In the past I found that the SDTI output of an IMX record deck I used acted just like the other SDI outputs in that I could patch it into the sd sdi monitor and see the video. Was there a setup on the deck to make it a true SDTI signal? If it was a signal that wasn't compressed etc.... I would think it wouldn't have played back on the sd sdi monitor. What am I missing here?
--- In Avid-L2@yahoogroups.com, Ross Flint <rossf@...> wrote:
>
> SDTI stands for Serial Digital Transport Interface. It lets you send
> data other than baseband video through SDI routers and other equipment.
> The data will only be understood by another device that uses the same
> SDTI format. In the case of HDCAM decks, the SDTI carries the
> compressed video (plus audio, timeocde etc) so you can clone tapes over
> SDTI without decompressing and re-compressing on the second VTR, which
> does skip the generation loss - it is essentially just transferring
> encoded digital data, much like a file copy. Of course, it will only
> work between HDCAM VTRs, as nothing else will understand the SDTI, which
> means it is no help if you need to insert captions or do any other
> processing.
>
> Ross
>
>
> On 12/01/2011 12:41, ripvanmarlowe2000 wrote:
> >
> > This brings up something i've been interested in but have never been
> > able to find out any solid information on, even from Sony. There is an
> > SDTi interface card for HDW2000 HDCAM machines which supposedly
> > circumvents the HDCAM compression and just takes a data stream or some
> > such from one deck to the other without any generational loss. Does
> > anyone know about or use this card for dubs or it's proper usage? Any
> > source of information would be lovely. Maybe that might help you out
> > too John?
> >
> > Cheers,
> >
> > Andi
> >
> > --- In Avid-L2@yahoogroups.com <mailto:Avid-L2%40yahoogroups.com>,
> > "johnrobmoore" <bigfish@> wrote:
> > >
> > > 5 generations sounds like the number I've seen bantered around but
> > I've never dealt with it first hand. It's a moot point now I'm going
> > to output to SR and we will keep that master in house for future re
> > purposing. Since it's a comedy special I figure the lack of generation
> > loss will make it even funnier. I've always felt bandwidth and comic
> > impact are directly proportional. ;-)
> > > I suppose I could always dub it to digibeta and avoid all generation
> > loss (inside joke from a past life.)
> > >
> > > --- In Avid-L2@yahoogroups.com <mailto:Avid-L2%40yahoogroups.com>,
> > "Terence Curren" <tcurren@> wrote:
> > > >
> > > >
> > > > Try that again... You'll never seen the generation loss of 5
> > passes on HDCAM once the video has ben mangled through the whole
> > distribution process. And certainly not when viewing off the
> > internet.... or on your iPhone... etc.
> > > >
> > > >
> > > >
> > > > --- In Avid-L2@yahoogroups.com <mailto:Avid-L2%40yahoogroups.com>,
> > "Terence Curren" <tcurren@> wrote:
> > > > >
> > > > >
> > > > > I've seen detectable noise in 5 generations. On the other hand
> > you'll never
> > > > > --- In Avid-L2@yahoogroups.com
> > <mailto:Avid-L2%40yahoogroups.com>, John Moore <bigfish@> wrote:
> > > > > >
> > > > > > I know HDCam doesn't hold up well for multiple generations
> > hence the SR format for better dubbing and extra audio channels. I've
> > got a show shot on HDCam that will be closed captioned adding an extra
> > generation. I prefer to output the edit master to HDCamSr and send
> > that off as the source for the closed captioning dub to HDCam. Just
> > curious if I'm being to anal about this. Anybody got any opinion on
> > 3rd generation HDCam which would be the air master if I output to
> > HDCam for the edit master before captioning?
> > > > > >
> > > > > > John Moore
> > > > > >
> > > > > > Barking Trout Productions
> > > > > >
> > > > > > Studio City, CA
> > > > > >
> > > > > > bigfish@
> > > > > >
> > > > > > [Non-text portions of this message have been removed]
> > > > > >
> > > > >
> > > >
> > >
> >
> >
>
>
> [Non-text portions of this message have been removed]
>
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