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Table 52
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Various Audio Source Formats COMMENTS Single wire for each channel Typically two channels (stereo left and right) Consumer-grade and found on practically all sources Connector is two RCAs or a single 8-mm minijack Two wires for each channel Typically two channels (stereo left and right) Professional-grade and found on practically all professional sources Connector is typically a three-prong XLR jack for each channel 48 kHz, 16 bits/channel, two channels or 32 kHz, 12 bits/channel, four channels Embedded in DV signal over IEEE-1394 Typically 32, 441, or 48 kHz, 16 to 20 bits/channel Two channels (left/right) are carried over a single XLR cable Embedded in the same signal as SDI video Also, up to 16 channels of audio can be carried in a single SDI signal
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5
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The external source signal formats listed in these tables play themselves out in a variety of different capture card offerings
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Basic Capture Cards
A number of capture cards are available today that are designed specifically for analog capture Most of these devices can be purchased for less than $200 Usually, they provide inputs for composite and S-Video as well as a single stereo audio input Examples include the Osprey-100, the Osprey-210, and Winnov Videum-AV products A simple IEEE-1394 card that allows for capture of compressed DV by the host also can be purchased for less than $200
Professional Capture Cards
A step up from the basic analog cards adds balanced audio to the mix of inputs Balanced audio sources are the norm for professional end users, and thus these lines of cards sometimes are referred to as entry-level professional capture devices Audio and/or video cards of this type usually cost anywhere from $300 to $800 and are available from such companies as the Osprey Video Division of the ViewCast Corporation (the Osprey-220) and Winnov (the Videum-II) Professional broadcasters started to pick up interest in streaming around the time that broadband access for the masses appeared on the horizon These broadcasters, already using high-end audio and video gear, needed to interface their equipment to streaming encoding solutions The need was soon met by the release of a number of professional video capture devices targeted specifically at the streaming space Professional capture cards trend toward the support of media professionals by accommodating both analog and digital inputs Some professional capture devices, such as the Osprey-500, provide for nearly all the various external source formats listed in the preceding tables Professional cards of this type usually cost anywhere from $800 to $3,000 A few companies, such as Pinnacle, Winnov, and ViewCast, also offer some professional inputs on their encoding system products (with the ViewCast system line being based on Osprey cards) Since most PCs today come configured with either onboard audio or an audio card already installed, the simple task of adding in a video-only capture card is all that is required to start streaming audio and video As
Audio/Video Capture Devices: The Second Component of Quality
mentioned earlier, both Osprey and Winnov offer video-only capture devices targeted specifically at the streaming space Streaming is not only about video, however far from it Most streaming today is audioonly For audio-only streams, the standard onboard audio device often is sufficient for most users, although more professional audio devices, such as those offered by Antex, typically are used by streaming professionals for their multichannel video capture and audio preprocessing capabilities For the purposes of this chapter, I will be focusing mostly on the video side of capture devices, which are further defined by the video formats and video data rates they are capable of providing to the host, where further processing takes place The term video format as used here is different from the external-source (video camera and recorder) signal format, discussed in the preceding chapter In the context of this chapter, I will refer to the video format in terms of both video resolution and video color