s. All rights reserved. Any use is subject to the Terms of Use as given at the website. Premises Technologies Chapter 5 All of these techniques accomplish the task of representing the red, green, and blue components needed to create a color video signal. In fact, they are mathematical permutations of one another. One final observation is that RGB, YUV, and the others previously mentioned are signal formats-a very different beast from tape formats such as D1, D2, Betacam, VHS, and S-VHS. Signal formats describe the manner in which the information that represents the captured image is created and transported; tape formats define how the information is encoded on the storage medium. Of course, these signal formats are analog and, therefore, still suffer from analog impairments such as quality loss, as downstream genera- tions are created. Something better is needed. Digital Video In the same way that digital data transmission was viewed as a way to eliminate analog signal impairments, digital video formats were cre- ated to do the same for video. Professional formats such as D1, D2, and Digital Betacam (the latter often discounted because it incorporates a form of compression), and even High-8 and MiniDV, virtually eliminate the problem of generational loss. One downside is that even though these formats are digital, they still record their images sequentially on videotape. Today, video and computer technologies are being married as nonlinear video systems for editing and management ease. Because the video signal can be digitized ("bits is bits"), it can be stored on a large hard drive just as easily as a text or image file can be stored. Of course, these files tend to be large, and there- fore require significant amounts of hard drive space. For example, a full- motion, full-color, TV-screen-size, two-hour movie requires 26 MB per second of storage capacity-a total of nearly 24 Gigabytes of storage. Today, the market demands an inexpensive, high-quality solution to the storage of video-CD-ROM is a popular "target" 