11:42:28 12.04.2018 kawabamxa

Not Who But How – PXL

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1987 that uses a compact audio cassette as its recording medium. An ordinary cassette audio tape stores both video and sound. The PXL-2000 holds 11 minutes of footage by moving the tape at a high speed, nearly 9X normal cassette playback speed. The PXL records at roughly 16. In order to reduce the amount of information recorded to fit within the narrow bandwidth of the sped-up audio cassette, it uses an ASIC to generate slower video timings than conventional TVs use.

For playback and view-through purposes, circuits read image data from either a recorded cassette or the CCD and fill half a digital frame store at the PXL reduced rate, while scanning other half of the frame store at normal NTSC rates. The PXL-2000 has several weak points. The most common fault is a decayed drive belt, common to most tape mechanisms of the 1980s, and fogged blue filters. The blue filter is a glass optical component that is fitted behind the lens to prevent infrared light from reaching the CCD and producing miscoloured images. Since the PXL-2000 both breaks down easily and is past production, its use is aligned with a certain romanticized mortality, unfit for serious mainstream appropriation.

In 1990, Pixelvision enthusist Gerry Fialka organized PXL THIS, the first film festival dedicated to projects shot exclusively on the PXL-2000. The festival continues to occur annually in Los Angeles, California. PXL-2000 cameras are still popular in the filmmaking scene—in fact, some individuals offer modifications for the PXL-2000 to output composite video, to interface to an external camcorder with a composite video in, or a VCR. The PXL-2000 was used by Richard Linklater in his 1991 debut film, Slacker. This video, which follows several crack cocaine addicts in Florida, relies heavily on the camera’s portability to maintain an intimate presence.

Category: DVD
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