Floh Peters
Forum Replies Created
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What software version of Producer did you install? I think there was an older one which had issues. The new versions do install the whole RED/Composite suite automatically, as far as I know.
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I worked with it today on my test system, and from a day of working with it it seems to be good. But of course this is not an in-depth test, so use this info at your own risk 🙂
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The safest way is to use a Digibeta deck, play your timeline out and redigitize it on the Avid system. Everything else can cause Luminance, Chroma and/or Gamma shifts.
If you have to use a Data route, I would suggest using a generic codec, like e.g. Animation or PhotoJPEG at a very high setting. Export as whatever field order you have, and as 0-255 range. But be prepared that the import into Avid will take some time, and that the results may be not perfect. -
Create your text files as 720*486 NTSC or 720*576 PAL files. Import into Media 100, and the text should look good.
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Hmmm,
how do you create your AE files (which resolution and pixel aspect ratio)? You should create Widescreen Comps (720*486 or 720*576, Widescreen NTSC or PAL pixel aspect ratio) comps in AE, and use the preview with correct aspect ratio button in your comp window. Then render out into the Media 100 codec. If you import that into Media 100 as 16*9 it should look like in AE, if you are outputting to a display that can display anamorphotic 16:9 video.
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[Susi Feinbein] “…is it O.K. with 12.1.2/12.1.3?
“Not sure if it is officially approved, but it seems to be working fine with 12.1.3 and OSX 10.5.2
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I tend to work in ProRes HQ. The advantage over DVCProHD is that it is a full raster (1920*1080) codec. DVCProHD gets upscaled from I think 1440*1080 to 1920*1080, which means you would lose resolution.
Of course you also could work in Media 100 HD codec, which is uncompressed, but then you need much and fast storage. ProRes is much less demanding in this area.
If you are shooting your additional material on P2/HVX200 you can keep the files coming from this camera in their DVCProHD codec, though, since you would not gain any resolution by upconverting (assuming you are shooting 1080i). -
We bought 3 of the 2.8GHz systems, because we decided for us it was not worth to upgrade to 3.0 or 3.2GHz. I think you would not notice any difference (or only very small ones) in Media 100 anyway; maybe in AE with multiprocessor rendering or 3D apps.
I think 6GB is good for Media 100; again, if you are doing a lot of AE work and if you use Nucleo Pro you probably would want to upgrade to 8GB or more.
We decided to stay with the ATI cards, since they are fine for Media 100. Plus, the ATI cards are better for Apple Color than the NVidia, and that was important for us. If you want to drive 2 30″ Cinema displays or if you are doing a lot of 3D you probably want a bigger card, but for editing, AE, Color, Shake and similar apps the “small” ATI card is fine. -
Are you using the SDI1 (HD) out from your HDx card? Have you set the HD-SDI in of your DVCProHD deck to 720p?
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[Michael Slowe] “My current workflow with media from the EX1 is to shoot in SP mode (which is HDV 1440 / 1080i) for the simple reason that although 1920 / 1080 video can go from the camera into Media 100 via the SDI out it has the audio embedded and my version 12.1.1 can only take embedded audio in SD. So I convert the HDV (Convergent Design HD-Connect) to HD for editing in Media 100.
“Has anybody tried ingesting from EX1 via FireWire/HDV into V12.5? Since the EX1 can shoot in HDV mode I guess/hope that this could actually be used like a HDV cam. If anybody with an EX1 and V12.5 (or with the 12.5 trial version) could try that, I think here are some people who would be interested in the results.