Ed Dooley
Forum Replies Created
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Is it possible they want gifs and jpegs of stills from the movie? It’s common to use gifs for images that aren’t video or photos and jpegs for photos as thumbnails and links to video.
Ed -
Wow, 6 hours on a CD! That’s some compressed video. Why FCP8 or 9? The vector graphics overlay the H.264 video in Flash (whatever authoring tool you use). FCP isn’t a factor at all.
Ed (who talks about it, but still hasn’t tried it) -
Apparently, it doesn’t go up to 35Mbps, but still uses 19Mbps.
EdDocks to JVC GY-HD200/250 Series ProHD Camcorders,
Records High Definition Video and Audio to SxS Memory CardsIBC, Amsterdam (September 13, 2008) – Today, Victor Company of Japan, Ltd. (JVC) announced that it will release the KA-MR100G professional docking SxS (S-By-S) memory card recorder. JVC will launch the memory card recorder KA-MR100G as the company’s first product featuring native XDCAM EX file recording and an SxS memory card slot. This device will record and playback XDCAM EX files on an SxS memory card.
The KA-MR100G will also attach to current JVC ProHD GY-HD200/250 series professional high definition camcorders via a specially designed adapter. Future products from JVC will attach directly to the KA-MR100G.
The KA-MR100G will be available in March 2009 in Europe with a suggested retail price under 2,500 euros and in the US for under 3,000 dollars.
Europe: Under 2,500 euros
US: Under 3,000 dollarsAvailability: March 2009
(JVC will release KA-UM100G Intermediate Adapter at the same time)
1. SxS memory card as recording media
As recording media, an SxS memory card can transfer a large amount of high definition video data recorded by the KA-MR100G to a Non-linear editing system.
2. Utilizes XDCAM EX file format
The KA-MR100G records in the XDCAM EX file format. The recorded files are compatible with Sony XDCAM EX series products and also non-linear editing systems that support XDCAM EX.
3. Docks with JVC GY-HD200/250 HDV camcorder series
The KA-MR100G docks with JVC GY-HD200/250 series ProHD camcorders using the separately sold KA-UM100G adapter, without an external IEEE 1394 or other cable. In this configuration the camcorder can record high definition (HD) video with audio onto both videotape and SxS memory card simultaneously.
*1: SxS memory cardSxS is a flash memory card designed for professional video cameras with a high-speed PCI Express interface. It is compatible with a standard Express Card slot and has an approximate recording capacity of up to 70 minutes of high definition (HD) video using a 16GB SxS memory card.
*2: XDCAM EXThis is the brand name for the Sony Corporation professional video camera series incorporating the SxS memory card as recording media, using a Long GOP MPEG-2 compression method.
< Development Concept >With the trend to high definition (HD) video, a number of products were introduced into the professional video camera market featuring high-speed data communication using highly reliable memory cards as recording media. The main objective of these products is to provide an efficient editing work flow with professional video production systems.
Until now, JVC business development centred on professional video camcorders recording on videotape. Anticipating the market trend, JVC supplemented videotape with the memory card system to expand its professional camcorder business.
In the future, JVC will ensure a higher-speed, more efficient workflow for high definition (HD) editing by offering professional video camcorders and related products using the XDCAM EX file format and SxS memory cards that work with XDCAM EX compatible products.
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JVC announces the introduction of the MR-HD100U hard disk drive (HDD) that is Wi-Fi accessible to enable users to wirelessly log customized Metadata in real time while shooting in the field. The MR-HD100 is the latest addition to JVC’s ProHD line of products that provide the fastest and most efficient shoot-to-air HD workflow in the industry with its native file recording capability.
Through the use of any compatible wireless device, broadcast and video professionals can access the MR-HD100 to define metadata and assign it to video while recording. This capability saves hours spent reviewing, logging and tagging footage in post-production, further demonstrating JVC’s seamless shoot-to-air workflow.
“Metadata input in the field has been long sought after in the professional production community. The MR-HD100 is a revolutionary device that brings this time-saving capability to the marketplace at an exceptionally low cost,” said Craig Yanagi, National Marketing Manager, Creation Products, JVC Professional Products Company. “Combined with JVC’s Native File Recording technology, the industry’s fastest and most efficient workflow has now become the most intuitive.”
The MR-HD100 features an easy to use menu system and enables users to record in a wide range of HDV and DV formats. The MR-HD100 records natively as both .m2t file format and QuickTime .mov files in 720p24/25/30/50/60 and 1080i 50/60 frame rates, as well as .mxf 720p30 and 1080i 50/60 for Avid non-linear editing systems. By recording files in an editing-friendly native format, post-production can begin without file conversion, transcoding or rewrapping. With quick and seamless direct file access, the MR-HD100 is extremely beneficial for video production in time sensitive situations.
The lightweight, portable MR-HD100 can be easily mounted to JVC’s award-winning ProHD Series of professional camcorders to provide extended recording times of up to 10 hours. Additional features include support for UDF to enable recording up to 1.5 hours in a single DV/HDV file, a 1.8-inch internal disk drive that is extremely rugged and shock resistant, and a fan-less design for extremely quiet operation.
The suggested list price of the MR-HD100 is $2,495 and is scheduled to ship this month.
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But it’s not trashing it more through added compression. Going to 4:2:2 is exactly the reason why added graphics & text will look better. I realize that everyone has their opinion, and there are lots of them. In my experience, it’s far better looking added graphics that make up my mind. And BTW, that’s why I can’t wait to start using vector graphics on top of Flash video. I haven’t played with it yet, but having H.264 video in Flash and then putting beautiful lossless vector graphics over that looks amazing. I use AJA’s 8 and 10 bit UC, and I also try to never edit anything from a DVD. 🙂
Ed[Daniel Low] “If you have the disc space AND the time then it won’t hurt although you may get some inconsistencies in FCP unless it’s cuts only. (Don’t forget you’ll be doing a crude [and pointless] 4:1:1 to 4:2:2 colour space conversion which may introduce it’s own errors)
Just for reference:
DV25 is 3.60MB/sec – (The picture has already been trashed…)
Apple U/C 8bit is 20MB/sec (The same trashed picture, just massively bloated)So you’ll need well over 5 x the disc space just for that bit of the process.
An in my opinion, as this is going from DV to web (via FCP), you’ll not notice the difference in quality. If you’re adding graphics or DVE’s and so on in FCP, it’ll look messy whatever way you go.
Out of interest, what uncompressed CODEC do you like to use E”
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I guess it depends on what you mean by “wasting disc space”. If you have the space it’s not wasting anything. But more importantly, using UC has more important benefits. First, if you’re starting with an already compressed source (MPEG-2 in this case) why would you want to compress it even more, before you do your web compression? In my experience compression looks best when you start with the highest quality source. You wouln’t export video from FCP to an intermediate compression before sending it to Compressor, for example. You would choose Use Current Settings, which doesn’t recompress the video. Second, if you’re adding any graphics at all to the video in FCP, using the highest quality video will give you the best looking graphics. As I said in my post, they’ll all work. If you have the space, go UC, if not use any of the others (I would choose Photo JPEG as my 2nd option).
Ed[Daniel Low] “Using uncompressed is rather pointless unless the sourse is uncompressed, it wastes disc space and saturates bandwidth and can slow down the transcoding process.
512×288 is also a good 16:9 size as it’s div 16” -
Any of those would work (and so would photo-JPEG at 75%), although I tend to export to the highest quality (uncompressed if possible), and de-interlace at compression. Why the final compressed sizes? It should be 320×180 or 480×270 or 640×360 for 16×9.
Ed[David Dube] “Hi everyone. First, thanks to all the contributors on this forum. It is a priceless source of information. I have figured a workflow from 16:9 DVD (taken from a DVD-R camera) to Web diffusion. I have to edit the content on the DVD. I just want to see if I’m doing things right.
Rip the DVD.
Import VOBs in MPEGStreamclip.
Fix timecode breaks.
Export to Motion JPEG or Apple Intermediate CODEC (would DV50 do it also?) at 854x480px and deinterlace.
Import into FCP and Edit.
Save reference clip.
Compress in Compressor using H.264 320×240 or 640×480 with Letterboxing or CropDoes that sound right?
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Flix standard is cheap, but limited. Flix Exporter is a plug-in that works in FCP, QT Pro, Compressor, and other programs, and is a great plug-in. Flix Pro is a stand-alone app with all the bells and whstles. Episode has the ON2VP6 codec, as does Squeeze 5 Pro (the non-Pro version has the Spark codec, not as good as ON2). Cheapest of the useful ones is the Flix plug-in.
Ed -
In very unscientific viewing (meaning walking around Best-Buy) I’ve always been impressed by the Samsungs. Nobody ever seems to calibrate or tweak the monitors in a store like Best Buy in any way,
but the Samsungs always look good compared to others. I would suggest either, buy a Dell (as Jeremy suggests) because they already have a proven track record in the video world, or research the reviews of the Samsung, and then decide (go to a Best Buy and tweak one yourself too). They’ve let me hook up my HDV camera to a bunch of monitors to compare.
Ed -
I take that reminder part back. Steve’s post was in the middle of a MXO thread (not MXO2) about a whole other subject. I was wondering why I hadn’t seen it.
Ed