniquely identify a work. Actor names, work variety (musical, comedy, etc.) and MPAA rating (except [X]) are not included, since they can be found in most reasonable film/video guides. The data format does not presently support noting of chapter marks or CLV timecode resolution. "B&W" is noted because at least one colorized B&W film has shown up on LD. ATTRIBUTES All Voyager/Criterion LDs are NTSC. Rotation Modes: Default: CLV CAA Constant Angular Acceleration CAV Constant Angular Velocity (1800 rpm) "Standard Play". CLV Constant Linear Velocity (inches per second) "Extended Play". CL/AV CLV except last side, which is CAV. Disc size: Default 12" 8 8-inch music-type video CDV 5-inch CD-Video (always CLV) Picture format: Default: Full-frame spherical, NTSC, Color, No subtitles CC Closed-Captioned for the hearing-impaired B&W Black & White MAT Disc is matted spherical wide-screen. W/S Disc is letterboxed wide-screen. Cropping: Disc is 4:3, cropped from wide-screen source material. crop Cropping not noticeable. Crop Effect of cropping not yet known. CROP Cropping noticeable. ESIP English Subtitles In Picture ESOP English Subtitles Out of Picture Sound: Default: MAS, English, undubbed, no subtitles 2.. Second program monophonic sound M.. Monophonic sound Q.. Surround sound S.. Stereophonic sound .CX CX encoded NTSC analog sound .DS "CD-Video" Digital Sound .AS Unencoded NTSC analog sound sound Dub2 Dubbed English track on channel 2/L YR Is release year listed on disc, release year as listed in Maltin or Halliwell, or (c) copyright date listed in on-screen credits, whichever is found first. (c) can precede release. TOT MIN (Total Minutes. Disc times as listed on disc (or measured)) 123 Actual disc running time - original unknown :123 Actual disc running time - uncut/uncompressed from original. +123 Actual disc time, expanded from {:012} figure to left. -123 Actual disc time, cut from {:234} figure to left. *123 Actual disc time, compressed from {:234} figure to left. =123 Original movie running time - disc unknown. Stil Material primarily still-frame - time not applicable. MFR: Media Manufacturer: Default: Unknown (presume "P") E Philips-Dupont Optical (PDO) in England M 3M: Minnesota Mining & Manufacturing P Pioneer USA (PVI) p Pioneer Japan (PVC) EOF From rjn@hpfcso (Bob Niland) Fri Jan 3 15:22:46 1992 From: rjn@hpfcso.FC.HP.COM (Bob Niland) Newsgroups: rec.video Subject: LD#08: Model LD Loan Agreement Message-ID: <7970678@hpfcso.FC.HP.COM> Date: 30 Dec 91 19:58:26 GMT Organization: Hewlett-Packard/FSY Ft.Collins,CO,USA Lines: 124 You may find this useful for swapping discs with your friends and co- workers. In case its not clear from the wording, this is not an invitation to swap discs with random net readers. ____________________________________________________________________________ re: May I test drive your bits? last revised: 05 Mar 90 Even at a discount, Laser video Discs are expen$ive. There are a lot of discs I'd like to fly-before-I-buy. I've already bought a couple that I really don't want, and would prefer to avoid this in the future. I never loan my LPs. They are too easy to damage and even the best equipment "consumes" them a little each time they're played. LDs are sufficiently more robust that I am willing to consider lending them for audition purposes. Some LDs are irreplaceable, and I may decline to loan these. LDs are certainly not indestructable. I have seen (in both senses) the effects of typical rental LDs handling. No thanks, I want mine to last the rest of my life. Some of my LPs are over 25 years old. I expect my LDs to last at least as long. I am willing to loan my LDs to friends and co-workers who are willing to abide by the terms of the following agreement. I encourage you to use it as well. ---------------------------------------------------------------------------- LD Borrower's Agreement 0. Scope - For , the offer to loan LDs under the terms of this agreement is extended to employees and my personal friends only. Lending is offered only LDs where face-to-face exchange of discs is possible, that is, no inter-office mail. 1. Each borrower agrees to take the initiative to pick up and return LDs. The borrower agrees to provide a suitable carrier or other packaging that will prevent LD jackets from opening during transport and will prevent all but minor scratches on the outer sleeves. 2. For each lent LD that has less than perfect surfaces, liner notes or jacket, the lender agrees to insert a "damage report" in the liner notes. 3. The borrower agrees to return the LDs in the same condition in which they were received. In particular, this means the borrower conditionally agrees to replace any disc that is returned with scratched and/or contaminated surfaces (regardless of whether or not the LD appears to play without error). Generally speaking, I can remove light scuff marks (and their video effects) with an acrylic polishing kit, but I prefer not to need to do this. Against the possibility that such damage is pre-existing and not noted on a damage report, the borrower must inspect the discs on receipt, in the presence of the lender. The borrower also agrees to replace any LD jackets and/or inserts returned with more damage than received (other than fingerprints and light scratches). My discs are all furnished with rectangular anti-static inner sleeves and poly outer sleeves. 4. The borrower agrees to keep each LD in its jacket at all times when it is not in a player. The borrower will store it in a room-temperature location, away from direct sunlight, pets, small children and other destructive forces. With the outer jacket opening to the side, the proper insertion mode is with the inner sleeve opening up (openings at 90 degrees). The lender will provide a re-sealable outer liner for the jacket. 5. The borrower agrees to play each LD only in a player satisfactory to the lender. On the initial loan, the borrower agrees to provide adequate information about the player to be used. 6. The borrower agrees to handle each LD only by the inner and outer edges. The borrower agrees to not touch either surface, and to insert each disc in the player without the disc touching any player components except disc supports, and to rest the disc on those supports with minimal (preferrably no) horizontal movement. 7. The borrower agrees to remove and insert the disc in the rectangular sleeves with a minimum of scuffing of the sleeve against the surfaces, and agrees to avoid folds, creases and wrinkles in the sleeve. 8. The borrower agrees to handle each disc carefully and not permit it to fall into the hands of anyone not party to this agreement. (This includes spouses and particularly teenage space-cadets.) 9. The borrower agrees to refrain from attempting to clean any LD. If the borrower suspect that contaminants have accumulated to the point that their player's tracking can't handle it, the borrower will merely report it to the lender. 10. The borrower agrees that if the borrowed LD is still in print, the borrower will not copy it, thereby depriving the artists and producers their royalties. LD borrowing is solely for the purpose of auditioning. Exception: If the liner notes provide for a copying fee, the borrower may copy the LD, as long as the fee is paid to the copyright holder. 11. The borrower agrees to keep all borrowed LDs in his or her custody until returned to the lender. The borrower will not re-"loan" them to anyone else, with one exception: With the lender's prior consent, the borrower may forward a LD to someone who is a party to this agreement. In this case, the borrower agrees to send the lender an electronic or hardcopy note recording the transfer. The initial borrower remains responsible for damage unless an inspection is performed at the transfer. 12. The borrower agrees to return the LDs on or before the date and time agreed. If it appears that the borrower will be unable to do so, the borrower will re-negotiate the period PRIOR to the expiration of the original period. The borrower will return the LDs without having played them, if necessary, in order to avoid breaking this agreement. 13. Finally, the borrower agrees to loan LDs on the same terms. As evidence of clear intention in this matter, both lender and borrower will provide a list of available LDs prior to requesting the first loan. The lender may decline to loan LDs which are difficult or impossible to replace. The lender acknowledges that borrowers may have similar reservations. EOF From rjn@hpfcso (Bob Niland) Fri Jan 3 15:22:51 1992 From: rjn@hpfcso.FC.HP.COM (Bob Niland) Newsgroups: rec.video Subject: LD#09: Laser Disc Mint Marks Message-ID: <7970679@hpfcso.FC.HP.COM> Date: 30 Dec 91 19:58:53 GMT Organization: Hewlett-Packard/FSY Ft.Collins,CO,USA Lines: 1149 Subject: LD#09: Mint Marks Edition: 18 Dec 91 re: numismatics for the laserphile: Introduction Unlike the videotape marketplace, there are a very small number of laser videodisc (LD) pressing plants and distributors. It is sometimes useful to know who made or brokered a given platter, and it is usually possible to determine that by inspection of the product. The article summarizes what I have learned, as an ordinary disc consumer, since buying my first LD in early 1988. This article covers only NTSC discs, and not PAL. Corrections and additions are welcomed. Why should you care? 1. Product defects and stability. If you ever have a disc degrade, it helps to know who made it and distributed it, in order to get a replacement. If you buy used discs, or "new" discs from pre-1987 inventory, an eventual encounter with laser rot is likely. If you have an unmodified Pioneer CLD-xx90 series player, you need to beware of a certain manufacturer's discs. 2. Image quality. Simultaneous releases of CAV and CLV editions of the same title are often by different manufacturers (even though the same label). The CLV may actually be preferable due to the vendor involved. Sometimes multiple manufacturers are involved in the CLV editions of mega-titles, and your dealer may be able to offer a choice (e.g. find the preferred printing in open rental stock and offer to swap the discs from the unknown factory-sealed copy you are buying). 3. Curiosity. LD mint marks reveal industry preferences and trends. Pressing plants shunned by some labels are embraced by others. The general health of the LD industry is also revealed. The number of plants has doubled since I first began keeping this information in 1988. Up the organisation... There are at least five separate entities involved in getting visual works >from the film/tape vault onto acrylic plastic and delivered to your hands: The Studio - e.g. "Universal", "Touchstone". Ignoring Public Domain for the purposes of this discussion, the studio holds the copyright on the work in question, and usually custody of the archival film or tape elements. The studio may not actually initiate the LD release. Until recently, with a few exceptions (MGM in particular), the LD release was actually championed by the distributor. The studio merely grants permission and provides a key to the vault, so to speak. The studio may be an independent, consequently there are a large number of "studios" appearing on LD. Fortunately, the "studio" is nearly irrelevant so far as LD mint marks are concerned. The Label - e.g. "MCA", "CBS/Fox". The label hosts the release, lists it in their catalog, and may hold the home video rights as well. The label may also be a studio and is often a generalized entertainment conglomerate. There are well over 100 "labels" on LD in the U.S. Fortunately, the "label" is also often irrelevant from a mint mark perspective. The Manufacturer - e.g. "3M", "Pioneer". The manufacturer presses (or casts, or injection molds) the media. They may also manufacture the disc labels, sleeves, jackets, and/or assemble the end product. With the exception of Pioneer, and some early 3M titles, manufacturers seldom act as "labels" or "distributors". There are only 6 significant LD manufacturers in the continental U.S. (with two more imminent). There are at least 5 off-shore manufacturers that matter here, and perhaps more making discs in Japan for local consumption there. The significant sources are, in order of probability of encountering them: * Pioneer Video, Inc. (PVI) US * Pioneer Video Corp. (PVC) Japan * DADC - Digital Audio Disc Corp. Sony-US * 3M US * Mitsubishi Japan * Technidisc US * Philips-Dupont Optical (PDO) UK, "PDO" * Kuraray Japan * CBS/Sony Japan * DiscoVision (DVA) US - long gone * Disc Mfg. Inc. (DMI) US * WEA Manufacturing (WEA) US (on line 7/91) * Denon Digital Audio (DDA) US (on line '92) There are two European manufacturers who are not yet covered in this document, both of whom apparently do not master or produce for NTSC format: Sonopress in Germany and Digipress in France. Sonopress does produce PAL discs. The only Digipress product I have seen, a 5-inch demo CDV, in NTSC, was actually pressed by Disctronics (now DMI). The Distributor - e.g. "IMAGE", "LDCA". The distributor warehouses the finished product, and ships it to retailers. A distributor usually publishes a catalog. A distributor may have exclusive access to certain titles, labels and studios. Some labels (e.g. MCA and Voyager) handle their own distribution (although non-exclusively). With the exception of Voyager Press, distributors generally don't sell directly to consumers under their own name. There are only 2 broad-line LD distributors that really matter in the U.S.; * Image Entertainment (IMAGE) * Pioneer Laser Disc Corporation of America (LDCA). The Retailer - e.g. "LaserLand", "Sight & Sound", "Laser Disc Fan Club", "Columbia House". The retailer sells directly to the public. Retailers may source from multiple distributors, so they theoretically can get you anything that is in print (or in a warehouse somewhere). The larger chains may handle their own distribution. I'm not aware of any retailers directly producing LDs and acting as a label. The retailer is irrelevant from a mint mark standpoint. ____________________________________________________________________________ LD#09: Mint Marks - General terminology The job of identifying the manufacturer is often made much easier (or more difficult) by the label/studio. Unfortunately for the collector, most producers consider pressing plants to be an interchangeable resource. The manufacturers, however, need to have some way of identifying their own production, should a defect be found and a disc returned to the factory. MCA and CBS/Fox, for example, consistently omit the manufacturer's identity >from their packaging and disc labels. Criterion Collection on the other hand, may switch sources, but they consistently identify the manufacturer, and sometimes even change the cover art from press run to press run (e.g. "nth Printing, 1988"). New discs are routinely shrink-wrapped, which makes the identification more difficult if the jacket provides no clues. However, if you shop at a store which both rents and sells discs, you can often examine the disc platter itself by wandering over to the rental inventory. Failing an outright ID, we'll be looking for the following clues: * Country of - if any. If the package or disc labels state "Made in origin U.S.A." or "Manufactured in U.S.A.", that should eliminate all the Japanese and European sources, and vice-versa. * Inner sleeve - design thereof and printing (if any). This is only useful on a new, previously unopened disc. Many collectors, myself included, routinely discard unreinforced U-shaped poly sleeves, and replace them with 3M-style sleeves. Also be advised that most retailers have shrink-wrap machines, so the presence of the wrap is no guarantee that the disc is "new" or "factory sealed", unless it also has a distributor sticker on it. * Hieroglyphs - inscribed in the metallization layers, particularly batch numbers, and especially on "dead sides". These are the most useful, and consume most of the final section of this article. * Dates - are generally not helpful. They come in several flavors. Original copyright - pretty well useless except on material made exclusively for video disc. The disc will not pre-date this by more than 6 months or so. If the movie itself was release in 1983 or later, you can at least be sure the disc is not a DVA. Copyright renewal - by the current holder. May bear no relationship to LD mastering/production dates. Disc unlikely to pre-date this by more than 6 months. Package/artwork - copyright; this sets yet another "cannot precede by more than 6 months" boundary (actually, I have never seen package art with a future date). If the artwork differs from the VHS/Beta tape artwork, AND the batch/sequence number is low, then the disc was probably made in that year, or the next. Edition date - on Voyager Press/Criterion Collection only. States when the masters were made that were used in the pressing at hand. On short press runs, the stampers may actually be stored and re-used later, in which case the date does not change. Mastering date - On Technidisc only, a six-digit human readable date encoded in the lead-in area of the disc. Again, this does not preclude later re-use of the same stampers. Roman Numerals - Dates are often expressed in Roman numerals, particularly on older material. The notation is cummulative (not positional, like decimal), and rules are: I = 1 V = 5 X = 10 L = 50 C = 100 D = 500 M = 1000 A lower numeral preceeding a higher one is subtracted from it (e.g. IV = 4). A lower numeral in between two higher ones is subtracted from the second (e.g. MCM = 1900). All dates in this century begin with MCM. Examples: MCMLXXI = 1971, MCMXLIV = 1944 Disc media topology and terminology: A 12-inch LD is actually about 11.8 inches in diameter, or 5.9 inches in radius. The data for side "X" is actually on the opposite side from the label for side "X". The following terms are not "official", and never having seen the Philips/MCA LaserVision spec, or the Pioneer "BlueBook" spec, I'm not sure there are any official terms. Media Radius Region Inches Description ----------- ------- ---------------------------------------------------- Label 0.8-1.7 Printed paper or plastic. There may be information under here, but I've never peeled one off and looked. (And I don't recommend that you try. Re-applying the label with glue or tape could result in excessive vertical run-out, or a loose label that tears loose during spin-up/down or side-change.) Inner blank 1.7-2.0 Void of video data and completely reflective, except for possible batch and serial numbers. Lead in 2.0-2.2 The beginning of video data. Normally this starts at 2.1", and contains CLV-vs-CAV cues and other info needed by the player. Some vendors encode human- readable text between radii 2.0" and 2.1". Video data 2.2-5.7 The data may actually end well before 5.7 inches, and depending on the length of the side. You can lead-out usually spot the end-of-data by an abrupt change in the diffraction pattern. Outer blank 5.7-5.9 Void of video data and completely reflective, except for possible batch numbers (DVA, PVC) and alignment marks (PDO). Batch A work-order number or catalog number, often with a letter or two- number digit suffix that changes every time a new master (or stamper) is made. Thousands of discs may be pressed from a single Master. If problems are encountered, or a huge press run is produced, the stamper number suffix can get quite high. Serial A multi-character sequence that is changed for every platter number pressed. It is usually stamped into the data layer prior to gluing the two sides together. Every surface of every serialized LD bears what appears to be a unique, but arbitrary number. I have never seen a sequence from side-to-side, nor have I yet determined any pattern in these numbers. Some older disc jackets imply that the number is encoded in the video data, and would uniquely identify your disc, should you copy it to tape. This is false, as it would require remastering each platter made, or making a player that could read the stamped roman digits. Furthermore, these numbers don't appear on the disc packaging, and are not tracked beyond the pressing plant. About all they are useful for is recovering your stolen LDs (if you keep a record). Dead The final (even numbered) side of a title (disc or set) which only side has enough program material for an odd number of sides. Dead sides are usually CAV, and usually have a single frame, without sound, that runs for 15 minutes or so if you let it, telling you to turn the disc over. Although silent, the analog and/or digital subcarriers are often present, and the digital may even include table-of-contents (TOC) sub-codes. A dead side may also be a solid plastic surface (DMI), a plain acrylic surface with no data at all (late DVA), or a video program fragment from some other work - possibly defective - and opaquely coated to prevent playing (DVA). 3M also coats dead sides, but the coating does not yield to mild solvents, so I can't tell you if there is playable data beneath. ____________________________________________________________________________ The Distributors: LDCA Pioneer Laser Disc Corporation of America has been the mainstay of LD in the U.S. Had Pioneer not taken over when DiscoVision (DVA) ceased production, LDs would probably now be about as common here as CED videodiscs. LDCA distributes for virtually all studios and labels, with the possible exception of exclusive Image titles bearing "IM" series catalog numbers. LDCA exclusively handles Pioneer "house" brands, such as "Pioneer Artists" and "Pioneer Special Interests", although some of these may also enter the U.S. via the direct-import market (gray market), and are untouched by LDCA. Do not confuse LDCA (the distributor) with Pioneer Video, Inc. (PVI), the manufacturer, or Laser Disc Fan Club (LDFC), the retailer. Although they may actually be in the same building, PVI has pressed discs that never saw the inside of the LDCA warehouse (e.g. some older Image titles, and Voyager Press direct mail-order). On the other hand, LDCA does not restrict their distribution to only Pioneer-pressed LDs. I have seen LDCA-handled product made by 3M and Technidisc. How can you tell if LDCA handled a disc? Why should you care? It appears that many discs distributed by LDCA got stamped and/or stickered. The lower left corner of the rear of older packages have any of the following embossed letters, about 0.2 inches high, slanting down from left to right: "LDV", "PVI", "LDC" or "LDCA". Boxed sets appear to be excepted. The shrinkwrap may also bear a small sticker, 1.25x0.75 inches, bearing the Pioneer logo device and, bearing blue letters: On silver or gold - "LDCA America", and below, smaller "Pioneer Group"; On white - "Pioneer", and below, smaller "Pioneer Video, Inc." If like most collectors (and me), you rip off and discard the shrinkwrap, I suggest that you carefully peel off this sticker and apply it to the disc jacket for future reference - particularly if the emboss is absent. Why care? * LD had a terrible reputation for quality when LDCA was founded. Many domestic and imported Pioneer LDs from the mid-decade period also had problems (and still do). As part of their effort to keep LD alive in the U.S., Pioneer has been very responsible about replacing defective LDs, and this apparently extends to anything that LDCA ever handled, regardless of when and where it was pressed, including, according to one correspondent, actual DVA pressings, even through they pre-date both PVI and LDCA. * Some current labels and studios have a very short warranty. MCA's is only 30 days! However, if the disc was handled by LDCA then LDCA may replace it. I have a separate article available which describes the LDCA return process. IMAGE Image Entertainment is handling about a dozen different studios, some exclusively, such as: Disney/Touchstone, CBS/FOX, HBO, Vestron, Pacific Arts, Media and MPI and Orion. At present, Image is releasing new titles at around 100 per month; a rate exceeding LDCA's. Image has had discs made by just about everyone; CBS/Sony, DADC, Kuraray, Mitsubishi, 3M, PDO, PVC, PVI and Technidisc. Image no longer acknowledges who presses their discs, and the package artwork limits itself to "Made in ". IMAGE historical practice was to have their logo "DISTRIBUTED EXCLUSIVELY BY image (TM) ENTERTAINMENT" printed in the artwork of each jacket. Their catalog numbers took the form: "ID5###@@" thru "ID8###@@", where 5### and up are 4-digit numbers in the range 5000 thru 8999 (and can be expected to go higher), and "@@" is a two letter abbreviation for the studio. Using the examples at HBO above, this would be: HB, VE, PA, ME, MP and OR. Earlier Image-distributed product may have the Image logo in sticker form on the shrinkwrap. Earlier catalog numbers took the form I5#### or ID-5### (with no trailing letters). Vestron titles were VL5### or VL6####. A "New World Video" title was "IG5###". Newer IMAGE-distributed labels, such as Disney & CBS/Fox, still bear the catalog numbers of their respective studios. It is not clear if these labels will switch to standard IMAGE practice. Some Image packaging states a 5-year warranty to the original end-user purchaser. Image typically does not accept returns directly from consumers (although they did with the CAV Fantasia side-5 problem). You must "work with" an Image dealer. This may be a problem if you did not buy the disc there. Two years ago, a regional retailer related that returning defective LDs to Image was a "pain", compared to LDCA. In a phone call to an Image representative in early 1991, I was informed that the replacement policy is for "same title only", (although the statement says "or title of similar value"). If the title was out of stock, he said they would suggest that the customer hold it until repressing. He assured me that all of their titles would be repressed eventually. Given that distributors frequently have only limited-time rights to some titles, I suspect that the "similar value" comes into play here. I have no personal experience with returning product to Image, and in fairness, I should mention that I have personally never needed to return an Image product. But until I have more reassuring word on Image replacement procedures, I suggest buying Image titles only from dealers or mail-order sources who offer unlimited warranties (and many do). ____________________________________________________________________________ LD#09: Mint Marks - The Manufacturers ============================================================================ DDA (Denon,USA) ============================================================ General: Scheduled to go on-line in late 1991. Based on experience with prior new plant announcements, we may not see any DDA discs until 1992. Aliases: DDA: Denon Digital Audio Country: USA Location: Madison, Georgia. Sleeve: Glyphs: ============================================================================ Disc Manufacturing, Inc. (DMI) ============================================= General: DMI has been making CDs and CDVs for some time. The only LD I have seen from them (when they were "Disctronics") is an early pressing of the Reference Recordings LD-101, "A Video Standard". Current LD-101s are from PVI, with rumors of some from 3M. PDO had contracted with Disctronics to supply 12-inch LDs for U.S. customers. PDO (US) was purchased by DMI in September 1991. DMI is currently reported to be making LDs only for one or two major industrial customers, and their product seems unlikely to re-enter the consumer market. Aliases: Formerly "Disctronics", and before that "LaserVideo". Country: USA Location: 1120 Cosby Way Anaheim, CA 92806 (714) 630-6700 Sleeve: U-shaped unreinforced poly sleeve. Glyphs: (old example), dot-matrix letters in inner blank area: MADE BY DISCTRONICS W.O.# 1141-38 REFERENCE RECORDINGS RRLD-101 There is also a 1/8-inch wide band in the lead-in area. The dead side is a solid opaque white plastic platter half. I have seen no LDs since they became DMI. Subsequent LDs (if any) might be expected to bear the following legend in place of the old "MADE BY..."; as seen on a recent DMI CD: DISC MFG, INC (H) ============================================================================ DiscoVision ================================================================ General: MCA DiscoVision Associates was the genesis of the domestic LD industry. MCA co-developed the LaserVision specification with Philips. DVA made discs between 1978 and 1982, at which time I'm told that one of their two facilities was closed, and the other taken over by PVI. Theoretically, nothing bearing a copyright date later than 1982 should be a DVA pressing, but early PVI production (up to 1985 or so) often bears identical mint marks, and old artwork may have been used for re-pressings. I own two DVA pressings, and have auditioned about a dozen. Most of the following information on DVA was provided to me by a co-worker. Early DVA discs are collected almost like coins, despite the high defect rate (half of the DVA titles I have seen had defects for which I would return a 1991 disc). There are dealers specializing in DVA. Detailed title listings and dead-side "discovery" lists are available (but not from me). DVAs turn up, rarely, in used disc bins, and even more rarely as "new" product. I found a 1978-vintage title in November of 1989, and received a "new" 1981 disc set via mail order in June 1990. Many LDs are still being sold that declare "Made...for DiscoVision Associates". Mine all turned out to be PVI or PVC pressings. A few titles are still being sold with old jacket artwork that declares "Made by DiscoVision Associates". These also turned out to be PVI or PVC. However, if you dabble in used discs, you can expect to find actual DVA pressings. Aliases: DiscoVision Associates MCA Videodisc, Inc. Country: USA Location: Long Beach and Culver City, CA (stated as Universal City or Costa Mesa on the jacket) Sleeve: The initial sleeve was an lp-style rectangular affair with center hole. The material was unlined synthetic felt, and is unique. I have no data on later sleeve styles. Glyphs: Late DVA markings are identical to early PVI. You need to rely on package documentation, printed dates and film release date to make a confident ID. Inner blank area: Usually vacant. Sometimes a 4 to 5 ring band may be present in the lead-in area. Outer blank area: batch number Note - these inscriptions are very hard to locate and read. A reflected point source of bright light helps. What you seek is inverted (mirror image) handwritten script of the form... CC-CCC@# or CC-CCC@#-##. CC-CCC is the batch number, which often matches the catalog number. @ = side letter, A,B,C,etc. #-## = stamper sequence number, starts at "1-01" Examples: 73-001A1 {early} 95-035A1-15 {later} 95-029B1-2 95-076-A2-11 86-515A1-11 Dead sides: Usually a side from some other title, often defective, usually CLV, with a transparent film-like coating that yields to alcohol. I have also seen one title with a dead side consisting of a clear acrylic platter with no data layer - the glue was visible (and it wasn't very uniform). Jacket: Early 1978 discs were in silver colored fold-open foam-core boxes with blue or green "V" art pasted on. The hinge is on the top. Subsequent production was the conventional LP-style pocket sleeve, in silver. 1978 and 1979 jackets have a distinctive "V" design. ______________________________________ | \ / | | \ TITLE / | | \ and picture / | | \ / | | (color) \ / | | \ / | | \ / | | \ / | | \ / | | \ / | | DiscoVision \ / | | Laser \ / | | Videodisc V | | | | | | | |______________________________________| 1980 and later saw label diversification. Magnetic Video, for example, used a silver jacket with circular device. ============================================================================ Kuraray ==================================================================== General: I have little information about this Japanese company. I can't even confirm the spelling of the name. IMAGE has released many titles bearing these mint marks, including episodes 7 through 17 of "The Prisoner". The 1991 Image catalog disc, an 8-inch "LD single" (of literal single-sided CD-style polycarbonate construction) is also an apparent Kuraray. Aliases: Location: Japan Sleeve: U-shaped unreinforced poly sleeve. U-shaped fabric sleeve on LD8S. Glyphs: Pioneer-style serial numbers in the inner blank area of LD12s. No s/n on LD8-S. 1 or 2 solid inner bands, one outer band. Batch numbers are of the form: --K where: is the disc's catalog number is "A", "B", etc. is a 2-digit number Examples are: ID6208MP-A03-K, ID8323IM-A01-K ID7886PK-A03-K These numbers may be handwritten on early LD12, are solid-font computer-etched on current production and LD8-S. Dead side batch number examples: DD-5-B31-K, DD-5-B55-K Dead side contents: 9000 frames. Note: similar to CBS/Sony and identical to PVC domestic. No deadside on 8-inch LD-singles. _____________________________ ###########Kanji############# <--white letters with black shadows on light blue background PROGRAM MATERIAL IS RECORDED ONLY ON THE OTHER SIDE OF THIS LASERVISON DISC. _____________________________ ============================================================================ Mitsubishi ================================================================= General: The first pressings from this manufacturer turned up in late 1991. I have been unable to confirm the data in this section beyond reports that caselots of the CLV "Fantasia" (1132AS) arrived at several dealers in cartons labeled "Mitsubishi". (The CAV edition of "Fantasia" was made by DADC). The other title was "Home Alone" (1866-85), both distributed by Image Entertainment and marked "Discs manufactured in Japan". Tentative distinguishing characteristics are: * Unique s10x12345 serial sequence number sequence. * Simple " s ##" dot-matrix batch number. * Dead side batch number of "ADD ##". Aliases: Location: Japan Sleeve: U-shaped unreinforced poly sleeve. Glyphs: Serial number is embossed into inner blank area, .14 inch font. Unique format: 10<5digit> where: is a letter "A", "B", "C", etc. "10" is constant on the two titles seen to date. has been "F", "H" or "I" so far. <5digit> is an arbitrary serial number Examples: A10H10500, B10H11118, C10I40027, D10I05499 A10F03156, B10F02695 Batch numbers are dot-matrix, .12 inch high, mastered into inner blank area circumferentially. They appear to take the form: where: is approximately the disc's catalog number letter, same as in serial sequence a 2-digit number Examples: 1132AS A 09, 1132AS B 06, 1132AS C 03 IDC1866-85 A 26, IDC1866-85 B 36 Dead side batch number examples: ADD 16, ADD 13 Dead side contents: 9000 frames, 1 chapter, with TOC _____________________________ PROGRAM MATERIAL IS RECORDED <--white letters with black outline on medium blue ONLY ON THE OTHER SIDE background. The "O"s line up under the "G". OF THIS LASER VIDEODISC. _____________________________ ============================================================================ 3M ========================================================================= General: 3M discs are very easy to identify, and the packaging usually declares it. Until 1990, 3M was considered to be the Rolls- Royce of LD makers, and stating "3M" was a merchandising advantage. 3M has been used by all the major domestic labels except Pioneer "house brands". 3M claims to be the only vendor who does not use PMMA injection molding. They use a process they call "2P" (photo-polymer). The disc is cast from unheated liquid monomer and cured under ultraviolet light. * MADE BY 3M USA mastered into lead-in area is positive ID. * Dashed & solid bands in lead-in area (without dashes in the outer blank band) are positive ID on older 3M discs. Aside: Although unspecified "failures" due to "corrosive glue" have been reported on recent titles, I have examined some 500+ disc titles in the last three years, representing over 1000 sides, and I have only seen one defective 3M side, which wouldn't even spin up right out of the shrink wrap. The replacement platter (same batch number) was fine. I have never seen any evidence of time decay ("rot") on a 3M disc, and rarely see transient blemishes, elevated noise and red smear that are more common on other brands. 3M warrants all their discs for 5 years, with remedies of either replacement or refund. They also make CD-ROMs. Aliases: Minnesota Mining and Manufacturing 3M Optical Recording Project Location: U.S.A., St.Paul Minn. Sleeve: Plain white rectangular paper, with translucent rectangular liners. There is usually an arbitrary 1- or 2-digit number, about 0.2 inches high, black, printed on the upper corner of the paper. Some 1989 and later vintage sleeves have disc care instructions, printed in black English letters, on the top of the sleeve. Glyphs: Lead-in area: 1985-to-present: MADE BY 3M USA #####@ is visible in letters about 0.06 inch high. The ##### number increments by one for each side, and in mid-1991, had just passed the 26000 mark. The trailing letter starts with "A", and appears to increment with each remastering. The highest I have seen is "J". A single disc (or set) usually has a mixture of revision letters. The "MADE BY" inscription is framed by a single ring of (0.03x0.06 inch) dashes. Note - 3M assigns batch numbers from the same "number space" to all types of discs; entertainment, educational, private, industrial and special-purpose. Abandon any notion of collecting a complete set of 3M sides. I have not seen any numbers below 4581. Those probably used the earlier notation below. Lead-in area: 1982-to-1985: A single ring of dashes (about 0.03x0.06 inch) followed by a solid data ring (about 0.05 thick). Dead side: An opaque white coating over what appears to be a side with no data layer. The coating does not yield to alcohol. ============================================================================ Philips and Dupont Optical (PDO) ========================================== General: PDO is being used by Voyager and IMAGE, but only on non-digital titles, as PDO apparently could not master for NTSC digital sound. Checklist: * If it says "Made in England" or "Made in the U.K.", it is PDO. * If the disc has dashes (only) in both the inner and outer blank areas, and no other markings, it is PDO. * On a factory-sealed disc, the liner is unique also. PDO Blackburn is a major audio CD and CD-ROM manufacturer. Their CDs are considered to be among the highest quality available. They also made most of the CDV5s extant, and laser rot has been reported in this product (I have seen one such). PDO in the US, recently sold to DMI, never manufactured LDs. I have not seen any PAL LVs or LDs from PDO. Reportedly, PAL discs have a gold-tinted data layer. Aliases: Location: Blackburn, U.K. Sleeve: Rectangular white paper, with extensive blue text in five languages, translucent rectangular liners. Text describes storage/handling tips and warnings, and states "MADE IN ENGLAND". Glyphs: Lead-in area: A single ring of dashes (about 0.03x0.06 inch) followed by a solid data ring (about 0.05 thick), looking very much like early 3M practice. Outer blank: A single ring of dashes (about 0.03x0.16 inch). This artifact appears to be unique to PDO. Dead side: I haven't seen a PDO dead side yet, but one correspondent reports a PAL 8-inch single-sided disc with no data layer on the dead side. ============================================================================ Pioneer Video Corp. (PVC) ================================================== General: If you can't figure out who made it, and it says "Made in Japan", it is probably an imported Pioneer. PVC has been used by all the major labels except Voyager. * Deadside batch number of "KAME-2-@##" is positive ID, where # is a digit and @ a letter. "UD-2-@##" and "DD-#-@##-P" have appeared on discs apparently made by PVC. Aliases: Universal Pioneer Laserdisc Corp. PVM (sic) Location: Kofu, Yamanashi Japan (a second plant opened 91/04 in Tsuga Town, Tochigi) Sleeve: Same as PVI, above Glyphs: Inner blank area: Batch number - of the form: CCCCCCC-@##, where: CCC = is the label's catalog number, @ = is the side letter (A,B,C..) and ## = is the stamper sequence number, starting with "01". Examples: 4540-80-A01 (a CBS/Fox) 20004LV-B04 (a WB) 11-011-B01 (an MCA) 50-257-A05-P (a recent MCA) I have seen several recent apparent PVC discs with the "-P" suffix on the batch number. This may be a new trend, or may serve to differentiate the two plants. Prior to 1984, the batch number is usually handwritten. Subsequent numbers are stamped typeface. Some recent production bears PVI-style "50-" and "95-" prefix work-order or batch numbers, although this may actually be mis-documented domestic PVI production. Serial numbers - of the form #@######. Prior to 1984, the letter "@" denoted the side (A,B,C...). Subsequent to that time, it is usually constant across the sides, and does not appear to convey any obvious information. The digits (#) are completely arbitrary. Examples: 1A031791 (side 1 of 4540-80) 1B090700 (side 2 of 4540-80) 5G130498 Dead side (U.S. export discs): The batch number is usually of the form "KAME-2-A##", where "##" is a sequence number starting with "01", and incrementing over time. The highest I have seen is "A16". I have also seen the PVI-style "07-400..." number on a few discs allegedly made by PVC. They were probably mastered for U.S. production, but shipped to Japan at the last minute due to schedule problems here. I have also seen a "UD-2-A04" on one disc known to be a PVC. The display for export discs is the same as on PVI. Dead side (Japanese domestic discs): The batch number is usually of the form "UD-#-@##" or "DD-#-@##-P", where # is a digit, @ a letter and "##" is a sequence number starting with "01", and incrementing over time. Dead side contents: 9000 frames (Note: similar to CBS/Sony and identical to Kuraray.) _____________________________ ###########Kanji############# <--white letters with black shadows on light blue background PROGRAM MATERIAL IS RECORDED ONLY ON THE OTHER SIDE OF THIS LASERVISON DISC. _____________________________ I have also seen one Warner disc, made by "Pioneer", but with conflicting statements about whether or not it was PVI or PVC. The batch numbers were consistent with PVC, the deadside batch number was UD-2-A04, and the deadside display was as above, but without the Kanji. The English text was also larger, shifted up to center screen and stated. PROGRAM MATERIAL IS RECORDED ONLY ON THE OTHER SIDE OF THIS LASER VIDEODISC. An older PVC disc made for DiscoVision may have a light blue 9000-frame CAV display with "DISCO=VISION" in dark blue letters at screen center and "NO PROGRAM MATERIAL THIS SIDE" in smaller white letters, outlined in dark blue at screen bottom. ============================================================================ Pioneer Video, Inc. (PVI) ================================================== General: If it's a domestic release, the latest date on the jacket is 1983 or later, and you can't figure out who made it, it's probably a PVI. PVI has been used by all the major labels, including Voyager Press. Checklist: * Deadside batch number of "07-400..." is probable ID for PVI, positive ID for Pioneer somewhere. * The batch number format appears to be unique. It originated in the outer blank band (handwritten), started migrating to the inner around 1984 (still handwritten), went to stamped typeface and is presently computer-printed circumferential solid font. Aliases: Pioneer Video Manufacturing (PVM) Pioneer is also: - a distributor (LDCA); - several labels (Pioneer Artists, Pioneer Special Interests), and - a mail-order retailer (Laser Disc Fan Club). Note: LDCA sometimes used to emboss the letters LDCA, LDC, PVI or LDV into the lower left corner of the jacket on almost every disc title that they handled - regardless of where the discs were pressed. They also usually applied a sticker to the shrink wrap that said "LDCA", "Pioneer LDCA", "LDC America" or "Pioneer Video, Inc.". LDCA handles labels who may use any of the other (non-Pioneer) disc manufacturers. The emboss and/or sticker may help you get a defective disc replaced, but tell you nothing about where it was manufactured. Beware of the phrase "Pioneer Video Manufacturing" - this ident is applied to both PVI and PVC. Do not assume that PVM is PVI. Country: USA. The date is only useful information if you can place it after 1983. Before that time any US disc would have been a DVA. Location: Long Beach, CA, although the actual pressing plant is in Carson City. Sleeve: U-shaped translucent plastic, un-reinforced. This sleeve type is not unique to PVI or consistently used. Some customers (e.g. Voyager Press) insist on a 3M-style paper reinforced sleeve. It may or may not have a center hole. Glyphs: Inner blank area: Batch number - 1984 to present: Stamped typeface or handwritten sequence of the form: PP-WWW-@#-SS, where: PP = prefix: 50-, 51-, 52-, 58-, 95-, 96- or 97-, remains constant across sides of one title. This number may identify the production line. 52- and 58- appeared in late 1991, just after reports of a new plant opening in Carson City, CA. WWW = work order or batch number, remains constant across sides. @ = side letter, A,B,C,etc. #-S = stamper sequence number, starts at "1-01" Examples: 50-296-B1-11 51-054A1-03 95-653A1-2 96-982-E1-2 97-379B1-01 Serial numbers - of the form #@######, ##@##### or ##@######. Prior to 1984, the letter "@" denoted the side (A,B,C...). Subsequent to that time, it is usually the same letter on all sides, and does not appear to convey any obvious information. The digits (#) are completely arbitrary, although probably unique. Examples: 24F70422 5D132189 07E21617 Outer blank area: Batch number - Thru 1985: It may not be possible to distinguish between late DVA and early PVI production. Also, these inscriptions are very hard to locate and read. A reflected point source of bright light helps. What you seek is inverted handwritten script of the form... PP-WWW-@#-SS same as above except PP prefix is only found to be 95- or 96-. Examples: 96-338A1-3 96-162A2-6 96-257-C1-1 95-663A1-10 Dead sides: A CAV side that runs to 4500, 9000 or 18000 frames, displaying an inverted blue turtle with a "LaserDisc" belly, on an off-white background, above the sentence: PROGRAM MATERIAL IS RECORDED ON THE OTHER SIDE OF THIS DISC. ============================================================================ Sony-USA (Digital Audio Disc Corp -DADC) ==================================== General: This plant came on line in April 1990, and hit full production in July. I have only seen five titles made by them. Aliases: DADC: Digital Audio Disc Corp. Formerly jointly owned by CBS & Sony. Country: USA Location: Terre Haute, IN Sleeve: Lined paper with center hole. Glyphs: Band at inner radius, about 0.1 inch thick. Serial numbers, 8-digit, are stamped in, without a letter. Batch numbers are mastered-in in dot-matrix letters about 0.1-inch high. Examples: LDVS-000320-A-A41 LDVS-000320-B LDVS-000417-A-A17 Example seen so far also include a "o oo ooo" pattern, where each "o" has vertical and horizontal protuding spokes, followed by a barcode. On CLV sides, the first 0.1 to 0.25 inches may have aligned radial patterns more usually seen on CAV discs. A reader has reported seeing codes of LDVS223-A R1069 04071 1 LDVS223-B R1070 04098 1 Deadside: ============================================================================ CBS/Sony (Japan) =========================================================== General: Sony is being used by IMAGE. The only other Sonys I have seen are imports. Tentative checklist: * Stamped-in serial number, having 8 numeric (only) digits, may be positive ID. * Dead side batch number of DN001 ... may be positive ID. * Mastered-in dot-matrix batch number, which leads off with title catalog number, is either Sony-Japan or Mitsubishi Aliases: Country: Japan Location: Tokyo Sleeve: Glyphs: Serial numbers, 8-digit, are stamped in, without a letter. Batch numbers are mastered-in in dot-matrix letters about 0.1-inch high. They encode the catalog number, plus addition information the meaning of which is not clear. Examples: 50LS5023 F0137 86035 2 LD098L14046 F0352 94060 Dead side batch number format: DN001 85071 1 Dead side contents: 9000 frames (Note: Similar to PVC) _____________________________ ###########Kanji############# <--unshadowed white letters on light blue background PROGRAM MATERIAL IS RECORDED ONLY ON THE OTHER SIDE OF THIS LASERVISON DISC. _____________________________ ============================================================================ Technidisc ================================================================= General: Technidisc has been used principally by IMAGE and CBS/Fox. It is worth knowing how to identify Technidisc production because a percentage of a reported 300 titles made by them between 1989 and July 1991 will not play on unmodified Pioneer CLD-990, -1090, -2090, -3090 (and possibly CLD-M90) players. There is an incorrect value in either a lead-in vertical-interval code, or digital sub-code, depending on who you listen to. Pioneer has arranged an exchange program for the titles. Some may not be re-pressed, and a player upgrade is then indicated. Checklist: * An obvious date in the lead-in batch number is positive ID. * "WRONG SIDE" in a dead-side lead-in area is positive ID. Aliases: Location: Troy, Michigan, USA Sleeve: Formerly U-shaped unreinforced poly sleeve. Mid-1990, began using contemporary 3M-style lined sleeve with English-only care instructions. Glyphs: Lead-in area: One or two solid rings, with human-readable characters mastered (not stamped) in. The characters are about 0.08 inch high, and have the form: ###-###-###@ DD/MM/YY@ or ###-###-###@ DD-MM-YY@ or ###-###-###@ DDMMY@ where ###-###-###@ appears to be a work-order number. The first three digits may be a customer number, as it is constant across one series of discs I have seen. The trailing three digits increment by one for each side. The trailing letter @ appears to be arbitrary, but is from low in the alphabet. Sometimes there is a preceding or succeeding ! or : DD/MM/YY@ appears to be the mastering date, as most of the examples I have seen were new releases, showing dates just a few weeks prior to receipt. The trailing letter @ may change with the stampers, and is from low alphabet. Examples: 023-039-371B 03-22-89J !023-039-374E 04/12/89D :433-108-003B 10/22/88F 08/90, observed (trailing S# tracks side number): 023-060-763A 06160C S1 Dead side: Some have just a plain band in the lead-in area. Others bear a "WRONG SIDE" character sequence. The dead sides are CAV and have a ~44000 frame program consisting of the frame: __________________________ WRONG SIDE <--red background __________________________ Please remove disc, and turn over to <--blue background play program __________________________ __________________________ <--red background ============================================================================ WEA Manufacturing ========================================================== General: Scheduled to go on-line in late 1991. Based on other such plans in the history of the LD industry, it will likely be 1992 before we see any WEA discs. Aliases: Country: USA Location: Sleeve: Glyphs: ============================================================================ Copyright 1990, 1991 Robert J. Niland All Rights Reserved Permission is granted for automatic redistribution of this article, unedited, through the rec.video Usenet newsgroup, the Internet VIDEOTECH Digest and the Bitnet VIDTEK-L Listserv mailing list. Permission is granted for each Usenet reader, each VIDEOTECH or VIDTEK-L subscriber and each person who received this article via electronic mail from the author to retain one electronic copy, and to make hardcopy reproductions of this edition of this article for personal non-commercial use, provided that no material changes are made to the article or this copyright statement. All other copying, storage, reproduction or redistribution of this article, in any form, is prohibited without the express written consent of the author, Robert J. Niland. ============================================================================ Regards, Hewlett-Packard Bob Niland Internet: rjn@FC.HP.COM 3404 East Harmony Road UUCP: [hplabs|hpfcse]!hpfcla!rjn Ft Collins CO 80525-9599 EOF From rjn@hpfcso (Bob Niland) Fri Jan 3 15:22:53 1992 From: rjn@hpfcso.FC.HP.COM (Bob Niland) Newsgroups: rec.video Subject: LD#10: Best Practices (for producers) Message-ID: <7970680@hpfcso.FC.HP.COM> Date: 30 Dec 91 19:59:43 GMT Organization: Hewlett-Packard/FSY Ft.Collins,CO,USA Lines: 815 re: "Best Practices" for LD producers Revised: 21 Jul 91 The following article, revised from time to time, was originally drafted in response to a request-for-comment from a prominent computer animation enterprise. At the time, they were contemplating a laser disc release of some of their theatrical short subjects. I recently revised it on request >from an HP division that is contemplating production of an LD. The comments herein are directed primarily at producers of LDs of dramatic performances (e.g. movies, TV shows, etc.), rather than interactive or computer-based LD applications. However, many of the principles are the same. Suggestions for multi-media producers will be added over time. LD enthusiasts may find this article useful in raising their consumer awareness, or as a source for "helpful suggestions" to include in letters to their favorite LD labels or distributors. For this rec.video posting, the readership is certainly invited to post corrections, objections, questions and generally nitpick. 01: Title Selection =================== LD has historically been a sell-thru market, that is, LDs are primarily purchased for ownership by collectors, and not primarily sold to retailers for rental purposes, although there is a modest rental market. The tape market is the opposite. Consequently, LDs hit the market at moderate prices (e.g. $35), and stay there. Tapes historically hit the market at a high price ($80) until the rental market is saturated, then drop to a collector price ($40), then later to a mass-market price ($20) for popular titles. Customers have different criteria for what they are willing to buy for $30 vs rent for $2. The primary LD-buyer (collector) seeks titles that are suitable for repeated viewings. The primary tape-buyer (rental operator) seeks primarily new, or at least previously unreleased material, and doesn't care if it is worth repeated viewings by the same end customer. The president of IMAGE Entertainment has been quoted as saying that if the growing LD market evolves into a primarily rental market, "prices will go up (sorry)". As an LD producer, your title selection and pricing policies affect the future of the market. Personally, I want the LD market to maintain its current differentiation: "rent tapes, buy discs". The LD is positioned as: quality productions of rewatchable titles at sell-thru prices. Please help keep it that way. 02. Source materials ==================== The difference between negative and print sources is detectable on LD. The difference between 16mm and 35mm is even more easily detected. For image quality and lack of damage (e.g. scratches), the general principle is to get as close to the camera negative as possible. Exceptions exist, of course, such as where the dye-transfer IB TechniColor prints have been more stable than the 1957 dye-coupler "CheapoColor" tri-pack negatives. Resist the temptation to use any available nth-generation distribution print, particularly for material that has fallen into the public domain (PD). In many cases, these prints have been edited (more than once) to fit commercial broadcast requirements. They are also often in sad shape physically. Please document the source materials on the disc jacket. I bought the "Criterion Collection" edition of "King Kong" in part because of the RKO copyright on the jacket. Voyager Press went to RKO for source material, even though "Kong" is now PD, so they weren't legally obliged to. Unpleasant Topic #1: For Black&White works, do not colorize, unless, A; a B&W LD edition already exists or will be co-introduced and, B; the package of the colorized edition prominently warns the buying public. I accidentally purchased a colorized LD once, one that used very small print to warn of the crayon treatment. Had it not been an inexpensive used title, I would have been quite angry. As it is, I'm keeping it for demonstrating the inept garishness of this vulgar process. 03. Running time ================ Research the work. Supply the "director's cut", or if not available, the full original theatrical running time. Do not time compress. Use an extra disc platter if necessary, taking full advantage of the extra space to select side breaks more judiciously. Please leave the original studio logos intact, particularly where they are anticipated by the film itself, for example in the opening dissolve in "Raiders of the Lost Ark". Document the program running time (not the total disc time including FBI warning, extra logos and supplements). Identify the "cut" being used and explain any discrepancy between the running time and that published in widely available guides, such as Halliwell's. 04. Transfer ============ There are reportedly differences between film->video transfers intended for tape vs those intended for LD. If so, please re-transfer for LD, particularly on widescreen works. Use the highest quality transfer equipment available (such as a Rank, and not a TV station telecine setup). Have a skilled operator optimize each scene or shot. Consider having the original director, director of photography and/or cinematographer attend the transfer and consult. Use correct 3/2 pulldown on 24 fps material, and NOT 4th frame repeat. (See also CAV.) If transfering in the analog (video) domain, add the SMPTE timecode during the transfer, to avoid an extra generation later. Perform the film-to-video transfer in the digital domain (D1 or D2) if possible. This allows further processing (e.g. subtitling, closed captioning, synchronized commentary) without additional signal degradation. 05. Respect aspect ratios ========================= In addition to "sell-thru vs rental", Laser disc is finding differentiation against tape as the "original aspect ratio" medium, or the "letterbox" medium in current parlance. When transfering a widescreen composition to the Academy-ratio video medium, either detail (via letterbox) or information (via cropping) must be lost. Let tapes pan&scan to keep the detail; they need it. Let discs keep the information (letterboxing). Please provide the original composition on LD. In any case, document the transfer for theatrical widescreen works. On the disc jacket, note the aspect ratio of the photography, the composition and the transfer. For example: Criterion Collection's Vestron Video's "Hidden Fortress" "Love at First Bite" .------------------------. .------------------------. | Aspect Ratio Data | | Aspect Ratio Data | | Photographed at 2.35:1 | | Photographed at 1.37:1 | | Composed at 2.35:1 | | Composed at 1.85:1 | | Transferred at 2.00:1 | | Transferred at 1.37:1 | | full original height. | | full negative width. | ------------------------ ------------------------ Criterion Collection's Nelson Entertainment's "The Princess Bride" "The Princess Bride" .------------------------. .------------------------. | Aspect Ratio Data | | Aspect Ratio Data | | Photographed at 1.37:1 | | Photographed at 1.37:1 | | Composed at 1.85:1 | | Composed at 1.85:1 | | Transferred at 1.85:1 | | Transferred at 1.33:1 | | full original width. | | 10% zoom-in pan&scan. | `------------------------' `------------------------' Without such notice, and without prior knowledge that a movie was filmed spherical soft-matte, most LD enthusiasts will assume that you are providing a cropped (panned and scanned) transfer, and we will avoid purchasing your product until we can audition a copy. For soft-matte spherical widescreen works, do not mask off upper and lower excess image material, outside the composition, unless: * requested by the original director, cinematographer or producer, or; * the excess image area was improperly "protected", and contains errors, such as microphones, obvious staging or incomplete special effects. On unmatted spherical widescreen works, if transfered full-frame, begin side one with the video producer's logo in letterbox at the suggested aspect ratio. Place the text "Masking of this area suggested" in the letterbox bands. Home video purists can mask-to-composition as desired. For anamorphic and hard-matte widescreen works, display the originally COMPOSED image in "letterbox" format, and leave the non-image areas black. If the negative image exceeds the composed image, consult with the original director and/or cinematographer on how much to transfer. Regardless of whether or not you follow the above suggestion about documenting the transfer ratios, it is imperative that you advise the consumer that the disc is "letterboxed" or "matted". The general public does not understand the aspect ratio problem, and they get very irate when confronted with unexpected black bands. Prominently announce "widescreen", "letterbox", "matted" or "original aspect ratio". Including a photograph of a representative TV frame would certainly help set customer expectations. If the jacket has any from-the-film photos, print them in the aspect ratio used for the transfer. Terminology; if you use any of the following terms, be advised that this is how they are understood by LD collectors: letterboxed - The upper and lower screen areas are black because there was no image material there on the source elements. This is the case for works filmed in anamorphic, 2-perf 35mm, 3-perf 35mm, 65mm, spherical hard-matte 35mm and full-frame (1.5:1) VistaVision. matted - The upper and lower screen areas are black because source image material, not part of the original composition, was masked-off during transfer. This is usually for works filmed in 4-perf spherical soft-matte 35mm, such as Super35. widescreen - The upper and lower screen areas are black, but the reason is unspecified. The only case where this term is really appropriate is when the transfer is both letterboxed and matted, such as camera neg on 1.85:1 VistaVision. For works wider than 2.2:1, especially early Cinerama, Cinemascope, Ultra Panavision and the like, which could exceed 2.5:1, consider not providing the complete original width, if the composition can tolerate it. The loss of detail, and increase in flicker above 2.3:1, can outweigh the value of having the full original frame. Windowboxing: Please don't. There is no need to shrink the horizontal size of the transferred image to accomodate the overscan so prevalent on consumer TVs. Those viewers who care may be presumed to have had their monitors adjusted for minimum overscan, as I have. 06. Sound ========= Master the disc for both analog and digital sound (unless PAL or CDV5, in which case use digital only). Watch recording levels. Many digital-sound LDs have been recorded with peak far below 0 dB. The video company logo blasts us out of our seats, but the movie soundtrack is nearly inaudible. Use the P and Q subcodes (TOC or Table of Contents). Some Japanese LDs and all CDV5s do. Several US manufacturers have made discs with TOC. TOC promises to allow time-based seeking/programming on CAV discs, as well as allowing players with non-volatile memory ("Custom File" or "Favorite Track Selection") to uniquely ID the disc by checksumming the disc header. This can then trigger a pre-programmed viewing sequence. Research the sound. Many films in the 1950..70 era were produced and distributed in stereo, and some in pre-Dolby surround processes. If so, at least give us stereo. If Dolby stereo masters exist, use those. If multi-channel discrete or other non-Dolby surround masters exist, consider re-mastering/re-mixing them for Dolby. If the source sound is mono (or "Perspecta Stereo", or the stereo masters cannot be found, leave it mono. Please don't use conventional or comb- filter synthesized stereo. Avoid "Q-sound". The jury is still out on "Chace Stereo" reprocessing. CX: If you are providing digital sound, don't bother with CX on the analog tracks. CX is just controversial enough that any customer who cares about signal-to-noise ratio can be presumed to have a digital-sound LD player. If you are providing analog sound only: * If the programs on channels 1L and 2R are not from the film soundtrack (e.g. one is a commentary), don't use CX. Some decoders evidently get confused when the two tracks are dramatically different. * If the source soundtrack is particularly noisy (e.g. old nth-generation optical), don't use CX. The "pumping" just makes the noise more obvious. If you CX encode, document on the disc jacket whether or not auto-tripping is enabled (in the vertical interval). The convention currently is to enable it. If you do not CX encode, make very sure that auto-tripping is NOT enabled. Track programming: Monophonic Program Stereophonic Program 1/L 2/R 1/L 2/R Simple mono or stereo audio program: .---------------------. .------------------------. Digital | Mono | Mono | Digital |Stereo Left|Stereo Right| Analog | Mono | Mono | Analog |Stereo Left|Stereo Right| `---------------------' `------------------------' Commentary track available: .---------------------. .------------------------. Digital | Mono | Mono | Digital |Stereo Left|Stereo Right| Analog | Mono |Commentary| Analog | Mono Mix | Commentary | `---------------------' `------------------------' Dubbed track available: .---------------------. .------------------------. Digital | Original | Original | Digital | Orig.Left | Orig.Right | Analog | Original | Dubbed | Analog | Dub. Left | Dub. Right | `---------------------' `------------------------' Dubbed and Commentary tracks available: .---------------------. .------------------------. Digital | Original | Original | Digital | Orig.Left | Orig.Right | Analog | Dubbed |Commentary| Analog |Dub MixMono| Commentary | `---------------------' `------------------------' Please document the sound on the disc jacket: Stereo vs Mono - If unstated, mono is assumed (but please tell us.) Digital - If unstated, analog-only is assumed, but please tell us. Also, please use either the "DigitalSOUND" logo or the "CD Video" logo, but avoid vendor-unique terms like Warner's "Digitally Processed", which is ambiguous. CX - If unstated, straight analog is presumed. If CD used, please note auto-tripping or not. Dolby Surround - Include the logo if appropriate. If a non-Dolby, but compatible process, indicate "matrix surround" or something similar. Source - Identify the source of the sound, e.g. optical negs, print magstripe, mag fullcoat masters, etc. SPARS code ? - The "AAD", "ADD", "DDD" codes used on compact discs are of dubious merit on laser video discs. Nearly all video discs represent a 4th generation of sound mastering, and since both analog and digital encoding is possible, a single SPARS code would be ambiguous. I suggest not bothering, but please identify sources. 07. Subtitles & Dubbing ======================= Dubbing: Don't, unless the work was originally a "multi-national" effort deliberately scripted and produced for numerous local language releases, as many Italian films are. If dub tracks exist, place them in the analog disc channels (or on 2/R if mono). Place the original language tracks in the digital channels. Subtitles: Use contrasting outlines around each letter so that they stand out against any background. On letterboxed transfers, place the subtitles below the image. Place the image higher in the TV frame if multiple text lines are required. For subtitled works composed for Academy Ratio, consider shrinking the image slightly, moving it up to the top of the frame, and placing the subtitles below it, as CNN Headline News and CNBC/FNN do with the stock market ticker information during their daytime broadcasts. 08: Closed Captioning ===================== Apart from the expense of having the work done, there are two technical considerations for including captions for the hearing-impaired. One is that (NTSC) line 21 becomes unavailable for video information. Since most monitors overscan anyway (or can be adjusted to do so), this is not a problem. The loss of one line for this service strikes me as a sound investment. The other issue is that if the film-video transfer is done in the analog (video) domain, equipment is not generally available to add the CC encoding during the transfer. This implies having an extra generation of analog-analog duplication, with the attendent image quality loss. The suggested practice then, is to perform the video transfer digitally, so that the CC encoding may be added losslessly. If the disc will have English subtitles anyway, only use CC for sounds not subtitled (like off-screen effects and English dialog). 09. Side Breaks =============== Add a side, or even a platter, rather than incur an awkward side-break. Never have a side break interrupt a single shot, a line of script, a song, or a dramatic build. Try not to schedule breaks during scenes or dissolves. On "made for TV" works, use a commercial break. End all but the last side, and begin all but the first side, with black frames. Start each side with a few black frames, and not with program material in the first frame. Some players can't sync on frame1=picture. Do not use end-of-side and start-of-side title frames. And in particular, never, ever use that idiotic zooming LaserVision logo. Beginning the first side and/or ending the last side with 3 seconds (CLV) or 1 frame (CAV, non-stop-coded) of calibration frame is encouraged. Include colorbars, grey scale, resolution, pluge and TV safe-action/safe-title borders. Document the location of any calibration frames. Although a blue filter is needed to properly use a colorbar display, you may assume that anyone who really cares about the issue already owns one. It would suffice to reference Wratten Gelatin Filter 98 (Kodak catalog number 149-6298), and where to obtain instructions for its use. 10: CAV vs CLV ============== Compared to CLV, CAV offers still-frame, picture-stop, seek-to-frame, and off-speed functions on all players. Digital-field-store players offer still-field and off-speed functions on CLV discs. CAV also offers slightly improved picture quality toward the outer side (end) of the disc. Some decisions are easy to make: * If the work is interactive or contains any still-frame material, master it in CAV. * If the work (any kind) is less than 30 minutes, master it in CAV. If side-break or other considerations cause any given side, usually the last, to be less than 30 minutes, master that side in CAV. * If the work is a collection of short subjects, and is less than one hour in total length, strongly consider an all-CAV release. * If the work contains extensive special effects and/or animation, and is primarily of interest to those who want to study it, consider a CAV "collector's edition" release, even if limited in availability. For longer works, the choice is less obvious. As digital field- and frame- store capability trickles down into lower priced players, the use of CAV to provide casual still-frame and slo-mo is no longer economic. One need not purchase many discs at the CAV premium before exceeding the price difference between a straight analog-video player and one with digital store. I find that the higher quality of CAV still-frame vs CLV still-field, and the slight improvement in s/n at the outer edge of the CAV disc is offset by the distraction of the more frequent side breaks. Even with a two-sided (or 4-sided LD-W1, -W2) player, the 15-second spin-down/spin-up time, with flashing text displays, seriously interrupts the mood and continuity of well crafted works (like "2001"). For longer works (over 1 hour), my personal preference is therefore CLV, last side CAV. Certainly if you are contemplating a CAV release of a long work, make sure that there is also a CLV release. When using CAV, and any of the source materal is 24 fps, rather than 30 fps, make sure the "white flags" are correctly placed on the 3/2 pulldown frames or electronic 2.5 pulldown fields for proper still-frame display, otherwise, we get field-motion on two of every five video frames in still-frame mode. This means that one half of all the original film frames cannot be viewed without field motion, which destroys most of the point of using CAV in the first place. When using CLV, use one second (not one minute) timecodes. True CLV still-frame (not -field) will reportedly appear on future players. If possible, master white flags on CLV in anticipation of this, and include the 0-23 frame counts within the timecode. For video-sourced or other 30 fps material, include 0-29 frame counts within the timecode. If you use CLV, you may actually want to specify "CAA" (Constant Angular Accel.). Make inquiries if the issue is not already understood by your organization. 11: Chapter Marks ================= Use chapter marks liberally. Certainly mark no less than every individual work if the disc is a collection of short subjects. Always place a mark at the beginning of the original work, after the add-on video logos, warnings and other miscellaneous displays. If there are no obvious places for the marks, place them every five minutes or so. Single-button skip-to-next-chapter is the easiest and fastest type of seek operation available on most players, and is much appreciated when searching a disc. If a chapter starts with a stop-code, increment the chapter number in the frame before the one containing the stop-code. (See "Supplements") If there are less than 80 (0..79) chapters in the entire work, don't reset the chapter number to zero for each side. If more than 80, but less than 80 per platter, reset to zero only on platter changes. 12. Supplements =============== If space is available on the last side, inclusion of supplemental material is encouraged. If the last side is CAV, still-frame material is welcome. Unless the disc is a collection of shorts, resist the temptation to include a little supplemental material on each side. However, if you absolutely cannot resist scattering supplements all over the place, please at least... * put them at the end of the side, and * start the supplement section with a first frame that is black, * chapter-marked as a new chapter, and * NOT stop-coded. * The next frame (the supplement chapter title frame) is the one that is stop-coded. This allows a multi-sided player to be programmed to skip the supplement chapters, and go to the next side WITHOUT stopping and displaying the title card. Non-programmed play will still stop on the title frame. If you stop-code the very first frame, a programmed player will see that the chapter number has changed, but will be unable to go to the next side, because it will honor the stop-code. This may be a Pioneer player design defect, but the installed-base of machines behave this way. 13. The Media Manufacturer ========================== Some of the technical choices made will rule out particular pressing plants. Some can't handle NTSC digital sound. Some can't accept D1 or D2 video masters. Some have limited media warranties. If your material is MPAA "NC17", "R" or "X" rated, you may not be able to have the title manufactured in Japan. Investigate these issues. Don't let cost be the deciding factor. I am willing to pay a higher price to get a pressing from a reliable vendor. Most of the serious LD collectors I know (your principal sell-thru customers) are quite aware of problems like "laser rot" and "unstable chapter numbers", and we know which vendors pressed the offending discs. Even when I would prefer a CLV edition, I will buy CAV to avoid or favor certain pressing plants. Check with dealers and collectors before making the final choice. Find out what the recent defect rates are, and what criteria the vendor uses to accept returns (esp. on "speckling" or random video noise/dropouts). Serial numbers: several vendors will optionally emboss unique (but not necessarily sequential) numbers on one of more sides of each platter. If there is no significant charge for this, it does facilitate recovery of stolen discs, and allows dealers to make sure that dishonest customers aren't substituting platters during rental. 14. Catalog Number ================== Please issue a catalog number, even you plan to produce only one disc title ever. If there is no more obvious scheme, use a date-based code as Lumivision does, e.g. LVD8901, LVD8902, etc. I have several 3M-labelled "Collectable Classics" with no catalog number. It makes it very difficult to quickly differentiate them against earlier and later releases of the same titles on other labels. The ODC "Space Archive" and "Space Disc" series, as well as several other educational titles, also have no catalog numbers. I had problems placing orders for them in an unambiguous manner. Print the catalog number on the disc labels and on the rear jacket art, as well as on the jacket spine. Label numbers help retailers prevent platter swapping. Spine numbers wear off easily, and can make a disc difficult to identify. Change the catalog number whenever any significant change is made to the disc contents upon repressing or reissue. Otherwise, dealers and customers may order what they hope is a "new and improved" edition, but get the same old pressing due to stale inventory. Issue a new catalog number (and edition date) for a new edition with: - Digital sound remastering. - Addition of closed captioning. - New transfer for letterbox or other aspect-ratio change. - New transfer without time compression. - Substantially new source material (added runtime, higher quality). - Rotation mode change (CLV vs CAV). - Change in color (e.g. colorized edition) - Addition of significant supplements (e.g. commentary, "making of" short) The following don't normally merit a catalog number change, but do merit an "edition date" change on the packaging. - Addition of CX - Addition of minor supplements (e.g. trailer) - Change in pressing plant (unless the first was a disaster) - Correction of moderate transfer error (e.g. CAV white flags) - Packaging documentation error or other inconsistency between package and disc (e.g. chapters listed on package, but not mastered on disc) 15. Packaging ============= >From the inside out... * Use rectangular poly-lined paper-reinforced inner sleeves, with a center hole (in the paper only) to allow reading of the label, and to provide a constant storage thickness of material across the entire disc platter. If you select 3M, PDO or DADC (apparently) for pressing, lined sleeves are standard. Disc Mfg Inc., Pioneer, Technidisc are also capable of supplying such sleeves, probably at extra cost. Pay the cost and pass it along. Much of the industry uses unreinforced U-shaped poly sleeves. I routinely replace them with after-market 3M-type sleeves. The U-sleeve is very unsatisfactory. It usually collapses when inserted in the slipcase jacket, allowing the disc surface to contact the cardboard. This defeats most of the purpose of using a sleeve. They are so clumsy to use that most people don't, or they orient them in the jacket so that the disc is at risk of rolling out onto the floor. * If you select a slipcase cardboard jacket, make sure it is side-loading and with no fold-over or fold-in flap. * If the disc product is two platters, use a gate-fold jacket rather than stuffing two platters into an oversize single-sleeve jacket. If you must use a single-slot jacket for a multiple-disc set, the use of an reinforced inner sleeve becomes even more important. * If the product runs to three or more platters, box the set. Again, reinforced inner sleeves are a must. If using a box, include filler material as needed to fill the box. Loose discs don't get adequate support in storage. With filler padding they get side pressure from adjacent discs, reducing warp. * Artwork: For B&W films, please avoid the temptation to colorize still frames on the jacket. When I see this, I immediately suspect that the enclosed B&W work has been tampered with. If the stills are from original hand-tinted lobby cards or other promotional material, try to make that obvious. See also below for "Package Data". * Protective wrapping... Enclose the finished product in a LOOSE, sealed transparent envelope. Current Kuraray (Japan) production appears to follow this practice. Use a sturdy grade of outer film, so that if carefully slit, it can be re-used as a storage sleeve. I currently buy after-market polyethylene sleeves, but these cannot be obtained to fit the larger boxed LD sets. Do not use re-resealable outer sleeves. Although thoughtful, they provide no guarantee that the merchandise is new and unopened. The adhesive kind are also a nuisance to use in the home. I have a few of the "zip-lock" variety, but I use them only for loaning or transporting discs, as they are too much trouble the rest of the time. Do not shrink-wrap. It causes cone-warp in transit and retail storage. It is also no guarantee of "new", because virtually all retailers have shrink-wrap machines. 16. Package Data ================ Label the contents adequately. I suggest following the lead of Lumivision and recent MGM/UA releases in this regard. Please note: * LaserDisc logo or "Laser Video Disc" (lest someone think it's an LP). IMAGE Entertainment uses the VHS vertically rectangular art over the image of a laser disc surface. This is acceptable, although it doesn't make me confident that the LD release will be an improvement over the tape release. * Video encoding: NTSC, PAL, SECAM, MUSE, etc. With the recent introduction of multi-standard players in Europe, and the dearth of PAL software there, it is no longer safe to assume that LDs will only be sold in markets where player compatibility is guaranteed. And HDTV is coming, perhaps even in our lifetimes. * Aspect ratio: as described earlier. * Chroma: B&W, Color or Colorized * Language, subtitles and captioning Identify the language(s) used for dialog. If subtitles are present, identify their language and screen location. If the disc is closed-captioned, always indicate that. * Sound encoding: Analog (FM), and if present, Digital. Analog is probably safe to assume on 8- and 12-inch NTSC LD. If digital, always state "DigitalSOUND" or "CD Video". * Sound: Mono, Stereo, Synthetic Stereo, Matrix Surround, Dolby Surround Licensing permitting, using the "Dolby Surround" logo never hurts, although the "Dolby Stereo" logo is ambiguous. If the sound is "Dolby Stereo", I suggest simply stating "Dolby Surround". * Noise reduction: CX (if present) manual or automatic tripping * Channels: If other than simple mono or stereo/surround, please describe the 1/L,2/R,analog/digital track map. * Rotation Mode: CAV ("Full Feature") vs CLV ("Extended Play") "CLV/CAV" is assumed to mean "last side CAV". * Timing: Total, and per-chapter where appropriate (e.g. music) * Chapter titles and numbers. * Catalog number. Print the number somewhere in addition to the jacket spine, such as on the disc label. I have inspected several well-worn older discs with illegible spine numbers, and no other way to identify the disc edition. * Copyright date(s) Print the copyright date of the original work(s) as well as the copyright date of the jacket artwork. This is particularly important for often remade titles, like "Romeo and Juliet" and especially for remakes by the same director, such as "The Man Who Knew too Much" (Hitchcock), "And God Created Woman" (Vadim). * Edition printing date (the year is close enough) Change this whenever changes occur to disc contents, disc manufacturer or jacket art/info, such as any of the reasons listed in the "catalog number" section above. * Disc manufacturer National law may already require that you identify where the disc(s) were made and the jacket printed. Also identify the disc manufacturing plant, particularly if it is a quality vendor, a definite sales advantage. * Credits Include complete program and disc credits somewhere, either on-screen or on the disc jacket. For collections of short works, to minimize disruption of continuous play, you might consider placing all the disc credits on the final side. Always leave the credits in the program chapter if they appear over program material. * Contact information Include at least a mailing address for the LD distributor, and preferrably the LD "label" or studio. Phone and FAX numbers are useful as well. When I see a disc with no such information, I assume that the disc producer has something to hide. * Warranty State, however briefly, the warranty terms and replacement/refund procedure. 17: Unpleasant Topic #2 (Copy Protection) ========================================= Copy protection is common on tapes, and has the following attributes: * It causes image and color instability on many tape decks and monitors, despite dissembling industry claims to the contrary. * It does not prevent professional tape piracy. * It does not prevent determined amateur piracy. * It drives video enthusiasts to laser disc, which has no video copy protection - and never has. If you are an experienced tape producer, making your first LD, you need to understand that LD has no video copy protection. The following can be said about that: * Although pirate tapes appear to be fairly common, pirate tapes made from LDs are apparently quite rare. * LDs, unlike most tapes, are priced for sell-thru, which diminishes much of the incentive to copy in the first place. Keep this in mind as you price. * The LD format is higher quality than any consumer tape format, so any tape copy would be inferior to the disc (although still better than mass-recorded tapes). If the collector wants disc quality, the collector must BUY the disc. The disc can be copied, the quality can't. * LD releases are often delayed compared to the companion tape release to deter professional pirates from using LDs as masters. Keep this in mind as you schedule mastering and production. * The "MacroVision" scheme in particular cannot be used on disc, either due to technical media requirements, or the terms of the Philips/MCA license, depending on whom you talk to. LD, like CD, does have one invisible copy-protection, the "copy inhibit" bits in the P/Q digital sound subcodes. No one is complaining yet, because no one has noticed. The LD buying market will not tolerate any copy-protection scheme which compromises video quality or disc functionality. 18: Unpleasant Topic #3 (Advertising) ===================================== This is primarily about overt advertising for products unrelated to the program material on the disc. This discussion is not about the tacky practice of "product placement" within the screenplay itself. * Embedding unrelated ads within the program, broadcast-TV-style, will result in market rejection of your disc, even if the ads are chapter- marked to facilitate skipping them. * An unrelated ad preceding or following the program will probably result in market rejection. Personally, if I were surprised by a non-skippable ad, I would return the disc. I would not buy the title in the first place, had I advance warning. This sort of thing is common on tapes. I don't even rent such products. * Chances of consumer rejection might decline if the (disc) ad is chapter-marked for easy suppression, and the disc is clearly priced lower than it would be without the ad. I might buy a discounted disc with a skippable ad (but as a matter of principle, I would never watch the ad). I would prefer to pay the regular price and do without advertising. * Advertising that IS related to the program is another matter. I already have two discs containing chapter-marked selections from other titles on the same label. This sort of thing is on the fence between advertising and "supplements". It is not objectionable if it is skippable. 19: Price ========= As emphasized several times earlier, LD is largely a "sell-thru" market. LD producers can't intro at an inflated price, expecting to milk the captive rental store market, then later drop the price for end-user collectors. For generic titles, the baseline set by Warners and Disney is about $25-30 for the first platter (2 sides), plus $10 per additional platter. MGM/UA is finding similar success at about $10 more, but hitting some resistance with another $10 premium for their new Letterbox re-issues. CBS/Fox is another $10-20 higher yet, and seeing even more resistance, some in the form of letters to the editor in the trade press. The LD market seems to have a textbook supply/demand curve. Voyager Press (Criterion Collection), willing to be a small specialty player, has always charged a premium (up to $125) for their CAV titles. It appears that they have recently discovered that there is considerable demand for their product, if only they would make it available in CLV and at more reasonable prices. Talk to the retailers. They can tell you what moves and at what price. 99. Has the "Perfect Disc been made yet? ======================================== Not yet. But the recent MGM/UA and CBS/Fox releases are impressive, and the Criterion Collection titles always have been. Copyright 1990, 1991 Robert J. Niland All Rights Reserved Permission is granted for automatic redistribution of this article, unedited, through the rec.video Usenet newsgroup, the Internet VIDEOTECH Digest and the Bitnet VIDTEK-L Listserv mailing list. Permission is granted for each Usenet reader, each VIDEOTECH or VIDTEK-L subscriber and each person who received this article via electronic mail from the author to retain one electronic copy, and to make hardcopy reproductions of this edition of this article for personal non-commercial use, provided that no material changes are made to the article or this copyright statement. All other copying, storage, reproduction or redistribution of this article, in any form, is prohibited without the express written consent of the author, Robert J. Niland. Regards, Hewlett-Packard Bob Niland 3404 East Harmony Road Internet: rjn@hpfcrjn.FC.HP.COM Fort Collins UUCP: [hplabs|hpu*!hpfcse]!hpfcla!rjn CO 80525-9599 From rjn@hpfcso (Bob Niland) Fri Jan 3 15:22:55 1992 From: rjn@hpfcso.FC.HP.COM (Bob Niland) Newsgroups: rec.video Subject: LD#12: CAV Trivia & 3/2 Pulldown Message-ID: <7970681@hpfcso.FC.HP.COM> Date: 30 Dec 91 20:00:26 GMT Organization: Hewlett-Packard/FSY Ft.Collins,CO,USA Lines: 280 Film/video 3-2 pulldown and "white flags" Last Revised: 25 Nov 91 re: > I've got a [CLD-] 3070 [Pioneer laserdisc player] and quite like it. > The digital effects are very clean and in some cases even better than > CAV effects. I've noticed that some CAV disks don't have clean > picture frames (they are merged with another frame somehow, causing a > wobbly picture. can anyone explain why this happens? I've only > noticed it on a few CAV disks). What you are seeing is called "field motion", and on film->video transfers is a result of someone's ignorance or laziness. Here is an updated version of an article I wrote about this in 1989... Background: In the case of NTSC, the screen is refreshed at 59.97 Hz, or approximately 60 Hz. |<-----------------1/30 Sec.----------------->| |<-------------------FRAME------------------->| Apparent FRAME |<--------FIELD------->|<-------FIELD-------->| ##################### ##################### ##################### ##################### ##################### ##################### ##################### ##################### ##################### ##################### ##################### ##################### ##################### ##################### ##################### ##################### ##################### ##################### ##################### ##################### Time = N Time = N + 1/60 sec. The 60 Hz FIELD rate actually generates a 30 Hz FRAME rate. Because of the phosphors used in the TV display, and persistence of vision in the human eye, the first field has not completely faded before the next one arrives. Thus we see a complete frame, usually, most of the time, sort of... Most motion picture film is shot at a simple 24 frames per second, although made-for-TV material is sometimes shot at 30. Trivia: when projected on a motion picture screen, each (24 fps) frame is flashed twice, by a two-bladed shutter, resulting in a 48-per-sec image rate, reducing flicker. NTSC laser video discs always rotate to produce a 30 Hz frame / 60 Hz field rate. Although it would be simple to build an LD player that slowed to 24 (or 18 or 16) video frames/sec., many TV sets wouldn't sync properly at the lower rates, the phosphors would fade, increasing flicker, and mixed source material on the same disc side would still require a 30 Hz rate. On material transferred from 24 frames/sec film to 30 frame (60 field)/sec video, the ideal practice is that each frame is mapped onto 2.5 video fields. However, this requires performing the "pull down" halfway through a field, during a horizontal retrace, and thus is only practical in the digital domain, on the latest telecine scanners, such as the Snell&Wilcox "DEFT". The balance of this article assumes we aren't this advanced, and to my knowledge, no LDs have been made this way yet in any case. In the analog domain, or on "real-time" digital telecine scanners, the optimal practice is to map a film frame onto three video fields, pull down the next frame, map it onto two video fields, then back to 3 field; hence the name "3/2 pulldown". Older low-budget practice is to repeat every fourth film frame for one video frame. See postscript #3. As confirmed by the 3M Video Disc pre-mastering guide, 24/60 telecine mapping looks like this (all numbers refer to original film frames): |<------------------------1/4 second----------------------->| +=========+=========+=========+=========+=========+=========+==== Film frame | 1 | 2 | 3 | 4 | 5 | 6 | +=========+=========+=========+=========+=========+=========+==== Transfer / \ \ / \ / \ \ / \ / \ \ / \ / .---.---.---.---.---.---.---.---.---.---.---.---.---.---.---.---. Video field | 1 | 1 | 1 | 2 | 2 | 3 | 3 | 3 | 4 | 4 | 5 | 5 | 5 | 6 | 6 | 7 +-------+-------+-------+-------+-------+-------+-------+---+---+ Video frame | 1+1 | 1+2 | 2+3 | 3+3 | 4+4 | 5+5 | 5+6 | 6+7 +-------+-------+-------+-------+-------+-------+-------+---+---+ Field motion| No | Yes | Yes | No | No | No | Yes | Yes +-------+-------+-------+-------+-------+-------+-------+---+---+ LD frame # | 1 : 1 : 1 | 2 : 2 | 3 : 3 : 3 | 4 : 4 | 5 : 5 : 5 | 6 : 6 | 7 +-------+-------+-------+-------+-------+-------+-------+---+---+ White flag |W | | |W | |W | | |W | |W | | |W | |W .-------.-------. .-------.-------. .-------.-------. Laser still |<--1-->|<--2-->| |<--3-->|<--4-->| |<--5-->|<--6-->| (no field `-------'-------' `-------^-------' `-------^-------' motion) Unless steps are taken, two of every five video frames will contain field motion (non-matching fields from different film frames, each being alternately re-displayed at 30 times/sec). The Warner CAV set of "Empire of the Sun" (cat# 11844) is mis-mastered this way. The only way to individually view film frames 2, 6...etc. without field motion is to enable the player's digital (field) store (if present, and a control provided). Correct LD mastering places an "action point" signal called a "white flag" ("W" above) at the start of each sequence of RELATED fields. As it is placed several scan lines prior to the start of a field, it can also be considered to be just AFTER the end of a sequence of related fields, and I believe it is actually used in this latter manner. In CAV still-frame mode, it tells the laser servo when to perform a one-track (two-field) backstep to re-display the current frame. The signal is called the "white flag" because it consists of a single horizontal video scan line with the active line period set to maximum white level. It is placed in the vertical interval in either line 11 of an odd field or line 274 of an even field. Lines containing visual picture information start at 21 or 284 (22 or 285 if closed-captioning is present). The white flag tells the LD player where the start/end of the "logical frame" is for still-frame purposes only. During normal "PLAY", the LD player will free-run and show all the fields in the "Video field" line above. (If the white flags are left out on a CAV disc, the LD player will never display a still frame at all; it will just keep rolling. Consumer video media with this severe defect are exceedingly rare.) What is evidently happening on discs like "Empire of the Sun" is that the white flags are carelessly placed at the start of every second video field, instead of at the video boundaries of the original film frames, starting with the appropriate video field (field dominance). Based on a scan of my LD database, Warners didn't have a lot of experience with CAV when EoTs was transferred, so they were probably not even aware of this issue. CAV discs with incorrect white flags are relatively common. Even Disney (who have made many CAV discs) got them wrong on the first pressings of "The Little Mermaid". Another way to mess up the white flags is to get the field dominance wrong and get the flags mispositioned, off by one field or frame. If this is done, then various behaviours result (see postscripts). Frame rate: each video field (of the 2 or 3) in each logical frame has the same frame number encoded in its vertical interval. On a CAV disc correctly mastered from 24fps film, the video field rate is 60, for a video frame rate of 30, but the LD frame counter will only change at 24/sec. The disc is NOT slowed down to 24 rotations/sec. CLV: Still "frame" on CLV discs does not, at present, rely on white flags. Also, CLV "still" on consumer LD players is still-field (not frame). A field is grabbed semi-randomly from the current track, and the lines are doubled (not interpolated) into a video frame. CLV "step" on consumer players steps forward one CLV track (not by one or two video fields, unfortunately). Reportedly some CLV discs have white flags and some don't (and those that do may be assumed to include many improperly marked for 3/2 pulldown). The industrial Pioneer LD-V8000 has CLV still-FRAME mode and honors CLV white flags. Pioneer may introduce a true consumer still-frame CLV capability someday, but I suspect it will revert to still-field if the disc does not have white flags. Frankly, due to the number of mis-mastered discs, I would rather they provide us with more user control of presumed pull-down, starting field and number of fields for digital stills. > My reaction: I'd rather have a frame freeze that occasionally screws up > than be stuck with a field freeze all the time. If you stop on a bad frame, > you can always move backwards or forwards one or two frames to clear it up. You don't need this compromise. It is possible to make a CAV disc that can properly freeze every original 24 fps source frame. Unfortunately, some producers don't bother, particularly when the side contains multiple selections, or material from both film and video sources. The edit sheet that needs to be filled out can be very complicated and time consuming. Silent sources: Silent and 8mm films may have been shot at 16 fps, 18 fps or something close. It is possible to use a periodic pull-down (16:4/4/4/3 and 18:4/3/3) on some rates, but it is not clear if video transfer and LD premastering equipment currently support this. Video sources: If the material was originally from live video source, the image was constantly changing during imaging. EVERY original frame (field pair) will have field motion, regardless of where the white flags are set. Only digital field store will provide a stable image. A transfer of 60 fps film material, like "ShowScan" footage, would have the same problem as live video. In both cases, however, the higher image rate increases apparent resolution, reduces stroboscopic effects and makes the presentation more alive. I would be happy to surrender stable CAV still frame in order to get the benefits of 60 frames/sec mapped onto 60 fields. PAL discs: All PAL discs spin at 1500 rpm (25 Hz). Carefully mastered PAL discs could repeat every 12th (24fps) film frame for an extra video field, but the more usual practice is a simple 2/2 pulldown, which speeds up the film by 4%, and maps 1 film frame onto 2 fields. Regards, Hewlett-Packard Bob Niland Internet: rjn@FC.HP.COM 3404 East Harmony Road UUCP: [hplabs|hpfcse]!hpfcla!rjn Ft Collins CO 80525-9599 Postscripts: A rogues gallery of other white flag follies 1. Forward field shift: White flags are placed at 3-2 field intervals, but are one field too late. Results in EVERY LD frame having field motion. Since discs made from live video sources also have field motion in every frame, this defect can be difficult to isolate. Tips: frame counter advances 24/second, or you know that the source element was film shot at less than 60 fps. |<------------------------1/4 second----------------------->| +=========+=========+=========+=========+=========+=========+==== Film frame | 1 | 2 | 3 | 4 | 5 | 6 | +=========+=========+=========+=========+=========+=========+==== Transfer / \ \ / \ / \ \ / \ / \ \ / \ / .---.---.---.---.---.---.---.---.---.---.---.---.---.---.---.---. Video field | 1 | 1 | 1 | 2 | 2 | 3 | 3 | 3 | 4 | 4 | 5 | 5 | 5 | 6 | 6 | 7 +-------+-------+-------+-------+-------+-------+-------+---+---+ Video frame | 1+1 | 1+2 | 2+3 | 3+3 | 4+4 | 5+5 | 5+6 | 6+7 +-------+-------+-------+-------+-------+-------+-------+---+---+ Field motion| No | Yes | Yes | No | No | No | Yes | Yes +-------+-------+-------+-------+-------+-------+-------+---+---+ LD frame # | 1 : 1 : 1 | 2 : 2 | 3 : 3 : 3 | 4 : 4 | 5 : 5 : 5 | 6 : 6 | 7 +-------+-------+-------+-------+-------+-------+-------+---+---+ White flag |W | | |W | |W | | |W | |W | | |W | |W .-------.-------. .-------.-------. .-------.-------. Laser still |< 1+2 >|< 2+3 >| |< 3+4 >|< 4+5 >| |< 5+6 >|< 6+7 >| `-------'-------' `-------^-------' `-------^-------' 2. Backward field shift White flags are placed at 3-2 field intervals, but are one field too early. Results in every OTHER LD frame having field motion. |<------------------------1/4 second----------------------->| +=========+=========+=========+=========+=========+=========+==== Film frame | 1 | 2 | 3 | 4 | 5 | 6 | +=========+=========+=========+=========+=========+=========+==== Transfer / \ \ / \ / \ \ / \ / \ \ / \ / .---.---.---.---.---.---.---.---.---.---.---.---.---.---.---.---. Video field | 1 | 1 | 1 | 2 | 2 | 3 | 3 | 3 | 4 | 4 | 5 | 5 | 5 | 6 | 6 | 7 +-------+-------+-------+-------+-------+-------+-------+---+---+ Video frame | 1+1 | 1+2 | 2+3 | 3+3 | 4+4 | 5+5 | 5+6 | 6+7 +-------+-------+-------+-------+-------+-------+-------+---+---+ Field motion| No | Yes | Yes | No | No | No | Yes | Yes +-------+-------+-------+-------+-------+-------+-------+---+---+ LD frame # | 1 : 1 : 1 | 2 : 2 | 3 : 3 : 3 | 4 : 4 | 5 : 5 : 5 | 6 : 6 | 7 +-------+-------+-------+-------+-------+-------+-------+---+---+ White flag | | |W | |W | | |W | |W | | |W | |W .-------.-------. .-------.-------. .-------.-------. Laser still |<--1-->|< 1+2 >| |<--3-->|< 3+4 >| |<--5-->|< 5+6 >| `-------'-------' `-------^-------' `-------^-------' 3. 4th frame repeat. There is at least one report of an LD having sequences done this way. > In particular, we can see this on "Elephant Parts" on those sections where > the material was filmed rather than video taped. However, on one section > of "Elephant Parts", 4 out of 5 jitter rather than 2 out of 5. Sounds like it was transferred using the primitive 4th-frame-repeat, and the white flags have (erroneous) even field dominance, as follows: |<------------------------1/4 second----------------------->| +=========+=========+=========+=========+=========+=========+==== Film frame | 1 | 2 | 3 | 4 | 5 | 6 | +=========+=========+=========+=========+=========+=========+==== Transfer / \ / / / / / / / \ / \ / / / / .---.---.---.---.---.---.---.---.---.---.---.---.---.---.---.---. Film-field | 1 | 1 | 2 | 2 | 3 | 3 | 4 | 4 | 4 | 4 | 5 | 5 | 6 | 6 | 7 | 7 +-------+-------+-------+-------+-------+-------+-------+---+---+ Even Field Dominance: ----+-------+-------+-------+-------+-------+-------+-------+---+ LD frame | 1+2 | 2+3 | 3+4 | 4+4 | 4+5 | 5+6 | 6+7 | 7+ Field motion | Yes | Yes | Yes | No | Yes | Yes | Yes | Yes ----+-------+-------+-------+-------+-------+-------+-------+---+ Field motion in 4 out of 5 frames. Correct flagging of 4th-frame-repeat material. Odd Field Dominance: +-------+-------+-------+-------+-------+-------+-------+---+---+ LD frame | 1+1 | 2+2 | 3+3 | 4+4 | 4+4 | 5+5 | 6+6 | 7+7 Field motion| No | No | No | No | No | No | No | No +-------+-------+-------+-------+-------+-------+-------+---+---+ No field motion, but every 4th LD frame is a repeat. EOF From rjn@hpfcso (Bob Niland) Fri Jan 3 15:22:58 1992 From: rjn@hpfcso.FC.HP.COM (Bob Niland) Newsgroups: rec.video Subject: LD#14: LD Mailorder & CO Sources Message-ID: <7970682@hpfcso.FC.HP.COM> Date: 30 Dec 91 20:01:00 GMT Organization: Hewlett-Packard/FSY Ft.Collins,CO,USA Lines: 588 re: National & Colorado LD sources Last revised: 17 Dec 91 There are three sections in this article: 1. General principles for LD consumers. 2. U.S. mail order sources, nationwide. 3. Retail stores in Colorado Front Range (Denver/Boulder), Corrections and customer reports are invited. + Info on United Kingdom retail stores is available from: B.King@EE.SURREY.AC.UK + Info on Chicago-area stores is available from: owen_d_beckley@ATT.COM + Info on San Francision Bay Area stores (with an emphasis on Anime) is available from smah@sdcc13.ucsd.edu (Steve Mah) 1. General Principles: ====================== * With the exception of the CBS LaserDisc Club, a negative-option plan, the sources listed here are all no-commitment, order-on-demand operations. Some include coupons in their catalogs. * Most of the mail order sources will provide a free domestic catalog on request (it may be their own or the LDCA catalog). Any LD dealer will normally have free copies of the semi-annual LDCA catalog available, as well as the irregularly published semi-monthly LDCA flyer. * Also obtain a copy of the "Laser Video File" catalog. Caution: the first 1989 issue (V1#1) has numerous errors, and omits many alternate pressings. The late 1990 issue (V2#1) is dramatically improved. IMAGE Entertaintment also has a catalog. Both are about $4. LVF tries to cover all domestic. LDCA and IMAGE exclude each other's exclusive titles. * Also obtain one of the monthly price lists from Voyager Company (Criterion Collection). They are far more detailed than any catalog. On request, I can email you the current Voyager title/attribute list, but it omits prices. * 10% discounts off "list" prices are common in both the mail-order and the larger retail markets. You may settle for less to support a local store in a small market. * If you are watching pennies, be sure to include phone charges on non-800 mail-order sources (and gasoline mileage on regional dealers). * Shipping charges are quite reasonable at all the mail-order sources listed here, and sales taxes are avoidable unless the mail-order house is in your state, the mail-order outfit has an outlet in your state (or your state has reciprocal extortion agreements with the hosting state :-( * All else equal, insist on "unlimited" warranty on defective discs. Many sources offer it. * If you are picky about product attributes like digital sound, letterboxing, etc., make sure you reach agreement with the seller about returning mis-labelled and/or mis-advertised merchandise, particularly mis-mastered 3/2-pulldown on CAV discs (article available). 2a. Mail Order (new discs): ========================== *** Barr Digital 2567 152nd NE Redmond WA 98052 (206) 861-4505 (800) 274-7002 (orders only. They finally looked at their phone bill!) FAX: (206) 861-4504 Hours: unknown OWNERS: Jan and David Rowell Warranty: unknown No retail sales. Shipping: $2.50 - first disc, $1.00 - each additional Discounts: yes, but using a sliding scale depending on order size. Credit cards: Yes They offer an informative newsletter for buyers ($1/issue after 4 issues to everyone else). They have occasional sales. Those who use Barr are generally very satisfied customers. Imports take two transactions - an approx 20% deposit, and a balance payment upon importation. *** CBS LaserDisc Club P.O. Box 1112 Terre Haute IN 47811-1112 (800) 538-2233 Hours: 24 hours Retail sales: No Credit cards: Yes Warranty: Unknown Shipping method: Unknown Coverage: Continental US only, not including Alaska. This is a negative-option plan club that announced itself in Feburary 1991. They will send you an LD every 4 weeks unless you return the post card from each promotional mailing. They have a very attractive sign-up offer (3 titles for $2.50 each), but you commit to buying two more at "regular" (>$30) prices over the next year. Note: You need to find an advertisement before calling, because they ask for the fake "Department" number, which tells them the ident of the magazine. Beyond the initial sign-up and 2-discs-at-regular-price commitment, each two additional [~$30] discs generate a $30 credit. Cautions: It is reported that CBSLDC plans eventually to ship discs that are re-pressings by DADC (Sony, Terre Haute) from unspecified video masters. Regular prices not yet known. Title availability beyond the initial 70 unknown. *** J&R Frogg 19126 Haynes Street #6 Reseda CA 91335 (818) 342-7886 Hours: unknown Retail sales: unknown Specialize in Voyager Company releases, but just announced acceptance of orders for imports. 25% discount on Criterion Collection & Voyager LDs 10% on Voyager software Payment via check or money order only (no credit cards) Ship via UPS ground or 2nd-day, or USPS air UPS ground is $3/1st disc, $1 each additional Warranty: 35 days from invoice date I have not ordered from J&RF, but a co-worker has. Basically, you are trading off credit card and delayed return privileges for the lowest known prices on Criterion. *** Juke Box Japan P.O. Box 35780 Los Angeles CA 90035 (213) 857-5701 Hours: unknown Mail-order only. No credit cards [yet]. No inventory - live orders only. Reportedly has the lowest import prices and fastest service on LDs. *** Ken Crane's Laser Disc 14260 Beach Blvd. Westminster CA 92683 (800) 624-3078 (U.S. exc CA) (800) 626-1768 (in CA) M-F: 9:00 AM - 9:00 PM PDT/PST SAT: 9:00 AM - 6:00 PM SUN: 12:00 AM - 5:00 PM Several retail locations in the LA area. 10% standard discount. Catalog available (largely a reprint of LDCA and IMAGE release sheets). Credit cards accepted. Billed when shipped, not when ordered, although one correspondent had a problem with an out-of-stock sale item. "Free" shipping, but flat handling rate of $1.50 per carton. Warranty: "Lifetime" on discs (with receipt). I have used them twice. Very prompt. Make sure you are clear with them about shipping methods and whether or not the desired titles are actually in stock. Several correspondents complain that Crane's never has what they want. *** LASER & VIDEO {entry contributed by: U15310@uicvm.uic.edu (Tom Ascher)} 8780 WARNER AVE. , #9 FOUNTAIN VALLEY, CA 92708 1-800-342-9715 / 714-848-5780 10% UP TO $150 12.5% OVER $150 TO $250 15% OVER $250 Have best catalog I've seen; had best selection in stock. Free UPS, just $1.50 packaging charge. Very friendly and eager to please. *** LASERDISC ENTERPRISES {entry contributed by: U15310@uicvm.uic.edu (Tom Ascher)} 390 MAIN STREET HIRAM, GEORGIA 30141 1-800-347-1941 15% discount orders of 3 or more excellent selection. Usually have a good percentage of what I'm looking for. If they don't have it, will take list of what you're looking for, but CALL you first, before sending :)! Very helpful and friendly. *** Laser Disc Fan Club (LDFC) 2265 East 220th Street P.O.Box 93103 Long Beach, CA 90809-3103 (800) 322-2285 M-F: 7:00 AM - 7:00 PM PS/DT S-S: 9:00 AM - 6:00 PM PS/DT Retail sales? - unknown Credit cards: yes, but charged when *ordered*, not when shipped Exports: Canada only, and about half their titles are embargoed. Carries only LDC-America titles (e.g. no IMAGE). LDCA catalog available. Monthly mailings are reprints of release sheets. 7 to 10% discount, plus some special sales. Caution: Charge sales tax in several states (e.g., Ill.) since parent company (Pioneer) has legal presence in those states. Ask. $1.00 charge (not clear if per order or per-disc), but free shipping to UPS addresses (i.e. not USPS PO boxes). Warranty: 30-days (however, after 30 simply call LDCA customer service). This outfit is actually the retail arm of LDC-America, the big LD distributor. I have pre-ordered LDs from LDFC. One shipped the day after the scheduled "street date" release date. *** Laser Island 1810 Voorhies Ave. Brooklyn NY 11235 (718) 743-2425 M-F: 10:30AM-7:00PM EST/EDT Retail sales? - unknown Credit cards: Yes Shipping: $3.25 for first title, $1.00 each thereafter Discounts on domestic titles: unknown. Warranty: unknown They specialize in Japanese imports, offer a catalog. No discounts. Imports take two transactions - an approx 20% de[osit, and a balance payment upon importation. I have successfully ordered one import. Sight&Sound is more convenient. *** Laser Perceptions 3300 Judah Street San Francisco CA 94122 (415) 753-2016 FAX: (415) 564-3821 Retail: Yes Hours: M-S: 11:00 AM - 9:00 PM PS/DT Sun: 11:00 AM - 7:00 PM PS/DT Warranty: Unknown Shipping: Unknown Discounts: reportedly none Credit cards: VISA, MC, Amex Specialty: Anime (Japanese Animation) - in stock and music. Caveats: "one man operation" - can result in phone delays if you call during rush hour (noon, early evening). *** LaserWare, Inc. 4404 France Avenue South Edina MN 55410 (800) 873-5553 (612) 922-5553 M-F: 10:00 AM - 8:00 PM CST/CDT Sat: 10:00 AM - 6:00 PM Retail sales? - unknown 10% discount. Credit cards accepted. Some imports. Warranty: unknown I have never ordered from this operation. *** Laser World 798 South Military Trail Deerfield Beach FL 33442 (800) 343-9211 M-F: 9:00 AM - 5:30 PM EST/EDT 10% discount. Credit cards accepted. Warranty: unknown Imports: unknown I have never ordered from this operation. U15310@uicvm.uic.edu (Tom Ascher) reports: "When I last dealt with them, it was during May 15% special sale. I gave them list of LD's I wanted, they claimed to have 3 of them in stock and took VISA info and said they'd ship. Two weeks later I called to find out what had happened to order. Person said that one item had been shipped, other two were on back order. I cancelled the two on back order, waited several more days for the one they had claimed to have shipped. When I called again, they said they had no record of an order from me, or any shipment! (I hope nothing appears on my VISA!)" *** Sight&Sound (Wok Tok, dba S&S) 1275 Main Street Waltham, MA 02154 (617) 894-8633 Mon-Wed: 10:00 AM-7:00PM EST/EDT Thu-Fri: 10:00 AM-9:00PM EST/EDT Sat: 10:00 AM-7:00PM Retail & mail order. Credit cards: yes - charged when shipped 15% (sometimes 20%) off on selected pre-release orders. 10% standard discount on domestic titles. Sale & used items. Catalog available. Special order imports. Some imports stocked. No exports. Import catalog ($8.95) is very detailed and well organized. Warranty: unlimited on domestics while title is available, 60-days on imports. They also sell hardware, discounted/new and used. I have ordered both domestic and import LDs from them. Shipping: UPS $3.00 per order (not shipment), plus $1.50 per add'nl title. *** Starship Audio-Industries 605 Utterback Store Road Great Falls VA 22066 (703) 450-5780 FAX: (703) 430-6657 Hours: M-T: 11:00 AM - 7:00 PM EST/EDT Fri: 11:00 AM - 6:30 PM Mail order only. Credit cards: yes 10% standard discount. Warranty: unlimited while the title is in print, 30 days thereafter. Periodic sales. No imports. I have ordered from them a few times. Note: Their catalogs and flyers are the only ones that consistently attempt to ID the media manufacturer (pressing plant). They also have THE most robust shipping carton. It has extended corners to absorb impact damage so that the LDs don't split the jacket spines. *** Tewksbury Audio & Video {this entry contributed by moriarty@TC.FLUKE.COM} PO Box 318 Oldwick, NJ 08858 (201) 832-9064 FAX: (201) 832-6363 Hours: M-F Noon to 9 PM EST Sat, Sun: 9 AM - Noon EST (except July or August) International: Yes Discounts: Criterions, 20%; sale, between 25% and 15%; pre-order, 15%; otherwise, 10%. During summer, all Criterions > $100 are 25% off; select Criterion titles at 25% each month. Free plastic sleeves with each LD (this may be Criterions only -- I'm not sure.) Shipping: $3.00 1st disc, $1.50 thereafter Credit cards accepted (Visa and Mastercharge). Billed when shipped, not when ordered. Offer quarterly catalog (just lists titles), sales notices. moriarty@TC.FLUKE.COM uses Tewksbury almost exclusively and is extremely pleased. He reports exceptional customer satisfaction efforts. "Best-shipped discs I've ever seen -- the packaging is bloody near bullet-proof. (Two inner cartons within a larger outer carton -- VERY nice.)" *** U.S.Video Source 561 Bloomfield Avenue Verona NJ 07044 (800) 872-3472 [orders] (201) 239-0100 FAX (201) 239-1474 M-F: 9:00AM-5:00PM EST/EDT. Answering service at other times. Retail sales? - unknown Credit cards: yes 10% standard discount Warranty: unlimited No imports. I have ordered from them a few times. Shipping charges: UPS $3.00 per shipment (not per order) plus $1.50 per additional disc (title). *** Voyager Company (home of Criterion Collection) 1351 Pacific Coast Hwy Santa Monica CA 90401 (213) 451-1383 (800) 446-2001 {order only} FAX: (213) 394-2156 Hours: unknown Credit cards: unknown Criterion, Voyager, and selected special-interest titles only. No discounts, but they include a coupon for each disc platter (not title) in the order, and six coupons will redeem one free platter. I've never tried it. One advantage to ordering direct from VC is they commit (insofar as possible) to have their entire catalog IN STOCK at all times. It is also worth being on their mailing list. *** 2b. Mail Order (used discs): =========================== *** CEBA Video {this entry contributed by wlrc@uhura.neoucom.edu} PO Box 44411 Fort Washington, MD 20749 (301)-292-6670) Hours: unknown, but often available nights and weekends OWNER: Charles Shiskevish Retail sales: No Discounts: approx. 30% off list for used discs (sometimes they are new, sealed dealer overstocks). Special sales on slow moving items. Price may be higher if item is O/P and in demand. Purchase: will purchase selected used discs for 60-70% off list. Credit cards: no - checks or C.O.D. only Warranty: He warrants them to be in good condition when you receive them and will allow a "reasonable" time for you to view them and discover defects (maybe one month). For long term laser rot you have to turn to LDCA or other distributor. POSTAGE: $3.50 1st, $0.50 ea addl. *** Video Brokers {This entry contributed by wlrc@uhura.neoucom.edu} 1826 Irving St. NW {may be 1836} Washington DC 20010-2644 (202)-328-0428 Answer Machine: (202) 482-3113 Hours: Mon-Sat: 10:00AM - 8:00 PM OWNERS: Bill and Cindi Bullock Retail sales: No Discounts: approx. 30% off list for used discs. Price may be higher if item is O/P and in demand. Purchase: will purchase selected used discs for 60-70% off list. Credit cards: no - checks or C.O.D. only Warranty: He warrants them to be in good condition when you receive them and will allow a "reasonable" time for you to view them and discover defects (maybe one month). For long term laser rot you have to turn to LDCA or other distributor. POSTAGE: included in price if 3 or more titles. 3. Regional Retail Stores: ========================= Curtis-Mathes and Sound Warehouse just entered the LD business. BlockBuster has as well, but not in Northern Colorado. Colorado: *** Curtis-Mathes 2925 South College Avenue Fort Collins 223-4484 Discounts: none Rentals: yes, $3.00/two-nights Used discs: planned Hardware: C-M only (re-labelled Pioneer) Warranty: indeterminate C-M entered the LD market in May'90. So far they have only a small collection of LDCA titles (and only in PVI pressings). They finally signed with Image in December, but I haven't checked in since then. *** JB&H Alameda at Union St. Lakewood Discounts: unknown. Rentals: yes (perhaps "only") Used discs: no Hardware: no Warranty: unknown Although the LD inventory has recently doubled in size, it appears to be "for rent" only. They will special order titles. *** LaserLand 1685 South Colorado Blvd (at I-25) Denver CO 80222 (the Boulder store is closed - they bought out the Denver store.) Discounts: none anymore, except Sale items Rentals: yes Sell rentals: only when stock retired Used discs: only from rental stock Hardware: yes. Also CDs. Warranty: unknown They used to issue discount cards, gradually eliminated the cards and the discounts. They will attempt to order imports, and have actual Japanese catalogs on hand. They sell retired rental stock at a discount and have many old titles in their inventory, some fairly inexpensive. A "Home Video Theatre" hardware store is now open in the basement. *** ListenUp "Disconnection" South Pearl at Exposition Denver Directions: I-25 to Broadway (north) Right on Exposition to Pearl. Discounts: unknown. Rentals: no Used discs: few Hardware: yes. also CDs Warranty: unknown The DEN LU "Disconnection" is primarily a CD store. LU used to be an LD sales and rental operation, supporting their video hardware sales. They now defer to LaserLand on media, and have a tiny stock. Neither the Boulder ListenUp nor the Boulder Disconnection stock LDs. *** Sound Warehouse South College Ave. Fort Collins Discounts: no Rentals: no Used discs: no Hardware: no Warranty: unknown A small stock of top-40 titles. *** Sweets Wadsworth just south of 80th Arvada (a smaller store is 10151 Bowles in Littleton) (303) 423-9227 (303) 467-0003 Directions: I-25 to US36 West Exit north at Federal Blvd (US287) First left (west) onto 80th Left at Wadsworth (south) Right at next light - left into lot. Discounts: 10% to "Video Club" members. 15% on pre-release special orders (but you have to ask) Rentals: yes Sell rentals: sometimes Used discs: buy, sell, broker, barter Hardware: yes (Pioneer). Also LP, CD and VHS software. Warranty: unlimited Sweets is an agressive promoter of LD. Membership in the club is free. Sales and special deals occur regularly. You may need to double-check that you actually get the expected discount. The clerks don't seem to be well informed. Special orders are accepted, and filled fairly promptly, but somewhat carelessly, and sometimes the discs end up in the floor stock. The owner (Bob Siefert) also scours the country for closeout and distressed stock, and re-sells it at a discount (usually 40% on new LDs). *** Video Station 3216 Arapahoe Boulder (303) 440-4448 Discounts: none except on high-volume purchases Rentals: Primarily, from a large inventory Sell rentals: only when stock retired Used discs: only from rental stock Hardware: No Warranty: unknown Regards, Hewlett-Packard Bob Niland 3404 East Harmony Road Internet: rjn@FC.HP.COM Fort Collins UUCP: [hplabs|hpu*!hpfcse]!hpfcla!rjn CO 80525-9599 From rjn@hpfcso (Bob Niland) Fri Jan 3 15:22:59 1992 From: rjn@hpfcso.FC.HP.COM (Bob Niland) Newsgroups: rec.video Subject: LD#15: IDTV Summary Message-ID: <7970683@hpfcso.FC.HP.COM> Date: 30 Dec 91 20:01:42 GMT Organization: Hewlett-Packard/FSY Ft.Collins,CO,USA Lines: 462 re: NTSC, up close and flickering Revised: 25 Mar 91 This article is about IDTV (Improved Definition TV), and line doublers in general. It is not about HDTV (High Definition TV). I summarize my understanding of IDTV technologies, and invite comments. IDTV endeavors to improve today's viewing by removing an artifact of the current standards: as both direct-view (CRT) and projection screens have gotten larger, people have begun to notice the "interlace twitter". This problem is visible to the trained observer at viewing distances less than eight picture heights (8PH). It is visible to the untrained observer at distances less than 4PH. Theoretically, a line doubler or IDTV allows a reduction in the viewing distance at which interlace twitter is noticed. Background: In the case of NTSC, the screen is refreshed at 60 Hz (well, 59.97). This would normally be satisfactory if the entire screen (all the scan lines) were drawn or re-drawn 60 times per second. But they aren't. Only 1/2 of the screen (every other line) is drawn at 60 Hz, viz. |<-----------------1/30 Sec.----------------->| |<-------------------FRAME------------------->| Apparent FRAME |<--------FIELD------->|<-------FIELD-------->| ##################### ##################### ##################### ##################### ##################### ##################### ##################### ##################### ##################### ##################### ##################### ##################### ##################### ##################### ##################### ##################### ##################### ##################### ##################### ##################### Time = N Time = N + 1/60 sec. The 60 Hz FIELD rate actually generates a 30 Hz FRAME rate. Because of the phosphors used in the TV display, and persistence of vision in the human eye, the first field has not completely faded before the next one arrives. Thus we see a complete frame, usually, most of the time, sort of... On large screen sets (or small ones if you sit close enough), you can sense the interlacing going on. It manifests itself in several ways: 1. You are aware of the individual horizontal scan lines, since each line lies between the two (now fading) adjacent lines of the previous field. 2. The picture is slightly unstable vertically. Horizontal lines or objects in the image seem to vibrate vertically. This is because the edges are defined by scan lines flashing on and off 30 times a second. 3. Horizontal lines in the picture, that are only one scan line thick, flicker on and off completely. These artifacts are distinct from the moire' pattern, "staircase" or "jaggie" effects resulting from the relatively low resolution of broadcast TV standards. Although line doublers might address these using anti-aliasing techniques, this does not seem to be the main thrust of the technology. Other NTSC artifacts that line doublers, per se, are not intended to address are cross-color, hanging dots, and chroma crawl. The persistence of these problems raises the question of whether or not a line doubler supports a general reduction in viewing distance. The Solution(s)? Line doublers propose to eliminate interlace by synthesizing and displaying a complete frame every 1/60th of a second, instead of a field (1/2-frame) every 1/60th. There are three ways to do this: 1. Last field retention - gather each pair of fields into a frame. Display frames at 60 Hz. This requires storing the most recent field and combining it with the current field. In effect, each field stays on-screen for 1/30 second. This is the ideal case if the two fields were from the same film frame, or there was no motion in the image. When motion is present, a simple field-retention scheme leads to new undesirable artifacts. Incidentally, an LCD TV or projector provides field-retention for free, since the pixel values for field 'n' don't change until the values for field 'n+2' arrive (assuming that the LCD panels even have full 483-line/2-field height, and current consumer models don't). 2. Full-time interpolation - expand each field into a full frame. This requires storing the previous scan line of the current field, calculating the value of each pixel, and interpolating vertically adjacent pixels to create a new pixel in the missing scan line. Interpolation is fine when the image is changing, but is less than ideal if the image is still (or both fields are from the same film frame). This is because the two interpolated field won't be identical, which introduces artificial image activity. On LCD again - the value of ANY kind image interpolation is doubtful on LCD TV/projectors. Each pixel value may change in less than 16.7 milliseconds. An LCD panel would need a response time under 10 mS, but they typically are over 20 mSec. You may not get to see the work your line doubler is doing. 3. Interpolation upon motion detection - synthesize the absent scan lines by using the line from the previous field, unless "motion" is detected, in which case interpolate. Questions which come to mind are: How is "motion" detected, and just what is interpolated, the whole field, the affected lines, or just the affected parts of the affected lines? Several IDTV ads imply that they employ motion detection, but I haven't seen any sets that really do. There are professional line doublers that do motion detection interpolation, and they are expensive (Faroudja LD100: $15,000, Macro Data "Twinscan": $3,000). These prices suggest that $2,000 consumer IDTVs can't yet afford to do it properly. All of these techniques require (working backwards): * A very high speed D/A - to convert the synthetic digital frame back into analog video. These are fairly common in high-end VCRs and LD players. * Reasonably high speed digital processing circuits - to process pixel values as needed. The actual interpolation can be as simple as a binary add/shift, but the "motion detection" can be very complicated, and any anit-aliasing or other image processing raises the ante even more. * Lots of high-speed video RAM - to store the frame (or at least the previous field). I estimate that for NTSC, a 483 (vertical) by 720 (horizontal) by 12-bit (deep) store would be the minimum. That's about 1/2 Mbyte of VRAM, not much compared to contemporary computer video interfaces. 16-bit VGA hardware would probably suffice. * A very high speed A/D converter (or three) - to convert the incoming analog video signal into digital pixel values. Such a D/A is likely to be expensive at this point in history, particularly if image quality requires 16 or 24 bits of pixel depth, rather than 12. * Dedication to image quality - the market for IDTV is among video enthusiasts, not the indifferent TV masses who think that VHS is just swell. If the sampling rate is too low, the resolution too coarse or the pixel depth too shallow, then there is NO POINT in building the product. The general public may not notice the failings, but the *target* customer certainly will. * The output of a line doubler is no longer 15.75 KHz interlaced NTSC. It is usually at least 31.5 KHz non-interlaced RGB. This is hidden in an IDTV, where the non-interlaced signal is created and consumed within the set. With an external line doubler, your TV/monitor will require non- interlaced RGB in. Ordinary Y/C (S-video) and composite "video" won't do, and no consumer recorders will accept it. The Sony XBR-Pro line has RGB input, as do most broadcast monitors and high-end CRT and light valve projectors. The non-interlaced output or a line doubler might also have a couple of interesting side effects, regardless of how it is achieved. On direct-view and CRT-target projectors, the electron beam is hitting the phosphors twice as often (but for half as long). If the beam intensity is higher, this could result in brighter display (always a problem for projectors), or for the same brightness, could allow operating at a lower peak white level, and thus within a more linear portion of the tube's range. Conversely, it could also lead to projector overheating. The fact that professional line doublers exist at all suggests that this technology might actually add value in the pursuit of the "home theatre" (assuming that you have already upgraded your signal sources and sound). If a satisfactory front projector appears on the market before HDTV, I might even take the plunge. The remainder of this string is summary of old reader reports on IDTV. Regards, Hewlett-Packard Bob Niland Internet: rjn@hpfcrjn.FC.HP.COM 3404 East Harmony Road UUCP: [hplabs|hpfcse]!hpfcla!rjn Ft Collins CO 80525-9599 ____________________________________________________________________________ 8. From: wyant@eplrx7.UUCP (wyant) Date: Tue, 9 May 89 Subject: Re: Philips IDTV Reviewed Path: hpfcdc!hplabs!decwrl!purdue!gatech!udel!eplrx7!wyant Newsgroups: rec.video >From article <7540035@hpfcdc.HP.COM>, by rjn@hpfcdc.HP.COM (Bob Niland): > The only customers likely to be interested in IDTV > at these prices are precisely those customers likely to be the most > discriminating and demanding in matters of image quality. With luck, Sony > will show some grasp of this. The Sony IDTV model failed to impress me as well. I had the brief opportunity to compare the Sony IDTV model against their 25-inch XBR PRO (we own a 25-inch XBR, the predecessor to the PRO) using a fairly noisy cable signal in an audio/video store. The room was completely interior to the store (no windows). There were several differences between the IDTV and the XBR models. The noise on the XBR analog model had the customary random appearance. Video noise on the IDTV appeared to shift horizontally in blocks, so that it looked more like a solarization effect was being applied to the noise. The total contribution from the noise may have been less on the IDTV, but the correlated movement of the noise made it more distracting. The XBR had very little comb filter artifacts while the IDTV did not show any. However, strong diagonal colors were displayed differently. A diagonal red banner (on a network news program) had the usual aliasing or stair stepped appearance on the XBR. The IDTV not only showed the same aliasing, but the stair pattern was moving. I found this most distracting. The colorimetry of the XBR looks to me more like film than video. The IDTV looked more like the typical electronic video or other TV's in the room. This is a matter of preference, but film looks to me to be "kinder and gentler". Reds were rich on both sets, and richer than on any of the other sets in the room. I am told this is due to the broad bandwidth color signal amplifiers typically used. It might also be due to some clever adjustments by the salescritters (I didn't check). The salesman also tried the IDTV with a JVC S-VHS deck, and I was again unimpressed. While the resolution of S-VHS may be superior to broadcast TV, the poor video signal-to-noise level offset any advantages. The IDTV still enjoyed marching the video noise in blocks around the screen. If it were up to me, I would skip IDTV and purchase a top-of-the-line analog monitor/receiver. I also did not see anything which would have me trade in my present XBR. Patrick Wyant *!uunet!eplrx7!wyant ____________________________________________________________________________ 9. From: r-michael@cup.portal.com (robert michael gutierrez) Date: Sat, 3 Jun Subject: Sony IDTV Organization: The Portal System (TM) Path: portal!cup.portal.com!r-michael Newsgroups: rec.video Well, I decided to demo the new Sony IDTV at the "Good Guys" video store here in Hayward, California to judge the picture quality. I have not seen the Phillips IDTV yet, so this will be the first IDTV picture I have seen. The results are: IT SUCKED!!! I am sorry if some of the netters here think it was a good picture, the only thing I saw good in this was the demo laserdisc (which I would love to take home and play it on my LD-S1 and Sony PVM-1400 studio monitor). After watching the demo laser, I had to demo my own lasers to see what was going on. At the time of the demo, the off-air signal was the NBA playoffs from an acceptable (good CATV) signal, with moderate S/N. It did clean up the off-air signal just slightly. My Yamaha YV-1100 VCR (NEC D-5000U equivalent), which has "Digital Noise Reduction" cleans up my off-air signals in the same manner, but IDTV is supposed to be non-interlaced TV, not just video DNR. The first disc was the japanese release of "Return of the Jedi" (letterbox, japanese subtitles). The motion artifacts were present in the action sequences. The "ghosting", which is always a problem with video DNR systems (because the DNR system is delaying lines/pixels from the previous field) was omnipresent on the TV. Dot crawl was not as bad, but the color on the "Empire" disk is undersaturated, so you cannot judge dot crawl very well on this disk, but the next disc would be a challenge. Sharp lines were present, but that motion artifact just bugged me a little, until the next disc....... The next disc was the last 2 TV episodes of the japanese cartoon (anime) "Dirty Pair", which is in CLV (standard play). This disc presented plenty of sharp lines and red-blue edges for dot crawl to show up. And show up it did. The motion artifacts were VERY bad on this disc also. The chroma S/N was an improvement over some other consumer TV's I have seen, but again, my Yamaha VCR can do the same chroma S/N improvement simulation. A freeze frame on the Sony TV did look good, though (one of the best freeze-frames I have seen on consumer equipment), but a freeze-frame on the laserdisc player was terrible, with sharp edges disappearing altogether, and *frozen* dot crawl, which I have never seen before (except on some mis-aligned time base correctors). I did not recognize a disable switch on the Sony TV, if there is one, to compare straight TV and IDTV. All in all, IDTV did not impress me at all. As a matter of fact, it turned me off. IDTV does not have a future to the broadcast enthusiast, and very little future to the "videophile" enthusiast at all. As for the average consumer or "high-end user", it is just another new snazzy toy to impress their Marin County (California) friends, along with their BMW's, $500k homes, $2000 mountain bikes, et cetera.....:-) The future is Digital Y/C separation and General Electric light-valve TV projectors, which are slowly making their way down to the consumer level in about 1-2 years or so, maybe....... The best set-up I have ever seen was a Bosch HDTV DVR (Digital Video Recorder) and a G.E. 1024 line light-valve projector......well, I can dream, can't I ??? Robert Michael Gutierrez <(decwrl, uunet, ucbvax)!sun!portal!cup.portal.com!r-michael> (MCI Mail: 367-9829) ____________________________________________________________________________ 5. From: deering%deering@Sun.COM (Michael F. Deering) Date: Tue, 5 Sep 89 Subject: NEC projection IDTV Organization: Sun Microsystems, Mountain View Path: apple!sun-barr!newstop!sun!deering!deering Newsgroups: rec.video Observations on NEC ID-5282S 52" rear screen projection IDTV (~$6K) Summary: IDTV quality between Philips (bad) and Sony (moderately good). Problems: Motion artifacts and only ``field'' freeze. The first projection IDTV arrived in town this weekend (Andersons in Saratoga). The NEC set sports 11 megabits of signal processing memory, and several surround sound modes, including Dolby (NON pro-logic). I have been waiting for projection IDTV's due to the visibility of scan line flickering on large screens, particularly when watching letterboxed laser disks at closer viewing distances. The first two IDTVs out have been direct view tubes from Philips and Sony. My impression of the capabilities of these agrees in general with those posted to this mailing list: I found the Philips interpolation algorithm un-impressive, and did not like only having a ``field'' as opposed to a ``frame'' freeze. I found the Sony algorithm much better, and it supports ``frame'' freeze. However, even the Sony IDTV produces motion artifacts when high speed motion is present in the screen. The NEC projection IDTV appears to have an interpolation algorithm of quality somewhere between that of Philips and Sony. When high speed motion is present portions of the image ``freeze'' as a low resolution image for what feels like a few fields and then snap forward to where ever the rest of the image has gotten to. It also only supports ``field freeze''. The IDTV processing does add apparent resolution to stable shots, seeing the same video side by side with a similar size non-IDTV showed some additional detail. Overall the picture quality is on par with the best rear projection sets that I have seen, but at quite a price premium. Of course all these viewing judgments are subjective, especially when deciding what level of IDTV algorithm artifacts are ``objectionable''. It doesn't help that no one store seems to carry all of them side by side for comparison. (Like many modern sets this NEC unit has a large number of additional video and audio features and modes that are too numerous to go into here.) At $6K this is an expensive set, I was hoping for a higher quality image. The next projection IDTV out of the slot is the Panasonic PTL-5199S, but it is rumored to be based on the Philips IDTV chips. For $5K the Pulsar front screen video projector may be an overall better buy (if you have the room). ____________________________________________________________________________ 8. From: Date: Wed, 28 Mar 1990 >Does anyone out there have any knowledge or insights concerning the current >crop of IDTV monitor/receivers (Sony, Philips, etc)? There are still a few bugs in the system. When it works the picture quality is real nice. The problem is ALL the existing systems have problems when there is lots of fast movement on the screen. The interpolation circuits just are not fast enough to keep up with the changes in the screen. You get a strobing effect which is very disconcerting. I have not seen an IDTV but this is information I get from 4 different people who have seen IDTVs. It's a small sample but the consistency of the evaluations convinced me not to buy an IDTV right now. /-------------------------------------------------------------------------/ 9. From: rjn@hpfcso.HP.COM (Bob Niland) Date: Fri, 30 Mar 1990 re: > Does anyone out there have any knowledge or insights concerning the > current crop of IDTV monitor/receivers (Sony, Philips, etc)? I haven't seen the latest attempts, but I was also recently asked... > What is the real reason Philips IDTV is hard to find in showrooms? Is > it a dog? Is Philips' pricing structure unattractive to dealers? Is > there no demand? Is the company hard to deal with? Having played with one a year ago, my casual impressions are: * The hardware is unreliable - the set I saw was unstable. * Of the obvious techniques for frame synthesis, they chose the cheap one. * The sets are too expensive for what you get. * You can't turn the ID function off. * Philips sets aren't videophile quality even in non-IDTV. * The pricing I know nothing about, but LaserLand carries Philips around here. IDTV is intended to appeal to either, a. video cogniscenti or, b. pretentious Yuppies. To date, all the implementations appeal to class "b", and there aren't enough of those to sustain the market. _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ From: rjn@hpfcso.HP.COM (Bob Niland) Date: Thu, 28 Jun 1990 Subject: Mitsubishi projection IDTV Newsgroups: rec.video re: IDTV - foiled again Mitsubishi recently started promoting an "improved" Improved Definition TV, a rear-projection model of some 50-inches in size. When I looked at the direct-view Philips IDTV set 18 months ago, I was unimpressed. I never got to see the Sony, because both it and the Philips promptly disappeared from store shelves (and apparently not into the hands of customers). IDTV promises to be a stopgap prior to HDTV, by eliminating some of the artifacts of NTSC, primarily visible scan lines and twitter. It does this by eliminating interlacing. A full frame, all 525 (well, 480) lines is displayed every 1/60th of a second, instead of the normal alternating 262.5 line fields every 1/60th. Compared to normal NTSC, IDTV holds the promise of allowing you to sit twice as close to the screen (about 3 picture heights) before scanning artifacts and limitations become annoying. There are two main ways to de-interlace. One is previous field retention, wherein each frame consists of the current field plus the stored and re-displayed previous field. Using VCR-derived digital field store, this is fairly easy to do, and is what last year's IDTVs did. The other method is field-to-frame synthesis, wherein each new field has the absent scan lines computed by interpolating between the adjacent actual lines. Mitsu's advertising copy is vague, but strongly suggests that the new set is performing field-to-frame interpolation when motion is detected. The local Soundtrack store has one, hooked to a Yamaha 1600 LD player, so I trundled on down there this evening with some test LDs. I have been anxious to actually see an interpolating "line doubler" in action, and... Was I disappointed! This set is doing only previous-field-retention. I used some CAV discs that exhibit pronounced still-frame field-motion on conventional interlaced TVs; such as Warner's improperly white-flagged "Empire of the Sun", and Lumivision's "Flight of the Dream Team", which has lots of video-sourced material. I could plainly see two stable, individual fields superimposed upon each other, pulled apart as if by a Ronco vegetable slicer. Had the set used interpolation, there would be two full, and different, frames being displayed alternately at 1/60th of a second. What was even more depressing was the final NTSC resolution chart on Reference Recording's LD-101. On a typical high quality consumer TV, the horizontal resolution wedges go soft at about 380 lines. This expensive "high end" ITDV could barely make it to 250 lines! Since I could make out individual scan lines in the field-motion tests, I presume that this was not a focus problem. It is possible that the set was out of adjustment in some regard; it certainly was overscanning severely. Or perhaps they skimped on the video ADCs, DACs and sampling rate. I tried some typical program material that had other interlace- and scanning-related artifacts. I must admit that interlace twitter and moving moire patterns were greatly reduced from what I see on my direct-view interlaced set, but the loss in resolution is unacceptable. The images were visibly "fuzzy". Any motion in a scene was even more fuzzy, as each field remains displayed for twice as long as it was intended. At all times, you get to see any moving object both where it is now, and where it was 1/60th of a second ago. A professional line doubler might be worthwhile, bu as consumer IDTV is currently implemented, I can only assume that the video industry expects to sell it to affluent but uninformed and uncritical video snobs. I can't imagine a real videophile being taken in by this ersatz technological "advancement". Bob Niland Internet:rjn@FC.HP.COM UUCP:[hpfcse|hplabs]!hpfcla!rjn From rjn@hpfcso (Bob Niland) Fri Jan 3 15:23:01 1992 From: rjn@hpfcso.FC.HP.COM (Bob Niland) Newsgroups: rec.video Subject: LD#16: Looking Back - CED Message-ID: <7970684@hpfcso.FC.HP.COM> Date: 30 Dec 91 20:02:07 GMT Organization: Hewlett-Packard/FSY Ft.Collins,CO,USA Lines: 207 re: Capacitance Electronic Disc system Revised: 21 Oct 91 In 1990, I stumbled across some used CED discs, bought one and got curious about this now-antique technology. CED was marketed between 1978 and 1984, and was an incompatible videodisc format that competed with LaserDisc (LD, the Philips/MCA system then called LaserVision or LV). A few test PAL CEDs were also made (bizarrely, AFTER CED was cancelled in the US), but the only major CED market was North America. Although Japan uses NTSC, they adopted a grooveless capacitance system called VHD (reportedly declining but still in use). CED was tested there, but never established a foothold. CED titles sold for $5 to $10 less than LDs, and both disc formats have always been priced substantially less than tape. There were 4 or 5 player brands, including Radio Shack. (Curiously, the Radio Shack laserdisc player introduced in early 1991 has a catalog number which is the old CED player number plus one.) The Technology... Each CED platter is delivered in a 14 x 12.25 x .25 inch opaque plastic caddy that looks somewhat like an oversized version of today's Philips/LMSI CD-ROM caddy. If a video title required two or more platters, they were provided as two or more caddies (with some risk of being separated - when I bought my sample, I wanted to get a title that was a duplicate, and I initially grabbed one that turned out to be "disc 1 of 2" - I returned it.) The entire caddy was (is) inserted in the player, and the outer sleeve withdrawn. The exposed platter was not supposed to be handled. You can remove the carrier and the disc platter by releasing two recessed latches on the top edge; however, this will void your media warranty :-) There is a small soft textile strip on the lips of the sleeve for collecting debris (or spreading it, depending on your point of view). The disc itself is just under 12 inches in diameter. Apart from the large 1.3-inch center hole, it looks somewhat like a typical LP made of black vinyl. My references tell me that this is actually a conductive carbon- filled PVC. Early discs were reportedly unfilled vinyl substrate, with an inconel-on-copper data layer and an oiled styrene surface. Problems with delamination led to the use of solid conductive vinyl. Open question: Did any metallized discs reach market? Looking at the vinyl disc, colorful light diffractions suggest that the grooves are significantly smaller than on an LP. Also, the vertical interval of the video signal produces visible spokes in the diffractions, which confirms two things: - There are 4 frames (8 fields) per rotation. This resulted in pronounced motion during "still frames". I hesitate to call it "field motion", as there would be a burst of 4 complete video frames (8 fields), which could be 3 or 3-1/2 film frames, depending on field dominance. LDs are either 1 video frame per rotation (CAV) or between 1 and 3 (CLV). Deliberately mastered CED still-frame material repeated for 8 fields. - CED discs are CAV. I have seen no evidence of CLV in the CED format. Since CED had an inherent capacity of 1 hour per side (compared to 30 minutes for LD/CAV), it's not clear that CLV would have been advantageous. LD requires CLV to reach 1 hour per side. RCA is reported to have demonstrated 3 and 4 hours per side on experimental CEDs. There are numerous blemishes on the surface of my sample, some of which look like fractures and others like spalling or flaking. There are none of the fingerprints and scuffs that are common on rental/used LDs, so I presume that these spots are either manufacturing defects or the result of normal use. The active data area on the CED spans the radii 2.9 inches to 5.8 (compared to 2.2 to 5.7 for LD). CEDs play from the outside in, like LPs. LDs play >from the inside out, like CDs. Also like LPs, the grooves for each CED side are on the same side as the jacket label for that side. On LD, the data surface is on the opposing side from the side label. Discs were flipped manually. Some players had auto-insert and eject. CEDs spin at 450 rpm (vs 1800 rpm for LDs, with CLV slowing to 600 rpm at the outer edge.) This provides a linear velocity of between 136 and 273 inches/second for CED (vs 390 ips for LD/CLV and up to 1000 ips or so near the outer edge of an LD/CAV). This means that CED has only 1/3 as much linear space per frame as LD. I would expect this to result in lower bandwidth and reduced signal/noise. The CED signal is a single spiral of pits (as is LD). On CED the pickup head (which is electrical, not mechanical) is guided by a groove. The arm is linear tracking, as are some LP turntables. Arm deflection triggers a drive servo to move the arm. Unlike an LP, the groove is smooth and shallow. This is also where CED and VHD depart. VHD has a an ungrooved flat surface. The VHD pickup is servo controlled and is guided by pilot signals between the data pit tracks. On LD, the surface is smooth, and the pit track is followed optically by servo. To put it more crudely, unlike an LP, the CED groove does not "wiggle". The bottom of the groove follows the pits, but the pickup stylus contact area is longer than several pits, and rides on the "lands" between the pits. It does not track the pits or otherwise vibrate. This should minimize wear, but I would still expect the stylus to be polished down over time. Early stylus assemblies were user- replaceable, and reportedly had a 400 hour life. I would also expect groove ridge damage from fast-fwd/rev, still-frame and other operations that require skipping tracks, since the pickup is not raised during these operations. I would further expect self-skipping problems in the face of debris in the groove and general surface damage. One owner reports that his manual warned against over-use of still-frame, lest it result in excess skipping. Nonetheless, another reports having owned a couple of "viewer controlled" (interactive) entertainment titles that had self-still action points. The stylus senses the pits electronically. The stylus tip is shaped something like a flat-bottom rowboat. It is solid diamond or saphire, with a thin sheet of metal on the "stern". This electrode is stimulated with a 915 MHz signal. The signal strength is modulated by the change in capacitance caused by the pits flying by (remember, the CED disc is conductive). The various video and audio signals are extracted by demodulating and detecting the envelope of the 915 MHz carrier. Warps and rotational eccentricities can result in data rate errors large enough to cause incorrect color decoding. Time-base-correction (TBC) on CED is accomplished by changing the length of the pickup arm. On LD, time-base is handled by swinging mirrors, optical delay lines or more recently, with digital TBCs. The pits are recorded in pulse-FM, as on LD. The CED video signal is recorded "color-under" (unlike LD, which is composite). CED luminance is modulated at 4.3-6.3 MHz and chrominance at 3.6-2.6 MHz. LD composite is 7.5-9.2 Mhz. RF (ch 3/4) output was standard. No one has reported seeing a even composite video output on CED, much less Y/C out (S-video). I'm not an FM guru, but it appears that CED would only get about 300 lines of horizontal resolution, compared to the 425 claimed for LD. Also, the color-under scheme sounds suspiciously like VHS, which has well less than full NTSC chroma resolution. CED owners confirm that quality (on "good" discs) was somewhere between early-80s VHS and Beta. Although intended for pressing on ordinary LP-style equipment, CEDs required clean-room conditions. Reportedly, only RCA and CBS ever made them. CED has stereo analog sound with CX noise reduction. CED did not last long enough to benefit from digital sound (added to LD around 1985). Audio on CED, as on LD analog, is two FM subcarriers. CED deviates them by 75 KHz (vs 100 for LD). CED defines them FM-multiplex broadcast-style, as stereo L+R and L-R. On LD they are discrete L and R. Not all CED players had stereo outputs (all LD players do). Re-creating separate L and R channels from the CED sum and difference channels is not difficult, but does increase the risk of cross-talk. Cross-talk is not a serious problem for a stereo program, but might make dual-analog impractical. I have no information on whether any dual-program CEDs were attempted. Different players offered operations similar to LD, including: * medium and high speed search/scan, fore & aft; * vertical interval time codes with one second resolution; * time seek; * "band" seek (similar to chapter on LD); * "page" (4-frame) seek +/- 4 fields (similar to frame on LD); * auto-still-frame (stop codes). There was no normal-speed reverse play. And obviously, CED expired before economical digital field store was available. However, since all the titles were CAV, this is an arguable disadvantage. So why did CED fail? * It didn't have enough market share to keep the attention of the bottom-line obsessed revolving-door management at RCA. * Couldn't record, but cost as much as a VCR, and VCR prices were dropping rapidly in the '80s. * Failed to enter Japanese market at all (LD has significant market share there, which helped keep LD alive here). * Sensitivity to contamination. Skipping was perceived to be a serious problem. Also a perception of wear, even though RCA claimed 2000 plays per platter. Several respondents reported a claim of only 100 plays. * Did not have a dedicated vendor like Pioneer to keep format alive. RCA was just beginning its final descent into self destruction and eventual buyout. There was no stable, committed management present to run a videodisc crusade. * No niche: CED was not sufficiently superior to tape (esp. Beta, which was its early competitor), and was clearly inferior to LD. * CED did not appeal to "early adopter" videophiles, whose snap opinion was that laser was cool, but stylus-in-groove was technologically primitive. They used the perjorative name "needle vision" when discussing CED. * The public was confused by two "disc" formats (when I demonstrate LD in my home, many people ask "Can you still get discs?") They only remember that "video disc died in 1983". * Open systems: RCA tried to get a lock on the CED market. Early players were expensive and only available at RCA dealers. Of course, had CED not been introduced, LD might have been a bigger success (or a complete disaster, given the media quality problems up through 1987). For more information, see "RCA and the Videodisc: The Business Of Research", by Margaret Graham (which I have not read). Regards, Hewlett-Packard Bob Niland Internet: rjn@hpfcrjn.FC.HP.COM 3404 East Harmony Road UUCP: [hplabs|hpfcse]!hpfcrjn!rjn Ft Collins CO 80525-9599 From rjn@hpfcso (Bob Niland) Fri Jan 3 15:23:03 1992 From: rjn@hpfcso.FC.HP.COM (Bob Niland) Newsgroups: rec.video Subject: LD#17: What is a Defect? Message-ID: <7970685@hpfcso.FC.HP.COM> Date: 30 Dec 91 20:02:44 GMT Organization: Hewlett-Packard/FSY Ft.Collins,CO,USA Lines: 1010 re: LD: What is a "defect"? Edition: 25 Nov 91 I have received many inquiries of the form: "One of my disks exhibits the following behaviour. Is it defective? If so, what should I do about it?" In an effort to create a canned answer (and yet-another standard LD article) useful for responding to such queries, let me catalog the LD problems and issues that I have experienced or heard about, and indicate what I do about them. This article is not so much "what is a defect", but "when do I return a disc, assuming exchange is possible". Obviously, on some rare out-of-print titles (like the VVA/ODC "Space Archive" series), the alternative to tolerating a defect might be to forego owning a copy. I have available a separate article on LD care and repair (LD#13), which gives formulas for converting the physical coordinates of a visible or audible media defect into program time and vice-versa. Before taking any action on a "defective" disc, always confirm that the problem is not in your player. Try the disc on another player. If possible, also audition another copy of the same disc release on your player. Dealer rental stock can be helpful here. If the two (or more) discs behave differently, compare mint marks and see what they reveal (a mint mark article is also available - LD#09). This article is alphabetical by problem/issue name. In some cases, there is no accepted terminology, so I have invented some and cross-referenced it. Many items listed here are NOT defects. They are listed because neophyte LD viewers, particularly those sitting too close to large screen TVs, are bothered by common LD and/or NTSC artifacts and initially assume something is "wrong". LD-101: Before passing judgement on brightness (or white level), color (hue and saturation), contrast (or black level), focus and geometry (cropping, you need to ensure that your system itself is performing properly. The Reference Recordings LD-101 test disc "A Video Standard" is very useful in this regard. Finally, let me add the caveat that I am not a television engineer. Readers who are (or who simply know more about some video topic than I do), are encouraged to send corrections and contribute more background info. I am not sure that I have included the full litany of NTSC shortcomings, and have listed only two for PAL. _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ Audio, mis-documented: Audio, absent: The most common instance is that the digital audio is not present even though advertised. This may be a: - merchandizing error, - a mastering defect if digital audio was indeed intended, - a manufacturing error if digital sound is present but your player can't lock on to the subcarrier, or - a malfunctioning player in need of adjustment. In the case of mastering defects, the title is likely to be remastered. Complain, but expect it to be some months before exchange is possible. If the digital audio subcarrier is missing, at least you can listen to the analog sound. If the subcarrier is present ("DIGITAL Sound" indicator lights up), but the digital tracks are silent (reported on early copies of "Quiet Earth"), you cannot even select analog sound on some PAL players. Missing but documented digital sound is definitely a returnable defect. Missing analog sound (on a digital sound NTSC LD) is a mastering defect, and such discs are returnable unless the jacket advertises this unusual condition (I have only seen one such disc, and it was labelled). Audio noise, cyclic (aka helicoptering): An audio problem that is synchronized with disc rotation is almost always a media, and not a mastering problem. It usually affects the analog audio before the digital audio, and is often (but not always) accompanied by video artifacts (typically scrolling noise lines). Cyclic noise is commonly associated with laser rot, in which case it is aggravated by time. Cyclic noise is more common on CLV, and near the beginning or end of a side. Digital audio is more immune to manufacturing defects. Most errors are completely corrected by the ECC. Data values that can't be corrected are interpolated (guessed at), and if too much data is lost, the digital audio snaps to silence (mutes) or switches to analog. See also "digititis". Cyclic problems in the digital audio therefore manifest themselves as rapid dropouts, which may sound like "motorboating" which used to plague vacuum tube amps decades ago. I recently recived a new (1991) PVI pressing ("Day of the Jackal", MCA 11004) which had cyclic digital dropouts in the last two minutes of side 1. Curiously, the video and analog sound were defect-free. The replacement (same batch number 51-668A1-05) had no problems. Note: repetitive audio noise can also arise from the program source (film or tape). If the cyclic defect does not change in frequency during a CLV side, or is present equally on all sides, or starts/ends coincident with film reel changeover cues, the problem is probably not in the disc. Audio distortion/pumping: There are three main sources of this problem: 1. CX auto-tripping code is present in the vertical interval, but CX noise reduction was not used during disc mastering. I would return such a disc unless it also had digital sound, in which case I might ignore the problem. 2. CX used, but mistracks. This is common when CX is used on a dual- audio program, like the first pressings of "The Graduate" (CAV), Criterion Collection CC1115L. Voyager no longer CX'es dual-audio material, but they refused to accept returns on this problem. I have a 1st-edition CC1115L and have no complaints on the commentary track (2/R). I never use the mono movie track (1/L) because the digital stereo track is superior. 3. Careless audio transfer or inferior source material. The RCA/Columbia cropped "Close Encounters" (VLD-3095) is plagued with distorted bass. There was no remedy but to wait for the Criterion edition (which fixed those problems but introduced its own). Audio noise, excessive: You may have a disc without auto-CX tripping (this is not a defect). Try manually engaging CX. If the noise is inconsistent throughout the disc, it may suggest either a mastering or media problem. Try another copy. If it is still consistently noisy, consider the source material. An old public-domain title from an obscure label may simply reflect the condition of the print. But if you can't even understand the dialog (my experience with United Entertainment's "A Christmas Carol", UEI-1119), send it back. Audio, reversed: Swapping of stereo channels is a mastering error and happens infrequently. The initial CAV edition of "Little Mermaid" had this problem, as well as Field Motion, and was remastered. Reversed audio may or may not routinely be remastered, but you can help make that happen by complaining. Black Bands: Consistent black bands above and below the picture are not a defect. They are the result of transfering a widescreen work to video at the original (or close to the original) theatrical aspect ratio. Black bands may be a Merchandizing Error if the LD jacket does not advise you that the video is "letterboxed", "widescreen", "matted" or "videoscoped". Note: Media defects and video master tape defects almost always result in WHITE specular or scan line effects, not black. Blemishes, optical: This is a localized departure from a flat surface in the data area of the disc. Although the laser often ignores these, they can cause laser lock, servo slide, loss of sync and/or audio digititis. I would ignore it unless there was a visible or audible problem with the program at that point. See "Care & Repair" article to calculate program time. Broken discs: One or more pieces separated from disc. Cannot be repaired. Do not buy or play. Return if possible. Even small chips beyond the end-of-program can dangerously unbalance a disc. Chips, outer or inner edge: On a new disc, return it. On a used disc, don't buy it if it causes vibration upon play. Chips out of the inner surfaces (data area) are more serious and may result in player damage, due to excessive focus/tracking servo excursion or possibly even a head crash. Color: Before making any assessment of color problems on a given LD, make sure that your system "knows what it's talking about". Calibrate your TV or monitor using a test LD such as LD-101 (see introduction). Color, absent: Not a defect unless the jacket claims "color" and the program is not, in which case it is a merchandizing defect. The presence of color (or hand-tinted) illustrations on B&W titles may be misleading, but is very common (and color lobby cards for B&W films were very common in the B&W era). There are some titles which were filmed or taped in color, but for which the color source elements have been lost, leaving only B&W prints and kinescopes. Sometimes color prints (or three-strip monochrome color separations) turn up later and allow a restoration. Color, faded: Not an LD defect, but can be a mastering defect if the chroma level was simply set too low during the video processing. The usual cause of faded color is that the print, internegative, interpositive or camera negative employed tri-pack dye-coupler photo- chemistry, and the dyes have faded. This is all too common on source elements from the mid-50s forward, when three-strip Technicolor photography and Imbibition Technicolor prints ceased to be used. Generally faded color cannot be satisfactorily corrected in your TV. Were it possible, it would have been done during the transfer. Rarely, you will encounter a disc with intentionally low chroma level. The 1991 widescreen (MCA 41057) re-issuse of the 1982 Badham/Langella "Dracula" is an example. Although the package does not warn you, the chroma level is deliberately about 60% of what it was on the earlier panned&scanned LD. This you can adjust to taste with your "color" control. Color, inaccurate: Not typically a defect. There are two main sources of incorrect color: 1. Attempted (and failed) color-correction of faded dye-coupler film elements. The results may or may not be less esthetic than the raw uncorrected material. Nothing else can done, although I wouldn't be surprised to see colorization applied to perform a video restoration in the near future. 2. Sloppy or idiosyncratic video transfer. Certain LD labels seem to have their own "house hue". I personally dislike the red-brown-yellow cast common on RCA/Columbia LDs. There doesn't seem to be much that can be done about it, except to complain. Color, noisy: Colorization: Electronic coloring of what was originally a B&W program may be a crime, but it's not a defect, unless the jacket fails to warn you, in which case it is a mechandizing defect. Incidentally, colorization is done in the digital video domain. The original film or analog video tape is untouched. Colorized titles are rare on LD, and are usually available in unretouched form as well. Turning down the color on your TV or monitor may, or may not, restore the original B&W image. Content errors: One or more sides of the discs have program material totally different from that listed on the jacket. That is, the discs are obviously from some other title. This is usually a manufacturing and/or packaging error and is definitely returnable. If the disc is a collection of short works, and more or less are present than advertised, I return it if, had I known before hand, I would not have bought it in the first place. Contrast, excessive or soft: This is typically not a defect (and this discussion assumes that the white and black levels of your system are correctly calibrated, using LD-101 for example). Film as an image recording medium has more latitude than video, about 7 stops, compared to 5.5 for video. Unless a modern telecine (such as a Rank) is used for the video transfer, a low-contrast "TV gamma" print/negative must be struck. In the early days of LD, this was often not done, and many DiscoVision titles (and MCA re-releases from the same video masters) are overly bright. Grading ("timing") errors sometimes still sneak through today. One shot at 12:20, side 1, CBS/Fox 1011-80 "The Day the Earth Stood Still" has a timing problem. Complain, but these sorts of problems will generally not result in a re-mastering. Cracks: On a new disc, return it; period. Don't even attempt to play it. On a used/rare disc, consider using my repair techniques before playing. Small radial cracks at the outer edge (usually from rental rash) may not be a serious problem, but warrant an effort to prevent propagation. Crawl: Lines of dots moving vertically or horizontally along the edges of objects in the frame. Dot crawl and chroma crawl are artifacts resulting from color sub-carrier phase progression, cross-talk and other limitations and compromises of the video standard, and are not LD defects. Investing in an LD player or monitor with a multi-line comb filter and perhaps a line-doubler may reduce them. They are most evident at viewing distances of less than four screen-heights. You can reduce them by moving your seating position back, generally eliminating them at eight screen-heights. Crawl problems are more apparent on NTSC color than on B&W and PAL, and arise from the fact that the color subcarrier frequency (3.58 MHz) is an odd multiple of 1/2 the line rate (chosen to minimize dots and crawl). This results in an alternation of the subcarrier phase by 180 degrees on each suceeding line. Any color decoding errors have opposite results on each line, and on a still image require 4 fields (2 frames) to repeat. During the 4-field cycle, the resulting artifacts appear to move, the direction and speed depending in part on your own eye motion. Cropping: Before concluding that there is a problem, see "Geometry". Cropping is the loss of original image content at the edges of the screen. Cropping takes two major forms: Panning&Scanning: The loss of left/right edge material from a widescreen original. If the aspect ratio of the source material is greater than 1.33:1 (4:3), the image cannot be transferred to video at full height without losing something from one or both sides. This is not a defect, and is only rarely mentioned on the jacket. To avoid objectionable cropping, you need to read responsible LD reviews, or research the film to discover if it was filmed in a "hard" widescreen process (like Cinemascope). The remedy for P&S cropping is to wait for a widescreen ("letterboxed") LD edition, as I am on several titles. Zooming: If the source material was 1.33:1 full-frame, some edge material may be lost if the transfer operator zooms in and only scans the "TV safe action", or worse, the "TV safe title" area of the original. If part of the start or end title sequence is cropped, this has happened. Complain, but it is not considered a defect by the industry. Zooming also happens on some films that were composed for widescreen, but photographed "soft-matte" on full frame. The zooming may result from an attempt to fill the video screen from the composition rather than from the camera image, especially if the upper and lower regions were not completely "protected for TV". Wait for a "matted" LD edition. Cross-color: Overlapping color and uneven vertical edges between objects of different colors. Not a defect, this results from various limitations of NTSC, and is often worst when the two colors are "maximum phase change" apart, for example magenta and green. Cross-talk: Refers generally to artifacts resulting from interference between two or more competing or adjacent signals. When used alone in the context of LD, crosstalk typically denotes the herringbone pattern (below) that results from the laser pickup reading, or partially reading signal from one or both adjacent pit track(s). This is usually a player tilt-servo adjustment problem, but is occasionally a mastering defect. The current LD of "Sleeper" (MGM ML101463, batch numbers 97-511A1 and ..B1) seems to have a mild case. \\\\\\\\\\\\\\\\\\\\\\\\\ ///////////////////////// \\\\\\\\\\\\\\\\\\\\\\\\\ Other forms of crosstalk within the NTSC signal itself (and not unique to LD) can result in dot crawl, chroma crawl, cross-color and hanging dots. Cut-out (aka punchout): The LD jacket or box has a hole in one corner or a nick in the edge near a corner. This is not a defect, unless the punch or drill damaged the disc(s) within. The liner may have to be replaced in any case. When a disc title is overstocked at the distributor, or when it is deleted from the catalog with stock remaining, the excess/remaining stock may be defaced in some way and sold to the retailers at a larger than normal wholesale discount. The defacement distinguishes cutouts from ordinary stock. Retailers cannot return cutouts for credit as they can on ordinary slow-moving stock. Cutouts can be returned if defective. Such warehouse-cleaning usually involves multiple titles, and is often the occasion for special sales at the retail level. I would not expect to pay list price, and would expect to get a greater-than-normal discount on a cutout. Cutouts often provide an opportunity to acquire titles passed up at normal prices. Sometimes a title will appear as a cutout due to impending re-issue in an improved edition (widescreen, digital sound, restored length, etc.). If you subscribe to any of several LD newsletters, you can be aware of impending re-issues. Digititis, audio: This is any of several audio problems unique to digital audio. I have experienced only cyclic dropouts on LD yet so far, but others are common on CD, and may be expected to appear eventually on LD. They include: loud ticks, drop outs (muting) and muddy sound (gross interpolation). I return disks with any of these problems. There are other CD defects which would be accompanied by video problems, these are not listed here. Digititis, video: Although LD video is analog, new titles are often mastered from D-1 or D-2 digital video transfers. When video defects occur that exceed the error correction and concealment strategies of digital videotape, novel artifacts are visible. "The Sea Hawk", MGM ML101855 (1991 re-issue, batch number 51-264A1-07) has a number of digital video glitches. The most extreme is at 7:50 into side 1. The signal apparently has a problem that becomes uncorrectable at some point, and a repeating-line concealment followed by a total breakdown into random luminance and chroma values appears briefly in several fields. Dot Crawl: see "Crawl" (or the lower video framelines of daytime CNN Headline News). Not a defect. Errors, generally: An error is a mastering or packaging defect, and will be present in all copies of that title/edition from that master. I sometimes elect to keep an error until a new transfer or a re-mastering is done (as I did in 1991 with the Criterion CAV "Close Encounters"). Failure to play: I confirm the behavior on another player and then return the disc. My experience with this problem has been limited to severely rotted antique DiscoVision pressings and one side of a recent 3M disc. ("Casablanca, CAV Criterion CC179L, side 4. The replacement, same batch number 20912A, did not have the problem.) In 1989..1991, Technidisc pressed some discs for IMAGE that reportedly have an incorrect value for the PAL-vs-NTSC lead-in code. These discs are unplayable on early production Pioneer CLD-x090 series players (and probably some late multi-standard players as well). There is an exchange program for the titles and a player modification is available. Field Motion: Significant image movement during a CAV still frame. Compare with "interlace twitter". Field motion may be a mastering defect, but as often is not. It is a defect when it results from the two video fields (one video frame, and a single CAV rotation) being drawn from different source film frames. If the source material is 24 frame/second film, and field motion is evident in 3 of every 5 frames (or more rarely in every other frame, or in every frame) for a significant portion of the program, then somebody goofed the "3/2 pulldown". On CAV "collectors editions" this is inexcusable, as it destroys the purpose of having CAV. Complain, and expect a delay while the title is remastered. If the source material is original live (not animated) video, field motion is unavoidable, as the image is changing between all fields. If the source material is odd-speed film (e.g. 21 fps silent), field motion may be unavoidable. Field motion can also occur during segments of otherwise stable 24 fps film transfers, if the video master was edited after the film transfer. Depending on the edit point, the field dominance may have changed, and gone unnoticed (example: Criterion CAV "2001" in two sequences). I have a separate article available on the mysteries of CAV still and 2/3 pulldown (LD#12). Film Damage: There are any number of problems that can aflict the source motion picture elements used for the video transfer. Amoung these are scratches, splices, spotting, emulsion flaking, mis-registrations, audio noise/distortion/dropouts, faded and/or contrasty image, film weave. If the resulting disc is so unpleasant that I won't want to watch it, and the jacket did not warn about the rough condition of the materials, I would return it. Flickering: See "interlace twitter". Any other kind of artifact usually called flickering may be the result of variation in the film or video source (especially on very old filmstock, kinescopes, other film photography of raw video screens and sloppy standards coversion). If you sit closer than one picture height, NTSC will visibly flicker. Move back. Focus, soft: This can result from any number of factors: 1. Standards conversion. Transfering PAL to NTSC (or vice-versa, or worse, round-trip) always results in a soft image because line- and time-interpolation is being done each pass. It can also result in judder. The Criterion "39 Steps" (CC1103L) was reportedly mastered from a PAL video tape and there have been complaints about the image. 2. Poor source elements. The 13th-generation bootleg print from which the LD was made may be the best available material. LDs of public domain titles are sometimes made from beat-up prints of dubious heritage, such as 16mm, bootlegs and TV syndication. On old titles, pay attention to who is credited on the jacket. If the original studio is not, you may be buying a junker. TV-sourced material recorded on early videotape also has limitations. A recent example is the 1960 Mary Martin "Peter Pan" (Image ID7910GT), which existed only on quadraplex VTR reels. We are lucky to have it on LD at all. 3. Kinescopes. Material that originated on TV, particularly live programming from the pre-videotape days, may have been preserved only by filming the video image on a broadcast monitor. The resolution and contrast will be limited, and the line structure won't exactly match your TV's, and so may exhibit artifacts. 4. Soft transfer. The original photography, or the video transfer may have been deliberately softened for artsy-fartsey reasons, or it might just be a screw-up. Recent example: "The Deceivers" Warner 767, batch numbers 50-341A1/B1. Geometry: Before concluding that there is a problem, make sure that your TV/monitor is adjusted for minimum overscan and correct geometry. LD-101 or the safe-title color bars on CAV Criterion discs are useful. A service call is required on most sets. Do not poke around yourself unless you know what you are doing and have the service manual and appropriate tools. TVs contain lethal voltages, and unskilled adjustments can calibrate you and/or your set beyond repair. On a correctly adjusted system, LD geometry problems are supplied in two major flavors, see: Cropping and Squeezing. Glue, excess: Sticky edges are not a defect, and they may remain sticky indefinitely. Glue is more evident on 3M production than on other vendors. I ignore the glue, but would trim obnoxious amounts off with an Xacto knife. See the "care & repair" article for tips on removing the glue from playing surfaces (where it can result in video artifacts). Helicoptering: Inclusions: any foreign matter embedded in or below the acrylic surface or in the data layer. These usually result in scrolling video noise lines on CLV, and stable white speckles or lines on CAV. Inclusions are supposed to be impossible, since LDs are made in a clean room environment, but I have seen one case of a sand-size particle ("Manhattan", MGM ML100469). Such defects are limited to the individual disc specimen. Return it. Hanging dots: Not a defect. This is another artifact of NTSC limitations. The horizontal line between two areas of different colors is straddled by a comb-like pattern that is one or two scan lines high. Unfortunately, none of my technical references explain the exact reason for it, but it seems to be most severe when the colors are 180 degrees apart in chroma phase, probably the result of some kind of chroma crosstalk (and may not exist in PAL). Check the green vs magenta areas on any NTSC color bar pattern. Herringbone: Interlace twitter: Not a defect. This is a result of using two interlaced video fields to create a single video frame. It can be mitigated to some extent by sitting further than 4 picture-heights from the screen, or spending money: using an IDTV, or external line doubler and non- interlaced RGB display. Background: In the case of NTSC, the screen is refreshed at 59.97 Hz, or approximately 60 Hz. |<-----------------1/30 Sec.----------------->| |<-------------------FRAME------------------->| Apparent FRAME |<--------FIELD------->|<-------FIELD-------->| ##################### ##################### ##################### ##################### ##################### ##################### ##################### ##################### ##################### ##################### ##################### ##################### ##################### ##################### ##################### ##################### ##################### ##################### ##################### ##################### Time = N Time = N + 1/60 sec. The 60 Hz FIELD rate actually generates a 30 Hz FRAME rate. Because of the phosphors used in the TV display, and persistence of vision in the human eye, the first field has not completely faded before the next one arrives. Thus we see a complete frame, usually, most of the time, sort of... Objects consisting of single horizontal lines flash on and off at 30 Hz. Thicker objects have their top and bottom edges flash on and off, often appearing to jump up and down at 30 Hz. Jaggies: Jitters, horizontal: There are two principal sources of horizontal instability, only the second of which might suggest a transfer defect. 1. Film weave: the typical 35mm film frame is held in place by four sprocket holes on either side. If the camera, printer or telecine sprockets were worn or loose, registration errors can occur and/or accumulate. Short of manually aligning each image in a frame-by- frame reprint, nothing can be done about it except to ask the disc producers to seek out better source material. "The Brave Little Toaster", Disney 1117AS, has a moderate case of film weave. 2. Time Base Errors: The individual video scan lines are not properly aligned with each other as they enter the TV/monitor. If you have a VCR, you are probably familiar with line-to-line horizontal jitter, since no consumer VCRs have time base correctors. All LD players have TBCs, and all video transfer paths presumably included a TBC. You should not see VCR-magnitude time-base errors on LD. If you do, it may indicate a player problem. If it affects only one disc, it indicates a sloppy transfer, probably from consumer video sources. Jitters, vertical: Can be a vertical hold problem in your TV/monitor. It is also possible for the original film source elements to have a registration problem. There is a reported bug in the Pioneer CLD-3080 player that results in infrequent but repeatable vertical jitter on some CLV discs. A hardware fix is supposed to be available, but I have no further information on it. Judder: Jerkiness when objects move horizontally across the screen (and to a lesser extent vertically). Judder results from periodic original film frames (or video fields/frames) being repeated for too many LD video fields. This is usually the result of a sloppy "pull-down" transfer of film to video, however, the skilled observer can detect the judder even from a correct 3/2 pulldown. Judder can be eliminated altogether by using electronic pulldown of one film frame onto a literal 2.5 video fields, but this technology has only just become available. Recent UK and Australian TV shows based on old US newsreel and documentary footage may have a severe problem with judder. It appears that some of the 24 fps film was transferred to NTSC by 4th-frame repeat (instead of 3/2 pulldown), then standards-converted to PAL, then standards-converted back to NTSC. Some of the film may also have been 18 fps, which could aggravate the problem further. If "Wings" ever shows up on LD, expect judder. Silent films pose a particular problem to transfer satisfactorily because even at their nominal 18 fps rate, all motion looks jerky. When transfered to video at 3 fields/frame, plus 4 fields on every third frame, that third frame (two video frames) may be quite noticeable. Laser Lock: The player gets stuck on a particular frame of a CAV disc, or gets "lost" (on CAV or CLV). This is normally a media defect affecting only that particular disc. However, older or misadjusted players may exhibit the problem where a more recent player does not. I have a CLV title that has an unplayable spot on the ~1981 Pioneer VP-1000, but plays perfectly on every other player I have tried. Laser Lock is relatively rare (well under 1% of titles, in my experience), but does make a case for having an understanding with your dealer on just what constitutes a "defect", and how the dealer will verify it. On the other hand, if you have an antique analog-only gas-tube laser player, perhaps it is time to upgrade. Laser Rot: This is a definite media defect and is the most infamous of LD defects. Laser rot is the appearance of, or an increase in video (and perhaps audio) noise over time, on a disc that did not previously exhibit the problem. The noise is usually snow, and may color or B&W. Streaking may appear as entire scan lines degenerate. On older production, there may be wavy variations in the diffraction patterns of the data layer. Rot has been postulated to have many causes, the most popular being oxidation of the data layer from within the disc. Although colloquially called "laser rot", the phenomenon has nothing to do with the laser or even how many times the disc has been played. Theoretically, you can minimize your chances of rot by proper storage (I have an article on the topic, LD#13). I currently sample each title in my collection yearly. Rot can develop in weeks, months or years, and can affect the media from any manufacturer (although 3M is less affected than others). Based on my experience to date, you can expect 2% of your newly manufactured discs to turn sour in time. If you buy used discs, the DOA rate from rot can be as high as 30% (but most mid-80s discs that are going to rot have already done so). It is therefore important that you patronize dealers who offer unlimited warranties, and/or understand your alternatives when the dealer does not. I normally wait until the disc has a region with at least two prominent noise specks per field (CLV) or four per frame (CAV) for a least one minute before returning the disc. If the source material was noisy, I wait until the disc noise is worse than the original film noise. Note on new discs and first noise observations: If the noise does not appear in the matting or letterbox bands on a widescreen disc, or starts/stops abruptly at reel changes, then the problem may be in the source material, and not on the disc. Reel changeover cues are circles or elipses that appear in the upper right corner of the screen for 3 film frames at 8 seconds before end-of-reel, then again at end-of-reel. Reels run 18-to-22 minutes per, on 35mm. If two copies of the disc have the same noise dots in the exact same locations, it is not rot. Letterboxing: Not a defect. Letterboxing is characterized by black bands above and below the video image. There is is no picture there because there was nothing there in the original film, which was filmed in a widescreen process that had a "hard" aspect ratio greater than 1.33:1. May be a merchandizing error if not documented on the jacket. Some matted LDs are mis-labelled "letterboxed", a result of lack of a precise video industry definition for these terms. Loss of sync: A one-frame roll after a completely white video frame (e.g. a flash or explosion) typically suggests a misadjustment in your TV, monitor or projector. A side that has active picture in the first LD frame may also trigger a one-frame roll on sensitive displays. Loss of sync on normal picture suggests a trashed vertical interval and/or frame at that point, caused by a localized media defect. Verify on another player. Mastering Defects: The disc does not perform as documented due to errors during mastering (or pre-mastering: during film-video transfer). All copies of the disc from the same batch will have the problem. When the problem prevents my intended use of the disc, back it goes. The most common mastering defect is CAV Field Motion on 24fps film-source material, resulting from incorrect white flags. The most notorious recent non-white-flag problem was probably the initial pressing of the Criterion CAV "Close Encounters", CC1241L. Chapter marks are incorrectly placed and some stop codes are missing on sides 1,2&3 (batch numbers 51-330A1 thru 51-330C1). The [mostly] corrected re-mastered sides are batch numbers -330A2 thru -330C2. Boxed sets should be re-mastered pressings. Open and inspect any tri-fold sets, since Voyager didn't change the Edition date on the jackets. Matting: Not a defect. Matting is characterized by black bands above and below the video image. There is is no picture there because you are seeing the full widescreen theatrical width (or nearly so). You are not seeing the full camera aperture height for any of the following reasons: * That portion of the image was not shown in theatres, and the director/producer doesn't want you to see it at home either. * That area of the camera neg was not "protected" and contains staging, equipment or other distractions not intended for viewing. * That area of the final film was not included in the special effects that were added to the widescreen (sub-frame) image. May be a merchandizing error if not documented on the jacket. Matting or over-matting can also be a transfer error, as in the case of Ridley Scott's "Black Rain", which was filmed in Super 35 and matted to 2.35:1, but was reportedly supposed to have been matted to 1.85:1. The widescreen disc were widely available as cutouts shortly after release. Paramount isn't likely to fix it, so take your pick between a vertically cropped "widescreen" LD or a horizontally cropped "pan&scan" LD. Merchandizing Errors: If you have been reading along and taking notes, by this point we have a litany of candidates for this category, running from trivia like failing to print a CX logo all the way up to outright fraud. Examples include: listed chapters not encoded, fake stereo without disclaimer, time compression or incorrect running time generally, censored or edited for TV, mono sound (and not supposed to be), digital sound absent (but claimed), matted or letterboxed without warning, subtitles vs dubbing (on foreign films), colorization (without warning), B&W (on a color film), etc. If the problem is serious enough that I think the product will be remastered, if not recalled, I wait and exchange it. Otherwise, the rule I use is: Had the product been correctly labelled, would I have bought it despite the deficiency? If so, I keep it. If not, I demand a refund. For example, I have an LD of cartoons which lists chapter marks, but has none. Had it not listed any chapters, I would have bought it anyway. (It has 1-second CLV timecode resolution, so I can seek to each with little difficulty.) Moire patterns: These are moving or stable geometric images that are clearly not part of the original scene. They are most apparent on images containing fine repeating detail (e.g. window blinds) and are not generally an LD defect. They are usually sampling errors resulting from trying to depict objects near the resolution limit of video (or near the phosphor dot pitch of your direct-view TV tube). In widescreen NTSC editions of "Blade Runner", all of the scenes in Deckard's apartment that show window blinds have this all-too-common problem. Solution? Wait for HDTV. Overscanning: Pixelation: A single point on a scan line, or a group of points that are stuck at a single luminance and/or chrominance value while the surrounding image changes. A physical point defect on a CAV LD will usually result in a pixel stuck at white for a few seconds. Pixels stuck on CLV sides, or at other than white-level, suggest a defective LCD panel in your projector, a stuck bit/byte in the digital field/frame stage of your player/TV/monitor or a stuck bit/byte in the D-1 or D-2 recorder or digital editing suite used to master the disc. Pull-down errors: Punch-Out: Rolling: Running Time: There can be a number of problems associated with the total running time of an LD title. Before you complain about a time inconsistency, you need to have a reliable reference work handy. I use Halliwell's Film Guide and Maltin's TV Movies Video Guide. These are not infallible, and sometimes disagree with each other (since Halliwell is based on UK running times), but they are a place to start. I keep a file of titles that I am interested in, and one of the entries is expected running time. * Jacket errors: The actual running time of the program does not match what is advertised on the jacket. This is grounds for return if the actual time is shorter than reference times. Act based on whether or not you would still have bought the title had you known about the timing beforehand. Example: "The Devil and Daniel Webster", Embassy 60515, claims 109 minutes but is actually 84 (as were all versions until Voyager/Criterion discovered 20 missing minutes in late 1991). * Seriously short time: LDs made from public domain prints, or from late theatrical prints may have material missing due to splices or deliberate editing to reduce time for theatre scheduling or broadcast purposes. This is generally not a returnable error unless the jacket advertises a longer time. Unless there are alternate editions of the title (e.g. on Criterion), your choice may be a short show vs foregoing the title. * Missing minute: I normally don't pay too much attention to variances of a minute or so from reference times, unless the program originally ran between 118 and 123 minutes. Missing time on such programs suggests triming to make the work fit on one NTSC CLV platter (two sides). See also: Time Compression * Excess time: the actual screening time exceeds expectations. This is infrequent and is not a problem unless the additions are significant and not advertised as a "restored" or "special edition". Often there are sound esthetic reasons why the material was omitted from the theatrical release. Scratches: Scratches on the acrylic surface of the disc may or may not be a problem. They are often invisible to the laser and do not result in video or audio errors. They are also often easily corrected, even if they are visible on screen. I have never had a new disc with scratches. If I received one, whether or not to return it would be a matter of visibility and ease of correction. On a used disc, I always inspect for rental rash before purchase anyway, so the issue of returns would only arise if I decided I could correct the problem, but was unable to. This hasn't happened yet. Seek fail: The disc plays completely in normal free-run mode, but when you command your player to seek to chapter, frame (CAV) or time (CLV), the player shuts down, gets lost, lands at the wrong place or takes an unusually long time to complete the operation. Although this can indicate a player problem, it can also result from media defects (and more rarely, mastering problems). I have several Technidisc pressings ("The Prisoner", episodes 1-6) with unreliable chapter numbers and timecodes. This is probably the result of poor signal quality in that portion of the vertical retrace interval that stores chap/frame/time. Since these IMAGE discs were subject to a repressing by Kuraray, I expect to exchange them at some time. Servo Slide: The play speeds up or enters forward scan mode up without having been commanded. Normal speed may or may not resume. I have seen one CAV side with this problem ("Andromeda Strain", MCA 13001, side 3), and after examining the side to see if there was correctable optical obstruction, and finding none, I exchanged the title. The replacement (same batch number, 51-431C1-08) did not have the problem. Probably a case of trashed vertical interval codes. Side Swap: The labels and the data don't match, but both sides are otherwise present and correct. You may disagree, but this manufacturing defect is not generally considered to be grounds for return and exchange. I do not recommend attempting to remove and swap the labels, or adding new labels. You can screw up disc clamping in your player, and the [re]applied labels may cause excessive vertical runout or come loose during braking. On the other hand, if a side's data is missing (or duplicated - and this happened to me with "You Can't Get There From Here", Voyager VP1011L, a PDO/UK pressing), or is out of sequence across platters (and therefore unplayable in correct auto-change sequence without manual intervention), return it. Replacement copies, even with the same batch numbers, rarely have the same problem. Skipping: Player momentarily loses track of where it is, usually accompanied by loss of sync. Check disc for easily correctable optical obstructions, if none, verify on another player, then exchange it. Smearing (of colors): Since the bandwidth of the chroma signal is less than half that of the luminance signal (in both NTSC and PAL), some minor mis-registration of colors is unavoidable. In NTSC, intense reds seem to be more susceptible to blooming and smearing. There are no LD media defects that I know of that can result only in smearing. As more and more documentary and news footage is gathered on VHS, VHS-C, S-VHS, 8mm and Hi-8, we can expect to see LDs made from this material and exhibiting the limitations of these consumer formats. Smudges: Fingerprints and scuff marks occasionally appear on factory-new media. They (and popcorn grease) are common on used discs. If the problem is severe enough on a new disc to affect the video, I clean it (article LD#13 available) or return it if I can't correct it. On used discs, I routinely clean them and replace the sleeves anyway. I return only if problems are uncorrectable. Snow: Soft Focus: Speckles: Splices: Staircasing: Narrow diagonal lines, typically near horizontal, are not straight, but appear to be made of several stepped line segments. Not a defect. This is a limitation of the resolution of your video standard. Streaking: Time Compression: In order to make a 123 minute movie fit on a 120 minute NTSC CLV platter, percentage of the 3/2 pulldowns will be shortened to 2/2 (dropping a video field). The older cropped edition of "Star Wars" (CBS/Fox 1130-80) lost three minutes this way (the new 1130-84 W/S edition runs the full 121 minutes). If the actual video running time is listed accurately on the jacket, with or without an "electronically time compressed" warning, you have a pre-sales decision to make. If the full film running time is fraudulently listed, you have grounds for return. I have one report of a 121 minute movie ("Remo Williams", HBO TVL3676), apparently time-compressed, that contains cyclic field duplication (both LD fields identical, and the complementary field missing). This is a pre-mastering error. I would return it if I could notice it. Note: PAL LDs from 24 fps film sources are routinely 4% time- compressed. Rather than use 12th-field-repeat, or electronic 104% pulldown, the common transfer process is to simply run the film at 25 fps (PAL is 25 frames/sec, 50 fields). The only way to avoid this is to use a multi-standard player and import NTSC discs. Venetian Blind (aka "Hanover Bars") - A vertical line crawling pattern unique to PAL, and a result of the way that PAL misbehaves in the presence of chroma phase errors. Not generally a mastering or media defect. Vertical Interval Defects: Non-displayed scan lines are used to store information critical to the proper operation of the LD player. In NTSC, lines 11, 16, 17 and 18 contain, among other things, white flag, CAV stop code, CAV frame and CLV time. If a media defect trashes one of these signals, the player can fail to display a still frame, fail to auto-stop display incorrect info on its front panel, fail to follow programmed sequence, or get lost (skip, servo-slide, shutdown). When a vertical interval defect interferes with my intended uses of the disc, back it goes. Failure to stop at even one stop-code is a returnable defect in my book, as is failure to seek to even one frame of an interactive CAV title. Vertical Interval Errors: The disc was mastered with incorrect data in the vertical interval. The most common such error results in field motion on CAV still frames, due to incorrect white flags. See Field Motion. Other errors are much more rare. The Criterion CAV "Ghostbusters" (CC1181L) has two chapters with the same number. Fortunately, they are on different sides, and even in multi-sided programmed play, contemporary players don't object - otherwise I might have returned it (I did write a letter to Voyager about issues with that title). Vertical Roll (sync loss): Video Noise, cross-talk: Video Noise, lines: (usually white) - Loss of signal results in white-level output on NTSC video (not sure about PAL). A moderate-sized point defect on an LD will often result in many CAV fields having the same line or lines stuck at white-level, or several seconds of scrolling white lines on CLV discs. Such lines are sometimes due to foreign matter on the surface of the disc. On new discs, tiny particles of stray acrylic (from edge trimming in production) scatter laser light quite effectively and can have a very dramatic effect on the video signal. Fortunately, a soft brush removes them. If the defect cannot be corrected, return the disc (as I have, several times). Such defects are almost always limited to the specific individual disc. Video Noise, snow: Media defects that affect a single pit, or a small cluster of pits will result in either dramatic excursions of the luminance signal (too white) on B&W titles, or trashing of the color subcarrier, with resulting mis-decoding of the color at that point in the scan line. The visual result is white or color snow, respectively. An increase in snow over calendar time is the hallmark of Laser Rot, however, brand-new production can also have snow problems. Suspected causes of snow in freshly minted discs include: pressing discs with a worn or damaged stamper, pressing when the acrylic is not at the correct temperature, peeling the stamper and acrylic apart too soon or too late, metallization layer too thin, and contaminants in the production environment (more common back in the DiscoVision days). Video Noise, streaking: Streaking, or frame-to-frame variation in the color of the same scan line (where no motion is occuring in the image) indicates noise. Due to the coefficients used for the primary colors, some amount of noise seems to be unavoidable in NTSC reds. High-end player advancements may minimize this in the future. However, color noise can also result from manufacturing defects in individual discs, and may also warn of incipient laser rot. Try another copy of the same disc. Warp: The focus and positioning servos of LD players can handle quite a bit of vertical and radial run-out, but there is no need to accept a warped disc and make your player work hard. The general rule in the LD industry seems to be that a warp is a returnable defect if a US nickel (coin about .075 inch thick) can fit under the hub or outer disc edge at any point, when the disc is placed on a reliably flat surface. Apart from that test, any warp which causes your player to mistrack, or vibrate noisily, is a returnable defect in my opinion. On used or rare discs, be advised that warps are often correctable. Ask for the "Care & Repair" article, LD#13. White Flags: White Lines (stationary): On CAV, usually due to the same cause as Pixelation, except that the physical defect is larger, covering one or more entire line periods. On CLV, and the lines aren't scrolling, it is a mastering defect. Windowboxing: is the horizontal variant of letterboxing, and is not a defect. There are black vertical areas at the side of the image. If you haven't seen this process, the daytime CNN Headline News and CNBC/FNN broadcasts are windowboxed when the stock ticker is displayed. On LD, you can expect to see windowboxing in several situations: 1. The producer/director desires to compensate for the overscanning of typical TV sets and had the video transfer performed at less than full video width. The opening title sequence of Criterion's "Yojimbo" (TohoScope) is windowboxed. 2. 1.3:1 works where the video producer desires to have subtitles out-of-picture. 3. Early silent movies shot at less than 1.33:1 aspect ratio, and transferred at full height. Zooming: _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ Copyright 1991 Robert J. Niland All Rights Reserved Permission is granted for automatic redistribution of this article, unedited, through the Usenet video newsgroups and the Internet VIDEOTECH Digest. Permission is granted for each Usenet reader, each VIDEOTECH subscriber and each person who received this article via electronic mail from the author to retain one electronic copy, and to make hardcopy reproductions of this edition of this article for personal non-commercial use, provided that no material changes are made to the article or this copyright statement. All other copying, storage, reproduction or redistribution of this article, in any form, is prohibited without the express written consent of the author, Robert J. Niland. Regards, Hewlett-Packard Bob Niland 3404 East Harmony Road Internet: rjn@FC.HP.COM Fort Collins UUCP: [hplabs|hpu*!hpfcse]!hpfcla!rjn CO 80525-9599 From rjn@hpfcso (Bob Niland) Wed Jan 15 14:06:14 1992 From: rjn@hpfcso.FC.HP.COM (Bob Niland) Newsgroups: rec.audio Subject: LD#03: Intro to Surround Sound Message-ID: <7490089@hpfcso.FC.HP.COM> Date: 14 Jan 92 04:23:31 GMT Organization: Hewlett-Packard/FSY Ft.Collins,CO,USA Lines: 1028 re: Although recently posted in rec.video, my standard "surround sound" article has been extensively updated. Since interest in this topic is growing in rec.audio, it is reposted here. ============================================================================ re: LD#03: The soundtrack comes after you... Revised: 13 Jan 92 1. Introduction ____________________________________________________________ Surround sound is potentially available from stereo VHS/UHV/IRD/cable and broadcast TV, stereo video tape, laser video disc and a few audio CDs. The topic is included in my LD (laserdisc) article series because surround is frequently the next enhancement sought after obtaining an LD player. There has been a fair amount of discussion over the years in the Usenet Netnews groups rec.video, rec.audio and rec.arts.movies on the subject of surround sound. Much of it has concentrated on theory; why recovery of 3 or 4 channels of sound from 2 channels of data is [im]possible, what artifacts are introduced, etc. Article Contents: 2. The Experience of Surround - what does it sound like? 3. Putting Surround in Perspective - how important is it? 4. How does surround work? - how is it encoded? 5. The Hierarchy of Home Surround - a travel guide to the buzzword maze. 6. Surround System Configuration - what hooks up where. 7. How to select a processor. 8. Some surround titles - suggested demo titles. 9. References - tutorials and test reports. 10. Some related surround traffic from other contributors (>) & my replies. Some History: Surround sound is not new. Disney's "Fantasia" (1940) had discrete 6-channel sound, as did the Cinerama series of movies in the 50s. Surround sound in the home is not new either. 15 years ago it was called "quadraphonic". Indeed, the "Dolby Surround" system of today is not much different from the CBS "SQ" matrix system of a decade ago. "Dolby Stereo" = "Dolby Surround" = "Dolby MP", for home purposes. Many of the "stereo" soundtracks used for your laser video discs and VHS tapes have been encoded for surround since the mid-70s. This is because the encoding for "Dolby Stereo" (Dolby Motion Picture matrix, or simply Dolby MP) is the same as for home "Dolby Surround". It is easier for video producers to simply transfer the encoded signal from the theatrical audio master (or release print) to the video master, than to decode to simple stereo or go back to the pre-encoded audio elements and remix. Unfortunately, most of the press coverage of surround has focused on technical specifications, and none that I have seen attempts to give you any idea of what surround actually *sounds* like. 2. The Experience of Surround ______________________________________________ * It may be a very long time before we have convincing 3-D video, but effective 3-D audio is here today. The audio portion of a surround presentation fills the entire listening space. * The difference between surround sound and conventional stereo can be as dramatic as the difference between stereo and mono. * To demonstrate this, during a sequence when the surround channel is active, try switching "effects OFF" on the processor. The consequence is that the sound collapses to the front of the room. Switch it on, and sound floods the room. * Observation: you can notice the *difference*, but on a tastefully mastered surround program, you often don't consciously notice the presence. The program is simply more involving. The psychological distance between you and the program is reduced. The image may still be at arm's length, but the sound joins you in the room. * Of course, on a tastelessly mastered work, herds of objects noisily zooming out into the room can become an irritation, but films like that are apt to be infested with myriad artistic defects of other kinds. The surround effect is almost subtle. Unless you have been informed that you are listening to a surround-encoded program on a surround system, you are likely to simply have a more engrossing viewing experience, without necessarily knowing why. You quickly get accustomed to hearing "before the image" sounds from around you, after all, in real life(TM) that's where they come from. However, the general public is not clamoring for surround, 70mm, wide aspect ratios or 60 frames/sec. in the theatres, because they are not consciously aware of the contributions made by these technologies. None, including surround, is quite as profound and easily identifiable as the difference between, for example, silent-vs-sound or B&W-vs-color. Surround may not be getting the public attention it deserves, but then, the lack of technology awareness is desirable in art. You don't want the medium to overshadow the message. 3. Putting Surround in Perspective _________________________________________ It is possible to create a home surround theatre whose sound exceeds that of your local 35mm "Dolby Stereo" movie hall. You will not be able to exactly duplicate the directionality of a 70mm Dolby hall, but at least the audio fidelity of the home laserdisc setup can equal or exceed that of 6-channel magsound film. However, surround sound is NOT the first step in a home theatre. If you are watching VHS tapes on a 13-inch dime-store TV and listening to the audio through the TV, or even the 5-inch speakers of a $100 discount store "rack" system, then begin your upgrade elsewhere. Don't get surround until you have high quality in the following other areas... * Audio signal: The absolute minimum for tape is VHS linear (analog) stereo. VHS linear mono is incapable of surround, and you may not be satisfied with linear stereo. Broadcast MTS stereo can provide acceptable surround, IF (big if), your TV has a "real" MTS decoder (with dBX NR) and your broadcaster isn't trashing the signal. VHS HiFi is an improvement over VHS linear, but HiFi has compression and 60Hz cyclic artifacts that may eventually bug you. Satellite stereo is generally of high quality. The finest video sound is from laserdisc. Any LD player will provide FM stereo, and all new players also have digital stereo. * Video signal: If you principally watch VHS tapes today, upgrading to LD, satellite or at least S-VHS with HiFi is apt to provide a higher return on investment than adding surround. * Monitor: I suggest at least a 23-inch display (whether direct-view, front- or rear-projected) with at least 350 lines of real horizontal resolution, composite video input, and capable of correct setup for geometry, size (overscan), black level, white level and chroma. View at distances of between 4 and 8 screen heights. * Audio chain: The main (front) channels need to have speakers with fairly flat on- and off-axis response, with no resonances, no breakup or distortion at moderately loud listening levels, and backed by an amplifier of adequate power that adds no problems of its own. The treble response needs to be flat to 7KHz or more, and the bass response needs to reach down to at least 100Hz - the lower the better, since film/video programming has much more deep bass than music. If, for example, you can't tell the difference between CD and pre-recorded audio cassettes on your system, you probably need a complete audio upgrade. Note on MTS: VHF/UHV broadcasts encoded for NTSC-MTS stereo can carry surround, but the stereo signal is often trashed by the local broadcaster or cable operator, leaving you with a mono, [re]simulated stereo or highly distorted stereo signal. Don't get surround just for MTS programs unless you are certain that you have reliable access to solid stereo programming, and you have decent MTS decoder in your TV (many so-called MTS decoders lack the required dBX decoding, and are junk, even in some "hi end" sets). Note on Mono: If you play a surround-encoded signal on a mono VCR or TV, or through a mono audio system, mixing the left & right together, any sound intended for the "surround" channel will be cancelled out altogether and will be inaudible. For this reason, some stereo surround material is labelled "non-mono compatible". In fact the surround channel component of ALL surround program material is non-mono-compatible. 4. How does surround work? _________________________________________________ [Over]simply stated, sound intended for the "surround" channel is recorded in the normal left & right stereo channels, but out of phase with respect to each other. Anti-phase is "rear" (surround). In-phase balanced in both left and right is "center" or "dialog". Other sounds are left, right or some blend. Some hall-dependent delay may be added (by the playback processor) to the signal sent to the surround channel so that listeners far back in the theatre won't hear the surround signal (esp. simulated echo) prior to the original front channel sound. In the Dolby system, the surround channel also employs mild (5 dB) Dolby B noise reduction. Depending on the decoder, other signal processing and channel amplitude manipulation (steering) may be applied to attempt to cancel various signals out of channels where they aren't "supposed" to be. Normally the effect is subtle and effective. To hear the steering in action (and struggling), play a dual-audio program, such as a laserdisc with a monophonic soundtrack on analog channel 1/L and a commentary on 2/R. With Pro Logic, the sound will jump all over the place. (Of course, a really smart unit may just give up in the face of such mistreatment, and shut down decoding.) If you listen to an un-decoded surround program on an ordinary stereo setup, you may detect the out-of-phaseness of surround signals (particularly on headphones - see postscipt). The soundstage may appear to be wider than your speakers, or you may actually have a psycho-acoustic experience of sound from behind you (I noticed this on the "LadyHawke" LD, prior to having a surround processor.) Technically stated, the "Dolby Stereo" MP Matrix ENCODING looks like: Source Sounds As Encoded Lt Left ----> + -------------------------------------------------+---> Left Source ^ ^ Total | 5 dB | | 100-7K Dolby +90 deg Ctr ---> -3 dB Surround ---> -3dB ---> band ---> B NR --->| Source | Source pass Encode -90 deg | | v v Rt Right ---> + -------------------------------------------------+---> Right Source Total Pre-recorded "surround" programs have Lt and Rt in the left and right stereo channels. To extract the left/center/right/surround, you need a DECODER. 5. The Hierarchy of Home Surround __________________________________________ There are several implementation levels (and a large number of buzzwords and trademarked terms) associated with home surround. Here is a condensed taxonomy of home surround: Stage 0: Two-Channel Surround Emulation. At this level there are only two front speakers and two channels of amplification. A pre- or post- processor is used to tinker with the sound to produce ambiance or "surround like" effect at certain listening positions. Examples include: Carver Sonic Holography, Hughes SRS, Q-sound and the "surround" mode of some low-end stereo(only) receivers. In my opinion, none of these are satisfactory for presentation of simple stereo material, much less Dolby surround-encoded material. Stage 1: Two-Channel Speaker Bridging. Because the surround signal is largely L-R, you can simply wire one or more surround speakers and a potentiometer across the (+) terminals of the left and right front speakers. Don't expect wonderful results, particularly since left and right signal can bleed into the opposing speaker. If you want to try speaker bridging, see the June 1991 issue of Audio magazine for tips. Stage 2: Passive Matrix. A simple decoder passes Lt to left, Rt to right, then isolates and subtracts the Lt and Rt, sending the Lt-Rt result to the surround speakers. This at least eliminates the L/R bleeding. Stage 3: "Dolby Surround". A branded "Dolby Surround" decoder: * sends Lt-Rt (surround) thru a delay line (typically 20 mSec), * then thru a 7 KHz low-pass filter (to keep natural and azimuth error caused left/right source phase noise from being heard as surround) and * thru a 5 db (vs 10 on audio cassette) Dolby B-type noise reduction circuit. * A master volume control and input balance controls are also provided. * Lt and Rt are isolated, and may also be summed (Lt+Rt) and sent to the Center output. In any case, a maximum of 3 dB of separation is achieved between each adjacent pair of: left-center-right-surround-left. Stage 4. "Dolby Pro-Logic". A Pro Logic" decoder starts with Stage 3, and: * replaces the simple Lt-Rt (surround) and Lt+Rt (center) extractions with an active adaptive matrix decode step. For signals intended for one output, this circuit attempts to cancel them in the others. * It also analyses the soundfield for signal dominance, and focuses the sound toward those outputs. The net result is that 30 dB of separation is possible between any two channels. Dolby Labs publishes a "Principles of Operation" pamphlet that goes into more detail. * Input balance is required. * Lexicon Pro-Logic decoders also include an "auto-azimuth" feature to correct for group delay errors (time shifts) between the two source channels. Shifts as high as 50 microseconds are reportedly common in film-sourced sound (45 degree phase shift at 5 KHz). Incidentally, don't bother looking for any "Pro Logic" recordings. Pro Logic is used only in the playback processing. The encoding (recording) of Dolby Surround always uses the "Dolby Stereo" (aka "Dolby MP") matrix described above. Stage 5. "LucasFilm THX". THX affects the presentation of movies at several points. For the home, a THX-certified decoder starts with Dolby Pro-Logic and adds: * Surround channel decorrelation - a digital pitch shift is used to make the (mono) surround signal "different" in the left and right surround channels. * Re-equalization of the front channels, to make the movie mix seem less "bright" in the home. * "Timbre Matching" - an equalization applied to the surround channel to make effects sound consistent when panned between front and surround speakers. THX also specifies two side-mounted surround speakers configured for dipole radiation. As with Pro Logic, THX-branded source material is not "THX encoded". THX mixes are merely a specific way of performing Dolby-MP sound mastering. Other moviesound and home surround terms: "Ultra Stereo", "Chace Surround" and "matrix surround" are DolbyMP/Surround- compatible anti-phase encoding schemes that do not bear the Dolby logo. You may encounter these terms on program material. They will work on your passive, Dolby, Pro Logic or THX decoder. Hughes "SRS", Carver "Sonic Holography" and "Q-sound" are not, as far as I know, Dolby-compatible. They are 2-channel schemes that process the signal on playback (SRS, Carver) or prior to recording (Q) and attempt to simulate 3-D sound placement with only the normal two front stereo speakers. The effect may be limited to a small "sweet spot", and I don't recommend additional Dolby Surround processing. I have SRS on my Sony XBR TV, and with or without my external Pro Logic decoder switched in, SRS-on is principally a "hum enhancer" and "listener phase torture device". SRS is no substitute for Dolby, as far as I'm concerned. I have heard Carver several times, and am left uninspired. Q-sound I have not heard extensively. Dolby A, B, C, S and SR are noise reduction processes that have nothing to do with surround except that Dolby MP uses a modified Dolby-B on the surround signal, and VHS linear stereo uses (additional) normal Dolby-B on both channels. Dolby HX-Pro is a variable-bias technique for analog tape recording and has nothing to do with tape playback, much less surround. Dolby SR-D and Cinema Digital Sound (CDS) are reduced bit rate (lossy compressed) digital sound encoding formats for 35 and 70mm filmstock. SR-D uses the vertical film area between the sprocket holes. CDS replaces the existing optical tracks. Although 35mm SR-D and CDS will motivate producers to create cleaner original sound tracks, the LD digital sound format is already superior to both. "THX" is a LucasFilm trademark for several things, two of which are related to home surround: 1. "THX Theatre" - THX is a certification process. Theatres bearing the logo are periodically tested to ensure that they meet LucasFilm standards for audio environment and playback of surround-encoded film. 2. "Re-recorded in a THX theatre" - THX logos on films and recordings indicate that the final DolbyMP-compatible mixdown was done with the recording console and engineer located in an actual THX-certified theatre. This is intended to ensure that the film audio will playback in a consistent and predictable manner in all THX theatres (and in homes equipped with THX certified components). 3. THX crossover - LucasFilm lists recommended audio components for THX theatres. They also make a crossover, bearing the THX brand, which is only used in actual motion picture theatres. 4. Home THX - LucasFilm has a testing and certification process for home audio equipment (other than processors and surround speakers). Those models which are submitted by the maker, and pass the tests, may exhibit the branding. THX branded equipment provides the promise of effective home theatre, but can still sound hideous if improperly set up and calibrated. THX-branded equipment does NOT usually include dealer installation and adjustment. 5. THX certified surround decoders and surround speakers, on the other hand, must provide the capabilities listed above for surround "Stage 5". The future. Will some future home surround standard replace Dolby MP? Your humble prognosticator predicts: Not this century. A Dolby Pro-Logic or THX decoder will remain a viable investment for at least a decade. The recent surge in home surround has been largely a grass-roots effort, made possible by the prior existence of surround-encoded filmtracks. The hardware and software vendors are unlikely to tinker with it. There are also considerable obstacles to any discrete-channel surround schemes. I suspect that even HDTV (should it ever arrive) will have two-channel stereo (not four) and will rely on the Dolby-MP matrix for surround. 6. Surround System Configuration ___________________________________________ Here is what a largish Dolby surround setup looks like in the home. You can easily get by with only four speakers/channels (I do). ============== Screen _ ....._..... _ | | : | | : | | /___\ : /___\ : /___\ Left Front : Center : Right Front :.........: Subwoofer : | : : _____ | _____ \ / : \ / |_| | |_| | | Surround : Surround | | /___\ | /___\ Audience : | : | : _____ | _____ \ / : \ / |_| | |_| Surround : Surround Room: Any size room is acceptable if the decoder has adjustable rear delay. With fixed delay, you must get the surround speakers properly located with respect to the front speakers and the delay value. See "surround" speakers below. Center: In both the theatre and the home, only a small portion of the audience is sitting near the centerline. Those near the sides might hear center channel sound (sounds equal in both left & right speakers) as coming from the front speaker nearest their side. If the processor has a "center" output, it attempts to isolate in-phase, balanced sound, usually dialog, which it thinks should be "front center". It sends it to the center output and attempts to cancel it from the other outputs. That way, everyone hears "dialog" from the screen center speaker. Further, if you rely on the "center" sound to consist of an equal-and- in-phase signal emitted from both left/right front speakers, the sound waves will not arrive in-phase at all listening positions. For example, a 6-inch difference in distances to L/R speakers results in a 180-degree group delay (and total cancellation of the direct wavefront) at 1000Hz. LucasFilm reports that center-channel dialog is easier to understand if it comes from a single speaker. I am not yet using a center speaker, and can't contribute further comment. If you don't plan a center speaker, the recommended positioning of the L/R mains is "close" to the screen. If you must place the mains far from the screen, consider using the TV's own speaker(s) as the "center". Unfortunately, most TV speakers are junk, so you'll have to judge the efficacy of this by trial. Be careful with "close" - the magnets in many speakers are powerful enough to skew the geometry and color of inadequately shielded TVs. Subwoofer: Although film sound has much more bass energy than music, due to sound effects, the case for a subwoofer in a surround setup little different than for a normal stereo setup. If your front speakers have wimpy bass, and you don't want to upgrade them, and you have lots of money, get a subwoofer (and maybe an amp to drive it). If your system can reproduce cleanly down to 40Hz, you are probably OK as is. The subwoofer may generally be located anywhere in the room. Pay attention to where the low-pass crossover is. Having a filtered subwoofer output in the surround process *plus* a filter or crossover in the subwoof itself is not a "sound" idea. Surround: Notice that the side and rear speakers are *all* labelled "surround". In a textbook Dolby theatre setup, there are a number of them spaced around the hall, they all emit the same signal and they all point toward the audience. The point of having multiples is that each thus runs at a lower volume, the surround field is more uniform, and listeners near an individual surround speaker won't have their attention drawn to it. Theatres use multiple surround speakers to achieve coverage. The LucasFilm-recommended number of home surround speakers is TWO, located to the SIDE, and not behind the audience. The rears are optional, but if present there must also be side speakers. Dolby recommends that the surround speakers be located 5 feet closer to the average listener than the front speakers, and that the "surround" signal be electronically delayed by 20 milliseconds (for a net arrival delay of 15 mSec compared to "front" sound). The Dolby publications "a listener's guide" and "Pro Logic Principles of Operation" both include distance-time nomographs. Surround speakers: You may be able to get by with modest surround speakers. In the Dolby mode of your decoder, the sound sent to these speakers is rolled off above 7 KHz, and although rolled off below 100 Hz during ENcode, it is NOT rolled off below 100 Hz during DEcode. Any deep bass naturally out of phase in the original left and right sources will appear in in the surround channel (particularly if the processor has a subwoofer output). A case can be made for matching the speakers all around. Several people have reported significant bass energy from their surround speakers, and some processors send full-range material to the surround speakers when in proprietary (non-Dolby) music surround, ambience or venue simulation modes. A newly emerging LucasFilm/THX recommendation is that the high frequency radiators of home surround speakers NOT be pointed at the audience. The new THX-certified speaker from Cambridge SoundWorks ("The Surround", $400/pair), for example, has its bass cone pointed at the audience, but has two mid/high cones per unit, wired out of phase (dipole) and pointing sideways. You typically don't need a 14-inch woofer or thermonuclear tweeter for the surround speakers, or much amp power for that matter. Any decent bookshelf speakers and well-mated amp will do. I'm using a retired 55 W/ch receiver, driving a pair of CSW Surrounds. The dipole configuration does diffuse the surround more than the traditional speakers (CSW Ensemble I's) I used to use. Further note: If the speakers and amps are not all identical, it will not be trivial to ensure that they are all in phase and balanced. For phasing, I suggest testing one pair (each non-identical) in a simple stereo setup (with a mono signal), and correlating the polarity markings on the binding posts. Be sure to use the eventual amp channels for this, as some amps invert the signal. 7. How to select a processor _______________________________________________ Step 7.1: Is your system ready for a decoder? You may need (or want) a new main receiver or amplifier. The surround process requires exporting the raw stereo-matrix signal at the pre-amp (line) level in the receiver/amp, then feeding the decoded front signals back in at that point. The input stages of the receiver/amp handle the matrix signal; the main output stages handle only the decoded "front" signal. Receiver or Amp __________ _________________ | Surround |---Lt---| Pre :: Power |---L---|Spkr< | Source | | :: | | e.g. LD |---Rt---| :: |---R---|Spkr< | VCR,CD | | Ext Proc Loop | `----------' `--Out------In----' | | ^ ^ v v | | .------------------. .------. | In Front-Out | | | | Sur Left |-->| Rear |---|Spkr< | Surround Decoder | | | | Sur Right|-->| Amp |---|Spkr< | Center SubWoof | | | | Out Out | `------' `------------------' | | v v .-----. .-----. >Spkr|---| Amp | | Amp |---|Spkr< `-----' `-----' Dialog SubWoof If you do not have "external processor" capability, but have a separate "record in" selector switch, you'll need to: - route the Surround Source into the "LD" or "VCR" input as usual, - set "record source" to select that input, - route the record-out jacks to the decoder, - route decoder front-out back into "AUX" or "TAPE2" or a similar unused line input, and - select "AUX" or "TAPE2" on the receiver/amp main selector switches. Another work-around is to: - feed the surround source (if you only have one) directly into the decoder Lt and Rt inputs, - feed the decoder "front" line outputs into the main (stereo) receiver or amp (AUX or other line-level in), and - feed the "center" "surround", "subwoofer" outputs directly to the secondary amps line-level inputs. Step 7.2: Pick a Processor (or Receiver with integrated decoder). As far as brands and models, I cannot help you very much. My only exposure to surround has been via the Lexicon CP-1, which has both certified Dolby Pro Logic and a variety of other modes (although not THX). I can't really say whether or not the lack of auto-azimuth, use of ordinary Dolby or simple matrix decoding would be disappointing by comparison to Lexicon's all-digital Pro Logic. I would look for the following features (prioritized): * Pro Logic (adds less than $100 to new receivers nowadays). * Master volume control. * Auto-balancing on input (for programs recorded out of balance). * Adjustable rear-channel delay. * All calibrations from front panel and/or remote control. * Auto-test-tone program for calibration (more below). * Non-volatile storage of adjustable parameters (below). * Effects defeat (below). * Auto-azimuth to remove group delay of source program channels out of phase or independently time-delayed (as when sharing a single DAC on LD). * THX certification. When you demo, I suggest starting at the top so that you have a standard to shoot for in a lower-priced decoder. Have the salesperson run through the setup procedure, and listen to a surround test disc (like Reference Recording's LD-101, "A Video Standard"). This will show you how much trouble the process is (or isn't) and more importantly, will ensure correct store setup. Far too often, I have heard simple stereo setups in stores that are out of phase. I estimate the chances of a correct surround demo at about 5%, rising perhaps to 50/50 at a "high end" store or "video salon". If you are considering getting an integrated receiver/decoder, I suggest getting ONLY a receiver with the Pro Logic or THX brand, as it may otherwise be difficult or uneconomical to upgrade later. There are some things to watch for, lest you end up with missing or duplicate components in the system and/or high "hassle coefficient": * Tuning processor input gain, balancing the outputs, setting surround delay, etc. are critical for acceptable performance. Does the processor have easy step-by-step instructions? Does it include a built-in pink noise generator for matching levels (or a separate tape/LP/CD with such a signal?); if not, consider getting a copy of the Reference Recordings LD-101 "A Video Standard" LD. * Does the processor or receiver supply its own surround channel amp(s)? If so, how many, and with what power? Is the power adequate for the speakers selected? Is the impedance matched to the number of speakers? * If a subwoofer output is provided, is it producing flat response, or does it incorporate a low-pass filter? What does the subwoofer itself require? Does the subwoofer include its own amp? How seamless is the response overlap between the subwoofer(s) and the bass response of the front and dialog (if any) speakers? * If your main speakers are driven by an integrated amp or receiver, does it have an "external processor loop" that allows separation of the pre-amp and power amp? If not, you may encounter complications in signal source selection and front/rear volume balancing. * Is there a single master volume control for all channels, controlled by the remote? Having that control duplicated on the front panel of the processor is a plus; a servo-driven ganged potentiometer is ideal. (The Lexicon's have only volume buttons , no knobs. The CP-1 has only remote volume. All have "mute".) * Are "effects" defeatable, allowing simple front-only stereo/mono? Can you bypass the processor altogether for critical ordinary stereo listening? * Does the processor have user-alterable presets for Dolby decoding, vendor-unique decoding, stereo ambiance enhancement and any other modes you will frequently use? Are the settings non-volatile (preserved thru power-off)? Finally, a feature to watch out for. If the decoder does not bear the double-D [)(] Dolby logo, find out why. The missing logo indicates that the vendor is unwilling to submit their design to Dolby for inspection, change requests, re-submission, etc. leading to an official approval. There are reasons why this might be: A. They focused their design on low-cost and/or time-to-market, and were unwilling to pay the royalty for using the Dolby logo, and/or put up with the certification delay. B. They don't like the Dolby spec, and think they have a superior decoding scheme. Of course, they could have done both their own and Dolby's. If the decoder (alone) sells for more than about $500, this is probably the explanation. C. Their decoder is too primitive and/or low in quality to pass Dolby qualification. It may also lack even simple processing, like surround channel delay. If the processor is built-in to a receiver, monitor or other component, listen carefully. If possible, A/B-it against a quality stand-alone decoder. Step 7.3: Install, calibrate and enjoy your surround system. Unfortunately, many calibration programs jump from channel to channel, never turning on pairs simultaneously. It is very difficult to accurately set levels this way, particularly if you must leave the central seating position to make the adjustments. I use a sound pressure level meter (Radio Shack 33-2050, about $40), parked head-height at the listening center. Since only comparative levels matter, you can also use a microphone feeding any metered recorder. Adjust the record level (in PAUSE) to about 0dB, and set levels for all channels. Incidentally, if using "phantom center channel mode" (no center/dialog amp/speaker), ignore the "center" test signal and just get left/right/surround balanced. Step 7.4: Use of a surround system for music. If after reading all of the above, you suspect that there is an awful lot of processing being done on the original stereo signal, you are correct. Do you want to have all that switched on when playing ordinary stereo music on the same system? I suggest "no", unless the music was specifically recorded for surround (as a few CDs have been recently). When playing music on my system, I switch from Pro Logic mode to "small hall ambiance". If your processor doesn't have any alternate modes, it is doubly important that it have an "effects off" mode. You may not like what passive matrix, much less Pro Logic or THX, do to non-surround stereo music, particularly if you are critical audiophile. 8. Some surround titles ____________________________________________________ If you get an opportunity to demo surround, make sure you are using source material that is worthy of the system. Be advised that: a. Many video sources with surround sound aren't so identified on the media jacket. Sometimes your ears or the "Dolby Stereo in Selected Theatres" that appears in the trailing credits are your only clues. b. Conversely, the appearance of "Dolby" in the trailing credits is no guarantee that a Dolby-ized stereo master was used for the video release (although it is rare that this is not the case). c. Even if "Dolby" or "surround" appears on the jacket, the effect may be less than dramatic, and may be largely ambience and echo. The following laser video disc (LD), from the IMAX movie, is what I use for surround demos: The Dream is Alive {CAV} (Ferguson, 1985) Lumivision LVD9019 The following two laser disc titles also have very effective surround programs. I cannot vouch for the non-Criterion pressings of "Ghostbusters". I also cannot tell you anything about tape editions. Empire of the Sun {CAV} (Spielberg, 1988) WB 11844 Empire of the Sun {CLV} (Spielberg, 1988) WB W11573 (P-51 attack scene) Ghostbusters {CAV} (Reitman, 1984) Criterion CC1181L Ghostbusters {CLV} (Reitman, 1984) Criterion CC1182L ("Slimer" scene in hotel) There are several test discs available for calibrating systems (and verifying that your dealer's demo system is correctly set up). The most easily available is: A Video Standard (Kane, 1989) RR LD-101 The following LDs also have surround programs. Although they are somewhat less dramatic than those above, they are more pronounced than several other "surround" discs I have examined. Ben-Hur {the current letterbox edition} (Wyler, 1959) MGM ML101525 Die Hard (McTiernan, 1988) CBS/Fox 1666-80 Dragonslayer {letterbox} (Robbins, 1981) Bandai LA098L14046 Dragonslayer {cropped} (Robbins, 1981) Paramount LV1367 LadyHawke (Donner, 1985) WB 11464LV Ruthless People (Abrahams,Zucker, 1986) Touchstone 485AS Star Trek III - The Search for Spock (Nimoy, 1984) Paramount LV1621 Star Trek III - The Search for Spock[WS] (Nimoy, 1984) Paramount LV12954 Star Wars {letterbox} (Lucas, 1977) CBS/Fox 1130-85* The Witches of Eastwick (Miller, 1987) WB 11741A/B One title to avoid: Dolby Technologies: How They Work Pioneer 05458 Although a useful tutorial, it contains NO demo material. Many of the articles referenced below also list demo titles. * This is the new letterbox CLV edition with digital sound. 1130-80 (CLV) and 1130-84 (CAV) are cropped, although probably still surround. 9. References ______________________________________________________________ Available free from: Dolby Laboratories 100 Potrero Avenue San Francisco CA 94103-4813 Write for: "Dolby Pro Logic Surround Decoder - Principles of Operation" "Dolby Surround - a listener's guide" "Heard Any Good Movies Lately?" (a list of Dolby Stereo films) "Question about Dolby Surround" "What is Dolby Surround" Here are some recent magazine articles on surround and decoders. The ones marked (*) are by Bill Sommerwerck, who has been writing intelligently about surround since before it was even "quad". Surround sound overview Stereo Review Apr 91 Home theatre sound overview Video Mar 91 Surround sound buyer's guide Video Review Oct 90 Surround sound overview Video Review Sep 90 Surround sound overview BD Notebook Dec 89 Surround sound overview Stereo Review Nov 89 Surround sound overview Video Review Sep 89 Surround Sound and THX Stereo Review Nov 91 THX home theatre equipment summary Video Nov 91 Recommended Components Stereophile Oct 91 Home theatre sound survey Video Review Sep 91 THX theatre sound system Audio Sep 89 Surround sound survey Stereophile Aug 89 * Atlantic Technology Pattern system Stereo Review Aug 91 AudioSource SS-Two Dolby Surround decoder High Fidelity Oct 88 AudioSource SS-Three Surround decoder Audio Dec 91 dbx CX1 surround sound integrated amp Stereophile Sep 88 Denon AVC-2000 integrated surround amp Stereo Review Sep 89 Fosgate 3608 surround sound decoder Perfect Vision Fall 89 Fosgate DSL-2 Pro+ surround processor Video Apr 91 Fosgate DSM-3610 Surround Processor Audio Mar 89 Hitachi HA-V5EX A/V amplifier Video Review May 91 Hughes AK-100 SRS Processor Video Feb 92 JVC AX-V1050V surround receiver Audio Aug 91 JVC RX-801V surround receiver Stereo Review Oct 89 JVC XP-A1010 digital acoustics processor Audio Sep 89 JVC XP-A1010 digital acoustics processor High Fidelity Jan 89 JVC XP-A1010 digital acoustics processor Stereophile Dec 89 * Kenwood KA-V8500 A/V surround receiver Video Review Oct 91 Kenwood KR-V9010 surround receiver Stereo Review Nov 89 Lexicon CP-1 surround sound decoder Stereophile Jan 89 * Lexicon CP-1 surround sound decoder Audio Nov 89 Lexicon CP-1 surround sound decoder Perfect Vision Fall 89 Lexicon CP-1 surround sound decoder Video Review Jan 90 Lexicon CP-2 surround sound decoder Stereophile Dec 89 Lexicon CP-2 surround sound decoder Audio Mar 91 Lexicon CP-3 THX surround sound decoder Perfect Vision Wint 91/92 Lexicon CP-3 THX surround sound decoder Video Review Jan 92 Luxman F-114 surround sound processor/amp Audio Nov 91 NEC PLD-910 surround sound processor High Fidelity Oct 88 NEC PLD-910 surround sound processor Stereophile Aug 89 * Optimus (Radio Shack) STAV-3200 A/V receiver Video Review Feb 91 Onkyo A-SV810PRO A/V integrated amplifier Video Jul 91 Onkyo A-SV810PRO A/V integrated amplifier Video Review Jul 91 Onkyo A-SV810PRO A/V integrated amplifier Stereo Review Aug 91 Onkyo TX-SV50PRO A/V surround receiver Video Nov 91 Onkyo TX-SV70PRO A/V surround receiver Video Review Nov 91 Pioneer AVX-4900S A/V surround receiver Video Nov 91 Pioneer SP-91D digital sound processor Stereo Review Dec 89 Pioneer SP-91D digital sound processor Perfect Vision Summ 90 Pioneer VSX-D1S A/V (surround) receiver Video Review Mar 91 Pioneer VSX-D1S A/V (surround) receiver Stereo Review Jan 91 Proton SD-1000 surround decoder Audio Apr 91 Sansui AV-7000 a/v receiver Video Review Dec 91 Sansui AV-7000 a/v receiver Stereo Review Nov 91 Sansui RZ-9500AV A/V receiver Stereo Review Feb 91 Sansui RZ-9500AV A/V receiver Video May 91 Shure HTS 5300 Home Theatre Sound (entire system) High Fidelity Jul 89 Shure HTS 5300 Home Theatre Sound (entire system) Video Review May 89 Shure HTS 5300 Home Theatre Sound surround decoder Audio Jul 89 Shure HTS 5300 Home Theatre Sound surround decoder Stereophile Aug 89 * Shure HTS 5300 Home Theatre Sound surround decoder Perfect Vision Wint 91/92 SSI System 4000 II surround processor BD Notebook Dec 89 SSI System 4000 II surround processor Audio Mar 91 Sony SDP-777ES digital surround processor Audio Aug 89 Sony TA-E1000ESD digital surround amplifier Audio Jun 91 Synergex ESP-7R surround sound decoder Perfect Vision Fall 89 Technics SA-GX505 A/V surround receiver Video Nov 91 Technics SA-GX505 A/V surround receiver Stereo Review Oct 91 Yamaha DSP-3000 surround sound processor Stereophile Sep 89 * Yamaha DSP-A1000 digital surround amplifier Audio Jun 91 Yamaha DSP-A1000 digital surround amplifier Stereo Review Jul 91 Yamaha DSR-100 surround sound decoder Stereophile Aug 89 * ____________________________________________________________________________ 10. Some related surround traffic from other contributors (>) & my replies. > Whenever possible, I use headphones when watching a movie on laserdisc. > I use a good pair of Sony headphones, the enclosed kind that kill any > external sounds, model MDVR-6 or something like that. Some movies are > truly awesome this way. > How does surround sound compare to headphones, in terms of the > listening experience? I don't watch video with phones on, but for the purposes of answering this query, I got out the MDR-V6's and gave it a try. Generally: Normal stereo speakers: Wall (or "stage") of sound in front of you. Stereophones: Line of sound between your ears. Surround speakers: Field of sound all around you. The headphone experience is one of having all the audio happening inside your head. This is certainly "different" than stereo speakers. Whether or not it is "better" is a matter of taste and exposure. On an ordinary stereo program, once the brain has learned to associate the sounds with the visual action, there's not much difference between phones and speakers. Stereo video soundtracks share the same problems that musical works (esp. early stereo recordings) have when heard via phones. If individual sounds are fed into the mix (say, the left channel) without bleeding some reverb (into the right), they sound artificial. This is all too common on movie sound. The effects sound pasted on, and not part of the program. In a speaker (or theatre) setup, this is not a problem, because the room adds the necessary blending and ambiance. On undecoded surround programs, however, I noticed two more things: 1. The anti-phase encoding of surround information can be distracting. 2. There is no sense of "front" and "back". On (1): An effect that is supposed to be a sound moving from front center to rear center is a sound that starts in-phase and shifts to anti-phase. If you are sensitive to phase (as I am), it is slightly annoying. The "location" of the sound shifts from head center to "both ears at once". It does not move front-to-back. On (2): Given a stationary head and sound source, the way that the human auditory system determines "front" and "back" is through subtle amplitude, phase and group delay differences between the sound at each ear, plus frequency contouring, local reflections at each ear, and bone conduction. The head and outer ear re-shape the sound spectrum, based on the direction of the source. This is why, in real life(TM) or in a surround speaker setup, sounds from behind you are experienced as coming from behind you. Real life(TM) surround is therefore completely different than matrix/Dolby encoded surround. The encoded signal is not at all naturally directional to the headphone listener. Building headphones with 4 speaker assemblies doesn't help much either. Vendors (even Stax) try this from time to time with little success. It is possible to largely re-create a 3D listening experience for headphones via a special sub-species of stereo known as "binaural" recording. This requires a two-track recording typically made using an anatomically correct human head dummy, with microphones in the ear canals. The resulting work preserves all the directional cues imparted by the human anatomy. Obviously, the work must be heard via earphones (optimally, the intra-aural in-the-ear type, so as not to add any further anatomical processing). Some radio dramas (including Stephen King's "The Mist") have been recorded binaurally. Very few musical recordings are made this way, and to my knowledge, NO video programs have binaural tracks. The apparent bottom line: * For ordinary stereo programs, headphone listening is an acceptable alternative to speakers, perhaps even preferrable, depending on your tastes and listening environment constraints. * For surround programs, headphones are no substitute for speakers unless the program is binaurally recorded (and no video material is). Bob Niland /-------------------------------------------------------------------------/ > I think these laserdisc titles also have at least some great surround > utilization: > Back to the Future > E.T. - The Extra-Terrestrial > Poltergeist > Star Trek II - The Wrath of Kahn > Young Sherlock Holmes > These titles at least have great overall sound and may have good surround > too (I can't remember for sure about the surround part): > Predator > Robocop > Star Trek IV - The Voyage Home > Starman > 2010: The Year We Make Contact - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - > The absolute *BEST* disc for surround sound is _For All Mankind_. The > launch of a Saturn 5 can't be matched, and stage separation ... WOW! [Note - A correspondent who was working at the Cape at the time reports that although impressive, the "surround" sounds on this disc are completely faked. - rjn] > A low cost way to get into surround sound is with the Radio Shack decoder. > You can get it plus a pair of speakers (Minimus 7's?) for about $200. If > you switch it to use all of it's amp power for the back channel speakers > and use your hifi for the front, it works pretty well. It only has a few > watts of power (15 or so?). My front channel is a pair of Altec-Lansing > 15" Voice of the Theater speaker systems driven by a 130 watt per channel > amp. /-------------------------------------------------------------------------/ * For surround programs, headphones are no substitute for speakers. >> Would one of those "quad" headphones work for this case? (I remember >> the four speaker headphones being sold at the peak of the quad fad.) > I suspect it depends on how fussy you are. I have a pair of Koss quad > headphones from the old quad days. My father was into that non-fad and I > ended up with them, along with his old receiver. The headphones did > produce a kind of four channel effect, although not the same effect that > was produced by the speakers. In the same manner, I can decode surround > sound with the QS matrix decoder in the receiver, but sounds tend to > wander about the room and separation is not as good as in the theaters. I > would guess that I have something nearly as good as the low end surround > sound decoders, but not nearly as nice as the new pro logic decoders. /-------------------------------------------------------------------------/ re: >> * For surround programs, headphones are no substitute for speakers. > Would one of those "quad" headphones work for this case? (I remember > the four speaker headphones being sold at the peak of the quad fad.) Well, as I said in the quoted article: >> Building headphones with 4 speaker assemblies doesn't help, either. >> Vendors (even Stax) try this from time to time with little success. Let me elaborate. Keep in mind that this is just a "thought experiment". I have no actual experience with 4-element headphones. The directional cues that occur to me are: * Ear effects: (the "pinna" is the external part of the ear) directional response envelope local reflections in the pinna * Head effects: (comparing one ear to the other) diffraction of sound when one ear is masked. arrival-time differences response/amplitude differences * Body effects: feeling louder and/or lower frequency sounds on one side * Conduction: A fair amount of mid- and low-frequency energy reaches the inner ear via bone conduction. Dummy microphone heads are even being made with false skull bones for this reason. * Environment: With "real" sounds, the location of the sound with respect to the listening environment is stable as you move your head. Even when you are "still", your breathing alone is moving your head enough to cause several degrees of phase difference at voice frequencies, not to mention shifting your position in any room standing wave patterns. With 4-element phones, assuming that the "rear" elements are actually at the rear of the housing, the only cues preserved (maybe) are the pinna effects. The head, body, conduction and environment effects are totally lost, because the sound from any single element is heard only in one ear, and the relationship between ears and sources is constant. I'm not even sure that the pinna effects are detectable, given that the sound from any element is bouncing around in the phone housing as well as off the ear. I suspect that it is possible to detect a difference between 2-element and 4-element operation of quad-phones, but I'll bet a cup of HP coffee that quad-phones provide a very unsatisfactory surround experience, beyond allowing you to employ the decoder to remove the anti-phase and Dolby-B encoding of the raw stereo signal. Regards, Hewlett-Packard Bob Niland Internet: rjn@FC.HP.COM 3404 East Harmony Road UUCP: [hplabs|hpfcse]!hpfcrjn!rjn Ft Collins CO 80525-9599 This article represents only the opinion[s] of its author, and is not an official or unofficial position of, or statement by, the Hewlett-Packard Company. The text is provided for informational purposes only. It is supplied without warranty of any kind.