text:
Set-up Menus
Harry W. Foulds
Table of Contents
1. Introduction 4- 8
6. Glossary 36 - 42
The AG-DVX100 has captured the imagination of creative filmmakers, broadcasters, and
video professionals around the world, with its 24p (progressive) capabilities.
Panasonic has won a total of 15 Emmys, 12 of them for advancements in the area of digital
video technology. Panasonic's engineers are continuously pushing the limits of product de-
sign and the AG-DVX100 is a prime example of their innovation and imagination.
What is 24p?
Lets start with film, which is shot at 24 frames per second. Inherent in this capture rate, is a
motion blur that is used by the artistic filmmaker to draw the attention of the viewer to his
subject. In the movie theater, film is projected at 48 frames per second due to a shutter in
the projector. The AG-DVX100 uses an electronic shutter which the user can set to differ-
ent speeds.
"When you watch 24p, you know you are being told a story". It's a different look. It's the
difference between the look of a soap opera or the six o'clock news and the look of a fea-
ture film.
There is a three part answer to what must be done to create the cinematic look in video
What is Progressive?
Rather than capturing one half of a picture (the odd lines) and 1/60th of a second later cap-
turing the second half of the picture (the even lines), wouldn't it be better to capture an en-
tire frame of video with no temporal (time) difference? Progressive recording does accom-
plishes this! What progressive recording does is creates a picture with double the scan
lines of a conventional interlaced picture, to create a noticeably sharper image.
What is 24p Playback? Con't
Here is a graphical view of what is taking place when we playback our 24p recorded video.
Main Features
The Gamma settings menu curve allows you to select from four gamma curves:
Gamma Image
CINE-LIKE Film-like images
LOW Images with strong black contrast
NORM Standard video gamma
HIGH Bright images with enhanced gradation in dark areas and soft contrast.
Built-In SMPTE Time Code Generator and Reader
The DVX100 records SMPTE- compliant VITC onto the Sub-code area of the videotape.
Select from DF / NDF and Free Run/Rec Run modes, and use a preset or regen. User bits
(UB) are also provided, letting you record your choice of date, time, TC value, frame rate or
user data. In 24p the time code is in NDF mode only.
IEEE 1394 terminal for non-linear production with Synchro Lock Function
Equipped with an IEEE 1394-compliant 4-pin DV terminal that makes it easy to upload data
to a PC and dub onto a DV recorder. This terminal also features a new synchro lock func-
tion that allows the AG-DVX100 to remotely start and stop an external DV device connected
to it via a DV cable, such as the AG-DV1DC portable mini-DV recorder.
The DVX100 has more special features that will make the Broadcaster or professional
shooter's job much easier.
In order to properly control this camera for generating the most powerful video images,
more operators should understand camera process terminology.
Experienced camera operators know there are always tradeoffs in every shooting situation.
You'll trade shutter speeds for depth of focus, resolution for sensitivity, detail for noise, and
the list goes on. The DVX100's extensive menu system will provide the camera operator
with additional tools for more creative solutions for image capture.
The following menu descriptions show diagrams of these menus and explain the effects of
each setup function.
How to use the Setup and operator Menus
The DVX100 offers the operator an extremely flexible setup capability.
There are basically two groups of menus, one for Camera functions and the other for VCR
Functions. These two groups give you the opportunity to choose from 73 items. Some of
the menu items are used jointly in the camera and the VCR.
In order to access the menus, first make sure you are not in the record mode. Choose the
camera or VCR mode, by pressing the Camera/VCR button located on the lower back sec-
tion of the camcorder. Now press the menu button located near the viewfinder marked
Once you pressed the MENU button, the menu will appear in the EVF and also on the LCD
screen depending on where the DISPLAY menu is set. (EVF ON / OFF)
The operator may now change the menu by using the Operation Lever in the up direction
S or down direction T. This will highlight each selection, one at a time. Highlight any
function that you would like to change. Now press the Operation lever like a button, and
this will display the items in that menu selection. To chose the item in this menu, once
again press the Operation Lever in the up direction S or down direction T. To pick your
selection press the Operation Lever and this will move the on screen arrow to the selec-
tion you want. Now that you have made your selection Press the MENU button two times
to exit the menu and return to a normal screen. There is no set button; merely choosing
the item then pressing the menu button twice will effect the change.
Note: You can not operate the menu system while you are recording.
AG-DVX100 Menu Index
Item Menu Page
12 bit Audio Playback Functions Screen (VCR) 30
Item Menu Page
First Rec TC Recording Setup Screen (Camera) (VCR) 23, 32
Item Menu Page
Tape Protect Other Functions Screen (Camera) 29
4 . Camera Menus Screen
4.1 Scene File Screen
The Scene File Menu allows the user to quickly change the setup for up to six scenes with a
turn of the scene dial.
The scenes are tailored to various shooting conditions and are stored in the six menu
memories and are selected by a six position rotary dial (cine switch), located at the back of
the camcorder. You may also set up your own scene files instead of using the factory de-
F1 : SCENE This file contains the settings suited for standard recording.
F2 : FLOU This file contains the settings suited for recording under fluorescent lights.
F3 : SPARK This file contains the settings suited to accentuating the subject while
recording (for shooting a wedding reception, etc.)
F4 : B-STR This file contains the settings suited for recording with extended
gradations in the dark areas (for recording scenes at dusk, etc.)
F5 : 24P This file contains the settings suited for recording in the progressive 24P
F6: ADVANC This file contains settings suited for recording in progressive 24p
advanced mode.
Note: During recording, you can not change the scene file to progressive. You must be
in the record standby mode to change to the progressive mode.
As was explained the scene files are set to factory defaults, but they may be also tailored to
your various shooting conditions and stored in the menu memories and you may select
them with a six position rotary dial (cine switch), located at the back of the camcorder.
CHROMA PHASE -7 to +7
COLOR TEMP -7 to +7
A IRIS LEVEL -4 to +4
Detail Level Changing the detail level will affect the whole picture, this adjustment will
allow you to increase or decrease the overall Horizontal and Vertical detail in the picture.
Chroma Level Changing the Chroma Level allows you increase or decrease the amount
of color that is in the video image.
Chroma Phase Changing the Chroma Phase allows you to change the phase of the color
(tint) of the video image. Keep in mind that this adjustment is a fine adjustment.
Color Temp Color temperature is determined at the temperature when carbon is heated
up and emits a light which has a certain spectral response. For example, at 3000 degrees
Celsius carbon black emits a light. The color temperature of that light is said to be 3200
Kelvin (3000 Celsius equals 3200 Kelvin). Color temperature generally expresses chroma-
ticity of a source of light such as indoor or outdoor light. For example, if the temperature is
relatively low, the light appears reddish. As the temperature increase, the light changed
from red to orange to yellow to white. So when a camera is used with light whose color
temperature is other than 3200K, use the appropriate color temperature conversion filter or
setting. The color Temp setting allow you to finely adjust the color temperature, after the
white balance has been adjusted.
Master Ped In standard analog video the Pedestal is normally set at 7.5 IRE or 7% and
in digital video it is set at 0 IRE or 0%, this is the black reference for the video signal. This
adjustment allows the user to slightly control the pedestal level which is set in the Camera
Setup Menu. This will change the black reference for the video signal and allow for either
slightly rising of the blacks or the crushing of them.
A Iris Level The automatic iris level controls the iris opening or level of the video auto-
matically based upon Auto mode selection (IRIS) on the side of the camcorder.
Gamma Gamma correction is applied in the camera to correct for nonlinear light-output
characteristics of the standard TV picture tube. Picture-tube gamma stretches the whites
and compresses the blacks. Camera gamma compresses the whites and stretches the
blacks. Camera gamma can be properly set by using logarithmic gray scale charts and a
waveform monitor. Camera gamma must be the reciprocal of picture gamma which is 2.2,
so the camera gamma is usually 0.45.
Cine-Like This gamma curve gives the video image a cinema like look. Its best to set the
iris about a 1/2 stop lower then standard video settings.
Low This setting allows for a moderate gradient for the low luminance areas. The video
image looks a little sharper due to the change in the gamma curve.
Norm Standard video images are produced.
High This setting allows for a sharp gradient for the low luminance areas, thus the dark ar-
eas are extended to make them appear brighter.
Skin Tone DTL The "talking head is probably one of the most common shots on televi-
sion. The Skin Tone Detail is used to improve the head shot quality. When skin tone de-
tail is turned on, the facial skin color has its detail reduced smoothing any skin irregularities,
without affecting other areas of the video image.
Matrix The mixture of the primary colors red, blue and green to produce the many hues in
the visible spectrum can be adjusted. We often have to compensate the colors due to light-
ing conditions.
The DVX100 has three settings:
V Detail Freq Used in the progressive mode to increase the detail in the vertical portion
of the image. This will slightly improve the sharpness of the image. In 24p thick used for
video playback, while the thin setting is used for going out to film.
30P: In this selection you will be recording in the Progressive mode at a 30 frame
per second mode. The 30 frames per second video imaged are converted into 60 f
field interlace signals, and the resulting video signals , and the resulting video
signals are output or recorded. In this mode , high-quality still pictures free of
vertical shifting, can be obtained in this mode
24P: In this selection you will be recording in the Progressive mode at a 24 frame
per second mode, or a Cinema look. The 24P frame per second images are
converted into 60 field interlace signals using 3:2 pulldown or conversion system.
The resulting video signals are output or recorded. Cinema-like images can be ob
-tainted in this mode
24P (ADV): In this selection you will be recording in the Advanced Progressive
mode at a 24 frame per second mode. The 24 frames per second video images are
converted into 60 field interlace signal by the advanced 2:3:3:2 pulldown method
and the resulting video signals are output or recorded. Use this setting when the
final product will be transferred to film.
Note: The color bar signal cannot be displayed. The gain cannot be controlled, it is fixed.
The auto focus cannot be utilized. When the progress mode has been selected, the sync
signal may be temporarily disturbed and no video will be output for 3 seconds. A shutter
setting of 1/50 (OFF) or 1/60 is recommended. When using ATW (Auto Tracking White)
function the black balance will not function. Since the video is recorded in 5 frame incre-
ments in 24P and Advanced mode, the timing at which recording starts may be slightly de-
Name Edit This selection allows you to change or edit the name of the scene file se-
lected by the scene file dial,
Save / Init Save, allows you to save changes made in a scene file. Remember to do this
or you will revert back to the old settings when power is turned off or you switch to the VCR
mode. If the initial mode is chosen the scene file settings will return to the factory defaults.
4.2 Camera Setup Menu Screen
Syncro Scan Is used to prevent black or white horizontal bars that may appear across
your computer monitor or television, when you are recording a scene that has either of
these in it. By setting up the correct syncro scan in the menu, you can press the shutter
button on the side of the camcorder and prevent this problem.
What you are doing in the MENU, is trying to synchronize the camera's shutter with the
scan rate of the computer monitor or television included in the scene.
Aspect Conversion Allows you to select the aspect ratio of the image to be recorded.
The standard images have an aspect ratio of 4:3. When placed in 16:9 aspect ratio the im-
ages are recorded with black bands across the top and bottom of the screen creating the
16 by 9 or letter box image. This method is called letterbox and has the major advantage of
WYSIWYG (What You See Is What You Get). It you use an external anamorphic lens
adaptor, about 25% higher vertical resolution can be obtained which may be more important
for film out applications. If Letterbox is selected, the normal CCD based imager signal out-
put of 720 pixels H by 480 pixels V is cropped down to 720 pixels H by 360 pixels V. The
remaining 60 pixels at the top and bottom of the picture are forced to black. When an exter-
nal anmorphic lens is used the source image is optically converted from widescreen 16:9
aspect down to a 12:9 aspect (4:3). Therefore the entire surface of the CCD based imager
can be used to capture the image, yielding a full 480 lines of vertical resolution.
Color Bars A SMPTE test signal is generated internally, used to check the cameras per-
formance, it also may be used at the beginning of the videotape as a reference.
You can turn this function off or on in this menu. If you leave it on, it will shut off when the
camcorder is placed in the VCR mode or the power is shut off. This function does not work
in the progressive mode.
Setup Also called pedestal, this is the video black level in a video image, 0% is
the default setting for the DVX-100. Digital Video uses 0% setup (which is the
ITU-R-601 Digital standard setting and Standard analog interlace video uses 7.5%.
4.3 SW MODE Screen
Mid Gain This item selects the video gain at the M position of the GAIN switch lo-
cated on the side of the DVX-100. There are five settings you can choose from:
0dB to 12dB. The factory default is set to 6dB.
High Gain This item selects the video gain at the H position of the GAIN switch lo-
cated on the side of the DVX-100. There are five settings you can choose from:
0dB to 12dB. The factory default is set to 12 dB.
ATW Normally, the white balance should be re-adjusted as the lighting conditions change.
The Auto Tracking White function, is used during the record mode to continually adjust the
white balance automatically. With this menu item you can assign this function to one of po-
sitions of the WHITE BAL switch or turn it OFF.
There are four settings:
OFF: This turns off the ATW function and allows the AUTO button or USER button to take
Ach: Sets the ATW function to Ach position of the WHITE BAL switch.
Bch: Sets the ATW function to Bch position of the WHITE BAL switch
PRE: Sets the ATW function to PRST (Preset) position of the WHITE BAL switch
Handle Zoom This item sets the zoom speeds of the lens, which are controlled by the
HANDLE ZOOM switch located on the handle of the DVX-100.
L/OFF/H: Low/ OFF/ High speeds are set to the 1/2/3 positions of the Handle Zoom
switch .
L/M/H: Low/ mid (Medium)/ High speeds are set to the 1/2/3 positions of the Handle Zoom
Iris Dial This item sets the direction of rotation of the IRIS dial in the Manual iris mode.
When set to DOWN OPEN, the iris will open when the IRIS dial is turned down. When set
to UP OPEN the iris will open when the IRIS dial is turned upward.
User 1 & User 2 the User1 and User2 buttons are used for quick access customized
operations of the DVX100. Each button may be assigned any one of the nine functions
described In the table below. These assigned functions can then be accessed at the touch
of a button.
A. Iris When set to ON, or when the AUTO button is pressed, the auto iris control is
performed. The IRIS button will not operate at this time. When turned OFF the AUTO iris
control will not function and the IRIS button can be used.
AGC This setting sets the video gain when the AUTO button is used.
6dB: When the AUTO button is pressed the video gain will increase by a maximum of
12dB: When the AUTO button is pressed the video gain will increase by a maximum of
ATW Normally, the white balance should be re-adjusted as the lighting conditions
change. The Auto Tracking White function, is used during the record mode to continually
adjust the white balance automatically. With this menu item you can turn this function OFF
or ON when the AUTO button is pressed.
AF When set to the ON position, auto focus operates when the AUTO button is pressed,
the FOCUS switch and PUSH AUTO buttons will not function. When AF is set to the OFF
position, the auto focus operation will not be performed when the AUTO button is pressed.
The FOCUS switch and PUSH AUTO will be functioning. Not in available in progressive
Rec Speed This item allows the user to select the recording time, either SP for standard
play or LP for long play. SP is preferred for interchange.
Audio Rec Used for selecting the method of recording audio, 12 bit (12bit/32kHz) or 16 bit
(16 bit/48kHz). 16 bit audio recording is preferred.
Mic ALC This item Allows the user to turn ON or OFF the automatic level control for the
Mic Gain 1 This item allows the user to select the input level of the external microphone
that is connected to INPUT 1 connector. Either –50dB or –60 dB, see your MIC's specs.
Mic Gain 2 This item allows the user to select the input level of the external microphone
that is connected to INPUT 2 connector. Either –50dB or –60 dB, see your MIC's specs.
Time Code A Time code is used for accurate video editing of the recorded video tape. A
special internal generator will place an 80 bit code or number on every recorded frame. The
VCR will use this number for precise identification of a frame when editing. This code is re-
corded with the video and audio signals and is stored in the sub code area on the DV tape.
This code contains the hour, minute, second and frame number.
In the 80 bits of time code you have a lot of information, such as drop frame information,
color frame information and user bit information.
The drop frame is used to keep accurate timing between the vertical timing and the actual
time. The drop frame is bit number 10, this bit identifies if the drop frame or the non-drop
frame format is being used. If it is "1" the unit is placed into the drop frame mode and will
account for the missing frame numbers which are missing due to the timing of the vertical
and time. If it is "0" it will be placed into the Non-drop Mode. In the 24p mode we use NDF
There are 32 User Bits in each 80 bit code, these user bits can be used to identify the user
information, the time, the date, the time code generators value, or the frame rate..
There are two ways to start recording time code, record run and free run. Normally, for
most productions the VCR's time code is set to the Record run mode. In this mode the
time code will be set to zero at the start of the day's recording (operates only during record)
and a continuous record is produced on each video tape covering all takes. In the free run
mode the time code is running regardless of the VCR's operation mode.
TC Mode This item selects DF (Drop Frame) or NDF (Non-drop Frame) modes and as
explained this item corrects timing differences.
Note: When the progressive mode, 24P or 24P ADV is used, the non drop frame mode is
set regardless of the setting.
TCG This item selects FREE RUN OR REC RUN, For continuity, its best to leave in the
REC RUN mode.
First Rec TC This item allow the user to select the time code that will be used when
recording is started.
REGEN: In this mode the time code is regenerated from the time code on the video tape if
there is any.
PRESET: Here the time code is recorded using the value set in the TC PRESET item serv-
ing as the initial value.
TC PRESET This item is used to set the initial value used, when the PRESET in First Rec
TC is selected.
Note: When the 24P or 24P ADV modes are used you must set the frame value to 0 or a
multiple of 5. If you use any other value the time code recorded will shift.
UB Mode This item allows the user to set up the information to be recorded as user bits.
The user may select one of 5 items:
User: the user's information, which is selected in the UB PRESET item.
Time: The time that the recording was made.
Date: The date that the recording was made.
TCG: The time code generator's value is recorded.
FRM Rate: Is the frame rate information for frame conversion is recorded. This is a 8 bit
digital number, which contains the following information: The user's bit value verification
information, the frame sequence number, the frame rate information and the recording con-
trol information.
UB Preset This item is used for setting the user's bit, make sure that USER is selected in
the UB Mode item setting. The user's bit has 8 bits, which can be set 0 to 9, A to F
Interval Rec This item sets the intermittent recording mode, you have 3 selections.
OFF: The Intermittent operation function is turned off.
ON: When the START/STOP button is pressed, recording will be performed for the num-
ber of seconds set by the REC TIME item and the INTERVAL TIME item.
One-Shot: This item will set the camcorder into a time lapse recording mode. When the
START/STOP button is pressed, the VCR will go into the recording mode controlled by the
seconds that were set up in the REC TIME item, then go into the record pause mode.
Note: When placed into the intermittent recording mode or one-shoot, an "I" will flash on the
EVF and display it on the top of the screen. Once the recording has started it will stop
flashing. If the power is turned off the Interval Rec will return to OFF. When in the 24P or
24P ADV modes you will not be able to use the Interval Rec function.
Rec Time This item is used to set the recording duration for which intermittent recording is
to be performed. Normally set to 0.5 seconds, you can change this to 1 second, 1.5 second
or 2 seconds.
Interval Time This item sets the duration of the interval time with which intermittent re-
cording is to be performed. Normally set to 30 seconds, you can change this to 1 minute,
5 minutes or 10 minutes.
4.5 DISPLAY SETUP Screen
Zebra Detect 1 The Zebra Detect function is basically a built in light meter that meas-
ures the peak value of white. A black and white striped diagonal pattern indicator, which is
superimposed on the picture and only appears in the LCD viewfinder, in portions of the
video image corresponding to the pre-set brightness level. This level is set between 80%
to 100% and will warn you when the video signal has reached the predetermined level.
There are two warning patterns used in the DVX-100, normally, Zebra Dectect1 is set to
80% and Zebra Detect 2 is set to 100%. Zebra Detect 1 Is indicated by diagonal strips
that start right top and Zebra Detect 2 is indicated by diagonal strips that start at the left
top. Remember, you must press the Zebra button to activate the Zebra function, each
time the ZEBRA button is pressed you will cycle from OFF to Zebra 1 to Zebra 2 to Marker
to OFF . Use these indications as a guide when you use the manual iris control in manual
mode to lower the brightness if whites are to high.
Zebra Detect 2 The Zebra Detect function is basically a built in light meter that meas-
ures the peak value of white. A black and white striped pattern only appears in the LCD
viewfinder or EVF, in portions of the video image corresponding to a pre-set brightness
level. This level is set here for 80% to 100%. Zebra Detect 2 is normally, set to 100%.
Remember you must press the Zebra button to activate the Zebra function.
Marker This item allows the user to turn OFF or On a measurement value of the video
level. When on, at the bottom left of the viewfinder or LCD a measurement of the video
level from the center of these displays will be displayed. This is very useful to the user that
utilizes manual iris.
Video Out OSD When turned ON all information displayed on the LCD or EVF is output
to the video output signal with the video image.
Date/Time This item is used to set the date and /or time that is displayed in the EVF,
LCD or video output. You have four selections OFF, TIME will be displayed, DATE will be
displayed, and TIME & DATE will be displayed.
Note: If TIME, DATE or TIME & DATE is selected it will be displayed in the video output re-
gardless of the VIDEO OUT OSD setting
Level Meter This item allows the user to display the audio level meter in the display or
turn it OFF.
ZoomyFocus This item allows the user to display the zoom and focus values in the dis-
play or turn it OFF.
TapeyBattery This item allows the user to display the remaining tape amount and remain-
ing battery charge in the display or turn it OFF.
Other Display The viewfinder and LCD monitor are capable of displaying 21 items of in-
formation when the MODE CHK button is pressed, some cases certain information is dis-
played already. This item has three choices OFF, PARTIAL and ALL. Default is PARTIAL
Display Item ALL PARTIAL OFF
Counter Display Another setting Another setting Another Setting
Record Time Mode display (SP or LP) Displayed Displayed VCR, Not Camera Not Displayed
Audio level meter display Another setting Another setting Another setting
Audio sampling frequency display Displayed Displayed VCR, Not Camera Not Displayed
Focus control information display Another setting Another setting Another setting
Date and time display Another setting Another setting Another setting
Remaining battery charge display Another setting Another setting Another setting
Mic level automatic control display Displayed Not Displayed Not Displayed
LCD Backlight Allows the user to adjust the LCD's monitor's backlight slightly brighter,
NORMAL and HI are the two choices.
LCD/EVF Set Allows the user to adjust the viewfinder and LCD monitors brightness and
the LCD's color level.
Self Shot: When doing a headshot or face-to-face shot you can turn the LCD toward the
person so he can monitor himself. When set to Mirror, the LCD monitor will be reversed at
the left and right for display during the face to face recording.
EVF Mode This item is used to select when the EVF will be on. When turned ON video
image will be shown at all times in the viewfinder. In the AUTO mode, when the LCD moni-
tor is opened the video no longer appears in the viewfinder.
4.6 OTHER FUNCTIONS Screen
Item Settings Default
TIME SHIFT +23h, +1h, OFF, -1h, 23h OFF
Remote This item is used to set the operations of the wireless remote control. There are
3 settings, VCR1, VCR2 and OFF. When using two DVX-100's this setting allows the two
camcorder to be control from one remote control, by selecting which camcorder you want to
control from the remote control. This item makes sure that only that one button (VCR1 or
VCR2) will operate this camcorder from the remote control. OFF the remote will not be able
to control the camcorder.
IEEE 1394 Or firewire as it is often called is an extremely high speed, high performance
Serial Bus with a special protocol (set of rules). Part of that protocol has been used for high
speed digital video and audio transfer. Not only can you transfer video and audio, you can
transfer time code and control your VCR remotely. The cable used must not be longer then
4.5 meters.
DV Control: This item selects the method for backup recording, using the DV (1394)
connector located on the side, under a cover of the DVX-100. There are 4 selections:
OFF: There is no control information supplied.
EXT: The START/STOP button will control the backup recording. In this mode only the
backup recorder will record the video and audio. The camcorder does not record.
BOTH: The video is recorded on both the camcorder and the backup unit.
CHAIN: used when additional record time is needed. Once the camcorder approaches the
end of its record time the backup unit will automatically start recording. Remember the back
up unit must be in the record standby mode to function.
DV CMD SEL: This item sets the record function performed by the backup unit when
the START/STOP button on the camcorder is pressed. There are two choices
REC_P: Allows switching between recording and pause.
STOP: Allows switching between recording and stop.
Note: Used when backup unit does not have a pause mode.
Rec Lamp: this item allows the user to control the tally lights, OFF turns both tally lights
off. The Front tally lamp selection allows the front tally lamp to function only. Rear selec-
tion allows the rear tally lamp to function only. Both allows both tally lamps to function.
Note: The tally lamps supply you with additional information:
Beep sound this item allows the user to turn the beep sound ON or OFF. When the
beep tone is sounded the audio signals from the output connectors are muted, and the
beep tone is output instead. When turned on, the beep tone have different meanings.
Beeps Operation
1 beep Sound When the power has been turned on.
1 beep Sound When you start to record.
2 beep Sounds When recording has been temporarily stopped.
10 beep Sounds When the cassette tape has not been inserted.
10 beep Sounds When the unit is in the pause mode.
10 beep Sounds When condensation has formed inside the Camcorder.
10 beep Sounds When a problem has occurred in the Camcorder.
Clock Set This item allows the user to set the internal time and calendar of the Camcor-
der. The Year, Month, day, Hour and minutes. Which is held by an internal battery.
Time Shift When you travel, this item allows the user to set the time for different time
zones and countries without changing his original home time (CLOCK SETTING) setting.
This item effects both the viewfinder, LCD and the clock time recorded on the tape. This
adjustment is done in 1 hour increments, from +23 to –23 Hours and also a OFF position
which is the factory default.
Tape Protect When the unit has been left in standby for 5 minutes while in the record
pause mode, it will be automatically be set to the tape protection mode. There are two
choices for this tape protection mode: POWEROFF which shuts off the power and STBY,
which only places the video heads in the stop mode.
Hour Meter This item keeps a record of total hours that the video head has been rotat-
ing, this is a 5 digit number, measured in 1 hour increments.
End Search This item sets up the operation of the END SEARCH button when pressed.
BLANK: In this mode the END SEARCH will look for any blank spaces on the videotape.
Rec End: In this mode the END SEACH will look for the video that was shot last.
Note: When placed in the Rec End function and a new videotape is used, this function will
not operate correctly. If the tape is blank the operation will stop at the end of the tape.
12 bit Audio When making a recording in the 12 bit audio mode, this item will choose the
audio Channels being used..
There are three selections:
ST1: CH1 signals are recorded on Channel 1 track
CH2 signals are recorded on Channel 2 track
NOTE: If the audio has been recorded in the 16 bit mode, there will be no Channel 3 or
Channel 4. In this mode there will only be:
CH1 signals are recorded on Channel 1 track
CH2 signals are recorded on Channel 2 track
Audio Out used to set the audio signals that are sent to the RCA connectors when the
videotape is played back.
CH1 yCH2 Channel 1 Connector has Channel 1 audio signals
Channel 2 Connector has Channel 2 audio signals
5.2 RECORDING SETUP Screen
(Same Menu used for the Camera, some functions not used)
Rec Speed allows the user to select the recording time, either SP for standard play or LP
for long play
Audio Rec used for selecting the method of recording audio, 12 bit (12bit/32kHz) or 16 bit
(16 bit/48kHz)
1394 TC Regen This item is used to select the time code that will recorded from the DV
OFF: The signal recorded will use the time code set up using the TC MODE item, TCG
item and the First REC TC item.
ON: The signal recorded will use the time code from signal being recorded from the DV
Note: When ON is used, it will take precedence over TC MODE item, TCG item and the
First REC TC item. If no Time code is supplied to the DV connector, TC MODE item, TCG
item and the First REC TC item will be used.
TC Mode this item selects DF (Drop Frame) or NDF (Non-drop Frame) modes and as
explained earlier this item corrects for timing differences.
Note: When the progressive mode, 24P or 24P ADV is used, the non drop frame mode is
set regardless of the setting. See more information about Time Code on page 21
TCG This item selects FREE RUN OR REC RUN, as explain its best to leave in the REC
RUN mode.
First Rec TC This item allow the user to select the time code that will be used when
recording is started.
PRESET: here the time code is recorded using the value set in the TC PRESET item serv-
ing as the initial value.
REGEN: in this mode the time code is regenerated from the time code on the video tape
TC PRESET This item is used to set the initial value used, when the PRESET in First Rec
TC is selected.
Note: When the 24P or 24P ADV modes are used you must set the frame value to 0 or a
multiple of 5. If you use any other value the time code recorded will shift.
1394 UB Regen This item selects the user's bit to be recorded when the DV connector is
OFF: The user's bit selected in the UB Mode item is used for the recording.
ON: The user's bit of the signals input of the DV connector is used for recording.
Note: When set to ON, this setting takes precedence over the UB MODE item setting.
The user's bit is not recorded if the signal does not contain the user's bit information
And when there is no signal supplied to the DV connector the UB MODE item is used.
UB Mode This selection allows the user to set up the information to be recorded as user
bits. The user may select one of 5 items:
User: the user's information, which is selected in the UB PRESET item.
Time: The time that the recording was made.
Date: The date that the recording was made.
TCG: The time code generator's value is recorded.
FRM Rate: The frame rate information for frame conversion is recorded. This is a 8 bit
digital number, which contains the following information. The user's bit value verification
information, the frame sequence number, the frame rate information and the recording con-
trol information.
UB Preset This item is used for setting the user's bit, make sure that USER is selected in
the UB Mode item setting. The user's bit has 8 bits, which can be set 0 to 9, A to F
5.3 AV IN / OUT SETUP Screen
A Dub Input This selection allows you to pick the audio source to be used when an audio
dub is performed.
MIC: Selects the audio from the internal microphone or the external inputs to be recorded
from the INPUT 1 and INPUT 2 XLR jacks. This is chosen with the CH1 SELECT and the
CH2 SELECT switches on the side of the DVX-100.
A_IN The audio connected to the RCA AUDIO IN connectors is recorded.
Date/time This item is used to set the date and /or time that is displayed in the EVR, LCD
or video output. You have four selections OFF, TIME will be displayed, DATE will be dis-
played, and TIME & DATE will be displayed.
Note: If TIME, DATE or TIME & DATE is selected it will be displayed in the video output re-
gardless of the VIDEO OUT OSD setting
Level Meter This item allows the user to display the audio level meter in the display or
turn it OFF.
Tape Battery This item allows the user to display the remaining tape amount and re-
maining battery charge in the display or turn it OFF.
Other Display The viewfinder and LCD monitor are capable of displaying 21 items of
information when the MODE CHK button is pressed, some cases certain information is
displayed already. This item has three choices OFF, PARTIAL and ALL. Default is PAR-
TIAL, See page 24 for the list of displayed items.
Video Out OSD When turned ON all information displayed on the LCD or EVR is out-
put to the video output signal with the video image.
Camera Data This item allows the user to turn ON the camera information, such as
camera shake correction, iris value and gain value when the unit is in VCR mode and
playing back. OFF turns this feature OFF.
LCD Backlight Allows the user to adjust the LCD's monitor's backlight slightly
brighter, NORMAL and HI are the two choices.
LCD/EVF Set Allows the user to adjust the viewfinder and LCD monitors brightness
and the LCD's color level.
EVF Mode This item is used to select where the video will be displayed. ON video im-
age will be shown at all times in the viewfinder. In the AUTO mode, when the LCD moni-
tor is opened the video no longer appears in the viewfinder.
Remote This item is used to set the operations of the wireless remote control. There
are 3 settings, VCR1, VCR2 and OFF. When using two DVX-100's this setting allows the
two camcorder to be control from on remote control, by selecting what camcorder you
want to control on the remote control. This item makes sure that only that one button
(VCR1 or VCR2) will operate this camcorder from the remote control. OFF setting the
remote will not be able to control the camcorder.
Clock Set This item allows the user to set the internal time and calendar of the Camcor-
der. The Year, Month, day, Hour and minutes.
Time Shift When you travel, this item allows the user to set the time for different time
zones and countries without changing his original home time (CLOCK SETTING) setting.
This item effects both the viewfinder, LCD and the clock time recorded on the tape. This
adjustment is done in 1 hour increments, from +23 to –23 Hours and also a OFF position
which is the factory default.
Hour Meter This item keeps a record of total hours that the video head has been rotat-
ing, this is a 5 digit number, measured in 1 hour increments.
6. Video Glossary
24p 24 frames per second progressive, a standard for digital video
4:1:1 A sampling frequency ratio used in digitizing a video picture's luminance and color
difference components (Y, R-Y, and B-Y). In this ratio the luminance is sampled at 13.5
MHz and R-Y , B-Y are each sampled at 3.37 MHz.
4:2:2 A sampling frequency ratio used in digitizing a video picture's luminance and color
difference components (Y, R-Y, and B-Y). In this ratio the luminance is sampled at 13.5
MHz and R-Y, B-Y are each sampled at 6.75 MHz. This method of digitizing provides a
wider chrominance bandwidth relative to luminance.
ALC Automatic Level Control, a circuit that is used to maintain a constant signal level.
Amplifier A component that increases the level of an audio signal from line level to speaker
Analog A signal that can be continuously varied in amplitude and frequency.
Analog Components Video signals in which a continuously variable voltage or current
represents the value of a pixel.
Aspect Ratio The ratio of the width to height of a video screen or film when it is projected
on a screen. The old standard NTSC aspect ratio was 1.33 to 1 or 4 to 3, but now with at
advent High Definition technology 16 by 9 is common.
Back Light The main function of the backlight is to separate the individual subjects from the
background and give them depth and dimension.
Back Porch The period of time during horizontal blanking that follows the horizontal sync
pulse and continues to the beginning of active video.
Backlit Refers to the illumination used to light a projectors control panel or the buttons of a
remote control, so it can be used in the dark.
Black Level The level of the video signal that corresponds to the maximum limits of the
black areas of the picture.
Blanking or Composite Blanking Related to composite sync, this signal has both horizon-
tal and vertical components and is at its negative level whenever video is to be blanked or
turned off.
Blanking Level Also known as pedestal, it is the level of a video signal, which separates
the range that contains the picture information from the range that contains the synchroniz-
ing information. The level of the front and back porches. Is Zero IEEE units.
CCD Charge Coupled Device
CCIR - Comite Consultatif International Radiocommunications, the French standards body
which now falls under the control of the ITU-R.
CCIR 601 (ITU-R 601) - This standard defines the encoding parameters of digital television.
Charged Coupled Device Is a sensor used in scanners, camcorders, digital cameras, etc.,
to capture an image. CCDs work by converting light into electrical energy.
Chroma The color information contained in a video signal, consisting of hue (phase angle)
and saturation (amplitude) of the color sub carrier. Also, known as Chrominance.
Chrominance The color part of a signal, relating to the hue and saturation but not to the
brightness or luminance of the signal, e.g. black, gray and white, have no chrominance, but
any colored signal has both chrominance and luminance. U,V: Cr, Cb: I,Q: (R-Y, B-Y) rep-
resent the chrominance information of a signal.
Coated Optics Is lens with a special coating to minimize the amount of light reflected back
to the lamp, and the amount of ambient light that mingles with the focused light leaving the
Codec Coder Decoder, a device used to encode a signal and decode it.
Color Bars A test signal that should be recorded at the beginning of every videotape. The
color bars test signal provides the necessary elements of a video signal that are added dur-
ing the initial set up of a tape machine.
Color Burst A few (8 to 10) cycles of 3.58MHz color sub carrier, which occur during the
back porch interval. Color burst amplitude is 40 IEEE units and phase is 180 degrees. The
color oscillator of a color television receiver is phase locked to the color burst.
Color Difference Signal The calculation of the chroma signal (R-Y, B-Y and G).
Color Phase The correct timing relationship within a color display - color is considered to
be in-phase when the hue is reproduced correctly.
Color Sub carrier The 3.58MHz signal which carries color information. This signal is super-
imposed on the luminance level. Amplitude of the color sub carrier represents saturation
and phase angle represents hue.
Color Temperature A measurement of overall color of a source of light, measured in de-
grees Kelvin (K). The higher the Kelvin reading the more blue the light, the lower the Kelvin
Temperature the redder the light. Normally, video uses lights that are 3200 Degrees Kelvin.
Component The normal interpretation of a component video signal is one in which the lumi-
nance and chrominance are sent as separate components, e.g. Analog components in MII
and Betacam VCRs, digital components UCRCB in CCIR re 601. RGB is, however, also a
component signal. Component video signals retain maximum bandwidth, unlike composite
Composite A composite video signal is one in which the luminance and chrominance infor-
mation have been combined using one of the coding standards: NTSC, PAL, SECAM, etc.
Composite Sync A signal consisting of horizontal sync pulses, vertical sync pulses, and
equalizing pulses only, with a no signal reference level.
Composite Video A mixed signal comprised of the luminance (black and white), chromi-
nance (color), blanking pulses, sync pulses and color burst.
Compression A process used to store digital information in a smaller block of space than it
would normally take
Compression Ratio This is the ratio of data in the original video picture signal to the
amount of data after compression.
Contrast The range of light and dark values in a picture or the ratio between the maximum
and the minimum brightness values. Low contrast is shown mainly as shades of gray, while
high contrast is shown as blacks and whites with very little gray. It is also a TV monitor ad-
justment, which increases or decreases the level of contrast of a televised picture.
Contrast Ratio A method of measuring the dynamic range of an image. A large contrast
ratio indicates that the projector works well despite extraneous light.
DATA Digital information stored or used by a computer
dB Decibel
dBm A measurement of sound, measurement made across 600 ohms.
DCT - Discrete Cosine Transformer is widely used to compress video; here 8x8 picture ele-
ments are converted to 8x8 frequency elements. This way the higher frequency numbers
can be minimized and compression made simpler.
DV Digital Video
DVCPRO - New digital format
Decibel (dB) One decibel is one tenth of a Bel and is used to measure audio and video sig-
nals expressed by the ratio of two amounts of electric. It is also used to measure power dif-
ferences in voltage, current, watts and sound pressure.
Depth of Field The front to back zone in a field of view, which is in focus in the televised
scene. With a greater depth of field, more of the scene, near to far, is in focus.
Detail Resolution or clarity of the picture.
Drop Frame A type of time code that can be used as a real time reference.
Error Concealment Use to conceal errors in digital recorded.
Fade Used in editing to gradually increase or decrease the video signal from black. Fading
in is from black to full strength and fade out is from full strength to black.
Field One half of a scanned image. A field can be referred to as an odd field or an even
field. Each field is made up of 262 1/2 lines. There are two fields per frame and 60 fields per
Two fields make up a complete television picture (frame). The lines of Field 1 are vertically
interlaced with Field 2 for 525 lines of resolution.
Flying Erase Head A special video erase head that allow for cleaner edits.
F Number In lenses with adjustable irises, the maximum iris opening is expressed as a ra-
tio, (focal length of the lens) (maximum diameter of aperture).
Focal Length The distance from the center of the lens to a plane at which point a sharp im-
age of an object viewed at an infinite distance from the camera is produced. The focal
length determines the size of the image and the angle of the field of view seen by the cam-
era through the lens. That is the distance from the center of lens to the pickup device.
Foot Candle The amount of light reflected by a white surface one foot away from a lit can-
dle. The metric equivalent is the lux.
Foot Lambert One lumen or one foot candle of light over a one square foot surface.
Format In recording of video, C, U-Matic, Betacam, M, Betacam SP, M-II, D1 D2, D3, D5,
DV, DVCPRO, Beta, VHS, Hi8, 8mm and S-VHS are all current formats.
Frame The combination of an odd and even field of the video signal. In each frame of video
there are 525 lines of information in the NTSC system. There are thirty frames in a second.
(625 lines, 1/25 sec. in Europe and many other countries).
Frame Rate The amount of frames per second that has been set up for a particular televi-
sion system. Black and white television uses a thirty frame per second rate, while color tele-
vision uses 29.97 frames per second rate.
Frequency Response The frequency range that both audio or video systems can repro-
duce a signal within a stated amplitude range.
Front Porch That period of time during horizontal blanking that starts from the end of the
scanned video image and goes to the horizontal sync pulse.
Gain The amplification of a unit.
Gray Scale A series of tones, which range from true black to true white, it is usually ex-
pressed in 10 steps.
HDTV High Definition Television
Hz Hertz
Head The parts of a tape machine that play back or record signals on the tape.
Herz A measurement of cycles per second.
High Definition Television (HDTV) Refers to the new television format which has an elon-
gated shape and a significantly higher resolution than current television.
Horizontal Blanking The period of time which the electron beam is blanked off while it
moves back to the left side of the picture to get ready to start scanning the next line.
Horizontal Frequency The inverse of the time it takes for a monitor to scan from the begin-
ning of one line to the beginning of the next line; typically stated in kilohertz.
Horizontal Resolution Smallest increment of a television picture that can be discerned in
the horizontal plane. This increment is dependent upon the video bandwidth and is meas-
ured in frequency.
Hue The degrees of the vector on the vectorscope which represents a color.
(A) Distinction between colors. Red, blue, green, yellow, etc. are hues. White, black, and
gray are not considered hues. (B) The dimension of color that is referred to a scale of per-
ceptions ranging from red through yellow, green, blue, black to red.
IC - Integrated Circuit
IRE Institute of Radio Engineers
ITU International Telecommunications Union
Impedance A measure of how much something resists (impedes) the flow of electricity.
Insert Edit A type of edit where new video or audio is recorded onto existing materials. The
existing materials control track remains unchanged.
Interlace Scanning The process of combining two fields of video information One field has
the odd lines of the image scanned and the other field has the even lines of the image
scanned. The two fields, odd and even, are interlaced together to form one complete image,
or frame of video.
IRE Units of measurement dividing the area between the bottom of sync and white level into
140 equal units. 140 IRE units are equal to 1 volt peak-to-peak.
Iris The amount of light transmitted through a lens is controlled by an adjustable diaphragm,
or iris, located in the lens barrel. The opening is referred to as the aperture, and the size of
the aperture is controlled by rotating the aperture control ring on the lens barrel. The
graduations on the lens barrel are expressed in terms of the focal length f of the lens di-
vided by the diameter of the aperture at that setting. This ratio is called the f-number.
JPEG Joint Photographic Experts Group is a subcommittee of the International Standards
Organization (ISO), which defines standards for digital photographic compression and de-
Jitter Small and rapid variations in a waveform due to mechanical disturbances, changes in
the characteristics of components, supply voltages, imperfect synchronizing signals, cir-
cuits, etc.
K - Or Kilo is the term used in computers to define 1,024 bytes.
KHz Kilohertz
Kelvin An International standard unit of color temperature. This standard is measured in
Kilohertz (KHz) A 1000 Hertz
LCD Liquid Crystal Display -- a display that works by controlling the opacity of LCD "glass"
by varying the electrical signal. Each individual pixel acts as a shutter, to modulate light
being passed through.
Letterbox Format used to fit wide screen movies (1.85:1 and 2.35:1, for example) on the
average, 1.33:1 TV screen. The image is shrunk to fit the screen, leaving blank space on
the top and bottom.
Line Frequency The rate or number of video lines that are being read or scanned by the
electron beam per interval. There are 262 1/2 lines scanned per field, 525 lines scanned
per frame and 15,750 lines of video information scanned every second.
Liquid Crystal A liquid in which the molecules are arranged in a regular pattern.
LTC (Longitudinal Time Code) This is another expression for the SMPTE time code sig-
nal recorded onto the third audio track of a videocassette tape.
Luminance refers to the amount of visually effective light emitted by a light source. Typi-
cally expressed in nits, foot lamberts (fL) or candelas per square meter (cd/m2). One fL =
3.43 cd/m2 or 3.42626 nits, One cd/m2 = 0.292fL or 1 nit
Lux A unit of measuring the e intensity of light. (1 FC=10.76 lux).
MHz Short for megahertz, which is 1 million Hz.
MPEG Motion Pictures Expert Group
Megabyte One million bytes of data.
Memory A storage place for computer data.
Microphone A piece of equipment that will convert sound into electrical signals for re-
cording and use by audio equipment, such as sound amplifiers.
NTSC National Television Systems Committee
National Television Standard Committee (NTSC) This organization formulated the
NTSC system, 525 lines 60 field; usually taken to mean the NTSC color television system
itself, or its interconnect standards.
Non-Drop Frame A type of time code that runs at thirty frames a second and does not
allow for the slower color frame rate of television.
NTSC Color Bars A pattern generated by the NTSC Generator, consisting of eight equal
width color bars. Colors are white (75%), black (7.5% set-up level), 75% saturated pure
colors red, green, and blue, and 75% saturated hues of yellow, cyan, and magenta.
(Mixtures of two colors in 1:1 ratio without third color).
One Volt "Peak to Peak" - A reference to the measurement of a video signal which
should go from -40 IRE units for sync up to 100 IRE units for the luminance level. The dis-
tance from -40 to 100 (140 IRE units) is referred to as 1 volt peak to peak.
PCM Pulse Code Modulation
Peak White The white portion of the video signal.
Pedestal The level of the video signal representing black, normally set at 7.5 IRE units.
Phone Plug This type of plug is mostly used on a microphone or pair of headsets. There
are basically two types stereo and mono.
Phono Plug Known as a RCA plug it is used with audio amplifiers.
Pixel Picture Element or Pix Element; related to a particular image address in digital sys-
tems or to the smallest reproducible element in analog systems.
Pixel Depth The number of bits used to address a pixel. Also called color depth, the bit
depth determines the number of colors that can be displayed at one time.
Power Zoom A zoom lens that has a motor, which allows you to zoom in and out from the
projector's control or remote control.
Primary Colors Colors usually three, which are combined to produce the full range of
other colors within the limits of a system. All non-primary colors are mixtures of two or
more of the primary colors. In television, the primary colors are specific sets of red, green,
and blue.
Progressive scan Computer images are all progressively scanned. Now, we are using
this type of scanning for HDTV. Instead of having two fields and interlacing them together
to form a frame or an image, we show each frame of a video image completely, from top
to bottom, not interlaced.
RCA jacks RCA connections for RCA cables, carrying line-level audio signals and some-
times video signals.
Resolution (A) A measure of the ability of a camera or television system to reproduce de-
tail. That is the number of picture elements that can be reproduced with good definition. It
is a factor of the pickup device or the TV CRT characteristics and the signal bandwidth.
(B) Generally called horizontal
resolution. It can be evaluated by establishing the limit to which lines can be distinguished
on a test pattern. A larger resolution value means a broader frequency band of the video
signal. (C) A measure of the greatest amount of detail that can be seen, or resolved, in an
image. Often incorrectly expresses as a number of pixels on a given line. More correct is
the bandwidth.
RGB, RGB Format, RGB System Red, Green, and Blue: The basic parallel component
set in which a signal is used for each primary color; or the related equipment or intercon-
nect formats or standards. The same signals may also be call "GBR" as a reminder of the
mechanical sequence of connections in the SMPTE interconnect standard.
SW - Switch
S-VIDEO - The generic name for Y/C video, applied to S-VHS or Beta ED
Sampling A process in which an analog signal is converted into a series of digital values.
Saturation The quantity of chrominance information present, (for example, the difference
between red and pink is that red is more saturated than pink.)
Set Up - A reference to the black level in the videotape signal, also known as pedestal.
Signal A variation in an electrical current that represents either an audio signal or a video
Signal-to-Noise Ratio (S/N) - An S/N ratio can be given for the luminance signal, chromi-
nance signal; and audio signal. The S/N ratio is the ratio of noise to actual total signal, and
it shows how much higher the signal level is than the level of noise. It is expressed in deci-
bels (dB), and the bigger the value is, the more crisp and clear the picture and sound will
be during playback.
Sub carrier Also SC, 3.58, 3.58CW - This is the basic signal in all NTSC sync signals. It is
a continuous sine wave, usually generated and distributed at 2 volts in amplitude, and has
a frequency of 3.579545MHz. Sub carrier is usually divided down from a primary crystal
running at 4.318180MHz, and that divided by 4 is 3.579545. All other synchronizing sig-
nals are directly divided down from
sub carrier.
Sync Also Composite Sync - This signal is derived from a composite or combination of
horizontal and vertical drives, with some slightly narrowed and delayed pulses as well as
the addition of equalizing pulses. It is one of the more popular signals used in video
systems today, and when used, is usually accompanied by sub carrier.
Tape A medium capable of storing an electronic signal and consisting of backing, binder,
and iron oxide coating. The orientation of the iron oxide determines whether the tape can
be used for helical scan video recording.
Tape Guides Guides that are replaced on a VTR that make sure the tape stays within the
correct path from the supply reel to the take up reel.
Test Signals Signals such as color bars, stair step, multiburst and cross hatch that are
used in the setting up and checking out of a VTR.
Time Code - A labeling system that is used to identify a specific frame of videotape. It can
be an audio signal recorded on Track 2 or a video signal that is recorded in the vertical
interval of a tape.
Time Code Editing By recording a sequential time code along with the video and audio
material, you can obtain a more precise reference for editing. Each frame has its own
number or code, which tells the time in hours, minutes, and seconds, and includes a frame
number. The world standard code is called SMPTE (Society of Motion Picture and Televi-
sion Engineers) and has also been adopted by the IEC (International Elecrotechnical Com-
mission). Time codes permit very fast and accurate editing. Automatic editing is possible
under computer control.
Tripod A three-legged stand on top of which a camera is mounted
Tripod Head The top portion of a tripod where its legs meet and the camera is mounted;
friction or fluid-head tripod designs are available.
UL - Underwriters Laboratory.
Underwriters Laboratory (UL) A non-profit safety organization in the U.S. that inspects
and certifies the products sold in the U.S. for their safety standards.
VCR - Video Cassette Recorder.
VITC - Vertical Interval Time code
VTR Video tape recorder
Vertical Interval That portion of the video signal that includes the vertical blanking, the
vertical sync pulses and the pre and post-equalizing pulses. It is also the area where other
information that is carried with the television signal, such as captioning and satellite in-
structions, are inserted.
Vertical Scan The action of the electron beam sweeping across the entire face of the dis-
Video Level A measurement of the video level or luminance level of the video signal. The
video level should not exceed 100 IRE units.
Watt Is a unit of measurement of power.
WFM (WAVEFORM MONITOR) - A type of oscilloscope that is used to display the lumi-
nance, chrominance and timing diagrams of the video signal.
White Balance A method of setting a camera for the correct color temperature.
Y Signal The luminance portion of the color signal.
Zoom Lens A lens with a variable focal length. Which allows you to adjust the size of the
image on a screen by adjusting the zoom lens.


text:
- Local
by Zondiwe Mbewe on 19 Jun 2019by Mirriam Chabala on 19 Jun 2019by Zondiwe Mbewe on 19 Jun 2019by Mirriam Chabala on 19 Jun 2019
- Goal Diggers
by Abraham Kalito on 19 Jun 2019by Abraham Kalito on 17 Jun 2019by Abraham Kalito on 17 Jun 2019by Abraham Kalito on 10 Jun 2019
- Business
by Sipilisiwe Ncube on 19 Jun 2019by Derrick Silimina on 18 Jun 2019by Stuart Lisulo on 17 Jun 2019by Stuart Lisulo on 17 Jun 2019
- Courts
by Joseph Mwenda on 19 Jun 2019by Zondiwe Mbewe on 18 Jun 2019by Zondiwe Mbewe on 18 Jun 2019by Zondiwe Mbewe on 18 Jun 2019
- Editor's Choice
by Diggers Correspondent on 24 May 2019by Diggers Reporter on 4 Mar 2019by Andyford Mayele Banda on 29 Jan 2019by Davies Mwila on 22 Jan 2019
- Opinion
by Diggers Editor on 19 Jun 2019by Diggers Editor on 18 Jun 2019by Diggers Editor on 15 Jun 2019by Diggers Editor on 13 Jun 2019
- Lifestyle
by Zondiwe Mbewe on 7 Jun 2019by Mukosha Funga on 30 May 2019by Sipilisiwe Ncube on 23 May 2019by Sampa Kabwela on 18 May 2019
- e-Paper
- Guest Diggers
by Chibamba Kanyama on 11 Jun 2019by Chibamba Kanyama on 28 May 2019by Guest Digger on 22 May 2019by Chibamba Kanyama on 21 May 2019
Breaking News
ZNBS in K26.7m mortgage irregularitiesBy Stuart Lisulo on 21 May 2019
The Zambia National Building Society (ZNBS) had 56 mortgages in amounts totalling K26.7 million with various irregularities, such as unregistered mortgages and missing mortgage deeds, the latest Auditor General's Report reveals.
And ZNBS was found to have lost rental income totalling K375,468 during its three-year financial period between 2015-2017 due to failure by management to let out these properties despite being vacant.
Meanwhile, the Development Bank of Zambia's (DBZ) profit margins declined to -118 per cent, triggered by the bank's failure to generate adequate income to meet its expenditure.
According to Report of the Auditor General on the Accounts of Parastatal Bodies and other statutory institutions for the financial year ended December 31, 2017, ZNBS had a total of 56 mortgages in amounts totalling K26.7 million with various irregularities, such as unregistered mortgages and missing mortgage deeds.
The Report's detailed analysis exposed the 56 irregularities, which also included six missing security documents amounting to K2,758,599; 34 loans registered below mortgage value of K17,205,683; nine unregistered mortgages totalling K4,210,973 and seven missing mortgage deeds amounting to K2,564,008 bringing the grand total to K26,739,263.
And despite the mortgage lender's earnings of K18.96 million from its rental incomes during the period under review, it lost K375,468 from unoccupied property.
"It was observed that 17 offices in two properties were vacant for six months and the Society was not earning any income from these properties. In this regard, a total of K375,468 was lost as rental income by ZNBS during the period under review due to failure by management to let out these properties. As of June, 2018, the properties were still vacant," the AG's Report disclosed.
Meanwhile, DBZ's profit margins declined to -118 per cent, triggered by the bank's failure to generate adequate income to meet its expenditure.
In another detailed analysis, DBZ's profit margins had been shrinking over the three-year period under review.
Profit margins express profits before taxation as a percentage of interest income.
It measures how much profit is generated for shareholders and taxation after all expenditure is removed, except tax.
"The Bank's profit margins declined over the period under review. In 2015, the margin was 92 per cent, but reduced to two per cent in the following year before deteriorating even further to negative 118 per cent in 2017, reflecting the Bank's failure to generate adequate income to meet its expenditure in full.
Increase in impairments of loans issued out to poor performing customers contributed significantly to the decline in profits," it narrated.
Further analysis of DBZ's Non-Performing Loans (NPLs) ratio revealed that the number of loans classified as "losses" had rapidly increased during the period under review.
"A review of the Portfolio Management Report for the month ended 30th November, 2017, revealed that 36 out of 91 loan accounts were categorized as losses. 15 customer accounts with total outstanding balances of K127,775,838, representing 24 per cent of the total loan portfolio were doubtful and loss accounts. This increased to 31 accounts with total account value of K235,231,830, representing 34 per cent of the loan portfolio in 2016. Further, doubtful and loss customer accounts increased to 36 accounts in 2017 with values in amounts totalling K237,791,373, representing 31 per cent of the total portfolio," revealed the AG's Report.
About Stuart Lisulo
Stuart Lisulo is an experienced Zambian journalist with a focus on business news.
Email: stuart [at] diggers [dot] news
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Star Blog
Former Cowboys RB DeMarco Murray Announces Retirement
Running Back DeMarco Murray, who was drafted by the Cowboys and played his first four years in Dallas, will announce his retirement from the NFL today according to ESPN's Adam Schefter.
Adam Schefter on Twitter
DeMarco Murray, the league's former Offensive Player of the Year, is announcing on ESPN2's NFL Live today at 2 pm that he is retiring from football at the age of 30, per source.
That Offensive Player of the Year award came in 2014, when Murray set the Cowboys single-season rushing record with 1,845 yards. DeMarco's big season included 13 rushing touchdowns and 57 catches for 416 receiving yards.
Murray looked to capitalize on that big year in free agency in 2015, and the Cowboys were not willing to meet his asking price. DeMarco would go on to sign with the Philadelphia Eagles and have a frustrating time in Chip Kelly's offense.
Despite his short time in Dallas, Murray ranks sixth all-time in franchise rushing yardage. You can probably guess the names he's behind: Emmitt Smith, Tony Dorsett, Don Perkins, Calvin Hill, and Robert Newhouse.
DeMarco didn't get off to a fast start with the Cowboys, but he was also here before they put together their great offensive line. Murray was a third-round pick in 2011, which was the same draft that Dallas added Tyron Smith in the first round.
Murray was a key part of one of the most exciting Cowboys seasons of the last 20 years, their 2014 campaign which ended tragically with the "Dez caught it" fiasco. If not for that refereeing blunder, he might have had a Super Bowl ring on top of the other accolades.
DeMarco Murray gave us some great times, and we wish him the best as he enters into the next chapter of his life.
Star Blog
Is Kavon Frazier Fighting a Losing Battle With the Dallas Cowboys?
Dallas Cowboys Safety Kavon Frazier has one year remaining on his rookie contract, but may not see the end of it with the same team who drafted him. In fact, it really looks as if he is already fighting a losing battle in Dallas.
The Dallas Cowboys signed Free Agent George Iloka and drafted Donavan Wilson out of Texas A&M in the sixth-round of the 2019 NFL Draft in the hopes of upgrading the safety position. That doesn't bode well for Kavon Frazier, especially after seeing his defensive snaps take hit in 2018.
After the arrival of Defensive Backs Coach and Passing Game Coordinator Kris Richard, Frazier saw his playing time on defense go from 21.24% in 2017 to 18.07% in 2018. It's not a huge difference, but it's pretty obvious the Cowboys value his special-teams ability, not his defensive play.
The way I see things, Kavon Frazier is a longshot to make the Cowboys final 53-man roster this year. At best, I have him fifth or sixth on the depth chart right now. Since Dallas typically only carries four safeties on the roster, it's looking as if Frazier could inevitably be the odd man out.
I personally have Xavier Woods, Jeff Heath, and George Iloka ahead of Kavon Frazier right now on the depth chart. That means he's competing with Darian Thompson, who is also playing on a one-year deal, and rookie Donovan Wilson for that fourth and final roster spot at the safety position. Unfortunately for Frazier, it looks as if the odds are against him.
Donovan Wilson has already had to step into Frazier's shoes while he was out in OTA's after having his knee scoped, and has been pretty impressive doing so. He has supposedly picked up the defensive scheme pretty quickly and is becoming a vocal leader on the backend. Being a younger, cheaper option, Wilson has a better chance of sticking around on the final 53-man roster over Frazier.
As you can see, Kavon Frazier is fighting an uphill battle with the Dallas Cowboys. It of course is nothing new for him. He's had to fight his way onto the roster ever since he joined the Cowboys, but this year just seems a little different in my opinion. It just looks as if the odds are more against him this time around.
I have no doubts Frazier will continue to fight with every ounce of his being, but if I'm being completely honest I think he's fighting a losing battle. It's going to be really interesting to see how this roster battle at the safety position plays out in training camp and preseason.
Do you think Kavon Frazier is fighting a losing battle with the Dallas Cowboys?
Star Blog
Dallas Cowboys: The Case For Regression In 2019
It's been a few years since things around the Dallas Cowboys felt this good prior to a season. Coming off a 10-6 year in which Dallas won both the NFC East and a home playoff game before losing a one possession road game to the future NFC champions, Cowboys Nation is expecting some big things in 2019.
After all, the Cowboys went out and improved their roster in multiple ways this offseason and brought in some new blood on their offensive coaching staff. Spirits are high among Cowboys Nation, and just about everyone is anticipating a two team race for the NFC East.
But some numbers indicate we should be thinking "not so fast."
The details of the 2018 season are not as pretty as the total picture. Rarely are they ever, of course, but these particular details point towards possible regression for the Cowboys in 2019.
Basically, their point differential a year ago spells out impending doom. (That was dramatic, but let's discuss).
The Cowboys were +15 in 2018, and by pythagorean wins expectation, they were about as strong as an 8-8 team (8.53 wins to be exact). This means they won nearly 2 more games (1.47) than would be expected, fourth most in the entire NFL.
This point is furthered when looking at their record in one possession games. Dallas went 8-2 when the game was decided by 7 points or less, winning close games at a rate that is simply not sustainable year to year.
These numbers make the Cowboys a prime candidate for regression in 2019, as they were in 2017.
Why The Numbers Expect Regression, But Success For Cowboys In 2017
Back in 2016, the Cowboys outperformed their pythagorean expectation by a whole 2 wins. The following season? Dallas finished the year 9-7. The model also indicated that the 7-9 Eagles performed 2 wins under expectations in 2016, meaning they would get back on track in 2017. As we know, they ended up winning 13 games and the Super Bowl the following season.
Of course, this isn't set-in-stone, and the Cowboys very well could outperform these expectations and avoid regression. This would mainly hinge on their coaching staff and quarterback performing at an elite level, carrying them through close games and winning more games by greater than one possession.
Star Blog
Newly Acquired DE Robert Quinn Brings High Expectations
Winning games in the NFL typically comes down to accomplishing two goals. One, being successful when passing on offense. And, two, stopping the opposing team's passing game.
The Cowboys set out to accomplish that second goal this offseason, re-signing defensive end DeMarcus Lawrence, and trading for veteran pass rusher Robert Quinn. Quinn, who tallied 6.5 sacks last season for the Miami Dolphins, is one of the leagues more feared rushers when at his best. The former All Pro has multiple 10+ sack seasons under his belt, including a whopping 19 in 2013.
And, as expected, the Cowboys coaching staff is ecstatic to have such a respected pass rushing specialist on their roster.
"He's got that first step. He's an established pass rusher in this league, so he's going to bring some good stuff for us." - Cowboys defensive coordinator Rod Marinelli.
The Cowboys acquired Robert Quinn for a 2020 6th round pick, which could end up being the steal of the offseason. Quinn has played with some top-notch pass rushers in the past, and each time they have brought out the best in his own game.
Back with the Rams in 2017, when Aaron Donald was on the same defensive line, Quinn got to the quarterback 8.5 times. And, last season, he remained consistent in his sack totals playing alongside Cameron Wake. Now he joins a DeMarcus Lawrence who has 25 sacks over the last 2 seasons.
"I think it was kind of one of those where I get to have fun, pin my ears back and just disrupt the backfield, which is what they want us to do." - Robert Quinn told NFL.com.
Quinn and the always dominant Lawrence will form an impressive defensive end duo on passing downs, with the potential to be one of the best in all of football. Dallas is also hoping to add Randy Gregory into this mix, a piece which could prove vital late in football games if he is able to return from his current indefinite suspension.
Whether or not Gregory finds his way back onto the field, though, this defensive front will be in good hands. The edge combo of Quinn and Lawrence, combined with a plethora of skilled interior rushers such as Maliek Collins, gives the Cowboys a fearsome defensive line which should keep quarterbacks uncomfortable every Sunday.
Dallas Cowboys2 weeks ago
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Dallas Cowboys1 week ago
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Dallas Cowboys2 weeks ago
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Star Blog1 week ago
Dallas Cowboys Shouldn't Add a Veteran Backup Quarterback


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Each law firm's Diversity Survey responses are also published in the Law Firm Diversity Database. The database currently includes ten years of survey data and information on more than 250 law firms. Through this online tool, you can make side-by-side comparisons of diversity metrics, gauge firms' progress over time, and measure their performance against industry-wide benchmarks. Open to participation by any law firm with offices in the United States, the Vault/MCCA Law Firm Diversity Survey has become the industry standard for tracking law firm efforts to increase diversity within the profession.
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i really gotta get one, saw one on bst, but havent heard back from person in a while. need the alpha numeric keys lol
+1 for that, I'd love a flip android but I'll settle for an unlocked android with keypad even if slider. So it still needs to get unlocked at a store but will have full 3G after right?
thats rite, you must unlock it in docomo shop to get full 3g compatibility after that.
how is the general speed compared to other sharp docomos? I wonder if it will be any faster or slower compared to my x10
As for unlocking, remember to make a phonecall with a DoCoMo SIM before trying to use it outside Japan with other networks, plenty of people have reported that being a requirement especially for Sharp phones, otherwise phones aren't fully functional with other SIMs. Yeah blame DoCoMo or Sharp...
I checked this at negri electronics. Will this work on t-mobile aws?


text:
Birjis Qadr
|Birjis Qadr
|Nawab of Awadh
|6th Nawab of Awadh [note 1]
|5 July 1857 – 3 March 1858
|Wajid Ali Shah
|Monarchy abolished
|Begum Hazrat Mahal
|20 August 1845
Qaisar Bagh, Lucknow, Oudh (present-day Uttar Pradesh, India)
|14 August 1893 (aged 47)
Arabagh Palace, Kolkata, British India (present-day West Bengal, India)
Sibtainabad Imambara, Kolkata
|Mehtab Ara Begum
|Wajid Ali Shah
|Begum Hazrat Mahal
|Shia Islam
Birjis Qadr (20 August 1845 – 14 August 1893) was the Nawab of Awadh from 1857 until 1858.
Following the outbreak of the Sepoy Mutiny, Qadr's mother appointed him as the monarch of the state in 1857 and herself became his regent. Although they provided stiff resistance to the British forces, they fled to Kathmandu in Nepal in the following year after the capture of Lucknow. In Kathmandu, he became a poet and organised mushairas.
In 1887, he returned to India and moved to Metiabruz, a neighbourhood of Kolkata. In 1893, he was allegedly murdered by his own relatives.
Early life and enthronement[edit]
Qadr was born on in August 1845 at Qaisar Bagh, Lucknow in Oudh State[1] to Nawab Wajid Ali Shah and Begum Hazrat Mahal.[2] In 1856, Qadr's father Nawab Wajid Ali Shah was deposed by the British on the pretext of mis-governance and was exiled to Metiabruz, a neighbourhood of Calcutta (present-day Kolkata).[3]
In 1857, the Sepoy Mutiny broke out against the East India Company and was led by Begum Hazrat, over Awadh. On 5 June 1857, after a decisive victory of the rebel forces in the Battle of Chinhat, which forced the Britishers to take refuge in The Residency (this will eventually lead to the famed Siege of Lucknow), eleven-year old Qadr was declared as Nawab of Awadh by Begum Hazrat under the active persuasion of Jailal Singh, the chief spokesman of the rebel army and the coronation was widely supported by court-nobles.[4] Rudrangshu Mukherjee notes that though the rebel army allowed Begum Hazrat to rule the state on Qadr's behalf, they had carved out a large degree of autonomy.[5][4] Qadr subsequently wrote to the-then Mughal emperor Bahadur Shah I, asking for confirmation of his regency which was granted, pending which he was awarded with the title of Wazir.[4]
In September 1857, a British regiment under James Outram and Henry Havelock managed to breach the rebel defenses and enter The Residency but were greatly reduced in strength to provide any relief and isolated as an unit, barely managed to wrest control of some adjoining territory, under its strongholds.[4] Qadr and Begum Hajrat issued routine proclamations that sought to emphasize upon the range of alleged injustices rendered by the British on the natives from seizure of the commoners' property and forceful imposition of Christianity to the whimsical dethroning of Wajid Ali Shah and random toppling of local independent provinces under dubious grounds.[4] Rudrangshu Mukherjee notes that the rebels were in great spirits who enforced a highly effective blockade of supply to the Residency.[4] Also, the rebellion drew strong support from the common masses and almost all appeals by the Britishers for negotiation-deals and requests for help, were ignored in totality.[4] Overall, despite an effective suppression of the Sepoy Mutiny over other parts of India, Lucknow (and Awadh) remained the last major bastion for anti-British forces in India and attracted numerous rebels from other territories including Nana Sahib, Holkar et al.[4]
In November 1857, another British regiment under Colin Campbell, assisted with extensive help by the besieged population of The Residency, breached multiple defenses across the outskirts of Lucknow and defeated the local rebel forces to evacuate the Britishers, safely.[4] Thereafter he choose to leave for defending other cities (esp. Alambagh et al), that were under imminent threat of an attack by rebels but without setting up a stronghold over Lucknow.[4] This, in turn, helped the rebels who continued to congregate in large numbers at Lucknow, a place that was geographically and strategically advantageous, and mobilize their future strategies.[4] At Alambagh, where Outram made his final settlement, he was attacked six times with the strength of the rebels often exceeding 30,000.[4]
However, by December, the communication networks and rebellions in other parts of India were completely crushed and the rebel chiefs had realized of their complete isolation with no prospects of incoming help and the prospects of a futile war in the face of an imminent defeat.[4] In the same month, the rebels suffered from an internal feud. Ahmadullah Shah, the Maulvi of Faizabad, challenged Qadr's leadership on the apparent basis of a divine will, thus polarizing the mutineers.[4] The factions clashed, at-least once and their military strategies were often contrarian, affecting battles.[4] Desertions and defections were also becoming increasingly commonplace.[4] Despite all these, internal intelligence reports by British authorities noted that they were too ill-placed to leverage the tensions to any advantage.[4]
Campbell re-pushed towards Lucknow, around late February, 1858 and by 16 March 1858, after intense street-battles, the British forces had captured Lucknow in entirety, forcing the Begum, her supporters and Qadr to leave the city.[4] However Campbell failed to secure the escape routes and the rebel populace drifted across to the countryside, which meant that the fall of Lucknow did not automatically lead to the submission of Awadh, as anticipated.[4]
Begum Hazrat Mahal declined a British offer of mercy and a pension, thus declining to renounce the rights of her son[1] and dispersed into the countrysides of Baundi.[4] Notably, whilst the fall of Lucknow terminated the Maulvi faction in entirety, Hajrat Mahal maintained a semblance of her erstwhile rule from a local fort; receiving collections, hosting parliaments and issuing orders under the name of Qadr.[4] They sought to mobilize the rebel forces and planned another round of armed struggle against the British authorities.[4] Proclamations were issued, urging the local caps to rebel against the British institutions in an organised fashion and Qadr even promised of monetary reimbursement for those who suffered from battle related injuries or death.[4]
In May 1858, Qadr wrote a letter to Jung Bahadur Rana, the Prime Minister of Nepal, claiming that the British had corrupted the faiths of Hindus and Muslims of the state, and urged him to send his troops to Awadh to fight the British.[6] An unsympathetic Rana rejected the accusations and refused to help Qadr, instead asking him to surrender to Henry Montgomery Lawrence, the commissioner of Lucknow and ask for pardon.[7]
In the meanwhile, as the local rebels were mostly defeated and subject to exemplary punishment by the Britishers, they soon crossed the West Rapti River to take refuge in Kathmandu, Nepal.[1]
Exile in Nepal[edit]
After arriving in Kathmandu, Qadr again wrote to Rana for asylum and despite his initial hesitance, both of them were allowed to stay at the Barf Bagh, a palace near the Thapathali Durbar.[8] In a simultaneous bargain, about 40,000 rupees worth of jewels were purchased by the Rana, for a mere 15,000 rupees.[9] Others have since observed that the Rana provided refuge only to those rebels, who afforded to pay for it, earning precious jewels in the process. [9]
While staying in Kathmandu, Qadr became a shayar (poet) and organised mehfils in the city, the earliest of which were recorded in 1864.[10] He wrote poems in the tarahi mushaira.[10] Qadr's poems were recorded by Khwaja Naeemuddin Badakashi, a Kashmiri Muslim living in Kathmandu.[10]
Return to India and death[edit]
In 1893, a few years after the death of his exiled father, Qadr returned to Kolkata.[10]
He died on 14 August 1893 at Arabagh Palace.[11] According to his grandson Koukab Qadr, Birjis' wife Mehtab Ara Begum was supposedly the lone eye-witness to a dinner, wherein Birjis Qadr along with his son and other confidantes, were poisoned to death, by his siblings and jealous begums. Ara Begum, being pregnant, did not attend the dinner and hence, survived.[2]
Personal life[edit]
While in Nepal, he married Mehtab Ara Begum, a grand-daughter of Bahadur Shah Zafar.[12] They had two sons, Khurshid Qadr and Mehar Qadr and three daughters.[12][2]
- ^ a b c Mahmood, Parvez. "The Begum's War". The Friday Times. Retrieved 13 April 2019.
- ^ a b c "'As children, we wanted revenge on the British'". The Times of India. 30 September 2016. Retrieved 13 April 2019.
- ^ Ghosh, Deepanjan (26 July 2018). "Forgotten history: How the last Nawab of Oudh built a mini Lucknow in Calcutta". Scroll.in. Archived from the original on 13 April 2019. Retrieved 13 April 2019.
- ^ a b c d e f g h i j k l m n o p q r s t u v w Mukherjee, Rudrangshu (2002). Awadh in Revolt, 1857-1858: A Study of Popular Resistance. Orient Blackswan. ISBN 9788178240275.
- ^ Safvi, Rana (19 November 2018). "The Forgotten Women of 1857". The Wire. Archived from the original on 13 April 2019. Retrieved 13 April 2019.
- ^ Jafri2009, p. 101.
- ^ Jafri2009, p. 102.
- ^ Jafri2009, p. 103.
- ^ a b Jafri2009, p. 105.
- ^ a b c d Gautam, Prawash (9 June 2018). "Birjis Qadr's Kathmandu Mehfil". Kathmandu Post. Archived from the original on 13 April 2019. Retrieved 14 April 2019.
- ^ Abdus Subhan (21 August 1995). "Pastmasters". The Asian Age. p. 13.
- ^ a b Rajmohan Gandhi (2009). A Tale of Two Revolts. Penguin. p. 194. ISBN 9788184758252.
- Jafri, Sayyid Zahir Hussain (2009), The Great Uprising of 1857, Anamika Publishers, ISBN 9788179752777
- ^ Limited recognition


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More Instant Recall
- Mares recalls XR buoyancy compensation vests June 13, 2019 4:22 pm
- Hayward Industries recalls pool heater vent kits June 13, 2019 4:15 pm
- Ford recalls 1.3M vehicles for suspension, transmission woes June 12, 2019 10:00 am
- Target recalls Cat & Jack "Lilia" Rain Boots June 12, 2019 12:16 pm
- Climbing sticks recalled June 7, 2019 7:43 am
- Apple recalls three-prong wall plug adapters included in World Travel Adapter kit June 5, 2019 4:59 pm
- Pendant light fixtures recalled June 5, 2019 7:30 am
- Target recalls USB charging cables May 29, 2019 5:57 pm
- ION Audio recalls portable speakers May 22, 2019 3:01 pm
- Beef pasta products recalled May 21, 2019 5:36 pm
- Meijer recalls Grand Gourmet french fry cutters May 19, 2019 10:35 am
Panasonic recalls flat screen televisions and swivel stands due to the mounting screws that connect the swivel stand to the television can come loose and cause the television to tip over and fall off the stand unexpectedly, posing serious tip-over and entrapment hazards that can result in injuries or death to children.
This recall involves Panasonic 55-inch, LED/LCD flat screen televisions with a tabletop swivel stand intended for use in hotels, government buildings and schools. The televisions are black and "Panasonic" is printed on the front. �The television's model number is TH055LRU50. The model number is printed on a tag located in the center of the back of the television. The swivel stand is a glossy black color and measures 50.5 inches long by 32 inches tall by 11.1 inches deep.� There is a label on the front underside of the base as well as a number etched into the metal.
Consumers using the swivel stand should immediately detach it, place the television in a safe location away from children and contact Panasonic for a free repair kit.�
Consumers can contact Panasonic toll-free at 855-772-8324 between 8 a.m. and 8 p.m. ET Monday through Friday, email�firstname.lastname@example.com�or online at�www.panasonic.com�and click on "ANNOUNCEMENT" for more information.�
The television and swivel stands were sold to hotels, government buildings and schools from July 2012 through March 2014 for about $1,825 for the television and the swivel stand.�


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32 projects in result set. Displaying 20 per page. Projects sorted by activity ranking.
|0. shp2graph - This project provides functions to convert a "spatial" object of a road network to a "graph-class" or "igraph-class" object, which makes "igraph", "graph" and "RBGL" available for analysing it.
|Activity Percentile: 0.00
Registered: 2011-01-12 17:41
|1. Yield Curve - Yield curve is modelled by the methodologies of Nelson-Siegel and Svensson. The crucial point is to estimate the coefficients in linear way, according to approach of Diebol and Li.
The package also includes the term structure of Fed and ECB.
|Activity Percentile: 0.00
Registered: 2009-07-26 15:06
|2. Species Distribution Modelling - sdm is an extendable framework to develop species distributions models using individual and community-based approaches, generate ensembles of models, evaluate the models, and predict species potential distributions in space and time.
|Activity Percentile: 0.00
Registered: 2014-05-26 16:09
|3. Conditional Random Fields - This project provides a set of tools for conditional random fields tasks such as decoding/inference/sampling/training.
|Activity Percentile: 0.00
Registered: 2010-12-28 07:13
|4. AICTS II - VAR, SVAR, VECM and SVECM models: Estimation, prediction, impulse response analysis, forecast error variance decomposition, diagnostic testing.
|Activity Percentile: 0.00
Registered: 2007-08-23 15:35
|5. AICTS I - Unit root and cointegration tests encountered in applied econometric analysis.
|Activity Percentile: 0.00
Registered: 2007-08-23 15:29
|6. Protocol for Adjust & Select Models - This project is about modeling species abundances in communities.
|Activity Percentile: 0.00
Registered: 2011-01-18 16:54
|7. FactoMineR - FactoMineR performs multivariate EDA. It performs classical methods such as Principal Components Analysis (PCA), Correspondence analysis (CA), Multiple Correspondence Analysis (MCA) and more advanced methods like Multiple Factor Analysis (MFA).
|Activity Percentile: 0.00
Registered: 2010-06-23 08:23
|8. Bayesian Estimation and Model Checking - This package mainly deals with generalized linear spatial models in Bayesian way for estimation, prediction and model checking.
|Activity Percentile: 0.00
Registered: 2011-08-18 03:20
|9. missMDA - Imputation of incomplete continuous or categorical datasets; Missing values are imputed with a principal component analysis (PCA) or a multiple correspondence analysis (MCA) model; Perform multiple imputation with and in PCA
|Activity Percentile: 0.00
Registered: 2010-07-28 13:20
|10. SensoMineR - SensoMineR is dedicated to sensory data analysis. It tackles the following problems: characterizing products, assessing panel performances, relating sensory and instrumental data, mapping consumers' preferences, napping data, categorizing products.
|Activity Percentile: 0.00
Registered: 2010-06-24 10:02
|11. RcmdrPlugin.FactoMineR - RcmdrPlugin.FactoMineR is an add-on R package which provides graphical user interface for the FactoMineR R package.
|Activity Percentile: 0.00
Registered: 2010-06-23 08:26
|12. RcmdrPlugin.SensoMineR - SensoMineR package's graphical user interface.
|Activity Percentile: 0.00
Registered: 2010-06-24 10:03
|13. Micro-magnet Dynamics Simulation Package - Magnets is a numerical simulation package aiming at helping physicists
and electrical engineers who are interested in studying the micro-magnet spin system, which is one of the future integrated circuits with the privilege of low energy consumption.
|Activity Percentile: 0.00
Registered: 2010-05-05 23:51
|14. polnet - A collection of functions for the analysis of political networks.
Registered: 2013-03-26 19:00
|15. EnQuireR - EnQuireR focuses on categorical variables and allows to automate the survey process. It includes univariate and multivariate data analyses and offers an easier view of the results by the automatic generation of a report and of a presentation via Sweave.
|Activity Percentile: 0.00
Registered: 2009-06-10 15:09
|16. RNetLogo (Discontinued) - RNetLogo is an interface to the agent-based modelling plattform NetLogo. NL can be embedded into the R environment with headless (no GUI) and interactive GUI mode. It provides functions to load models, execute commands and to get values from reporters.
|Activity Percentile: 0.00
Registered: 2011-08-19 15:59
|17. splinesurv - A package containing utilities for nonparametric Bayesian analysis of clustered survival data. The baseline hazard function and frailty density are modeled using penalized B-splines. Regression and spline parameters are estimated via MCMC.
|Activity Percentile: 0.00
Registered: 2008-01-08 16:50
|18. R2jags - A package for running jags from R
|Activity Percentile: 0.00
Registered: 2008-05-10 19:19
|19. arm - R functions for processing lm, glm, mer and polr outputs.
|Activity Percentile: 0.00
Registered: 2008-04-09 23:40
32 projects in result set. Displaying 20 per page. Projects sorted by activity ranking.