Floh Peters
Forum Replies Created
-
Yes, I think so.
-
[JAMES Luckel] “IF I am understanding you correctly, if you are running AE on the same workstation as M100 with an AJA card, the LUT system becomes active, but M100 does not access that portion of the AJA control? “
Media 100 does not use the Aja LUT function. When previewing from AE you can use the Aja video out or the Media 100 video out (which access the same Aja hardware, but with different colorspaces). If you import a ProRes file into AE (CS4; there have been some ProRes/AE issues before which could be fixed by a manual override for the colorspace interpretation) it looks the same in AE via the Kona out than it looks in Media 100. If you render it out again from AE it looks the same in Media 100 as before.
-
With the Aja cards, you have the option to either in RGB 16-235 colorspace in AE in case you want to render into a Media 100 codec, or into 0-255 if you want to render into an Apple codec like ProRes. We use ProRes heavily these days, so most of the time we are monitoring the full range 0-255 signal in AE, which is what you are seeing with the Blackmagic card, I guess.
You could either render into ProRes or another full range codec, which would give you the same image in AE and Media 100. Or you could apply a Levels filter on an adjustment layer in AE on top of your composition before rendering, with the output white set to 235 and the output black set to 16. Turn it off for working and monitoring in AE, and turn it on for rendering. This way you should get correct renders from AE into Media 100 codecs. -
[Eric Pelletier] “Do I have the right version?”
Yes. Only tracks supported by your deck are displayed there. So your deck only supports 4 channels.
-
[Eric Pelletier] “Mastered Inserted C1-C2-C3-C4.”
The C1-C4 buttons in Master to tape are individual channels; the C1/2 to C7/8 hardware output channels are stereo pairs. So if you routed your audio to C7/8 and you mastered C3 and C4 (in the master to Tape window) you most likely did not record anything,
In Acquire Mode, there is the “input channel Mapping” button. Click that and enable G2 3/4 (group 2 channel 3&4 of the SDI signal, which is actually channel 7&8 on your deck) -
You could digitize a short part of the tape via SDI with audio A7A8 turned on. Look if there is anything coming back in. Or search for the manual of your DVCPro50 deck on the web and look if it supports 8 audio tracks. Not sure if DVCPro50 supports that at all.
-
Um, what is a 9ll file actually? How did you create it?
-
The channel are stereo pairs. Ch1 is hardware channel 1/2, ch2 is 3/4,… So if you want to master to 1/2 and 7/8 you should route your audio Track A1 and A2 to e.g. bus 1 and A7/A8 to Bus2. Then route Bus 1 to Channel 1/2 (Ch1), and Bus 2 to Ch4 (7/8)
-
[David Crews] “So, it looks like there a technical difference between a black clip and the black from an empty timeline? I’ve never had any problems in the past just using the empty timeline, say between a slate and the first video. “
There is a huge difference. A black clip is an actual quicktime video file with a defined codec, size, framerate and video level. A black clip in Media 100 uses some QuickTime features to reduce the actual size of the black part. It is not a video clip with actual frames and with an actual size, but I think a 2*2 pixel wide image with a defined length; plus, since Media 100 deals with different colorspaces internally (RGB0-255 vs RGB 16-235) it also has a defined RGB level, which does not necessarily match the codec and level of the rest of your material (remember that Media 100 can mix different codecs without problems and that there is nothing like a “sequence codec”).
Some applications do have problems reading files containing clips these QuickTime features. -
Not sure what is going on there, but the easiest solution is probably to acquire some seconds of black from your deck and to use that in your timeline for your black leader.