Lawrence Marshall
Forum Replies Created
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Thanks Bobby and Floh. Great description of the pros and cons. As you might know, I already own a M100HD, but still have a perfectly fine P6000 board sitting in a G4. I never tried it with an expansion chassis in a G5. I still do a lot of remote editing, and it is quite a pain pulling that big M100 HD breakout box out of the rack and packing/travelling with it, in addition to unracking and travelling with audio AD and DA converters – equipment you don’t need with M100 Version 8.xx and the P6000 board. Just wondering about the viability of using the “old” system on some of these non-HD edits using a G5.
Larry M
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Me? I went the *other* way cost-wise, and probably spent way more than I needed to, but my audio is clean: Lucid AD and DA converters… around $600.00 – $700.00 each. Or is that “ouch”?
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Additional hidden cost in purchasing a Media 100 HD: you will need audio AD-DA converters, since you can’t source analog audio into M100 HD the way you are used to doing it with the old Media 100 breakout box. The M100 HD breakout box inputs and outputs SD audio *only*, so you will need to invest in audio AD-DA converters if your source deck audio is analog, if your audio mixer is analog, etc.
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How about East Lansing, Michigan! No pro shops around here…
Maybe my question was more along the lines of “I liked the Vinten Vision 3 in several ways”, but wondered how the others compared (cost, weight, capabilities, etc.). I know the Vintens tend to cost more, but that cost might be worth it if I can cleanly and predictably ease in to a stop, ease out into a pan or tilt, and have sticks that won’t flex while the head is in operation. But size and weight (due to a lot of travel) are equally important, as is cost.
I can’t get to DV Expo West this year to compare… another reason I threw it out there.
Thanks, Larry M
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Same here. M100 HD and FCP 4.5 on a G5 running OS 10.3.9. No problems at all (I think I once had both of them open at the same time, just to see if I could… they played nicely together).
Larry M
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Interesting… I just found on the Panasonic site that they sell, as an accesory to the DVX-100B, the Rock DVX ZF1 controller, which has focus, zoom, start-stop record, and iris control…
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I just finished editing two projects with Media 100 HD, which were shot in 24p HiDef (Panasonic). I didn’t post it in HD (client decided to keep everything standard def), so I took SD out of the Panasonic HD deck into M100’s SD and used “lossless compression”… everything looks absolutely gorgeous. I did a fair amount of testing between M100’s “lossless” and 8-bit and 10-bit uncompressed, using different scenes with varying complexity of content; I honestly couldn’t see any difference between the codecs (my monitor is the Sony PVM20L5/1), and thus used “lossless” to keep drive space efficient. There were quite a number of green-screen talking heads… those I digitized at 10-bit uncompressed from the SD output of the deck. (nice being able to mix all those codecs in the same timeline, right?)
Larry Marshall
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Bob, where can you purchase this S-video to component breakout cable? Do you have a link?
Larry Marshall
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I often see this error also, except in my case it locks up the app and I have to force quit and relaunch (with the nice friendly message “Are you sure you want to quit? Unsaved changes will be lost,” etc.) Can’t reproduce it, not sure what causes it. It’s one of those M100 HD things that seems to negate the speed increase (my M100 version 8.2 running on OS 10.2 was much more stable… rarely crashed). Someone suggested that it might be because I have 4 gigs of RAM in my dual 2.5 and M100 HD is approved for only 2 gigs… haven’t taken the time to pull RAM and experiment with that “solution” yet…
Larry M
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Can’t help you on that one, but I have a similar problem. When exporting a M100 HD timeline by reference or self-contained (e.g – to take the timeline into an MPEG encoding program), some rendering is necessary. My FastFX dissolves play just fine in real time, but when rendered the dissolve “clips” at the end… instead of a complete ramp through the dissolve, it gets about 95% through and then just clips hard into the incoming scene. I’ve tested this over and over… looks like 2-3 frames are clipped off the tail end of the dissolve (the outgoing scene dissolving down into the incoming scene). *All* the time. And, as usual, when I contacted Tech Support, “we’ve never heard of this one…” But it is clearly there, and I can demonstrate it repeatedly. Problem is I can’t seem to fix it, so I’m stuck with this clipped dissolve effect any time I do an export…
Larry M