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MEDIA 100 SDE
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* Please call for special pricing ! |
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Media 100 SDe Features
* 8/10-bit Uncompressed SD PCI Express I/O Card * 12-bit SD Analog Component/Composite/S-Video (via YC) I/O * SDI Input, 2 Independent SDI Outputs * 2-ch Balanced XLR AES Audio I/O, 24-bit * 2-ch Balanced XLR Analog Audio I/O, 24-bit * 6-ch SDI Embedded Audio I/O, 20-bit * Genlock * RS-422 9-pin Port for Machine Control * Breakout Box Standard * 3-year Warranty * Title Suite
Media 100 SDe Highlights
Support for up to 99 video tracks, each able to contain video, motion graphics with embedded alpha channels, Title Suite files and still image data. Version 12 also allows editors to view a single frame of the composite of all tracks wherever the CTI (Current Time Indicator) is parked. This allows users to easily design complex effects and deep compositions by instantly viewing all graphics and video elements in both the subsampler window and on the output video monitor.
ntegrated Clip Preset FX. Edit and apply Effect and Title Suite Preset Filters directly to clips in the timeline, or modify and save preset filters for later use.
Integrated Boris FX Transitions. Even more editing functionality with access to hundreds of award winning Boris Transitions.
Composite and Layering Support. Up to 99 video tracks, each able to contain video, motion graphics with embedded alpha channels, Effects and Title Suite files and still image data.
Timecode Burn-in. Burn in timecode to speed up editing or send proof to your clients.
Adobe CS 3 Support. Media 100 adds Intel native Adobe After Effects Project Importer support. Take your Media 100 Program Timeline directly into Adobe After Effects.
Progressive and Interlaced Supported Video Formats (Note: For Timeline Editing Only). 525i 29.97, 625i 25,720p 50, 720p 60, 1080i 25, 1080i 29.97, 1080i 30, 1080psf 23.98, 1080psf 24. 1080p 25, 1080p 29.97, 1080p 30.
Advanced keying with real-time RGB, YUV, HSL modes and softness/offset controls. The powerful, intuitive keyer yields superior quality and is fast to use, with keyframeable opacity controls right in the timeline.
RGB and YUV color correction in real time for SD images with live output to an attached broadcast monitor for accurate color picking and monitoring of adjustments.
Real-time Effects at SD resolution include transitions, opacity control, keying, color correction, audio mixing, equalization, and broadcast-quality format conversion with aspect ratio conversion. Other SD effects render in near real-time utilizing the power of the Apple Mac Pro platform.
The Media 100 SDe delivers the speed that post-production has been missing with All On One Mastering. The beauty of this system is that is allows you to capture images at full 8 or 10-bit Uncompressed resolutions, edit and apply effect in real-time. If storage or drive space is a concern the system allows users to capture images at low or compressed resolution, edit and apply effects in real time, and then recapture at any resolution.
Signal I/O flexibility: Whether you're in broadcast or not, you are dealing with transition. Analog to digital. 4:3 to 16:9. You need a rock-solid SD system which allows you to integrate BetaCam SP and a variety of SD formats. You need to work like you always have while you make changes for the future. Media 100 bridges the gap, offering output for component analog video, and SDI (SMPTE 259). We understand where you've been and where you're going.
Compatibility with a wide number of codecs at both SD resolutions. Most remarkable is the ability to seamlessly mix codecs in the same SD timeline, where the system's native 10-bit uncompressed media can be combined in real time with images created with other codecs including Animation, DV, 8/10-bit Uncompressed 4:2:2, DVCPro, DVCPro 50, DVCPro HD and our own 844/X and Media 100 i MJPEG, Apple Pro Res 422 and Apple Pro Red (HQ) Collaboration with other digital artists takes on the drag and drop simplicity for which Media 100 is known.
The Media 100 SDe is both media and timeline-compatible with earlier generation Media 100 systems, meaning programs, bins and media can move from Media 100 HD and Media 100 i to the Media 100 SDe systems quickly, easily, and without data degradation. In addition, a software codec and a native Media 100 HD codec allow QuickTime applications, such as Adobe® After Effects®, to create SD media on any system, from laptop to desktop, that is compatible with the Media 100 SDe system.
SD Nonlinear Editing System
Not yet ready to make the leap to HD? Media 100 SDe is a powerful SD nonlinear editing solution that features the easy to use Media 100 user interface with the cost-effective AJA OEM SDe board. This is the ideal solution for editors, event videographers, corporate video producers or anyone who want to be productive now, without closing the door on future expansion into HD. The flexible user interface is appropriate for any level of user experience. Media 100 broadens your creative horizons, while preparing you for an easy transition for future business opportunities. Existing Media 100 i users can easily bring their existing or legacy projects and media to any Media 100 AJA-based system.
Transfer projects to and from Apple Final Cut Studio via the industry-standard XML language format. Filtered clips and non-standard transitions and titles can be automatically pre-rendered for seamless integration with Apple Final Cut Pro. Standard video transitions and audio cross-fades remain fully editable. Work on the system of your choice within a larger workgroup or collaborate with Apple Final Cut Pro editors on the same project. Bring your Media 100 timeline into Apple Color for color grading, keeping all of your edits intact and linking to your original media files.
You can now assign multiple audio tracks to virtual buses and process each bus separately in the timeline. Each bus can separately master to one or more output hardware channels. The new multi-channel audio mixing and output capabilities give you tools for complex mixing tasks with different language versions within your timeline. Through the use of multiple mixing buses you can easily create sub-mixes for voice and music and keep complex mixing sessions clearly arranged. Plus, when needed, you can output all the different mixes to tape or to a QuickTime file in a single pass, reducing the time needed to master multi-track projects. Now you can easily monitor and master surround mixes by using multiple outputs. The mixing capabilities with the ability to assign tracks to multiple buses and the option to apply audio effects both to individual clips as well as audio buses makes Media 100's audio features comparable to dedicated audio workstations.
• JKL Keyboard Control for video trimming and Time-code Support on imported BWF and WAV files.
Media 100 SDe Tech Specs
| Video Formats |
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| SD
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| Video Input |
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| Digital
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Analog
- SD
- YPbPR, RGB (component mode)
- Composite
- Composite/YC (S-Video)
- 12-bit D/A
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| Codecs |
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SD
- Media 100 HD
- Media 100 i
- Media 100 844/X (PPC only)
- Apple ProRes 422
- Apple ProRes 422 (HQ)
DV
- DVCPro
- DVCPro 50
- Uncompressed 8-bit 4:2:2
- Uncompressed 10-bit 4:2:2
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HD
- Media 100 HD
- Apple ProRes 422
- Apple ProRes 422 (HQ)
- DVCPro HD
- Motion JPEG B
- Uncompressed 8-bit 4:2:2
- Uncompressed 10-bit 4:2:2
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| Video Output |
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| Digital
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Analog
- SD
- YPbPr (component mode)
- Composite/YC (Composite mode)
- 12-bit D/A
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| Audio Input |
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Digital
- 2-channel AES/EBU, 48KHz sample rate
- Synchronous or Non-synchronous
- (Internal sample rate conversion)
- SMPTE-259 SDI Embedded audio, 6-channel, 48kHz synchronous
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Analog
- 2-channel balanced input
- +24dbu Full Scale Digital
- A/D, 48KHz sample rate
- +/- 0.2db 20 to 20KHz Frequency Response
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| Audio Output |
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Digital
- 2-channel AES/EBU, 48KHz sample rate
- Synchronous or Non-synchronous
- (Internal sample rate conversion)
- SMPTE-259 SDI Embedded audio, 6-channel, 48kHz synchronous
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Analog
- 2-channel balanced input
- +24dbu Full Scale Digital
- A/D, 48KHz sample rate
- +/- 0.2db 20 to 20KHz Frequency Response
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| Cross-Conversion |
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- Hardware 8/10-bit
- 1080i to 720p
- 720p to 1080i
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| Reference Input |
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- Analog Color Black
- 1 BNC on standard breakout cable (75 ohm terminating)
- 2 BNC's, passive loop on Breakout Box
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| Machine Control |
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- RS-422, Sony 9-pin protocol Connector
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