DV Format Gotchas

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Questions to Ask When Selecting a DV VCR forNLEs
Don't Forget Plug-in Support

To avoid unforeseen problems, choose your DV editingsystem—and all of its associated components—wisely.

Purchasing a DV format editing system involves importantconsiderations. There are many “gotchas” that can comebetween you and your DV NLE. Gotchas include timecode breaks, unlockedaudio, monitoring issues, codec selection, and bottlenecks.

To avoid these in the process of creating your edit, here are somebasics to consider when buying a DV format NLE. This article willdiscuss software, hardware, and VCR choices; next month's article willcover topics such as connectivity ports, storage options, and othermiscellaneous gotcha issues.

Selecting your software prior to making any other decision is a goodmove. The software is the element that will either make your lifecreative and enjoyable or a major frustration. Because each major NLEsoftware manufacturer has its own qualified platforms or hardwarespecifications, you will need to select the platform and hardwarespecified by that software manufacturer. It is not uncommon for peoplewho have purchased the hardware first to find out that they cannot usethe intended platform because of software incompatibility.

A surprising number of experienced editors believe that selectingsoftware is as simple as choosing between Apple's Final Cut Pro andAvid's Xpress DV. This is unfair to several other popular manufacturersof NLE software, including (but not limited to) Adobe, AIST, Canopus,In-Sync, Pinnacle Systems, Sonic Foundry, Thomson/GVG, and Ulead. Andeven this assumes that you are not looking at consumer/prosumersoftware, a set-top box (Applied Magic, Casablanca, Edirol, etc.), or aproduct that inputs the DV format but transcodes and edits in analternative format.

While I acknowledge that FCP and Xpress DV are the leaders in thehigh end of DV-based nonlinear editors, neither may be the best productfor your specific needs. At my Government Video Technology Expo DV“shootout,” one attendee came to decide between these twoproducts, but left the shootout intending to purchase a PinnacleSystems Liquid product.

Among the many criteria you should consider in selecting yoursoftware:

1. Are you editing in DV only or will you want this software to handleother formats, such as Beta SP, Hi8, VHS, or an MPEG format likeBetacam SX or IMX? If you edit what you shoot, you are in control, butwill you need to use other client video sources?

   If you need to input analog video, you will need a format mediaconverter such as the ProMax DA-MAX+ or the Canopus ADVC products.There is a range of quality and features in thesedigitizing/transcoding devices.

   Purchase a device approved by your system manufacturer or based upona recommendation from a source you trust. Note how this device handlesaudio (locked or unlocked), video, timecode, and control functions.Make sure it fits your specific needs when interfaced with your NLE.Some systems like FCP are scalable. With scalable systems you can workin several other formats, including uncompressed video and even HD,although you may need to add optional hardware to achieve suchfunctionality.

2. Do you find realtime preview, or realtime preview and output ofgreat importance?

   I find rendering delays distracting and they affect my creativity,but other editors do not mind these delays. Some may enjoy the momentprovided by render times to think ahead and plan. One nice feature ofthis type of system is that it can often output immediately uponcompletion without a final long render. On other systems, editors canwork on other aspects of the timeline while a segment is rendering. Formore on realtime considerations, see Steve Mullen's “RealtimeRedux” on page 47 of this issue.

3. Do you plan to use the system as an offline editor? If so, does thissystem have an offline resolution, or does it have metadata output thatis compatible with the online system you plan to use?

   The FCP system offers an offline resolution, but does not yet offerAAF compatibility. It requires an Automatic Duck application to assistwith importing its EDL into some third-party finishing systems. Aviddoes not have an offline resolution, but offers full timeline metadatacompatibility with Avid finishing systems and AAF compatibility.

4. Is the user interface easy to use? For example, some editors preferclick-and-drag trimming and rubber band audio controls, while othersprefer JKL trim or a trim window and audio mixer controls.

   There is also the dichotomy that the easiest-to-learn system usuallyhas the least sophisticated toolsets. You need to list the editingtools you like and prioritize the importance of those tools whenselecting editing software.

   Another aspect of the user interface to consider is whether thesoftware allows for hardware controls, such as the Contour A/VSolutions ShuttlePRO or a JL Cooper control panel. Many editors findthat jog/shuttle knobs, mixer/fader hardware, and other devices boostproductivity.

5. Does the system have the editing tools your style of editingrequires? For example, is it easy to composite? Does the system acceptthe plug-ins you want if you frequently use graphics/FX compositing?Does it work with 16:9 aspect ratios? If you are a digitalcinematographer, does the system accept 24p or variable-rate video?

Describing all the tool options available would take far more inkthan is available in a column. Try the software you are considering ina “real world” edit and make sure you have all the toolsyou require.

Once you select the software, select the best platform for thatsoftware choice. As simple as this sounds, it can be much morecomplicated than selecting your favorite OS and choosing whether youwant a laptop or desktop workstation.

For example, you may lose technical support if you select a platformthat is not qualified by the software manufacturer or an authorized,reseller-qualified system. (See “Integrators and VARs,” inthe August 2002 Video Systems.)

There is controversy about the importance of processor speeds andassociated bottlenecks. My view is that processor performance doesmatter in DV-based NLEs. (See “Got a Chip on YourShoulder?” in the December 2001 Video Systems.) But theimportance is related to the type of editing you do.

For example, if you are creating small, cuts-only segments for aninteractive video, the performance requirements of the project areminimal. But if you are the type of editor who likes complex compositesand realtime previews, the importance of performance is fargreater.

Processor speed is not the only bottleneck that can slow yoursystem. Processor cache, amount and speed of RAM, graphics card, amountof V-RAM, bus speed, hard disk controller, and hard disk performanceare a few other factors. You may want to purchase additional hardwareacceleration. Board manufacturers include AJA Video, Aurora VideoSystems, Blackmagic Design, Canopus, Digital Voodoo, DVS, Matrox, andPinnacle Systems.

Video graphics cards can be another source of bottlenecks, becausethe card you want may not be compatible with the software chosen. Youneed to decide whether you want dual computer monitors and/or a videomonitor output. You must also decide whether you want CRTs orflat-panel displays.

These decisions affect selection of a graphics card because theconnection requirements differ. As a general rule, you always want themaximum amount of V-RAM available. You can avoid bottlenecks by pickingthe right board, so choose carefully.

Few consider the VCR they will be using when choosing nonlinearediting software. NLE software packages have software templates thatmaximize control functionality. Each package offers a different varietyof DV sources that have been qualified, that is, the softwaremanufacturer designed software templates for each source type. Many DVsources are not qualified and are without templates. Make sure yourplanned source VCR is compatible. Otherwise, you may find that you lacktransport controls or experience constant aborting of the batch importprocess.

Some editors use their camcorders as the DV source. Even if thecamcorder is compatible, there are still many disadvantages to usingit. The most obvious is that you are wearing out the VCR side of thecamcorder. This may not be the most cost-effective decision consideringthe cost of repairs and head replacement. There is also the performanceissue of using a source that is probably far slower in its transportcontrols than a VCR designed as a source for nonlinear editing. Whenlogging tapes, a typical DV VCR could increase productivity by as muchas 50% over the typical camcorder.

There are several other issues to consider when selecting a VCR toconnect to your edit system. First, have you selected the DV format youwant it to be compatible with? If you are editing client work fromunknown sources, you may want it to be compatible with a variety offormats (DV, DVCAM, DVCPRO 25, DVC PRO 50, DVCPRO 50p, and maybe evenDVCPRO HD) and have the ability to handle all cassette sizes.

Many do not realize that the consumer DV format, the DVCPRO 25format, and the DVCAM format all output an identical signal, but eachformat offers advantages and disadvantages. The quality differences informats are almost always caused by the camera and not the recordingcapabilities. The format issues have more to do with the metadata theformat can record, the cost of tapes, the record length, the physicalabuse the tape can withstand, an analog audio track available forcueing and scrubbing, and the editing capabilities — especiallywhen editing linearly.

There are other DV formats available, including 50Mb formats,variable frame-rate and 24p formats, and HD formats.

In addition to selecting the DV formats, you must also ask whatfeatures you need in a DV VCR. Panasonic offers 20 DV format decks, andSony offers 14 DVCAM VCRs in addition to its MiniDV offerings. Thisdoes not include models from JVC or several other manufacturers.Obviously, there is a wide range of features and choices. (See sidebaron page 44.)

Next month: DV NLE storage and connectivity issues.

• Do you need to plan to master on DV or just use it for sourcematerials?

• Do you need to edit with the deck (e.g., make changes to an editedmaster)?

• Do you need the ability to play back (or record) multiple DVformats?

• Do you want faster search, scan, or variable playbackcapabilities?

• Do you need portability?

• Do you need high-speed (4X transfer via SDTI) capabilities?

• Do you need linear editing capabilities (e.g., tape-to-tape to adifferent format with built-in control functionality)?

• Do you want a built-in LCD monitor or jog/shuttle control knob?

• Do you need specific input or output (e.g., timecode out, referencesync in, analog or AES I/O, SDTI I/O)?

• Do you need widescreen aspect ratio, alternative frame rates, orhigher throughput (50Mb/100Mb) capabilities?

• Do you need specific size cassette capabilities (e.g.,mini-cassettes or large cassette sizes)?

• Do you need specific monitoring capabilities or controls (audiometers, ability to adjust input or output levels, the ability to mixaudio, TBC controls, on-screen menu setup, or video monitoroutputs)?

• Do you need a built-in SMPTE timecode generator?

• Are VCR size, power consumption, or rackmount capabilitiesimportant?

EVEN CONSUMER SOFTWARE LIKE IMOVIE HAS MANUFACTURERS PROVIDingsoftware plug-ins. Plug-ins offer you far more than the standard NLEfeatures. For example, your favorite digital video effects and textgeneration software can appear integrated with your editor if they arecompatible with the plug-in standard your editor uses.

Many felt that good chromakeys were impossible with DV sourcematerial before Ultimatte offered the AdvantEdge plug-in. Boris FXoffers DVE and powerful character generation plug-ins for manynonlinear editors. Still image use is much more impressive with aMovingPicture plug-in from StageTools.

And Automatic Duck may be today's most popular postproductionplug-in manufacturer. It offers plug-ins like Automatic CompositionImport, which allows timeline media and metadata to be imported easilyinto Adobe After Effects. 3Prong, Belle Nuit, DigiEffects, Digital FilmTools, Digital Anarchy, GenArts, Inscriber, Pinnacle Systems,Pixélan Software, Profound Effects, RE:Vision Effects, SyntheticAperture, and Visual Infinity are among the software manufacturers thatmake plug-ins for DV-based nonlinear editing systems.
— BT

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