miniDV to DVD Conversion London, UK from just £20.00

VHS TO DVD TRANSFER provides a professional miniDV to DVD transfer or conversion (sometimes called mini DV ) service.

VHS TO DVD TRANSFER is the authority in the UK when it comes to MiniDV Tape to DVD conversion or Transfer. We use state-of-the-art equipment to make sure the job is done to the highest technical specification resulting in the best quality DVD that can be created from the original tape source. VHS TO DVD TRANSFER is based in London, UK, but services orders from around the globe professionally and affordably.

Digital re-mastering of your miniDV Tape (sometimes called mini DV)
Audio level balancing and enhancement
Picture enhancement
Audio converted to Dolby Stereo

The resulting video streams are authored and burned to DVD . We can get as much as four hours on a single DVD with most customers remarking that the resulting video is clearer, sharper and sounds better!

Don’t let your miniDV memories fade away, preserve them with VHS TO DVD TRANSFER!

Trust VHS TO DVD TRANSFER to preserve your memories and make sure you know what you are buying! There are many tape to dvd conversion companies who simply plug your precious memories into low quality DVD recorders and send you the result. This is the inferior way to preserve your memories as no digital corrections can be made to the video or the audio. For more information see the benefits of using VHS TO DVD TRANSFER.

Artisle of Different types of camcorders and their benefits

Digital Camcorders come in two different data formats: interlaced and progressive scan. Interlaced cameras scan an image by alternating lines: the odd-numbered lines are scanned, and then the even-numbered, for each frame. For this reason interlaced cameras really only capture half the information in a given scene, but due to persistence of vision, viewers typically do not notice any difference unless the object being filmed is moving quickly, which causes vertical edges to appear jagged. Interlaced still photos have to be processed in a program like Adobe Photoshop to de-interlace them, making a half-sized image without the jagged edges.

Progressive scan cameras scan the entire picture for each frame. This produces a finer image than interlaced scan cameras but typically costs a few hundred dollars more. Interlaced and progressive MiniDV cameras can use the same kind of tape.

"Standard" film stocks such as 16mm and 35mm record at 24 frames per second. In the U.S.A. digital video films at 29.97 "frames" per second (on the NTSC system); in Europe, on the PAL system, cameras film at 25 frames per second. In these cases, the term "frames per second" is not technically correct although it is commonly used. Digital video does not have frames on a length of film; instead it scans the fields of an image, and a full scan of each of those fields is considered a "frame." For instance, the Canon XL-1 has 60 fields; a scan of each of those fields provides a complete picture; the camera completes this process of scanning each field 29.97 times each second. (There are various effects where fields can be ignored deliberately; even when every other field is ignored, the process still completes 29.97 times per second).

rovided that the video is retained in the same format (not "recompressed", as often occurs when video is edited for distribution, or compressed with special "lossless" codecs), digital video is a "lossless" format. That is, unlike analog sources, copies can themselves be copied without degradation in quality; a 256th generation copy will be as clear as the original 1st generation footage provided that no frames have been dropped. On some capture cards or on some slower computers, the information being streamed in as the tape is rolling is coming in too fast for the computer to process, and the computer may drop a few frames. In this case the viewer typically will not notice anything visually, but the audio may "click" or "pop" briefly (for 1/30th of a second) which, oddly enough, typically will be noticed, especially in music. For this reason, it is important to process the video on equipment which can handle it.

Digital video can be processed on an NLE, or non-linear editing station, a device built exclusively to edit video and audio. These frequently can import from analog as well as digital sources, but are not intended to do anything other than edit videos. Digital video can also be edited on a personal computer which has the proper hardware (an IEEE 1394 or Firewire card and a fairly fast processor, as well as abundant disk space) and software (Adobe Premiere, iMovie, MGI Videowave, Final Cut Pro, etc.)

Digital video has significantly lower cost then 35mm film, as the tapes can be viewed on location without processing, and can be reused on the spot. For instance, a take of a scene in 35mm would require the full attention of at least the cinematographer and director, and if both of them were happy with the take it would be sent to print. But if there is a problem that they did not notice, the print of that take is useless, as the film stock cannot be reused. Digital video is a favorite of Independent film, as the cost is much lower. For instance, the cost of the total film stock for a feature film may easily be in the tens of thousands of dollars when using 35mm, but could be as low as a few hundred dollars for digital video, even if the crew does not reuse any tapes. Digital video is also faster to work with in filming, as the results of a take can be viewed instantaneously. For this reason, George Lucas has been using digital film in filming the Star Wars sequels, with digital video assist.

Digital video is used outside movie making. In particular, digital television (including higher quality HDTV) started to spread in most developed countries in early 2000s. Digital video is also used in modern mobile phones and video conferencing systems. Digital video is used exclusively for Internet distribution of media, including streaming video and peer-to-peer movie distribution.

There are many formats for digital video encoding and file containters supporting different levels of quality, resolution, color depth and feature sets.

As of 2004, the highest resolution for a digital video camera is 8 megapixels (3840x2160) at 30 frames per second ("QuadHDTV"). The highest speed is attained in industrial and scientific high-speed cameras that are capable of filming 1024x1024 video at up to 1 mln frames per second (for very short time, obviously).

Related Information

The Benefits of Digitization