![]() The Pyro A/V Link had the strongest audio. Each of these units captures audio at a slightly different level. But if you’re working with an old home movie in which the audio may have been quiet to begin with, you may have some challenges. If you’re capturing your favorite Hollywood flick, this won’t be a problem. Since Apple’s iMovie and Final Cut Pro recognize converters as DV devices, you can’t make any adjustments to the audio during capture unless you run the video through a mixer. ![]() ![]() ![]() This was barely noticeable when we viewed our footage on a computer, but it really showed up when we viewed it on a TV, because TVs handle color differently. The Pyro A/V Link’s captured images were slightly brighter, but colors and blacks looked washed-out. The DAC-100 and the Director’s Cut captured video that, while not quite as rich as the ADVC55’s, was also excellent. We liked the ADVC55’s picture quality the best: the blacks were deep and the colors were saturated. Some of them captured highlights and shadows more faithfully than others. Any of these boxes will do a competent job of capturing analog video and converting it to DV in NTSC (the American video standard) or PAL (the European standard), but there are noticeable differences in image quality between them.
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