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So, how does the VC-300HD fit into the work
done in a studio? Below you can see some of the
concrete advantages it offers in typical systems.
Non-linear HD editing has just about reached a
level where it can realistically cope with native
format HDV and DVCPROHD. One of the
reasons that this is practical is because IEEE1394
can handle the transfers. When it comes to
uncompressed HD-SDI data, however, the
threshold is still high. For a start, you need to
have a board with HD-SDI input–output and a
large amount of extra storage space. Many things
still stand in the way of dealing, in real time, with
multiple streams of uncompressed data.
However, if various formats are converted to
HDV and the data is acquired, native editing in
HDV can be done for video sourced from any
format. What is more, HDCAM, DVCPROHD,
and other sources with HD-SDI can be down
converted and acquired as DV. If the final form is
SD, say for DVD, work can be done more
efficiently.
In post-production work, much dubbing work
is needed for the materials and complete package.
In particular, it is expected that there will be a
rapid increase in the need to bring video up from
HDV and, conversely, to drop it down to HDV.
Meanwhile, it is still true that the work of
dubbing to obsolete VHS will not completely
disappear. For the most frequently occurring
conversion tasks, one approach is to install a
number of fixed format converters. For less
frequently encountered conversions, however,
multi-format converters provide an effective
solution. In dubbing rooms where a combination
of devices such as matrix switchers and routers
are assembled, it can avoid the need for
unnecessary cabling.
When shooting live concerts and other stage
events, producers generally switch between
several cameras. For recording at times like this,
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