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IO – why?
What is the point of an IO box?
I read a lot about how it does this and that, but I’m talking about fundamentals. I am currently shooting with an HVX. I dump the P2 cards into my hard drive, edit in FCP, and I’m good to go.
What is the need and/or advantage of using this device? I’ve never done anything but import from tape (DVX), etc. directly into the machine, so I don’t know what this is all about.
Is this one of those devices that allows you to “bypass the compression” and get a higher resolution footage than the camera is normally capable of (when going to P2, for example)?
Many thanks. Just trying to wrap my head around what is, to me, completely new hardware.
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4 Replies
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Things you can’t do without it with an HVX200:
Color accurately monitor
Frame accurately monitor
Layoff to base band source (regardless of type, SD, 720/1080 HD)
Live direct to disk encode from camera glass to ProRes422
Embed LTC time code in DtD capture for multi-cam
Signal A<->D and frame size conversions separate from FCPDepending on your needs, it may not be the right device for you…but it opens up a whole lot of possibilities for professional acquisition and output.
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-Mike -
NOt only that, not everyone captures from firewire enabled media devices (such as DV), or tapeless formats such as P2. Also, some people work in higher bitrate timelines (such as uncompressed or ProRes) and capturing over firewire does not allow for this.
The ioHD allows you to capture to different codecs.
Even if you do capture from P2 or DV, the io allows you to monitor and layoff to whatever deck you want, as Mike has already mentioned.
Jeremy
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Thanks guys.
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Just to add that the Io boxes (namely the smaller ones) are great for remote-based editing on a Powerbook/MacBook Pro when external devices are needed in the loop (video monitors, decks, etc).
Another good example is on a chroma-key shoot. You can use a camera with a component output (say SDI) and output the live feed from the camera directly into the Io and then to the computer (as a live capture). Even on a camera that’s HDV or 4:1:1 color space, you’ll now capture at full 4:2:2 uncompressed quality. Obviously this is a huge advantage over the camera’s own tape format. Even with an HVX200 you can eliminate any compression otherwise found in the DVCPRO HD format. For chroma-keying, this is a huge advantage.
Marco Solorio | CreativeCow Host | OneRiver Media | Codec Resource Site | Cinesoft | Media Batch
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