Ok, I've got a slight delema. Check out my projector if you like, it's in the NEC 1545 thread. Everything looks great, etc. Got some kinks that i need to work out, but it's all good. Everything from my computer, including my software DVD player, looks awesome. But I've got issues w/ component video.
I used to work for a video engineer, and after that, I was a non-linear editor. 95% of our source footage came on Betacam SP, and we digitized it via component inputs on our Mac system (Media 100). I always noticed that everything was much darker on component inputs. I adjusted it via our waveform and vectorscope, but I always wondered why it was naturally so much darker.
My projector has just the VGA input. I bought the Viewsonic N6, which has component inputs. I also bought the High Def pack for my Xbox, which gives it component outputs. Now, everything from the Xbox is dark as hell. I've tried adjusting the contrast and brightness, but either it's too dark, or the whites are too hot. It's a shame because w/ the Xbox and the N6, I don't need a computer hooked up at all. But this darkness problem is seriously a problem. Does anyone know what's up w/ this?
I used to work for a video engineer, and after that, I was a non-linear editor. 95% of our source footage came on Betacam SP, and we digitized it via component inputs on our Mac system (Media 100). I always noticed that everything was much darker on component inputs. I adjusted it via our waveform and vectorscope, but I always wondered why it was naturally so much darker.
My projector has just the VGA input. I bought the Viewsonic N6, which has component inputs. I also bought the High Def pack for my Xbox, which gives it component outputs. Now, everything from the Xbox is dark as hell. I've tried adjusting the contrast and brightness, but either it's too dark, or the whites are too hot. It's a shame because w/ the Xbox and the N6, I don't need a computer hooked up at all. But this darkness problem is seriously a problem. Does anyone know what's up w/ this?
Just a thought, I am not sure of your setup, but maybe if you were to feed it the Y from a Y/C, and the PbPr from the compenent output. I am not sure, but if it is a brightness issue it should reside in the Y segment.
P.S. I interned at a tv station last year. There media 100 was crashing left and right, I oped to edit on Final Cut Pro, bit of a learning curve but quite effective. maybe I will tackle the 100 this summer there, they also picked up a 844/x I can't wait to play around with.
P.S. I interned at a tv station last year. There media 100 was crashing left and right, I oped to edit on Final Cut Pro, bit of a learning curve but quite effective. maybe I will tackle the 100 this summer there, they also picked up a 844/x I can't wait to play around with.
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Here was where I edited: I did'nt like the fact that I had to render most of my work out, but I loved those monitors!!!! 22" widescreen lcd panels, god it was a pleasure to edit on them!
Yeah, those are nice. I still don't understand why this industry is so stuck on Macs. Most of the people in the business are PC illiterate, and they're all under the illusion that Macs are superior. While that may have been the case 10 years ago, it certainly isn't today. It's not like you can't install SCSI cards in PCs. Personally, I've had way more problems w/ OS X then I have with Windows XP. And the price of everything Mac is astronomical.
Anyways, Final Cut is pretty cool, but I still love Media 100- despite all that it lacks. I can work on a M100 twice as fast as your average Avid or FCP editor.
Anyways, Final Cut is pretty cool, but I still love Media 100- despite all that it lacks. I can work on a M100 twice as fast as your average Avid or FCP editor.
BTW, back to the topic, I managed to find a way to get a color bars jpg on my Xbox and display it, so now everything looks good. Set brightness and contrast to 50%, lower chroma (or saturation in this case) to 0, and start tweaking.
Yeah, my first day there I had to ask how to copy a file🙄 They they are a bunch of mac heads over there, which personally I can't stand--I brought my laptop in one day and I could render effects almost twice as fast in adobe primiere on it as FCP3 could on there dual processor mac. Personally macs may be nice, but the thing pcs have going for them are those cheap dv realtime cards and tons of dirt cheap rendering power.
No kidding. The day when EVERY proffessional tape deck can plug into a computer's digital port and act like a disk drive is the day I can actually respect that business. Sure, you can bring DV stuff in via firewire, but it recompresses it (lol). Such a joke. Sony is practically a monopoly when it comes to video equipment. If I were to go buy a digibeta deck, I'd probably spend over $50,000 and all it would have is component output and some Sony proprietary digital interface system (it's been a while, but I imagine that's how it works now).
It's a closed minded industry because so many art-heads and sales and marketing types are clueless and buy into hype and reputation over anything else. That's why Avid and Sony rule everything. The only reason FCP is doing well is because Apple makes it, and they all trust Apple.
Think about it, I should be able to plug a DV-Cam into the firewire port or USB 2.0 port of a Mac or PC, and BAM! A little drive icon pops up and if I open it I can drag the media over on to my drive. No recompression. No formats to worry about (could be uncompressed HD or a 240x120 quicktime- the computer just sees a file). No waiting for the thing to capture in realtime, etc. Copies over like I'm ripping a DVD.
In this day and age, the whole concept of "digitizing" seems ridiculous, espescially when all the cameras and tape decks are already digital.
But, it won't happen because think how much money capture card makers, as well as Sony, Apple, Avid, etc. would lose. They would never be able to sell editing hardware because nobody would need it.
It's a closed minded industry because so many art-heads and sales and marketing types are clueless and buy into hype and reputation over anything else. That's why Avid and Sony rule everything. The only reason FCP is doing well is because Apple makes it, and they all trust Apple.
Think about it, I should be able to plug a DV-Cam into the firewire port or USB 2.0 port of a Mac or PC, and BAM! A little drive icon pops up and if I open it I can drag the media over on to my drive. No recompression. No formats to worry about (could be uncompressed HD or a 240x120 quicktime- the computer just sees a file). No waiting for the thing to capture in realtime, etc. Copies over like I'm ripping a DVD.
In this day and age, the whole concept of "digitizing" seems ridiculous, espescially when all the cameras and tape decks are already digital.
But, it won't happen because think how much money capture card makers, as well as Sony, Apple, Avid, etc. would lose. They would never be able to sell editing hardware because nobody would need it.
Going back to your original question about why the component inputs look so much different from the composite:
In most countries NTSC composite video caries an artifact from the days when televisions were made with fire bottles and mad man Muntz hadn’t put the gimmick into the IF circuit yet.
In order to distinguish the difference between black video and sync pulses, black has been defined 7.5 IRE above out of 100. Composite video is a 1volt p-p signal divided into 140 units. –40 to 0 is the range for the sync pulses. 0 to 7.5 is referred to as the setup. 7.5 to 100 is the active video. Video occurring between 0 and 7.5 is sometimes referred to as super black. 7.5 is referred to as black. This worked great 50 years ago but the effect today is to be tossing out a good chunk of the video signals dynamic range.
Component video always references black at zero IRE, so in addition to not having any encoding artifacts; it also has a greater dynamic range.
In most countries NTSC composite video caries an artifact from the days when televisions were made with fire bottles and mad man Muntz hadn’t put the gimmick into the IF circuit yet.
In order to distinguish the difference between black video and sync pulses, black has been defined 7.5 IRE above out of 100. Composite video is a 1volt p-p signal divided into 140 units. –40 to 0 is the range for the sync pulses. 0 to 7.5 is referred to as the setup. 7.5 to 100 is the active video. Video occurring between 0 and 7.5 is sometimes referred to as super black. 7.5 is referred to as black. This worked great 50 years ago but the effect today is to be tossing out a good chunk of the video signals dynamic range.
Component video always references black at zero IRE, so in addition to not having any encoding artifacts; it also has a greater dynamic range.
Re: Quick question
I have EvolutionX installed. It allows you (with a modchip) to copy files to and from the Xbox harddrive via FTP. You can also store and run games off the harddrive (and they run much faster).
Evox has variety of "skins" you can use as a backround for the menue, so I just replaced the jpg file of one of them w/ the color bars jpg.
dogon1013 said:How did you display a Jpg on your Xbox
I have EvolutionX installed. It allows you (with a modchip) to copy files to and from the Xbox harddrive via FTP. You can also store and run games off the harddrive (and they run much faster).
Evox has variety of "skins" you can use as a backround for the menue, so I just replaced the jpg file of one of them w/ the color bars jpg.
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