How to copy a video tape
Video signals have an annoying tendency to degrade in quality every time you copy them. This tendency-known as generation loss--is the bane of video editors everywhere. To avoid its effects, editors find themselves playing a game, often going to great lengths in hopes of achieving the best-looking final product they possibly can.
Someday, you might have to take your chances in the generation loss game. You'll test your luck as you balance tape formats, lighting conditions and editing equipment in an exciting race to the finish line. Your prize? The highest quality video.
Unless you're working exclusively with digital video, you are going to have to deal with generation loss every time you edit. Follow along and we'll show you some of the tricks that good players use to beat the odds.
Start with the Best Equipment
The first stop on the way to reducing the effects of generation loss is to start with the best camera and tape format you can get your hands on, thus maximizing the quality of the footage you edit. If you can manage to get a camcorder with three CCDs, do so; this will bump the image quality up another notch. Not in your budget? Use the best equipment you have access to, or consider renting a camcorder.
Since most of us won't be in the market for industrial BetaCam gear, that leaves us with the DV, S-VHS and Hi8 formats as our best options for image quality. All three have a high signal-to-noise ratio (S/N), expressed in decibel (dB) measurement. The higher the dB measurement (or rating), the better the video these machines will produce. Noise is any undesired electronic signal that creeps into your video, either while you record it or when you run it through another piece of equipment. Hint: minimizing the electronic noise that creeps into your signal as you edit is the best way to win the game.
Light it Right
Remember, you want the source footage (the stuff you're going to tape) to be the cleanest copy it can be. That means you want plenty of light on your subject.
Some manufacturers really play up their camcorders' so-called low-light (lux) ratings, but in most cases these figures are misleading. The bottom line is that you can't get a good video image without plenty of light, regardless of your camcorder's lux rating.
Camera-mounted lights are good for objects, but they tend to make people squint. Stationary video lights are better. These inexpensive workhorses will provide an abundance of light and allow for subtle changes and effects. But you don't need to invest in special video lights. Stand-mounted shop lights, living room floor lamps or even a well-aimed desk light will improve an otherwise dark shooting situation.
Avoid using your camcorder's gain-up switch unless it's a do-or-die situation. This feature, designed for shooting in very low light, will make your source footage look like third-generation VHS before you start editing.
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