Michael Phillips
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COW Coin
Forum Replies Created
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Digital TV has blacks at 16RGB for black and 235RGB for white. If you color correct everything in Avid that way for broadcast you’re set. The issue is that some MPEG encoders (Compressor…), assume everything to be full range and then constrains to 16-235. If you are encoding in Sorenson Squeeze, there is a settings that you check telling it that levels are 16-235 and it will leave them alone.
So – if using Sorenson: export as 601/709 and check 16-235 range in the encoder.
If using compressor: export RGB.
Michael
Michael Phillips
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Exactly – software only is used all the time and depends on your monitoring requirements. Be it full screen over the graphics cards or via a hardware connection via express card slot (Mojo, Matrox Mini 02, etc.). But for pure editing, no connection is required.
Michael
Michael Phillips
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The issue is with the delay in the consumer monitor, not the hardware or editing system. You can get audio delay devices, and even consumer amplifiers have audio delay in the them to compensate for broadcast out of sync issues. The challenge is that you are using two reference monitors that are not in sync to a single audio source. One way is to split audio to each device, and use a switcher/mixer to decide which audio stream to listen to – with added delay on the one if needed.
Michael
Michael Phillips
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With v5.0.3 and later, the one installer has all the apps in it. Click the custom button to get to the other installers when launching the MC installer.
Michael
Michael Phillips
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It can certainly be a contributor to the issue.
Michael
Michael Phillips
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The original Mojo SDI is not a full frame quality down convert of the HD signal. It is using partial frame decode to make SD. The Mojo DX and Nitris DX do full image resize as part of the down convert.
Michael
Michael Phillips
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The motion adapter is automatically added to each clip that does not match the project rate. It appears as a green dot on the clip. That is a motion effect that is automatically applied to each clip as needed with the conversion for the mix and match. The user can go in and tweak this with other settings as needed if desired. Park on the effect and go to effects mode to get to the parameters.
Michael
Michael Phillips
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v5 of Media Composer added all the EDL support for file based sources.
Michael
Michael Phillips
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Import/capture material in a 1080i project. Open bins in the 23.976 project. When you cut it into the timeline, it will automatically be time adjusted to for 23.976 using the Mix & Match feature (v4 and v5). Once on the timeline, open the motion adaptor applied and change its speed to 1:1 rather than the adjusted rate. You will want to keep the interlace to progressive active.
Michael
Michael Phillips
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Bouke –
That’s what I was told – probably meant over-modulated to the point nothing could be decoded. v5 brought the changes to not need source reel for TC read.
Michael
Michael Phillips