[Floh Peters]

[Joe Ciupik] “When I get to M100 monitor, it look anti aliased.”

I think what you are seeing is not anti-aliasing but a frame/field difference. When you are in Boris you get a full-frame preview to your hardware output. When you are inside Media 100, you can choose to display the first field, the second field or the full frame. Most likely your system is set to display the first field only in stop mode to avoid the full-frame flickering you get on interlaced material. You can either change it via the menu or by using the CMD-ALT-1/CMD-ALT-2/CMD-ALT-0 shortcuts for displaying first/second field and full frame. Try CMD-ALT-0 to see if your file looks fine in a Media 100 timeline.

[Floh Peters]

QuickTime 7.5.5 is currently not compatible with Media 100 i codec files. You need to downgrade to 7.5. Search for 7.5 in this forum

[Floh Peters]

[Paul Crowe] “In the meantime has anybody else had this problem? “

No. But one thing you could try to see if this is a problem with your actual media file is to remove all media locations in your project (or to create a new project and open the timeline there without relinking the media). Then do your steps to reproduce the problem and look if it also happens without your media files. I guess that there is something wrong with your media file and that the bug will not happen without media. If it still happens without media files you should send the file and a step-by-step explanation of what to do to cause this to Media 100 support.

[Floh Peters]

[Jack Shepard] “Also in redrushes:
I have the debayer quality at: Half Res (standard) – May be too high res as I’m editing in Producer off a laptop as we will be on location?
Look Source: Camera
Color Space: REC 709
Gamma Space: Look Source

Is this correct? “

This depends on your camera settings, on the format you are targeting and if you want to rework the project into another format later or not. If you want to use your first conversion as your source material you should do some testing and fine-adjusting to get this nailed down.

[Floh Peters]

Have you tried exporting using the Computer 0-255 Color range?

[Floh Peters]

You cannot open V13 timelines in V12.5, but of course you can open V12.5 timelines in V13.

[Floh Peters]

[Jack Shepard] ” I don’t seem to be able to import the quicktime “files” directly into Media 100 without going through this conversion though – the audio doesn’t come in and I assume the color/aspect ratio isn’t correct without going through RedAlert first?”

You have to convert the RED files in RedCine, RedAlert or (probably best for you) RedRushes. You cannot edit the RED QuickTime ref files natively in Media 100 currently.

[Floh Peters]

[Maxwell Federman] “…is it safe to assume Producer will run compressed HD on an entry-level MacBook, or am I getting my hopes up? “

There are several formats of compressed HD, like ProRes and DVCProHD. DVCProHD will work fine, ProRes is more computing intense and it depends on the MacBooks CPU and the format you are working on if this will work smoothly on an older MBP. I think it should, but without knowing the specs it is difficult to say.

[Floh Peters]

[Robert L. Kopf] “hanks. I will do a search. But I read through the last 10 pages of this forum, and didn’t find anything along those lines. “

You can find the thread here.

[Robert L. Kopf] “I can get by using the multiple legacy Media 100 systems I have here. But I was thinking that it might be nice to put Producer on the new BitVice/DVDSP machine, and free the other Media 100s from editing duty so that they can be used exclusively for ingest. If I can edit on the same iMac as I’m doing DVD authoring on, it would probably make life nicer. Being able to keep up with current versions of OS X, Quicktime, etc. on my editing platform would be nice. “

When coming from Media 100 i, the performance gain and the new features on Producer will be extremely huge. I think you will like your setup.

[Robert L. Kopf] ”
Another factor in this equation is that I do (almost all) audio and music work on DAW systems that that I would now like to slave to this new DVDSP machine by timecode (LTC on an audio track). So it would be nice to be able to use the same audio interface that I’m going to use for Producer and DVDSP, to output LTC to the audio/music workstations, so I can have unlimited audio and MIDI tracks sync’d to either Producer or to DVDSP video timelines. Do you think that’s workable?”

You definitely can do that with producer when adding an LTC audio track to your timeline and using your audio interface (or the Mac out) as the LTC Timecode source. OTOH, if you use Producer e.g. exports to the DV codec will be very fast, so you also could export a QuickTime and use that on your audio system as a video reference, since most DAWs do support QuickTime video playback these days.

[Floh Peters]

Honestly I am not sure if this really is a software issue. Do these glitches happen while digitizing, while rendering or only in playback? Since you said that you are able to cut them out I guess they are in your digitized material. This does sound as it is not related to a software conflict but points to a hardware failure (remember, I am just guessing here). Can you post a screenshot of this problem somewhere?