[Steve Mullen]

I’ve looked at many tutorials and no one seems to grasp that folks don’t always want to be in RIPPLE mode. Thanks to the great tip about Position mode, we can enter NON-RIPPLE MODE by hitting P. Now the OVERWRITE command puts anything you want at a specific TIME. Many clips can be placed at the TIME they belong.

Hitting A goes back to RIPPLE mode. You can generally ignore the gaps by eventually placing clips in them until they are no longer present.

Best Regards,

Steve Mullen

Digital Video Consulting–Las Vegas

http://www.mindspring.com/~d-v-c

==========================

“Sony V1 and FX7 HANDBOOK” at http://www.knowledge-download.com/V1-FX7

“Sony HVR-Z1 and HDR-FX1 HANDBOOK” at: http://www.knowledge-download.com/SonyHDV

“EDITION 2: JVC GY-HD100 HANDBOOK” at: http://www.knowledge-download.com/JVCHDV

[Steve Mullen]

My last post too.

“And I am not speaking about gaining any additional Data/colordepth/whatever by converting HDV to something else, and not about “better” data, but about a more manageable file and codec format, without the restrictions of handling a long-gop MPEG2 stream.”

Once again a myth. What “restrictions” on long GOP MPEG-2? It’s in a file on your disk. It’s QT just like any other QT codec! (Why do you say it’s “different?” Share it with anybody. Much better to send HDV via the net than ProRes. Your NLE inputs HDV just like any other codec. YOU have no awareness of what source is in what codec. Totally invisible to the editor.

“In FCP5 you had to render into your sequence codec (or into AIC) for HDV (no ProRes in FCP5), and you still have to render into HDV codec if you want to master back to a HDV tape.”

And, in 2005 gas cost a few bucks. What’s your point — who didn’t upgrade for $500?

And, of course, you have render to WHATEVER export codec you want to use. So when you make a BD disk you’ll wind-up rendering to MPEG-2, AVC, or VC1-1. No matter what — HD export via a file requires rendering to SOMETHING long GOP at some point.

PS: Apple may say no more codecs, but note they just gave us a nice complete set of XDCAM codecs. Clearly, Sony expect folks to edit XDCAM natively. (AVC-Intra and AVCHD must go to ProRes today, but not in the future.)

Best Regards,

Steve Mullen

Digital Video Consulting–Las Vegas

http://www.mindspring.com/~d-v-c

==========================

“Sony V1 and FX7 HANDBOOK” at http://www.knowledge-download.com/V1-FX7

“Sony HVR-Z1 and HDR-FX1 HANDBOOK” at: http://www.knowledge-download.com/SonyHDV

“EDITION 2: JVC GY-HD100 HANDBOOK” at: http://www.knowledge-download.com/JVCHDV

[Steve Mullen]

“Actually many very knowledgeable people disagree on that you have to edit HDV natively, but insist in getting out of the HDV codec as soon as possible.”

They, simply put, are wrong. There is NOTHING gained by “getting out of HDV” as the data that are encoded cannot possibly become “better” data nor are the “bits” any better preserved in another codec. This nonsense began with DV and before that Hi8.

Moreover, you don’t need to convince me M100 has some great points. I’ve used M100 literally from day 1 since I reviewed it before it shipped. (And, John was a little boy running through my office at Data Translation long before anyone had even heard of an NLE.)

But, codec technology and realtime render engine technology is ultimately more important because most of the M100 old-timers have, by now, already learned to use a dozen NLEs. People can always switch if the internal technology doesn’t keep up.

PS: it’s possible that M100 has a rendering engine that forces renders to be in the SAME codec as the SOURCE codec. If this is true, then on the M100, one wouldn’t want to natively edit HDV. But that is a failing of the M100.

Both FCP and MC NEVER use HDV for rendering. Rendering is always done to ProRes or DNxHD. If M100 uses this DV-in-DV-out type of engine, then that means XDCAM may be treated just like HDV. IMHO, non-native editing is simply unacceptable in today’s world of quad-core chips.

Best Regards,

Steve Mullen

Digital Video Consulting–Las Vegas

http://www.mindspring.com/~d-v-c

==========================

“Sony V1 and FX7 HANDBOOK” at http://www.knowledge-download.com/V1-FX7

“Sony HVR-Z1 and HDR-FX1 HANDBOOK” at: http://www.knowledge-download.com/SonyHDV

“EDITION 2: JVC GY-HD100 HANDBOOK” at: http://www.knowledge-download.com/JVCHDV

[Steve Mullen]

Of course, they can ACQUIRE from an HDV device via FW — unless you are using a laptop. But, you are NOT capturing HDV which is what one needs to do. Nor, can one edit HDV natively — let alone multiple streams in realtime. Can’t match FCP or MC. In fact, one can buy FCS1 for a few hundred and get REAL HDV support in 5.1.4 — plus get all the other Apple Tools. Who in their right mind is going to spend nearly $1000 to so much less?

In any case, this is not the support of HDV that matches the HDV support provided by ALL NLE’s. It is a only a wasteful and totally unneeded CONVERSION of MPEG-2 to another codec that requires far more space and disk bandwidth. No VIDEO INFORMATION is in the converted file that is not in the far more compact HDV file. So the time for the conversion is totally wasted.

Best Regards,

Steve Mullen

Digital Video Consulting–Las Vegas

http://www.mindspring.com/~d-v-c

==========================

“Sony V1 and FX7 HANDBOOK” at http://www.knowledge-download.com/V1-FX7

“Sony HVR-Z1 and HDR-FX1 HANDBOOK” at: http://www.knowledge-download.com/SonyHDV

“EDITION 2: JVC GY-HD100 HANDBOOK” at: http://www.knowledge-download.com/JVCHDV

[Steve Mullen]

In terms of HDV capture via FW, I doubt there is any difference.

What’s so frustrating is that Apple provides all the code needed to capture .M2T in their QT toolkit. They also provide a demo app using their code. And, of course, they provide an HDV codec.

Boris should Open Source the BASE Media 100 code so coders could add what they need. There are fantastic Open Source video/graphics tools plus a huge community.

Trying to SELL Media 100 with today’s $99 NLE’s supporting new formats makes no sense to me.

Then Boris could sell a Boris plug-in to the Open Source app. for those who want Boris. Frankly, the way we used to work with M100 and AE still seems fine to me.

Apple makes code development EZ — it’s a shame that a slowly dying product is still trying to be sold against Apple, Avid, and Adobe products. Open Source of the BASE product would give it new life. The more users, the more who might by the Boris plug-in.

Best Regards,

Steve Mullen

Digital Video Consulting–Las Vegas

http://www.mindspring.com/~d-v-c

==========================

“Sony V1 and FX7 HANDBOOK” at http://www.knowledge-download.com/V1-FX7

“Sony HVR-Z1 and HDR-FX1 HANDBOOK” at: http://www.knowledge-download.com/SonyHDV

“EDITION 2: JVC GY-HD100 HANDBOOK” at: http://www.knowledge-download.com/JVCHDV

[Steve Mullen]

Converting HDV to anything has not a single advantage. In fact it has several disadvantages: (1) cost of your converter which doesn’t do anything but decode HDV. Exactly the same thing that happens to every frame of HDV as each frame is displayed during editing. (2) a huge increase in storage space which contains not one bit of information that’s not in an HDV file. (3) When editing, a huge increase in disk bandwidth that really limits the number of realtime streams.

With FCP every HDV frame is decoded to 4:4:4 YUV — better than your box offers. All FX are done in 4:4:4 YUV. The result is displayed and DISCARDED. It is never reused. It is never recoded to HDV — unless you export to HDV tape.

Since one can edit HDV in RT there is little need to render. But, even if you do need to render short sections — the render is automatically made to ProRes. (Avid auto renders to DNxHD.)

Some folks claim the export takes long if you edit native HDV. Nonsense. HDV decodes many times faster than RT. The time required is long — relative to SD — because one is exporting HD. Makes no difference if one is exporting to HDV, to MPEG-2 for BD, to XDCAM HD. It will be even longer for H.264 or WM. Bottom-line, export time is a function of the export codec — not the source codec.

Now — it’s possible M100 is far less sophisticated internally than FCP. Maybe they don’t have an MPEG-2 codec that can decode long GOP MPEG-2 in RT to 4:4:4 YUV. Maybe FX must be rendered. And, maybe the render codec is forced to be the same as the source codec. If these conditions are true — the problem isn’t HDV — it’s the internals of the M100.

By the way — HDV is simply the brand name for 1440 MPEG-2. Once you have written an MPEG-2 decoder that works in RT within a Timeline — all forms of MPEG-2 can be processed: HDV, HDCAM HD, HDCAM EX, and HDCAM 422.

THERE IS NO CONFLICT BETWEEN HDV AND XDCAM EX SUPPORT. In fact that are thousands of more folks with HDV than with any kind of XDCAM.

Of course, this raises the terrible possibility that when Boris says XDCAM support is coming they only intend to convert HDCAM to something else. This will not fly when FCP supports native XDCAM.

PS: Apple is supporting AVCHD by converting it. They claim one can’t edit it natively. What they mean is they want to protect their PPC owners. PC-based NLE’s have no problem of editing native AVCHD. Intel chips have dozens of instructions that do H.264 and MPEG-2 decoding.

Best Regards,

Steve Mullen

Digital Video Consulting–Las Vegas

http://www.mindspring.com/~d-v-c

==========================

“Sony V1 and FX7 HANDBOOK” at http://www.knowledge-download.com/V1-FX7

“Sony HVR-Z1 and HDR-FX1 HANDBOOK” at: http://www.knowledge-download.com/SonyHDV

“EDITION 2: JVC GY-HD100 HANDBOOK” at: http://www.knowledge-download.com/JVCHDV

[Steve Mullen]

Wow — that was fast. Great!

Years and years and years ago I used an M100 — with the Timeline on the second monitor. I’m sure I remember I could unfold all the items and fit everything else on the first monitor.

Awhile ago I tried the demo on my MBP running at 1440×900. Not only couldn’t I unfold all items — there seemed to be lots of new tiny floating windows which seemed to never be able to find a neat home.

OK — I admit I used M100 when it had ONLY a single monitor — but still it seems odd that with a a screen rez much higher than I had in 1994, I couldn’t find a way to fit EVERYTHING. FCP, Premiere, and MC all fit everything. Am I missing a way to work on a laptop? A magic Arrangement Button?

PS1: can HD MPEG-2 Program Stream file be edited?

PS2: Yes we need 3-2 pulldown removal since many HD cams use pulldown. And, yes we need to be able to add 3-2 pulldown because to output to HD tape at 60i — pulldown is required.

PS3: what is all this new stuff that sometimes opens and grabs the whole screen? 🙂 Did you guys put Boris inside? In the good old days we had to walk 5 miles through the snow in bare feet to use AE.

Best Regards,

Steve Mullen

Digital Video Consulting–Las Vegas

http://www.mindspring.com/~d-v-c

==========================

“Sony V1 and FX7 HANDBOOK” at http://www.knowledge-download.com/V1-FX7

“Sony HVR-Z1 and HDR-FX1 HANDBOOK” at: http://www.knowledge-download.com/SonyHDV

“EDITION 2: JVC GY-HD100 HANDBOOK” at: http://www.knowledge-download.com/JVCHDV

[Steve Mullen]

I thought at NAB you announced that HDV I/O via FireWire support would, at long last, be in 12.6. Is it?

Also, is there support for HD 3-2 pull-down removal? And, pull-up on export?

Without these functions supported, plus XDCAM HD/EX support, most Sony HD camcorders are not supported. Likewise, JVC entire HDPro line is out of luck.

Best Regards,

Steve Mullen

Digital Video Consulting–Las Vegas

http://www.mindspring.com/~d-v-c

==========================

“Sony V1 and FX7 HANDBOOK” at http://www.knowledge-download.com/V1-FX7

“Sony HVR-Z1 and HDR-FX1 HANDBOOK” at: http://www.knowledge-download.com/SonyHDV

“EDITION 2: JVC GY-HD100 HANDBOOK” at: http://www.knowledge-download.com/JVCHDV

[Steve Mullen]

THANK YOU! So, Kona can sense the timeline play rate is 23.98 and you are asking for 29.97 and so it auto-adds 2-3 pull-down?

Best Regards,

Steve Mullen

Digital Video Consulting–Las Vegas

http://www.mindspring.com/~d-v-c

==========================

“Sony V1 and FX7 HANDBOOK” at http://www.knowledge-download.com/V1-FX7

“Sony HVR-Z1 and HDR-FX1 HANDBOOK” at: http://www.knowledge-download.com/SonyHDV

“EDITION 2: JVC GY-HD100 HANDBOOK” at: http://www.knowledge-download.com/JVCHDV

[Steve Mullen]

There are several tabs on the kona CP.

Do you mean set the OUTPUT to 1080i29.97? If so, will the kona add 2-3 pulldown automatically as it plays a 1080p23.98 timeline?

Or, must you set the CODEC tab to 2:3:2:3 to get the pulldown added?

And, if you don’t need to set the CODEC to 2:3:2:3 — how can you disable this function? (What does this CP tab do, anyway?)

And, why would one need to choose the 29.97 FCP Preset if one sets the CP?

Best Regards,

Steve Mullen

Digital Video Consulting–Las Vegas

http://www.mindspring.com/~d-v-c

==========================

“Sony V1 and FX7 HANDBOOK” at http://www.knowledge-download.com/V1-FX7

“Sony HVR-Z1 and HDR-FX1 HANDBOOK” at: http://www.knowledge-download.com/SonyHDV

“EDITION 2: JVC GY-HD100 HANDBOOK” at: http://www.knowledge-download.com/JVCHDV