Floh Peters
Forum Replies Created
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Steve, I think this is the Mac software codec, and not for PCs/WinXP?
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[Greg] “Is there a way towork portably with a powerbook on Media 100? Would Media 100 SW be the solution? How would I do this? Any advice would be appreciated. Thanks so much!”
Media 100 sw could be a solution for this, but you have to be aware of some things. Currently Media 100 sw has no video I/O, so you only can monitor your video in the viewer window (a FireWire I/O is in the works). So if you are going back to tape you have to export a ref or self-contained file from sw and reimport that into Media 100 i. Media 100 i cannot open timelines from Media 100 sw, while Media 100 sw can read Media 100 i timelines, bins and projects, plus their media files. So once you have moved a project from Media 100 i to sw you have to finish it on sw.
And one thing you should try for yourself is the performance of sw with Media 100 i clips. The Media 100 i codec is very processor intense compared to codecs like DV, and it is optimized for G5 and dual processor systems. So depending on your PowerBook configuration the use of Media 100 i media can be slower than on your Media 100 i system (although it usually is much faster on Dual processor G5 systems). On my old PowerBook G4 800MHz it is nearly impossible to work with Media 100 i media, while it works nicely on a iMac G5 1.8. A G4 PowerBook with 1.67GHz probably is a little bit slower than the iMac… -
Hereare some Apple numbers about that. Probably not exactly what you
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The HAL fragment is a link between the OS and the hardware; I
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[Jerome Robbins] “So, I have visions of “Alias” and other TV shows that display all this high tech enhancing of unreadable license plates etc. for crime investigations.”
Most of this stuff is faked…
Without promising anything to your client I
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[Dave LaRonde] “To check the 3D effect, do what you’ve been doing. If you need to make changes, make them in the original comp, re-duplicate that comp twice, turn cameras off and on as necessary in the re-duplicated comps, then use the replace layer command to put the re-duplicated comps into your 3-D check com”
Yes, that
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[Bob Hanson] “Animated lower third backgrounds, animated titles.”
Um, yes, but how do you get them into Media 100 i? From Boris Graffiti? AE?
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What kind of moving graphics? Where do they come from? Generally Media 100 i does not export alpha channels, since it always has a video background…
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Okay, here is the setup, with some additional details:
we have a “work” comp where all elements come together as 3D-Layers, plus some 3D-Objects and other elements. In this “work” comp there are 2 cameras, one for the left eye and one for the right. The final render will give 2 HD streams that finally will be projected by 2 HD beamers with polarized lenses. The viewers will wear glasses with polarized lenses so that they can see the images in 3D space.
While this will work for final rendering it is complicated to work that way. To view our images in AE we need to get the image from the left camera, tint that in Red, get the image from the right camera and tint that green, and overlay these 2 images using the “difference” transfer mode. This is done in our “master” comp, where we have 2 layers (pre-comps) that are copies of our “work” comp, the one pre-comp with the left camera turned on and the other with the right camera turned on.
What we would like to do is to be able not to work with 2 identical pre-comps (except the fact that the one camera is turned in the one precomp and the other in the other comp), but to use the “work” comp as 2 layers in the “Master” comp, and to tell one of these layers to use the left camera in the “work” comp and to tell the other layer to use the right camera. Unfortunately it seems like there is no way to tell a precomp to use a specific camera…
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[Richard Milner] “Does the Xsan still use only 250 Gig Drives?”
The XServe RAID is also available with 400GB drives, but it does not use SATA drives, only the older and slower Ultra ATA standard.