I’m in a dealer’s showroom, stuffed with equipment used by Hollywood
DPs—ARRI cameras, DigiPrime lenses, etc. The owner shows me a prototype
HD camera so new it’s still in an unopened box. He hands me a cassette
that looks like a shrunken 3/4-inch cartridge or maybe an 8-track tape.
The camera looks like a small ENG camera without a VTR and doesn’t seem
special in any way. But Michael, the proprietor, excitedly explains
that the camera records a 4:2 image.
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