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copy inhibit – interesing…
just had a very strange incident – totally repeatable…
printing 30min doco to video from timeline (6c > dsr11), and the tape stops rolling at 15:20:18 with COPY INHIBIT. try recording 10sec before to 10sec after – same thing, same tc.
check source tape – there’s a 50 X 25 pixel glitch in the both right corner on two frames at same tc.
capture again.
exactly the same thing.
render to new track – all ok.
so, is there a way to activate COPY INHIBIT flags on my master? is sony keeping something from us?
curious
leslie
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7 Replies
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It was that video noise that caused the problem. I guess you could “copy” that video noise – but not sure HOW you would get it back on the tape since your camera won’t accept it!
Edward Troxel
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doh!
guess you’re right – it was a passing whimsy. but it’s still interesting nevertheless. out of curiosity i took the two frames and moved them around on the time lime – bingo, they worked perfectly as copy inhibit everytime….
all the best
leslie
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Hi Leslie, that’s extremely interesting to me! If you place it at the very beginning does it abort the entire render? Does is work with just the audio, or is it embedded in the video portion? If it’s audio, is it audible? I’d love to get those frames from you if you’re interested in sending them on? Perhaps, via E-Mail, ICQ or MSN? I love a rock solid copy protection for my video work. This might just be, the ticket………….either way, very interesting!!
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hi rob,
sorry too late – deleted job and clients gone off with original tape. however, it wouldn’t have been much use simply because you couldn’t record the error! it only showed up on the timeline, couldn’t get it recorded (hence the original problem). it was in the picture, not audio stream.
we’ll live in hope of protecting our work one day,
leslie
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Plus, it won’t affect the RENDER at all. It affects the Print To Tape – recording will stop at that point.
Edward Troxel
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Ok, thanks Leslie……………I was just hoping!
Thanks Ed, for clearing that up. I was misunderstanding her original post. Guess I was getting too excited, my ears perked up and my eyes bugged out, thinking this might be a fail safe copy protection. Oh well………….one can dream, can’t we? -
The VBI spilled noise from the early lines of the picture can be rendered to DVD. Going from DV camcorder to a set top DVD recorder can give you some assurance that you’ve got enough dizzy signal to trigger the copy inhibit.
CGMS and Macrovision levels have different approaches and are all circumventable.
In PAL land there are solutions for VHS (or perhaps for community cable / PEG applications) to have analogue copy protection flags that with a half decent recording VTR, can result in some protection. It is never bullet proof as whatever you can see or hear can be copied, until with have HDMI sockets on our heads/visual-cortex that is!
https://www.gthelectronics.com/specials.htm#R
This is a TBC enhancer/procamp unit that I use, although I don’t trouble over attempting to make it harder for customers to copy. I’d always go for costing the project out with no speculation on media sales. Media sales, given an appropriate level of merchandising to make their order special, work out to just enhance those sales.
Here is the extract from this unit’s capability sheet, it may need some license fees to be paid to the patent holder to use this function legitimately:
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Rights Protection & Widescreen Signal – Works on 625/50 Output OnlyOption “R” has a simplified widescreen signalling controlled by the AUDIO button, so widescreen TVs will switch automatically to the correct mode, and CGMS Copy Protection controlled by the MANUAL button. The automatic fader is still available with variable speed using the FADE button and SPEED control but fading is always automatic and audio is always faded with the video. Of course audio can be left unfaded simply by connecting audio directly and not taking it via the ACE. Loss of the manual fade is thus the only disadvantage.
This option lets you prevent customers from copying VHS tapes of weddings or special interest videos to DVD or DV. It will thus force your customers to make only poorer VHS copies rather than lossless digital ones. The 16:9 widescreen signalling option can be used to force widescreen TVs into the correct mode. All of the most common modes can be signalled:
AUDIO MANUAL WSS & CGMS MODE
OUT OUT 4:3 Full Screen
OUT IN As Above + Copy Protected
IN OUT 16:9 Full Screen (Anamorphic)
IN IN As Above + Copy Protected
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Next time you have problems with what has been digitised, attempt to mask the first few lines, this is a line-21 or line-23 (even field numbers provided – you’ll have to calculate which lines for the other field as I never remember them offhand) for NTSC and PAL. These are the lines against the 525 or 625 line system not the line number of D1, DV or DVD. These are usually mapped to the first half a dozen lines somehow by some form of magic that the detectors assess. 😉
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