"Digital Tapeless" refers to any recording method using digital data recorded to a medium other than audio/videotape. It is becoming quite popular in sound recording circles using computers or specialized workstations, and has something of a following among video users as well (in particular, among both low-end camcorder users who want the ultimate in light, silent equipment, and among high-end video and film producers doing high definition video at such a high bitrate that tape simply cannot keep up. High-definition television (HDTV) means broadcast of television signals with a higher resolution than traditional formats (NTSC, SECAM, PAL) allow. ...
It is generally believed that digital tapeless recording is one of the most robust and easy-to-manage solutions for audio and video production, though its high price in terms of computer resources can make it prohibitively expensive for all but professionals. Nevertheless, particularly within the audio world, there has been significant demand for returning to all-analog, even vintage, recording equipment, to achieve a softer, "warmer" sound at the expense of precise sound replication. This has not so much been the case with video production, as vintage equipment is often inoperable or unable to work with current technology, and generally lacks the quality achieved by digital video technology.
A camcorder is a portable electronic device (generally a digital camera) for recording video images and audio onto a storage device.
The digital nature of miniDV also improved audio and video quality over the best of the analog consumer camcorders (SVHS-C, Hi8.) Variations on the digital-video camcorder included the Digital8 camcorder, and the DVD camcorder.
All other digital consumer camcorders record in DV format on tape and transfer its content over FireWire (some also use USB 2.0) to a computer, where the huge files (1GB for 4 to 4.6 minutes in PAL/NTSC resolutions) can to be edited, converted, (and with many camcorders) also played back to tape.
The success of this carefully orchestrated transition was based on a proven digital infrastructure already in place, and a collaborative effort between the news and technical staff to design a new digital workflow that fit the station like a glove.
While the concept of a digital news environment sounded promising to station management, it was critically important that transitioning to a networked server-based news production model did not become a stumbling block to the station’s on-air progress – nor impact the ratings and revenue generated by its local news operation.
The success of a tapelessdigital news production environment is directly proportional to the interaction between the key decision-makers within the news and engineering departments.
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