component in

They are Them

They are Them

Well-known member
what is the advantage of bringing your footage into your NLE via a blackmagic decklink card? instead of firewire?

is it a compression issue?

i'm curious because i could swear that i read somewhere that with component in one would stand a better chance at creating a slowmotion effect so if that's the case, OR if the footage is just that much better than taking it in via firewire, i'm thinking that i should hold off on purchasing a G5 Imac for editing because i dont think that i have the option of component video in with that computer (if there is please tell me how)

is that correct?

or maybe i'm thinking that i would have to record footage on location straight out via the component out's to a hard drive or something and THEN i can do slow motion........i confuse me! haha

help would be great

thanks all
 
Not sure about the slo-mo issue, but I do know that if you output your images via the component out, you will have a 4:2:2 signal, vs the 4:2:0 signal on the firewire.

This reletively untouted feature allows you to record directly to a hard drive and would in theory produce better color space for such things as chroma keys/green screen work (and, as a side note, would replicate the much more highly touted HVX's ability to do so).

Slo-mo can anly be done as a standard definition signal on the JVC 100 - so, I doubt there is any benefit to using either output option (one area where the HVX clearly dominates the other 'baby-4' cameras).

John
 
I believe the component output is 720p60, so with the right software and computer/deck you can record true, 60p slowmo.

Can someone confirm that though? Tim, Stephen, Nate?
 
yeah, that's what i understood, is that it actually dumps it at the 60fps instead of converting it from the native 60p down to 30p and/or 24p........i think

the Imac question is still up in the air as well, is ther a way of getting component video fed in to it?
 
You can get 60fps and 48fps out of the component out's natively. Also if you use Cineform's Waifan device you can get any multiple of 4fps out of the components at 1280x720 422 10 bit colorspace. That's full rez guys! The HD-100 truly is an agnotic camera that morphs into whatever you want.
 
so Stephen you record on set/during production in to the waifan device via the component outs of the hd-100 and from the waifan you can transfer any multiple of 4 fps.....ie. 16fps if i needed?
 
I personally do not, but David Newman does and he's got a blog about it specifically connected to the HD-100 and he's able to pull different frame rates using, I think, AspectHD. I am definately a fish out of water talking about it but check out cineform's site or post over on dvinfo.net's cineform forum (where David Newman is moderator). He is the expert at it.

The standard shooting frame rates are 24, 25, 30, 48, 50 and 60 frames per second. These are stock when the camera comes out of the box.
 
stephenlnoe said:
You can get 60fps and 48fps out of the component out's natively. Also if you use Cineform's Waifan device you can get any multiple of 4fps out of the components at 1280x720 422 10 bit colorspace. That's full rez guys! The HD-100 truly is an agnotic camera that morphs into whatever you want.
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yeah but the damn thing is $15,000! what's a good way to tether the jvc to something cheaper (laptop?) that's pc based and will get you 4.2.2?
 
Now hang on a sec...This is only pertaining to live video out right? If you record to tape I think you are already at 4:2:0 so going out the analog from tape will not benefit you.
 
brianluce said:
...what's a good way to tether the jvc to something cheaper (laptop?) that's pc based and will get you 4.2.2?
Click to expand...
Aja Kona to Cineform capture or any NLE that can ingest component or HD-SDI. The HD-100 would need a analog to HD-SDI converter in the latter scenario.

Those solutions will work more economically.
 
FullRez said:
Now hang on a sec...This is only pertaining to live video out right? If you record to tape I think you are already at 4:2:0 so going out the analog from tape will not benefit you.
Click to expand...
Right. We are talking about Live capture out of the component. Anything on tape or out firewire has been sent though the encoder.
 
stephenlnoe said:
Aja Kona to Cineform capture or any NLE that can ingest component or HD-SDI. The HD-100 would need a analog to HD-SDI converter in the latter scenario.

Those solutions will work more economically.
Click to expand...

these kona cards work on pc? i thought it was mac only. at any rate, such a tetthering system sounds like it would yield some great images and neutralizes some of the perceived benefits of the hvx, however, such a solution would seem to be limited to desktop computers right? i've never heard of laptops with kona style component capture cards. is there a way to make a more portable solution? i could live with a laptop but a desktop might be too much heavy lifting.
 
brianluce said:
these kona cards work on pc? i thought it was mac only. at any rate, such a tetthering system sounds like it would yield some great images and neutralizes some of the perceived benefits of the hvx, however, such a solution would seem to be limited to desktop computers right? i've never heard of laptops with kona style component capture cards. is there a way to make a more portable solution? i could live with a laptop but a desktop might be too much heavy lifting.
Click to expand...
Decklink and Cineform. Try that combo.
 
PC laptop. Hmnn.... Let me think about that one. There must be something for a laptop somewhere out there.
 
yep-with the Magma expansion chassis via the PowerBook's PC Card-CardBus slot... I believe "Scott Billups" did this when he made a d-beta from a old analog Betacam SP camera body and lens that he got for $1500 total, upgraded the chipset for $800, and routed the uncompressed, component RGB signals into an $890 AJA D10A component analog-to-serial-digital converter. It's in his book... "Digital Moviemaking"_|__|_
 
Craig Bellaire said:
yep-with the Magma expansion chassis via the PowerBook's PC Card-CardBus slot... I believe "Scott Billups" did this when he made a d-beta from a old analog Betacam SP camera body and lens that he got for $1500 total, upgraded the chipset for $800, and routed the uncompressed, component RGB signals into an $890 AJA D10A component analog-to-serial-digital converter. It's in his book... "Digital Moviemaking"_|__|_
Click to expand...

anything for pc?
 
A real-world answer is that we were with JVC last night at HD Expo and talked about the new show we start in April. We're using the 100HD component and bypassing the compression system all together on a 4-camera shoot and going live to a system like the Decklink HD system equipped with a Decklink Multibridge for analog to SDI conversion. Both JVC's and Paul Kasparian and Eric Rosenberg confirmed that we can use the camera for true 10-bit 4:4:4:4 60p component at 720p with the fourth the key channel for the color commentary.

We will be incorporation an abundance of slow motion that needs to be seamless and with 720P30 mode, the analog component output turns into 720P60 which is perfect.

Stephen's right. Check with David Newman dvinfo.net's cineform forum. He's definitely The Man but for Declink go to http://www.decklink.com/products/hd/ and for the Bridge go to http://www.decklink.com/products/multibridgeconverter/

You're right. It's definitely more expensive than your average shoot but it's well-below the price of doing it "Hollywood Style" which ironically was the subject of one of last night's forums at HD Expo. It just goes to prove that the $5,000 100HD is a true HD camera and can render true HD results previously reserved for Viper, Grass Valley, Sony 950, etc. While admittedly being in another league functionally and to compare them any way but philosophically to the upper end, Viper-style cameras is presumptuous but those cameras are also in the stratosphere relative to price. Add about $20k, which is alot I agree for the independent, and the 100HD can give you true, HD, uncompressed 4:4:4:4 output that can result in footage every bit as spectacular as the $100k plus setups do. I sound like I'm becoming a commercial but we really did pay for our cameras and get nothing from JVC. I'm just amazed daily at the things that this little camera can do for the price.
 
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