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DV Input question

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JIm Wilcox
DV Input question
on Feb 28, 2006 at 5:00:23 am

We're running 8.2 with DV option, which we are finally in need of to import. With all set to DV we can control and import from DV deck, but the material is not coming in native DV, but instead, whatever setting Media 100 is set to (eg 300kb). Is this something simple I am missing, or is this the way it works? We really just want to digitize the material and cut on our M100 HD system. Also, the batch capture seems to not find the TC, so we have to capture live. I'm sure its something simple I am missing, but any help would be appreciated.


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Floh
Re: DV Input question
by
on Feb 28, 2006 at 11:14:26 am

[JIm Wilcox] "We're running 8.2 with DV option, which we are finally in need of to import. With all set to DV we can control and import from DV deck, but the material is not coming in native DV, but instead, whatever setting Media 100 is set to (eg 300kb)"

This is the way Media 100 i works. Media 100 i only can work with material in its own codec, and it has a hardware board that converts DV into Media 100 i codec on digitizing.

[JIm Wilcox] "Also, the batch capture seems to not find the TC, so we have to capture live."

In the hardware prefs, try another DV deck control. Maybe you will find one that works with your deck or camera. Or get a DV player with RS422, which will be much faster for batch digitize and cueing.


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jim Wilcox
Re: DV Input question
on Feb 28, 2006 at 3:14:30 pm

Floh,

Thanks. Just out of curiosity, what would be the difference between ingesting thru this DV input, going in composite to M100 with a DV deck and going into Final Cut as native DV? Would Final Cut yield better results?



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Floh
Re: DV Input question
by
on Feb 28, 2006 at 3:36:21 pm

[jim Wilcox] "hat would be the difference between ingesting thru this DV input, going in composite to M100 with a DV deck and going into Final Cut as native DV?"

Composite in would result in less optimal image quality. Digitizing in FCP would be fine and even would carry over the TC to Media 100 HD (if you digitize into DV codec), but the image would be darker and have more contrast due to the different approaches of handling the lumaspace of Media 100 (and e.g. Avid) on the one hand and FCP on the other hand.
Digitizing in Media 100 i via FireWire or Component would be fine, and does give you also the correct levels, but probably result in larger files with the same image quality when compared to FCP (native DV comptression vs Media 100 i codec compression).


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Matt Cahill
Re: DV Input question
on Mar 14, 2006 at 5:31:02 pm

Floh,

Without getting too much into the nitty gritty, partly what accounts for the larger file size is that when Media 100 coverts DV input to it's codec it also changes from 4:1:1 color space to 4:2:2? Native DV @ 4:1:1 creates it's own set of problems and although your locked into what ever signal your camera recorded to tape, you're better off dizitised to this color space.

What I'd like to see here, and it would make a lot of sense in keeping with a traditional edit paradigm is to have the waveform/vector on playback of the source material once it's been digitized. At present, I can only see the wave form and vector when I'm inputing, I can't adjust the levels or the color until the DV footage is on the hard drive. I have to use ColorFX, and the rather, for me anyway, unituitive histogram to determine levels.

It would be a real confidence booster if I could have access to the waveform and vector from any place in the work flow, just the same as I can in any edit bay with a decent patch set-up. For that matter, why can't I open up as many waveform and vector scopes as I want? I should be able to assign each instance to a window I designate - I mean, isn't that what computers are supposed to do - extend the capabilities of the editor?



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Floh
Re: DV Input question
by
on Mar 14, 2006 at 5:40:15 pm

[Matt Cahill] "It would be a real confidence booster if I could have access to the waveform and vector from any place in the work flow, just the same as I can in any edit bay with a decent patch set-up. For that matter, why can't I open up as many waveform and vector scopes as I want? I should be able to assign each instance to a window I designate - I mean, isn't that what computers are supposed to do - extend the capabilities of the editor?"

This has been implemented that way in Media 100 HD and sw. Now you can monitor your levels from a timeline. Still I would recommend to have a waveform/vectorscope connected to your SDI out.


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gmfguy
Re: DV Input question
on Feb 28, 2006 at 3:14:35 pm

if you are batching from a panasonic ag series camera the time code errors will drive you crazy, could never get a batch digitize without serious tc errors. Never had problems with a sony camcorder tc. if do you use an ag100 or 100a your best bet is to get a deck with an rs422 port: AG-DV2500 deck works fine and won't break your wallet.



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jim Wilcox
Re: DV Input question
on Feb 28, 2006 at 4:26:42 pm

We're probably going to be stuck using a Panasonic DVC-30 camera for input. I guess we will just do live loads as we go. Its just one job for now from DV. We're usually working in Beta SP. I just always assumed the M100 handled DV natively, but I assumed wrong! I'm guessing if they add DV to the SW product it will be working with native files.


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