DV is a format for recording and playing back of digital video. It was launched in 1995 with joint efforts of leading producers of video camera recorders.

The original DV specification, known as ''Blue Book'', was standardized within the IEC 61834 family of standards. These standards define common features such as physical videocassettes, recording modulation method, magnetization, and basic system data in part 1. Part 2 describes the specifics of 525-60 and 625-50 systems. The IEC standards are copyrighted publications available for purchase from IEC or ANSI.

DV Compression [link]

DV is an intraframe video compression scheme, which uses the discrete cosine transform (DCT) to compress video on a frame-by-frame basis. Audio is stored uncompressed.

Closely following ITU-R Rec. 601 standard, DV video employs interlaced scanning with the luminance sampling frequency of 13.5 MHz. This results in 480 scanlines per complete frame for the 60 Hz system, and 576 scanlines per complete frame for the 50 Hz system. In both systems the active area contains 720 pixels per scanline, with 704 pixels used for content and 16 pixels on the sides left for digital blanking. The same frame size is used for 4:3 and 16:9 frame aspect ratios, resulting in different pixel aspect ratios for ''fullscreen'' and ''widescreen'' video.

Prior to the DCT compression stage, chroma subsampling is applied to the source video in order to reduce the amount of data to be compressed. Baseline DV uses 4:1:1 subsampling in its 60 Hz variant and 4:2:0 subsampling in 50 Hz variant. Low chroma resolution of DV (compared to higher-end digital video formats) is a reason this format is sometimes avoided in chroma keying applications, though advances in chroma keying techniques and software made producing quality keys from DV material possible.

Audio can be stored in either of two forms: 16-bit Linear PCM stereo at 48 kHz sampling rate (768 kbit/s per channel, 1.5 Mbit/s stereo), or four nonlinear 12-bit PCM channels at 32 kHz sampling rate (384 kbit/s per channel, 1.5 MBit/s for four channels). In addition, the DV specification also supports 16-bit audio at 44.1 kHz (706 kbit/s per channel, 1.4 Mbit/s stereo), the same sampling rate used for CD audio. In practice, the 48 kHz stereo mode is used almost exclusively.

Digital Interface Format [link]

The audio, video, and metadata are packaged into 80-byte Digital Interface Format (DIF) blocks which are multiplexed into a 150-block sequence. DIF blocks are the basic units of DV streams and can be stored as computer files in raw form or wrapped in such file formats as Audio Video Interleave (AVI), QuickTime (QT) and Material Exchange Format (MXF). One video frame is formed from either 10 or 12 such sequences, depending on scanning rate, which results in a data rate of about 25 Mbit/s for video, and an additional 1.5 Mbit/s for audio. When written to tape, each sequence corresponds to one complete track.

Baseline DV employs ''unlocked audio''. This means that the sound may be +/- ⅓ frame out of sync with the video. However, this is the maximum drift of the audio/video synchronization; it is not compounded throughout the recording.

Variants[link]

Sony and Panasonic have created their proprietary versions of DV, which use the same compression scheme, but improve on robustness, linear editing capabilities, color rendition and raster size.

All DV variants except for DVCPRO Progressive are recorded to tape within interlaced video stream. Film-like frame rates are possible by using pulldown. DVCPRO HD supports native progressive format when recorded to P2 memory cards.

DVCPRO[link]

DVCPRO, also known as DVCPRO25, is a variation of DV developed by Panasonic and introduced in 1995 for use in electronic news gathering equipment.

Unlike baseline DV, DVCPRO uses ''locked audio'' and 4:1:1 chroma subsampling for both 50 Hz and 60 Hz variants to decrease generation losses. Audio is available in 16-bit/48 kHz precision.

When recorded to tape, DVCPRO uses wider track pitch - 18 μm vs. 10 μm of baseline DV, which reduces the chance of dropout errors when video is being recorded to tape. Two extra longitudinal tracks provide support for audio cue and for timecode control. Tape is transported 80% faster compared to baseline DV, resulting in shorter recording time. Long Play mode is not available.

DVCAM [link]

In 1996 Sony responded with its own professional version of DV called DVCAM.

Like DVCPRO, DVCAM uses locked audio, which prevents audio synchronization drift that may happen on DV If several generations of copies are made.

When recorded to tape, ''DVCAM'' uses 15 μm track pitch, which is 50% wider compared to baseline. Accordingly, tape is transported 50% faster, which reduces recording time by one third compared to DV. Because of the wider track and track pitch, DVCAM has the ability to do a frame accurate insert tape edit, while DV may vary by a few frames on each edit compared to the preview.

DVCPRO50[link]

''DVCPRO50'' was introduced by Panasonic in 1997 for high-value electronic news gathering and digital cinema, and is often described as two DV-codecs working in parallel.

The DVCPRO50 doubles the coded video data rate to 50 Mbit/s. This has the effect of cutting total record time of any given storage medium in half. Chroma resolution is improved by using 4:2:2 chroma subsampling.

DVCPRO50 is used in many productions where high definition video is not required. For example, BBC used DVCPRO50 to record high-budget TV series, such as ''Space Race'' (2005) and ''Ancient Rome: The Rise and Fall of an Empire'' (2006).

A similar format, D-9, offered by JVC, uses videocassettes with the same form-factor as VHS.

Comparable formats include Sony's Digital Betacam, launched in 1993, and MPEG IMX, launched in 2001.

DVCPRO Progressive[link]

''DVCPRO Progressive'' was introduced by Panasonic for news gathering, sports journalism and digital cinema. It offered 480 or 576 lines of progressive scan recording with 4:2:0 chroma subsampling and four 16-bit 48 kHz PCM audio channels. Like HDV-SD, it was meant as an intermediate format during the transition time from standard definition to high definition video.

The format offered six modes for recording and playback: 16:9 progressive (50 Mbit/s), 4:3 progressive (50 Mbit/s), 16:9 interlaced (50 Mbit/s), 4:3 interlaced (50 Mbit/s), 16:9 interlaced (25 Mbit/s), 4:3 interlaced (25 Mbit/s).

The format has been superseded with DVCPRO HD.

DVCPRO HD[link]

''DVCPRO HD'', also known as ''DVCPRO100'' is a high-definition video format that can be thought of as four DV codecs that work in parallel. Video data rate depends on frame rate and can be as low as 40 Mbit/s for 24 frame/s mode and as high as 100 Mbit/s for 50/60 frame/s modes. Like DVCPRO50, DVCPRO HD employs 4:2:2 color sampling.

DVCPRO HD uses smaller raster size than broadcast high definition television: 960x720 pixels for 720p, 1280x1080 for 1080/59.94i and 1440x1080 for 1080/50i. Similar horizontal downsampling is used in many other HD formats. To maintain compatibility with HDSDI, DVCPRO100 equipment upsamples video during playback.

Variable framerates (from 4 to 60 frame/s) are available on ''VariCam'' camcorders. DVCPRO HD equipment is backward compatible with older DV/DVCPRO formats.

When recorded to tape, DVCPRO HD uses the same 18 μm track pitch as other DVCPRO flavors. A long play variant, DVCPRO HD-LP, doubles the recording density by using 9 μm track pitch.

DVCPRO HD is codified as SMPTE 370M; the DVCPRO HD tape format is SMPTE 371M, and the MXF Op-Atom format used for DVCPRO HD on P2 cards is SMPTE 390M.

While technically DVCPRO HD is a direct descendant of DV, it is used almost exclusively by professionals. Tape-based DVCPRO HD cameras exist only in shoulder mount variant.

A similar format, Digital-S (D-9 HD), is offered by JVC and uses videocassettes with the same form-factor as VHS.

The main competitor to DVCPRO HD is HDCAM, offered by Sony. It uses a similar compression scheme but at higher bitrate.

Progressive recording [link]

Tape-based DV variants, except for DVCPRO Progressive, do not support native progressive recording, therefore progressively acquired video is recorded within interlaced video stream using pulldown. The same technique is used in television industry to broadcast movies. Progressive-scan DV camcorders for 60 Hz market record 24-frame/s video using 2-3 pulldown and 30-frame/s video using 2-2 pulldown. Progressive-scan DV camcorders for 50 Hz market record 25-frame/s video using 2-2 pulldown.

Progressive video can be recorded with interlaced delivery in mind, in which case high-frequency information between fields is blended to suppress interline twitter. If the goal is progressive-scan distribution like Web videos, progressive-scan DVD-video or filmout, then no filtering is applied. Video recorded with 2-2 pulldown and no vertical filtering is conceptually identical to progressive segmented frame.

Consumer-grade DV camcorders capable of progressive recording usually offer only 2-2 pulldown scheme because of its simplicity. Such a video can be edited as either interlaced or progressive and does not require additional processing aside of treating every pair of fields as one complete frame. Canon and Panasonic call this format ''Frame Mode'', while Sony calls it ''Progressive Scan recording''. 24 frame/s recording is available only on professional DV camcorders and requires ''pulldown removal'' if editing at native frame rate is required.

DVCPRO HD supports native progressive recording at 50 or 60 frame/s in 720p mode. To record video acquired at 24, 25 or 30 frame/s frame repeating is used. Frame repeating is similar to field repeating used in interlaced video, and is also called pulldown sometimes.

Recording media [link]

Magnetic tape [link]

DV was originally designed for recording onto magnetic tape. Tape is enclosed into cassettes of four different sizes: small, medium, large and extra-large. All DV cassettes use tape that is ¼ inch (6.35 mm) wide.

Small cassettes, also known as ''S-size'' or ''MiniDV'' cassettes, had been intended for amateur use, but have become accepted in professional productions as well. MiniDV cassettes are used for recording baseline DV, DVCAM as well as HDV.

Medium or ''M-size'' cassettes are used in professional Panasonic equipment and are often called ''DVCPRO tapes''. Panasonic video recorders that accept medium cassette can play back from and record to medium cassette in different flavors of DVCPRO format; they will also play small cassettes containing DV or DVCAM recording, via an adapter.

Large or ''L-size'' cassettes are accepted by most standalone DV tape recorders and are used in many shoulder-mount camcorders. The L-size cassette can be used in both Sony and Panasonic equipment; nevertheless, they are often called ''DVCAM tapes''. Older Sony decks would not play large cassettes with DVCPRO recordings, but newer models can.

Extra-large cassettes or ''XL-size'' have been designed for use in Panasonic equipment and are sometimes called DVCPRO XL. These cassettes are not widespread, only two models of standalone Panasonic tape recorders can accept them.

Technically, any DV cassette can record any variant of DV video. Nevertheless, manufacturers often label cassettes with DV, DVCAM, DVCPRO, DVCPRO50 or DVCPRO HD and indicate recording time with regards to the label posted. Cassettes labeled as DV indicate recording time of baseline DV; another number can indicate recording time of Long Play DV. Cassettes labeled as DVCPRO have a yellow tape-door and indicate recording time when DVCPRO25 is used; with DVCPRO50 the recording time is half, with DVCPRO HD it is a quarter. Cassettes labeled as DVCPRO50 have a blue tape-door and indicate recording time when DVCPRO50 is used. Cassettes labeled as DVCPRO HD have a red tape-door and indicate recording time when DVCPRO HD-LP format is used; a second number may be used for DVCPRO HD recording, which will be half as long.

Panasonic stipulated use of a particular magnetic tape formulation — Metal Particle (MP) — as an inherent part of its DVCPRO family of formats. Regular DV tape uses Metal Evaporate (ME) formulation, which was pioneered for use in Hi8 camcorders. Early Hi8 ME tape was plagued with excessive dropouts, which forced many shooters to switch to more expensive MP tape. After the technology improved, the dropout rate was greatly reduced, nevertheless Panasonic deemed ME formulation not robust enough for professional use. Tape-based Panasonic camcorders do not use small DV cassettes, effectively preventing use of ME tape.

DV cassettes can come with a memory-in-cassette (MIC) low capacity EEPROM memory chip. Using the I²C protocol, cameras and recording decks can record any data desired onto this chip like contents list, times and dates of recordings, camera settings or video thumbnails, taken each time the record button on the camcorder is pressed. MIC functionality is optional and is not widely used in consumer equipment. Most tapes available to consumers do not include the MIC chip. Almost every recorder and camcorder includes the hardware to read and write to the MIC, but the firmware does not always have the code to actually perform the task.

In 1999 Sony retrofitted its 8-mm camcorders with DV encoding scheme, creating Digital8. This allowed recording 60 minutes of DV video onto two-hour Video8/Hi8 cassette. Digital8 did not get as widespread acceptance as MiniDV and Sony discontinued Digital8 camcorders in 2007.

File-based media [link]

With proliferation of tapeless camcorder video recording, DV video can be recorded on optical discs, solid state flash memory cards and hard disk drives and used as computer files. In particular:

Sony XDCAM family of cameras can record DV onto either Professional Disc or SxS memory cards.

Panasonic DVCPRO HD and AVC-Intra camcorders can record DV (as well as DVCPRO) onto P2 cards.

Some Panasonic AVCHD camcorders (AG-HMC80, AG-AC130, AG-AC160) record DV video onto Secure Digital memory cards.

JVC GY-HM750 records DV video onto either Secure Digital or SxS memory cards.

Most DV and HDV camcorders can feed live DV stream over IEEE 1394 interface to an external file-based recorder.

Video is stored either as native DIF bitstream or wrapped into an audio/video container such as AVI, QuickTime and MXF.

''DV-DIF'' is the raw form of DV video. The files usually have extensions *.dv or *.dif.

''DV-AVI'' is Microsoft's implementation of DV video file, which is wrapped into an AVI container. Two variants of wrapping are available: with Type 1 the multiplexed audio and video is saved into the video section of a single AVI file, with Type 2 video and audio are saved as separate streams in an AVI file (one video stream and one to four audio streams). This container is used primarily on Windows-based computers, though Sony offers two tapeless recorders, the HDD-based HVR-DR60 and the CompactFlash-based HVR-MRC1K, for use with DV/HDV camcorders that can record in DV-AVI format either making a file-based copy of the tape or bypassing tape recording altogether. Panasonic AVCHD camcorders uses Type 2 DV-AVI for recording DV video onto Secure Digital memory card.

''Quicktime-DV'' is DV video wrapped into Quicktime container. This container is used primarily on Apple computers.

''MXF-DV'' wraps DV video into MXF container, which is presently used on P2-based camcorders (Panasonic) and on XDCAM/XDCAM EX camcorders (Sony).

Connectivity[link]

Nearly all DV camcorders and decks have IEEE 1394 (FireWire, i.LINK) ports for digital video transfer. When video is captured onto a computer it is stored in a container file, which can be either raw DV stream, AVI, WMV or Quicktime. Whichever container is used, the video itself is not re-encoded and represents a complete digital copy of what has been recorded onto tape. If needed, the video can be recorded back to tape to obtain full and lossless copy of the original footage.

Some camcorders also feature a USB 2.0 port for computer connection. This port is usually used for transferring still images, but not for video transfer. Camcorders that offer video transfer over USB usually do not deliver full DV quality - usually it is 320x240 video (except for the Sony DCR-PC1000 camcorder and some Panasonic camcorders providing transfer of a full-quality DV stream via USB).

High end cameras and VTRs may have additional professional outputs such as SDI, SDTI or analog component video. All DV variants have a time code, but some older or consumer computer applications fail to take advantage of it.

Usage[link]

DV enabled filmmakers to produce movies inexpensively, and became strongly associated with independent film and citizen journalism.

The high quality of DV images, especially when compared to Video8 and Hi8 which were vulnerable to an unacceptable amount of video dropouts and "hits", prompted the acceptance by mainstream broadcasters of material shot on DV. The low costs of DV equipment and their ease of use put such cameras in the hands of a new breed of videojournalists. Programs such as TLC's Trauma: Life in the E.R. and ABC News's Hopkins: 24/7 were shot on DV.

Professional television reporters such as Anderson Cooper and Katie Couric seem to shoot some of their stories themselves.

DVCPRO HD has become the preferred high definition standard of the BBC Factual. This format will be replaced with AVC-intra when it becomes viable.

Application software support [link]

Most DV players, editors and encoders only support the basic DV format, but not its professional versions. DV Audio/Video data can be stored as raw DV data stream file (data is written to a file as the data is received over FireWire, file extensions are .dv and .dif) or the DV data can be packed into container files (ex: Microsoft AVI, Apple MOV). The DV meta-information is preserved in both file types.

Most Windows video software only supports DV packed into AVI containers, as they use Microsoft's avifile.dll, which only supports reading avi files. A few notable exceptions exist:

Apple Inc.'s iMovie: iMovie allows importing from HDV cameras since iMovie HD, which import in full quality, and DV cameras since iMovie 1, which decodes to half of the original quality.

Apple Inc.'s Final Cut Pro: Final Cut Pro allows importing from DV and HDV cameras. It supports rewinding, fast-forwarding, pausing, stopping and playing from the computer.

Apple Inc.'s QuickTime Player: QuickTime by default only decodes DV to half of the resolution to preserve processing power for editing capabilities. However, in the "Pro" version the setting "High Quality" under "Show Movie Properties" enables full resolution playback.

DVMP Basic & DVMP Pro: full decoding quality. Plays AVI (inc DVCPRO25 and DVCAM) and.dv files. Also displays the DV meta-information (e.g. timecode, date/time, f-stop, shutter speed, gain, white balance etc.)

The VLC media player (Free software): full decoding quality

MPlayer (also with GUI under Windows and Mac OS X): full decoding quality

muvee Technologies autoProducer 4.0: Allows editing using FireWire IEEE 1394

Quasar DV codec (libdv) - open source DV codec for Linux

DVswitch - open source linear editor for DV streams, with live streaming capabilities

DV Streamer - Shareware to use a DV drive as a backup tape drive for PCs

Mixing tapes from different manufacturers [link]

There is controversy over whether or not using tapes from different manufacturers can lead to dropouts. A research undertaken by Sony claimed that there was no hard evidence of the above statement. The only evidence claimed was that using ME tapes in equipment designed for MP tapes can cause tape damage and hence dropouts.

The perpetuation of this controversy, based solely on hearsay, is misleading to end users. Sony has done a significant amount of internal testing to simulate head clogs as a result of mixing tape lubricants, and has been unable to recreate the problem. Sony recommends using cleaning cassettes once every 50 hours of recording or playback. For those who are still skeptical, Sony recommends cleaning video heads with a cleaning cassette before trying another brand of tape.

External links [link]

Adam Wilt's DV page with in-depth technical information

Technical Documentation on the storage of DV data in AVI files:

Category:Video storage Category:History of television Category:Television terminology

bg:DV ca:Digital Video de:Digital Video et:DV es:Digital Video fr:Digital Video ko:디브이 it:Digital Video nl:Digital Video ja:DV no:Digital Video pl:Digital Video pt:Vídeo digital ro:Digital Video ru:DV sk:Digital Video (formát) fi:Digital Video sv:Digital Video tr:DV (format) uk:MiniDV yo:DV zh:DV

Name	Don Moen
Birth name	Donald James Moen
Background	solo_singer
Birth date	June 29, 1950
Origin	Minneapolis, Minnesota, United States
Instrument	Vocals, Piano, Keyboards, Violin, Guitar
Genre	CCM, Contemporary worship music, Gospel
Occupation	Singer-songwriter, worship leader, musician, producer, pastor, businessman, radio hostFormer Integrity Music occupations:President of Integrity Music, President of Integrity Label Group, Executive Vice President of Integrity Media, Integrity Music producer, Integrity Music executive producer, Integrity Media creative director
Years active	1984–present
Label	Integrity Music, Hosanna! Music, Integrity Asia, Sparrow, Star Song, Word, Epic, Columbia, Sony, Don Moen Records, in:ciite
Website	}}

Donald James "Don" Moen (born June 29, 1950 in Minneapolis, Minnesota) is an American singer-songwriter, pastor, and producer of Christian worship music.

Before Moen was hired to work for Integrity Music, he attended Oral Roberts University and became a Living Sound musician for Terry Law Ministries and traveled with Terry Law for ten years. He produced 11 volumes for the ''Hosanna! Music'' series of worship albums. His first album under his own name, ''Worship with Don Moen'', was released in 1992. His music has total global sales of over five million units.

Moen worked for Integrity Media for over 20 years, serving as creative director and president of Integrity Music, president of Integrity Label Group, and an executive producer of Integrity Music albums. He left Integrity Media in 2008 to start a new initiative, The Don Moen Company. The Don Moen Company acquired MediaComplete, the church software company that created MediaShout. Moen became a radio host for ''Don Moen & Friends'' in 2009. Moen received a Dove Award for his work on the musical ''God with Us'' in addition to amassing nine nominations for his songs. Moen is also a prolific songwriter, having worked with Claire Cloninger, Paul Overstreet, Martin J. Nystrom, Randy Rothwell, Ron Kenoly, Bob Fitts, Debbye Graafsma, Paul Baloche, Tom Brooks, among many others. He has also worked with talented musicians, Abraham Laboriel, Alex Acuna, Paul Jackson, Jr., Lenny LeBlanc and Carl Albrecht. His name is associated with some of the most well-known songs in Contemporary Christian Music.

Notable recordings[link]

Moen's first album for ''Hosanna! Music'', ''Give Thanks'', became the label's bestseller. He followed this with a number of successful albums of his own including two, ''En Tu Presencia'' and ''Trono De Gracia'', in Spanish. On an Asian tour in 1999 he recorded ''The Mercy Seat'' at Singapore Indoor Stadium in Singapore and ''Heal Our Land'' at Yoido Park in South Korea, which was released in 2000. One of Moen's albums, ''I Will Sing'', was recorded at Christian Broadcasting Network.

''God Will Make a Way: The Best of Don Moen'' was released in 2003 and features 19 greatest hits. The title song was written for his wife's sister and her husband, who lost their oldest son in an auto accident while three other children were seriously injured. Moen's album, ''Hiding Place'', became his first studio album which was recorded at Paragon Studios in Franklin, Tennessee and was released in the autumn of 2006. ''I Believe There Is More'' released on fall 2008. His third studio recording titled ''Uncharted Territory'' (funded successfully through Kickstarter) will release on March 27, 2012 and his third Christmas album is expected to release on 2012.

Personal life[link]

He lives in Tennessee with his wife Laura and their five adult children.

Discography[link]

{{infobox discography | type	live | Name Give Thanks | Released 1986 | Format CD, tape, digital download | Label Integrity Music, Hosanna! Music, Sparrow, Epic, Sony | Producer Tom Brooks, Michael Coleman (Executive), Ed Lindquist (Executive) | Certification Gold }}

{{infobox discography | type	live | Name Steadfast Love | Released 1988 | Format CD, tape, digital download | Label Integrity Music, Hosanna! Music, Sparrow, Columbia, Sony | Producer Tom Brooks, Michael Coleman (Executive), Ed Lindquist (Executive), Don Moen (Executive) }}

{{infobox discography | type	live | Name Bless the Lord | Released 1989 | Format CD, tape, digital download | Label Integrity Music, Hosanna! Music, Sparrow-Star Song, Columbia, Sony | Producer Tom Brooks, Michael Coleman (Executive), Ed Lindquist (Executive) }}

{{infobox discography | type	live | Name Christmas | Released 1990 | Format CD, tape, digital download | Label Integrity, Hosanna! Music, Sparrow-Star Song, Columbia, Sony | Producer Tom Brooks, Michael Coleman (Executive), Ed Lindquist (Executive) }}

{{infobox discography | type	live | Name Eternal God | Released 1990 | Format CD, tape, digital download | Label Integrity, Hosanna! Music, Sparrow-Star Song, Columbia, Sony | Producer Tom Brooks, Michael Coleman (Executive), Ed Lindquist (Executive) }}

{{infobox discography | type	live | Name Worship with Don Moen | Released 1992 | Format CD, tape, video, VCD | Label Integrity, Hosanna! Music, Word | Producer Tom Brooks, Michael Coleman (Executive), Ed Lindquist (Executive) }}

{{infobox discography | type	live | Name God with Us | Released 1993 | Format CD, tape, video, VCD | Label Integrity, Hosanna! Music, Sparrow | Producer Tom Fettke, Tom Hartley (Executive) | Certification Dove Award }}

{{infobox discography | type	live | Name Trust in the Lord - Live Worship with Don Moen | Released 1994 | Format CD, tape, video, VCD, digital download | Label Integrity, Hosanna! Music, Columbia, Sony | Producer Mark Gasbarro, Don Moen (Producer and Executive Producer), Michael Coleman (Executive) }}

{{infobox discography | type	live | Name Mighty Cross | Released 1994 | Format CD, tape | Label Integrity, Hosanna! Music | Producer Tom Hartley, Michael Coleman (Executive), Don Moen (Executive) }}

{{infobox discography | type	live | Name Rivers of Joy | Released 1995 | Format CD, tape, digital download | Label Integrity, Hosanna! Music, Columbia, Sony | Producer Don Harris, Michael Coleman (Executive), Don Moen (Executive) }}

{{infobox discography | type	live | Name Emmanuel Has Come | Released 1996 | Format CD, tape, digital download | Label Integrity, Hosanna! Music, Columbia, Sony | Producer Steven V. Taylor, Chris Long (Executive), Michael Coleman (Senior Executive), Don Moen (Senior Executive) }}

{{infobox discography | type	compilation | Name Praise with Don Moen | Released 1996 | Format CD, tape, digital download | Label Integrity, Hosanna! Music, Integrity Asia, Columbia, Sony | Producer Tom Brooks, Don Harris, Michael Coleman (Executive), Don Moen (Executive) }}

{{infobox discography | type	live | Name Let Your Glory Fall | Released 1997 | Format CD, tape, digital download | Label Integrity, Hosanna! Music, Columbia, Sony | Producer Tom Brooks, Don Moen (Executive), Chris Long (Executive) }}

{{infobox discography | type	live | Name God for Us | Released 1998 | Format CD, tape, digital download | Label Integrity Music, Hosanna! Music, Columbia, Sony | Producer Tom Fettke, Don Moen (Executive), Randy Vader (Executive) }}

{{infobox discography | type	live | Name God Is Good - Worship with Don Moen | Released 1998 | Format CD, tape, video, DVD, VCD | Label Integrity, Hosanna! Music | Producer Tom Brooks, Don Moen (Executive), Chris Thomason (Executive) }}

{{infobox discography | type	live | Name En Tu Presencia | Released 1999 | Format CD, tape, digital download | Label Integrity, Hosanna! Music, Columbia, Sony | Producer Isaac Hernandez, Tom Brooks, Don Harris, Don Moen (Executive), Chris Thomason (Executive), Dario Navac (Executive) }}

{{infobox discography | type	compilation | Name More of You, Lord - Praise with Don Moen Volume 2 | Released 1999 | Format CD, tape | Label Integrity, Hosanna! Music, Integrity Asia | Producer Tom Brooks, Russell Fragar, Don Harris, Chris Springer, Darlene Zschech, Don Moen (Executive), Chris Thomason (Executive) }}

{{infobox discography | type	video | Name Give Thanks | Released 1999 | Format VCD | Label Integrity Music, Hosanna! Music, Integrity Asia | Producer Steve Merkel, Tom Brooks, Mark Gasbarro, Don Moen (Executive), Chris Thomason (Executive) }}

{{infobox discography | type	live | Name The Mercy Seat | Released 2000 | Format CD, tape, digital download | Label Integrity, Hosanna! Music, Integrity Asia, Columbia, Sony | Producer Tom Brooks, Don Moen (Executive), Chris Thomason (Executive) }}

{{infobox discography | type	live | Name Heal Our Land | Released 2000 | Format CD, tape | Label Integrity Music, Hosanna! Music, Integrity Asia | Producer Tom Brooks, Don Moen (Executive), Paul Wilbur (Executive) }}

{{infobox discography | type	live | Name I Will Sing | Released 2000 | Format CD, tape, video, DVD, VCD, digital download | Label Integrity, Hosanna! Music, Epic, Sony | Producer Paul Mills, Don Moen (Executive), Chris Thomason (Executive) }}

{{infobox discography | type	live | Name God in Us | Released 2001 | Format CD, tape, digital download | Label Integrity, Hosanna! Music, Columbia, Sony | Producer Tom Fettke, Don Moen (Executive), Randy Vader (Executive) }}

{{infobox discography | type	greatest hits | Name God Will Make a Way: The Best of Don Moen | Released 2003 | Format CD, tape, digital download | Label Integrity, Hosanna! Music, Epic, Sony | Producer Tom Brooks, Don Harris, Paul Mills, Don Moen (Executive), Chris Thomason (Executive) }}

{{infobox discography | type	live | Name Trono de Gracia | Released 2003 | Format CD, tape, digital download | Label Integrity, Hosanna! Music, Columbia, Sony | Producer Miguel Angel "Malin" Villagran, Tom Brooks, Paul Mills, Don Moen (Executive), Keith Manwaring (Executive), Dario Navac (Executive) }}

{{infobox discography | type	live | Name Thank You Lord | Released 2004 | Format CD, tape, video, DVD, VCD, digital download | Label Integrity Music, Hosanna! Music, CBN, Epic, Columbia, Sony | Producer David Hamilton, Don Moen (Executive), Chris Thomason (Executive) }}

{{infobox discography | type	EP | Name Arise: The Worship Legacy of Don Moen | Released 2006 | Format Digital download | Label Integrity, Hosanna! Music, Columbia, Sony | Producer David Hamilton, Don Moen (Executive) }}

{{infobox discography | type	studio | Name Hiding Place | Released 2006 | Format CD, digital download | Label Integrity, Hosanna! Music, Columbia, Sony | Producer David Hamilton, Don Moen (Executive) }}

{{infobox discography | type	studio | Name I Believe There Is More | Released 2008 | Format CD, digital download | Label Integrity, Hosanna! Music, Columbia, Sony | Producer Don Moen, Michael Coleman (Executive) }}

{{infobox discography | type	greatest hits | Name With a Thankful Heart: The Best of Don Moen | Released 2011 | Format CD | Label Integrity, Hosanna! Music, Integrity Asia | Producer Tom Brooks, David Hamilton, Don Harris, Paul Mills, Don Moen, Andy Skarda (Executive) }}

{{infobox discography | type	studio | Name Uncharted Territory | Released 2011 | Format CD, digital download | Label Don Moen Records, in:ciite, EMI Christian Music Group | Producer Don Moen (Producer and Executive Producer), Chris Thomason (Executive) }}

Other recordings[link]

''Hatiku'' (1995)

''Behold the Lamb'' (1997)

''Healing'' (1998)

''The Smithton Outpouring'' (1999)

''Hope Changes Everything'' (2000)

''Mas de Ti'' (2000)

''Sing for Joy'' (2002)

''Amor Sin Limites'' (2004)

''American Worship Gathering'' (2005)

''Arise: A Celebration of Worship'' (2006)

''Cool Worship'' (2010)

''A Little Boy's Prayer'' (2010)

Awards and nominations [link]

! Year	! Association	! Category	! Result
	Dove Awards	Song of the Year "God Will Make A Way"
Dove Awards	Creator - Children's Musical Album of the Year ''I'm a Helper''
1993	Dove Awards	Artist - Inspirational Album of the Year ''Worship with Don Moen''
1994	Dove Awards	Creator - Musical Album of the Year ''God with Us''
1995	Dove Awards	Creator - Musical Album of the Year ''Mighty Cross''
1998	Dove Awards	Creator - Musical of the Year ''Emmanuel Has Come''
1999	Dove Awards	Creator - Musical of the Year ''God for Us''
2001	Dove Awards
	Dove Awards	Country Recorded Song of the Year "God Is Good All the Time"
Dove Awards	Creator - Musical of the Year ''God in Us''
2004	Dove Awards

Gold Certification

1986

*"Give Thanks"

Ray DeVries Church Ministry Award

2002

See also [link]

Christian music

Christian music industry

References[link]

External links[link]

Integrity Music Artists - Don Moen

Category:1950 births Category:American Christians Category:American male singers Category:American performers of Christian music Category:American pianists Category:American singer-songwriters Category:American singers Category:American violinists Category:Christian religion-related songwriters Category:Columbia Records artists Category:Contemporary Christian music Category:Contemporary worship music Category:Epic Records artists Category:Living people Category:Musicians from Alabama Category:Musicians from Minnesota Category:Musicians from Tennessee Category:Oral Roberts University alumni Category:People from Minneapolis, Minnesota Category:Songwriters from Minnesota Category:Spanish-language singers

ko:돈 모엔 id:Don Moen ja:ドン・モーエン