Floh Peters
Forum Replies Created
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You can use the “Arrange all” command from the Windows menu to snap all windows to their home positions. Everything should be back on your screen.
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[Michael Slowe] “Where do I find this “Computer 0-255″ setting in Media 100 before I export and why to ProRes when I’m already in it?”
In the File->Export dialog at the bottom; you can turn it on as soon as the “Export to” is set to Other->QuickTime. Why to ProRes? You could use any other codec you like, but ProRes is quite efficient. The export with the 0-255 setting makes sure that your file is definitely in the “right” colorspace. If a file exported this way is not encoded correctly then there is something wrong with the way Toast encodes the files.
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[Michael Slowe] “I know that BitVice was especially modified to take account of Media 100’s unusual RGB structure and this now is fine. It occurs to me that Toast cannot deal satisfactorily with the colour space of Media 100.”
If you use ProRes, the colorspace is the same as with files coming from e.g. FCP. One thing you could try is to do a QuickTime export from Media 100 using the “Computer 0-255” setting into ProRes and then burn it to BluRay with Toast. This theoretically should give the same results as a by reference export of ProRes only material, but maybe there is a difference (or a non-ProRes clip somewhere in your timeline).
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[jeremy Rowell] “M100 does what I want, has a good workflow for us, is stable and intuitive, and I can teach it to anyone that walks through the door. How does it compare to other editing apps?”
From my point of view this pretty much hits it. I firmly believe that Media 100 is the most intuitive professional nonlinear editing system out there, and it is extremely robust. We have a variety of different solutions within our company, and the ones that are the easiest to keep running and to teach to newbies is Media 100. Plus, it never had any issues with damaged timelines/project files like other systems have occasionally.
These days the hardware is not the big differentiating factor anymore, since FCP, Premiere and Media 100 can run on the same Kona (or Blackmagic or Matrox) boards. So the costs are pretty much the same for hardware anyway. And since we are speaking about professional productions, I think everybody should work in an environment he is comfortable with; while it probably is not a bad idea to have Final Cut Studio on your editing systems as well, I think not having Media 100 would be a big mistake. -
[Willis Kieninger] “Are P6000 boards the same for Mac and PC?”
Yes
[Willis Kieninger] “Will my system key work with a board I purchase used?”
No. The system keys are connected to the board serial. You either need to get in touch with the Media 100 guys, or you need to purchase a board with a matching encryption code for the features you need. Of course you also could upgrade to a newer Media 100 version. -
What do you want to happen with the material? Either you will get black bars at the bottom and top of your 16:9 image to match 4:3, or you will lose parts of the image left and right, or your image will get distorted. All of this can be done in Media 100, either during capturing via a Kona board, during Playback/Master to Tape via a Kona board, or via a software conform from HD to SD.
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Wow, that sounds like a somewhat complex setup. We have several systems on a SAN plus an OSX Server based fileserver, but not in this kind of mixed SAN/NAS environment. And on our SAN and fileserver, all projects relink and the Project Media directories are found automatically.
Do all media directories show this problem? Or only those living on the SAN, or on the NAS? Do you have a chance to try only the NAS or only the SAN part of it (like hooking one system up only to the NAS, opening a project, restarting the system and opening again)?One issue that could be causing you troubles is the fact that Media 100 does write database files into its media directories to get a quick overview about the files within a media directory folder. Maybe these are not updated correctly on either your SAN or NAS, maybe due to access privilege issues? Do you have full read/write access to all your media directories?
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[Peter DeArmond] “Perhaps it’s because I use AE more often and I’m just used to it”
Yeah, I think so. Red simply is different from AfterEffects in some areas, which sometimes makes it more difficult for AE users. But what I heard from people without AE knowledge, the Red UI does make much sense to them.
If you want to crop a clip, go to the “Crop” tab in the Controls section for your layer, and crop there. If you turn off the Lock, you can crop from each side individually.
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According to Boris this is a bug within Red which they have reproduced, and it happens with or without Media 100. As a workaround you could turn off the “Auto Update Monitor”, which should bring back the arrows.
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[todd mcmullen] “so that is my dilema now> Do I redigitze the program in a master, on-line quality compression, whatever that may be,or do I go out of the LHI card to an HD master.”
If your source material is SD only (as far as I understand it is), there is no point in reacquiring or upconverting via software to HD. If you have to deliver a HD master, simply play out via your Kona LHi and let the Kona do the upconversion in realtime.
[todd mcmullen] “I have output a component out to DVCAM and quite frankly it just doesn’t look that sharp when it gets to DVD.(through firewire to DVD recorder)”
You are going to component, which will result in image quality loss, and then to DV, which again results in image quality loss. You should export your timeline into ProRes, and then use BitVice (or maybe Compressor) to encode for DVD. BitVice also will create a DVD Image, which you then can burn to DVD via the DiskUtility.app. This should give you great quality for your DVD.
Regarding SD to HD workflow, I think I will be doing some tutorials for the next software version of Media 100. I have a feeling that there will be some nice workflows and features in the next release regarding this problem…