Floh Peters
Forum Replies Created
-
You cannot apply speed changes to audio clips in Media 100 i. Generally this would be much more the job for an audio editing tool than a video editing system, since the math for changing audio pitch (and even more if you want to change the tempo but keep the pitch) is pretty complex if you want to get a good result. If you have access to ProTools, Soundtrack, Logic (or even better to a sound editor/mixer who can do that for you) you could get okay to good results.
-
[Michael Slowe] “Be careful about the new card recording if you are editing in Media 100. As Floh knows, Media 100 can’t yet support this new Sony codec but (as the owner of the new Sony EX 1) I very much hope that they will be able to by the end of this year.
“Actually as long as you shoot in “HDV” mode you should be able to transfer the files from the cam via FireWire, just as you would with HDV tape-based formats. Of course this is not really a file-based workflow, but it should work fine and support 4Ch audio as well.
-
I am not sure if you will be able to migrate iFinish projects to Media 100 producer, but I think it should be possible. If you want you can send me a zipped timeline for testing purposes to floh at mac dot com
-
[brian johnston] “Media100 themselves are useless!”
I think that saying something like this won´t help you much. And your problem definitely is not a general problem with Media 100, but with your deck setup and connections. So instead you should post a little bit more about the things you tried while “nothing has helped”, and about how your deck is hooked up.
If you try to acquire material from the deck into the system you should make sure that you only connect the Output from the deck (SDI, Component+audio or whatever you are using) to the Media 100 system. Set your deck to PB mode (no E/E). Make sure that you DO NOT feed e.g. a sync signal from Media 100 to the deck while trying to acquire (no out from Media 100 to your deck!!!), and make sure you don´t feed a video or audio signal from Media 100 to your deck. Then you definitely will not get into a feedback loop, which of course would irritate the Media 100 hardware and cause these relock sync problems you are seeing on entering play/acquire mode. -
[Andrew Mehta] “P.S. – I also posted on HD Workflow a while ago – wondering, upgrading to HDe or Producer aside, what camera is it best to go for when working with HD and Media100? Your criticism of HDV makes me wonder if Z1 would be the way to go or not. What other choices are there for a similar budget? Would a P2 camera be better?”
I think HDV is a good format for acquisition/shooting, and it gets even better when considering the pricepoint. Currently in the low-end HD market I would look either into HDV or into Sony SxS cameras, depending on how much money you want to spend on your gear. While P2 was the first mainstream tapeless format on the market, the interest in it seems to drop currently due to the fact that it basically is built on “old” slot standards, while Sonys SxS is based on the next generation. Haven´t reviewed the NAB camera news much, though. I think when looking into what´s new at NAB this could change again.
HDV simply was designed for shooting, and not for editing.
-
[john smith] “Hm, because if this is the case this is not at all clear on the M100 site. Could someone post a link to this if it’s different download to the producer trial link?
“Go to Media 100s download page. Click on “Media 100 Version 12+”. There you will find a link for the “Media 100 Suite Version 12.5” trial and update version (which is one version; it can be used as a free 14day trial, and it can be unlocked via the matching encryption code).
-
Conform should not care about the codec. What version are you using? What codec? What source and target format?
-
I think currently most of the Media 100 team is @NAB. From what I understand customers with a current platinum contract get the V12.5 HD Suite for free. I haven´t got my registration codes yet, though.
-
I think Media 100 tries to streamline its product line. The “HD Suite” software (including Composite Suite/Red) now can be used with all hardware platforms. You definitely can upgrade your HDe/Aja hardware.
-
Usually when you shoot progressive you get a more “filmic” look. E.g. motions in the image will look different than when shooting interlaced. While you have to be careful about pans, zooms and basically any motion when shooting progressive (like when you are shooting on film), the results tend to look like a film-shoot. Plus, when e.g. delivering to the web you don´t have to deal with deinterlacing before posting the movie online.
For editing it does not make a huge difference if you edit the incoming material in an interlaced or progressive timeline. If you want to add many effects, though, you either should upgrade to 12.5 (because of the progressive/RED integration bug in 12.1.3), or you should work in interlaced (although e.g. dissolves and basically any effect you will be doing will be interlaced). This can be an advantage or disadvantage, depending on what you want to do. E.g. a crawl or roll will most likely be unreadable when done in progressive and displayed on an interlaced CRT.