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.
■Figure 1. Non-Linear Editing System
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.
■Figure 2. Dubbing
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.
■Figure 3. Live recording
When shooting live concerts and other stage events, producers generally switch between several cameras. For recording at times like this,
