Video

fripSide - black bullet

I hope your joking

コメントありがとうございます。 当時のソニーは少数生産のニッチ商品の開発力は勢いがありましたね！５台のHDD-1000を入手しましたがどれも完全では無かったので５台の部品で１台を組みました。「五個いち」です。

Thank you for your valuable feedback. I think it is a tape problem, as you point out, that drop-out errors are so common that they cannot be compensated for. If there is a problem with the application of the magnetic material, has the glue changed over time? If there is an intrinsic problem with the glue, I think it is a case of. There was once a recall of all Sony tapes due to defective glue - HD's tapes were the world's first efforts at high HC ultra-thin tapes for broadcast use, so they may have had multiple problems to begin with. The high recording speeds also made it difficult to design tape damage and heads. In any case, the material is several decades old, so I can't complain.

@@M6E64 Most back-coated tapes, starting in the mid-70's, had switched from a binder made from whale oil (which gave no trouble at all), to a synthetic binder, due to the end of whaling worldwide. The synthetic binder turned out to be hygroscopic, meaning it absorbed water from the air. This made it swell over time, and ooze out though the oxide layer. This would cause the layers of tape to stick together, and also would cause the tape to stick to the tape path of the machine, dirtying up everything. It would also cause oxide to flake off the tape. Baking these tapes for a few hours in a temperature-controlled oven at the right temperature will dry out the binder, allowing it to recede back to where it belongs, and making the tape playable for some period of time. Some tapes, however, end up permanently ruined because the degradation has gone too far. I've seen audio tapes that would have oxide falling off in sheets from the backing. That, in a nutshell, is sticky-shed syndrome.

Powerful drive systems and servo technology allow for a variety of reel play. Although it is not widely known, the reel motor and brake are housed in the reel hub because the housing is too thin to accommodate the motor. The major drawback of the VPR-5 is the reel brake. The reel brake is always locked by a spring and only releases constantly when the power is turned on. This is because the reel is controlled using both servo technology and a brake. If the power is not turned on for several years, the brake shoes will remain stuck to the hub and lock, causing failure. This is caused by the original shoe material and should be replaced with a countermeasure shoe before it fails.

@@M6E64 Interesting. I don't think I'll ever be able to get one of these machines, but I've long thought they were really neat.

Thank you for your comment! That is a very high bit rate! In progressive HD, the rate is generally close to 3Gbps. I think it would have been very difficult to achieve this with the technology of the time. I think the development of tape was particularly difficult. Extremely high HC (magnetic holding power) is required. No bulk eraser can demagnetize it. The tape is incredibly thin.

@@M6E64 This machine reminds me of their STASH recorders. 32 channels, but no helical scanning. Yikes.

That's too slow for linear streaming, and I agree it _seems_ too fast for helical scan. And yet Wikipedia (topic "Sony_HDVS") suggests it is indeed helical scan (and that the whole reel only holds 1 hour.) I wouldn't be surprised if that's the whining noise in this video, that's crazy fast. Edit: Yup, there's another video on CZcams that shows tape threading through an HDD-1000. It's helical scan, and the head spinning is indeed the noise you hear in this video.

Thanks for your comment. The VPR-5 was displayed in a glass showcase at the Broadcast Equipment Exhibition when it was launched, illuminated and shining like a work of art. Visitors looked at the stunningly beautiful VPR-5 and could not believe that this was a realistic piece of equipment to use on location. For NAGRA, the VPR-5 seemed to be the representative of technical competence and the company's image. The high quality and high price were excessive for an industrial device, so it did not seem to be business conscious. In many ways, it was a different dimension from Sony, HITACHI, NEC, Bosch and others. Translated with DeepL.com (free version)

コメントありがとうございます。ご指摘通り、非圧縮ですので、ソース信号を損なわないで情報の可逆記録・再生が出来ます。 何かHDD-1000にハマってしまい結局５台になってしまいました。 ただ、デジタルなので故障すると動作するか？しないか？しかありませんので、自分で修理しなから上手に「騙し騙し」使うと言う技が使えず個人で遊ぶにはハイリスクな趣味です。

コメントありがとうございます。 そう言われて見れば比較した事が無かったです。 カメラ撮りであれば、コンポーネントソース入力、コンポーネントモニター再生 でしたら、かなりの差でBETACAMに軍配かと思います。 １インチはダイレクト記録と言えどもNTSCなんで・・・ １インチは帯域変換が無いと言っても・・・ 輝度、クロマ共に帯域で勝負出来ないと思います。

コメントありがとうごあいます。 確かにご指摘通りドラム径は他に無いほど大きいです。 恐らく書き込み角度を浅くしてドラムの傾きを小さくし、ドラムの高さやテープ速度を抑えたかったんだろうと思います。 但し、Hラインのトレース長が長くなりへッドの回転がもろに出ますので、ジッタの増加など別の問題解決に迫られたと思います。 中々良い個体に出会えませんで、苦労致しました。

You are correct! Video recording technology requires comprehensive technological development from entrance to exit, especially when new formats and basic technologies are revolutionized from scratch. I believe that the development of these technologies will test the comprehensive capabilities of development manufacturers.

Thanks for the comment. You are a BVH-500 fellow. As you pointed out, converters are hard to come by. Playback converters are only available in Japan at a rate of about 1 in 5 VTRs.

Merci pour vos commentaires. J'adore cette machine et c'est l'une de mes préférées. Cependant, elle sera de mauvaise humeur si elle n'est pas entretenue.

Unfortunately it's normal