Download from Www.Somanuals.com. All Manuals Search And Download.
Introduction
2
4
Why you need a real-time converter
Support for various formats
Actual conversion procedure
Picture quality evaluation
5
6
8
10
12
14
16
18
19
‘The Processing’- More than just a converter
Superior picture quality after down conversion - Interview Shinji Kobukata
Making full use of HDV - Interview with a VC-300HD developer
System proposal - Flexible format conversion is the key
Input/Output specifications
Main specifications and connectors
Writer: Nobuyoshi Kodera
Cover photos: Shinya Aizawa
The Japanese original book was issued asa supplement of
“Gekkan Video α” on June 1st, 2007.
3
Download from Www.Somanuals.com. All Manuals Search And Download.
Why you need a real-time converter
In no time at all, formats for HD recording
have multiplied. Although the mainstream format
for delivery of commercial broadcasting is
HDCAM, an infrastructure to accommodate
HDCAM-SR is also gradually coming into
mainstream. On the other hand, the SD format is
still being widely used for news coverage and the
introduction of non-linear HD media such as
XDCAM and P2 is being considered. As long as
the video is output as HD-SDI, interoperability is
possible.
periods of time, and results in a shortage of
temporary drive space and increases costs.
Moreover, converting using an NLE system is a
non-editing task that can unnecessarily tie up an
expert editor. Thus, all the temporary storage
space, which you need for a margin of safety
during conversion, can add significantly to
operating costs.
Monitoring various video formats is another
issue. A monitor compatible with the format of
the data needing conversion may not always be
readily available. HD video can be checked on a
PC monitor, but if you want to check output on a
projector or consumer TV, you can only use HD-
SDI or HDV.
It is not unusual for TV programs and
promotion videos to be shot and recorded with
cameras that use consumer HDV video formats.
Moreover, from the adoption of SD, real time
output from PC monitors was being recorded and
broadcasted. Of course, this method is also
effective in an HD environment. No matter how
quickly you may have embraced HD, however,
the advantages of non-linear editing are often
hindered. Whenever real-time multi-format
conversion is unavailable, you can suffer from
three types of loss.
・Lost business opportunities
In a fast paced production environment where
speed, ease of use and reliability are essential,
format compatibility can kill a project. As a
result, we tend to avoid dealing with formats we
are not sure about or we consider to be a hassle.
If your studio doesn’t deal with certain formats
you may find yourself turning down business.
The production side examines work right down
to the fine details and trouble avoidance is given
high priority. If you have long-term relationships
with clients, both sides know what the other can
and cannot do. Of course, this may seem like an
ideal way of working, but it can also mean loss of
future business by refusing new clients with
special format or conversion requirements. If
your company can only deal with a limited
number of formats it always runs the risk of not
being competent to deal with large projects using
formats beyond your capabilities.
・Time wasted in conversion process
In some cases today, production companies are
loading footage that needs converting to a non-
linear editing system (NLE), and using software
to convert to the desired format. This
methodology is not practical or an efficient use of
your NLE system. The process of loading each
time into the NLE, rendering with software and
then outputting may seem quick and convenient
at first glance, but in many it just ends up taking
more time than initially expected.
・Unnecessary investment in equipment
Conversion can tie up the entire NLE for long
4
Download from Www.Somanuals.com. All Manuals Search And Download.
Multi-format conversion options
Support for various formats
The VC-300HD enables conversion between
many all of the formats currently used in video
production. It is a multi-format converter. Four
connector types provide different data sources
and destinations: IEEE1394, analog component,
SDI, and DVI-I. HDMI connectivity is enabled
through the use of a DVI-I conversion cable.
These different connectors provide access to a
diverse variety of HD, SD and other resolutions.
Naturally, to ensure conversion between
resolutions, up conversion and down conversion
are supported. Even in HD format, conversion
from 720p to 1080i is far from unusual. This type
of resolution conversion plus Interlace/
Progressive conversion is possible with the VC-
300HD.
makes it possible to capture PowerPoint slides
and other software applications as immediately
usable video content. Going the other way, video
pro VCR content can be converted to data that
can be viewed on PC monitors, via projectors,
and on consumer TV screens.
Moreover, while China is geographically close
to Japan, China is in the PAL region. When the
2008 Olympics are held in Beijing, Japan is
bound to have to quickly deal with a lot more
PAL content. The VC-300HD is not limited to
NTSC format. It takes the different frame rates
and resolution from PAL to NTSC output and
vice versa. Up to now, no other converter has
been available that enables you to convert just
about all existing formats and provide bi-
directional conversion.
Moreover, output to a PC monitor can be
converted to HDV and HD-SDI output. This
5
Download from Www.Somanuals.com. All Manuals Search And Download.
Signal processing is automatically
selected based on selected input and output.
Select input source.
The built-in audio delay for
frame-accurate sync.
Supports embedded audio with
High Quality A/D - D/A conversion.
Actual conversion procedure
What does format conversion actually involve
with the VC series? It’s so simple that almost
anyone who has operated video equipment can
do it just by looking at the panel and selecting the
settings. For instance, let’s see how HDV content
is converted and output to other formats.
Turning the knob on the right, you cycle to
i.LINK and select by pushing the knob. All the
basic selection operations are done by turning the
knob and pushing into select the displayed item.
Let's now take a look at the OUTPUT
function. Once you selected the output format,
the converter will automatically convert and
output the video format desired. If the unit’s
automatic settings are acceptable, there is no
need to access the PROCESSING button to
adjust the parameters.
Using a Firewire cable, connect the HDV
camera output to the i.LINK input. While there
is an i.LINK port at the rear of the unit, an i.LINk
connector was added to the front for
convenience. However, you can only use one at
time, and one i.LINK port must be closed when
the other is in use. You can leave the other output
terminals - HD-SDI, DVI-I and analog
component - permanently connected to devices
or monitors.
Furthermore, the VC-300HD can output the
converted data via any of the connectors. For
example, if you select 1080/59.94i, full HD video
can be sent out parallel via the Analog
Component, HD-SDI, and DVI-I connectors.
That means that you don’t have to actually select
the output connector. This feature is convenient
when you want to send converted video output to
more than one device. Naturally, if you select
480/59.94i, the video is down converted to SD
and can be output via all the connectors. In this
instance, HD-SDI is automatically output as SD-
SDI.
Three function buttons on the front panel from
left to right are labeled. From the left they are
labeled INPUT, PROCESSING, and OUTPUT.
After you press INPUT, it lights up blue. The
display shows the name of the input connector
being used. The unit automatically senses the
type of incoming signal. All you have to do is
check and select the active input connection.
6
Download from Www.Somanuals.com. All Manuals Search And Download.
Select output format.
Signal after conversion is sent out
from all the output terminals
Supports real-time conversion
to HDV.
Analog component supports
both SD (480i/576i)
and HD (720p/1080i)
Supports direct input from computer
display. Accepts digital RGB signals
up to 1600x1200/60Hz and analog
RGB signals up to 1024x768/60Hz
So, let’s see what kinds of things you can do
with PROCESSING. When you press the button,
you can cycle through five parameters - Scaling
Type, Out Zoom, Audio Delay Time, Sync
Source, and TC Generate - and select settings for
each.
synchronization. The VC-300HD provides three
options: Internal, Video Input, and REF Input. If
not set manually, the optimal source will be
automatically be selected. When converting
between PAL and NTSC, if input and output are
out of sync, internal synchronization is selected.
If no external synchronization signal input is
detected, synchronization is almost always set to
Video Input. When conversion is output to a
recorder, the input signal of the recording device
works as the reference. Consequently, Auto
detection usually presents no problems. When
input is to a switcher or other source that requires
synchronization, sync is accomplished via an
external input.
Scaling Type lets you set the aspect ratio.
Since selecting 4:3 would otherwise cut strips
from the sides of the screen, you can choose
between Squeeze or Letterbox. Appropriate
options are also available for 16:9 video as well.
Out Zoom is especially effective when down
converting. You can adjust the zoom amount
from 50% through 150%, and when enlarging the
screen, you can set positioning via menu options.
There is more about this in the description of
PROCESSING parameters on page 10.
With TC Generate you can select what to do
about the embedded time code when using
i.LINK and HD-SDI connections. When OFF is
set, no code is output. Free Run uses the value set
in the VC-300HD. When Thru is set, the time
code that is sent via i.LINK and HD-SDI is
embedded as it is. Using Offset, output can be
adjusted with an embedded value applied to the
time code. Thru output applied to incoming HDV
is particularly convenient when you want to
match offline and online time code data.
By setting Audio Delay Time you can adjust
the amount of delay between the video and
soundtrack. This is especially useful if spoken
words are out of synch with the movement of lips
with the video. Fine tuning and adjustment can
be as little as 0.01 frames. The default setting is
1.00 f to compensate the audio timing to match
the delay resulting from the video conversion
process.
Sync Source lets you set the reference for
7
Download from Www.Somanuals.com. All Manuals Search And Download.
Picture quality evaluation
Although the VC-300HD is capable of diverse
format conversions, the video quality is not
compromised. Examine these frequently used
resolutions in same-sized format conversion,
down conversion and up conversion. These
samples were converted via two-way connection
between i.LINK (HDV/DV) and HD-SDI.
Original input video (HDCAM format).
After conversion, each of the video
samples have been cropped to remove
the surrounding margin.
■HD/SD-SDI to i.LINK (HDV/DV) conversion
①
②
①
Input
HD-SDI 1080/59.94i
Process Format conversion
Output
1080/59.94i
②
Input
HD-SDI 720/59.94p
Process Format conversion
Image after format conversion
Image after format conversion
Output
1080/59.94i
③
③
④
Input
HD-SDI 1080/59.94i
Process Down conversion
Output
480/59.94i
④
Input
SD-SDI 480/59.94i
Process Up conversion
Output 1080/59.94i
Image after down conversion
Image after up conversion
HD-SDI video input was output via i.LINK. After the i.LINK output was captured in a non-linear system, the video
samples were output as HD-SDI from a board installed in the non-linear system. In the conversion from HD-SDI to
HDV, internal base-band input is encoded in real-time to MPEG2. This provides real-time encoder performance test
results. When the 1080/59.94i output is selected, the cross conversion resolution is actually output at 1440 (horizontal)
pixels.
8
Download from Www.Somanuals.com. All Manuals Search And Download.
■ i.LINK (HDV/DV) to HD/SD-SDI conversion
①
①
②
③
④
Input
HDV 1080/59.94i
Process Format conversion
Output
1080/59.94i
②
Input
HDV 720/59.94p
Process Format conversion
Image after format conversion
Image after format conversion
Image after down conversion
Image after up conversion
Multiburst waveform
Multiburst waveform
Multiburst waveform
Multiburst waveform
Output
1080/59.94i
③
Input
HDV 1080/59.94i
Process Down conversion
Output
480/59.94i
④
Input
DV 480/59.94i
Process Up conversion
Output 1080/59.94i
The figure shows image
samples and waveforms after the
original video has been
converted to HDV/DV format
using the VC-300HD and then,
again using the VC-300HD,
converted to HD/SD-SDI
output. In the conversion from
HDV, once the MPEG2
decoding has been done, the
scaler carries out processing to
magnify or shrink the image. In
the 1080i output, you can see
that the HDV characteristics are
output more or less unaltered.
9
Download from Www.Somanuals.com. All Manuals Search And Download.
‘The Processing’―More than just a converter
The VC-300HD has functions that make it
considerably more than just a simple format
converter. Among the parameters you can access
via the MENU button, you will find parameters
related to video processing. For example, you can
accent converted video with additional
corrections and trimming. Below is a description
of the parameters covered by the processing
functions.
Item
Number
Item Name
Description and Available Settings
200
Scaling Type
Sets the scaling type.
Squeeze: Uses the same aspect ratio as the input.
Original Image４：３
16：９
4:3 NTSC / 480i, PAL / 576i, 1024 x 768,
800 x 600, 640 x 480
4:3 (Letterbox), NTSC / 480i
PAL / 576i
4:3 (Squeeze), NTSC / 480i
PAL / 576i
16:9, 1080i, 720p
Side Panel/Let Box: Shows the entire image, with black shown in portions where there is no video image.
4:3, NTSC / 480i, PAL / 576i. 1024 x 768
800 x 600. 640 x 480
4:3 (Letterbox), NTSC / 480i
PAL / 576i
4:3 (Squeeze), NTSC / 480i
PAL / 576i
16:9, 1080i, 720p
Crop: Displays the image so as to fill the entire screen; does not show the portions extending outside.
4:3, NTSC / 480i, PAL / 576i, 1024 x 768
800 x 600, 640 x 480
4:3 (Letterbox), NTSC / 480i
PAL / 576i
4:3 (Squeeze), NTSC / 480i
PAL / 576i
16:9, 1080i, 720p
210
Out Zoom
Adjusts the magnification of the output video.
50－100－200%: Larger numerical values make the image larger.
* The maximum value that can be selected changes according to the combination of the input video
format and the output format.
211
212
220
Out H Position
Out V Position
Noise Reduction
Adjusts the horizontal position of the output video when the aspect ratios of the input video and the output
format are different and "Side Panel/Let" or "Crop" is selected with "200: Scaling Type."
-100－ 0 － +100 %: Larger values move the image right.
Adjusts the vertical position of the output video when the aspect ratios of the input video and the output
format are different and "Side Panel/Let" or "Crop" is selected with "200: Scaling Type."
-100－ 0 － +100 lines: Larger values move the image up.
Obscures noise in the input video so it is unnoticeable. If it is set too strong, the video resolution may be
reduced.
Off : Do not use 1－63:
The strength of the Noise Reduction
10
Download from Www.Somanuals.com. All Manuals Search And Download.
Item
Number
Item Name
Description and Available Settings
221
Enhancement
Emphasizes the edges of the input video. If set too strong, the edges may look jagged.
Off : Do not use
1－63: Strength of Enhancement
222 Video Red Gain
223 Video Green Gain
Sets the gain value for red in the video being output.
0 －100%: Larger numerical values indicate a stronger red color.
Sets the gain value for green in the video being output.
0 －100%: Larger numerical values indicate a stronger green color.
224
Video Blue Gain
Sets the gain value for blue in the video being output.
0 －100%: Larger numerical values indicate a stronger blue color.
240 AudioDelay Time
Sets the delay applied to the output audio.
0.00－ 1.00 －15.00f
* The time per frame changes according to the frame rate in the value set in "300:Video Out Format."
Therefore, the range of values displayed on the screen (???.? ms) is as follows.
0.00 － 500.5 -When the frame rate is 59.94i/59.94p
0.00 － 600.0 -When the frame rate is 50i/50p
250 Audio Low Gain
251 Audio Mid Gain
252 Audio High Gain
260 Sync Source
Sets the low-range gain value for the sound being output.
-12dB－ 0 － +12dB: Increasing the numerical value increases the low-range gain value.
Sets the mid-range gain value for the sound being output.
-12dB－ 0 － +12dB: Increasing the numerical value increases the mid-range gain value.
Sets the high-range gain value for the sound being output.
-12dB－ 0 － +12dB: Increasing the numerical value increases the high-range gain value.
Sets the synchronizing signal input source.
Auto : Selected automatically.
REF Input: Selects the REF INPUT connector.
Video Input: Selects the video being used.
Internal: Uses the synchronizing signal generated internally.
261 Sync Adjust
Fine tunes the synchronizing signal.
-1000－ 0 － +1000 clock: May be adjusted in this range.
Selects the timecode to embed in the HDV, DV, or HD-SDI output.
* On the VC-200HD, this is set to "Off" at the factory.
270
TC Generate
Off : Time code is not embedded. Free Run: Timecode is generated internally. The timecode is generated
from when the power is turned on or when “271: TC Offset” is set.
Free Run: The time code starts (preset) from the moment settings are made with "271: TC Offset."
Thru : Use the timecode input from an external source. The timecode that is used will be that which is
embedded in the signal of the video connector being used.
* This setting is ignored when the frame rates of the input video and the output format are different The time
code output here is the same as when "Free Run" is set.
Offset: Output the timecode input from an external source with the offset set with “271: TC Offset” ap-
pended to it. The TC that is used will be that which is embedded in the signal of the video connector being .
used.
271 TC Offset
Sets the offset to apply when “Offset” is selected with “270: TC Generate.” This value will be the
time code's preset value when "Free Run" is set for "270: TC Generate."
The hour (h), minute (m), second (s), and frame (f) values can be set independently for this item.
00h00m00s00f －23h59m59s24f 00h00m00s00f －23h59m59s24f
00h00m00s00f －23h59m59s29f (When the frame rate value set for "300:Video Out Format" is 59.94i or
59.94p)
* The available range for this parameter changes when the "300: Video Out Format" parameter is changed.
* When "Free Run" is set for "270: TC Generate," the time code count is reset when this item setting is
changed.
Sets the user bit embedded in the timecode when "Free Run" is set with "270: TC Generate."
* Because there is no impact when the value set for "270: TC Generate" is not "Free Run," the input user
bit is passed through without any change. If no user bit is input, "FF FF FF FF" is output. This item sets
each value independently.
274 User Bit
00 －FF, 00 - FF, 00 －FF, 00 - FF: May be adjusted in this range.
Selects drop frame/non-drop frame for the time code when "Free Run" is set with "270: TC Generate."
Drop : Selects Drop Frame.
275 Drop Frame
Non Drop: Selects Non-drop Frame.
* The setting is not valid when "1080/50p," "1080/50i," "720/50p," "576/50p," or "576/50i" is selected with
"300: Video Out Format."
* For items 201-212 and 220-224, please adjust while confirming on a video monitor.
* The values enclosed in a box are the factory defaults.
11
Download from Www.Somanuals.com. All Manuals Search And Download.
Superior picture quality after down conversion―Interview Shinji Kobukata
Though he is not a celebrity, image creator
Shinji Kobukata is well known in the industry as
a major player behind the scenes. (Photo 1)
Among his numerous productions are many
promotion videos for artists belonging to a
Japanese major label. He has also had a major
hand in editing and directing the opening titles of
Japanese TV shows. More recently, he was in
charge of editing the live DVD of Japan’s most
popular female singer, Ayumi Hamasaki. Mr.
Kobukada was a perfect candidate to put the VC-
300HD through its paces.
I was most impressed by the down-converted
picture quality. Right now at home I have an
ordinary HD VTR and it has a built-in down-
converter. The results are so obviously different
to the output of the VC-300HD. I was surprised
when I checked the line between the bright and
dark areas. Usually, along the boundary, you see
blurring. But with the VC-300HD there wasn’t
any. The overall level of detail is incredible. It’s
so beautiful. (Photos 2 and 3)
I also used to do a lot of chroma key editing
with down-conversion. Frequently shooting is
done in HD and editing and final output are in
SD. But after down-conversion the results are not
good. Despite the time it took, I sometimes did
the keying in HD and then down-converted to
SD. I tended to feel that the results of down
conversion could have been better. When
comparing to the output of the VC-300HD, I
discovered that what I’ve done up until now
doesn’t look that great. I think I’ll be making
good use of the VC-300HD.
First of all, how do you like the way it
operates?
It was very easy to use and very intuitive. I
was actually able to do nearly everything without
needing to look in the manual. To take full
advantage of it’s feature set, especially the extra
processing features, I looked through the manual.
You must have tried out various
conversions. What did you like best?
What did you think about the outline
correcting feature?
Ah, yes, it works well, too. You don’t need to
use it but when you do it is good to be able to
adjust the output level. Even so, noise reduction
can do the opposite and make things fuzzy. I
think I can find a use for it around here.
It’s not just a converter. You can make internal
adjustments. It’s good for changing final image
Photo 1. Edit Puffin Director Shinji Kobukata
12
Download from Www.Somanuals.com. All Manuals Search And Download.
Photo 2. Image down-converted by an ordinary HD
VTR and output to a TV.
Photo 3. Image output from an ordinary HD VTR via
HD-SDI and down-converted by the VC-300HD.
Parameters and other settings were not adjusted.
positioning, when you magnify the picture.
What about the conversion options?
Component, SDI, DV... it seems to cover
everything that the industry currently uses. I
don’t need more than that. I was just about to buy
an HDV deck. But the one with HD-SDI costs a
serious amount of money. But now I might get a
much cheaper one and use this VC-300HD for
HD-SDI.
Do you often use magnify?
In many cases, commercial films are shot,
captured to HD with telecine, and finished with
SD. If you have it in HD, you can pan and zoom
in SD. So, it’s great that you can magnify the
picture and shift the frame a bit. In that respect, it
has more functions than a simple converter. You
can also do it after you get the video into a non-
linear system, but then it has to do the rendering
and it bogs down because of the huge file sizes.
Coming at it the other way, you also gain a
path from HD-SDI to HDV.
As far as editing is concerned, you might be
able to edit in HDV format. For instance, if you
want to use HD-SDI for capture to Final Cut Pro,
you need an input/output board. That means you
need to move to a Mac Pro in a tower case. But
now you can run the HDV data through this [VC-
300HD]. Even if the video is HDCAM, it lets
you do the editing in HDV on a MacBook Pro.
Then again, if you are working with archives,
rather than taking it to HDCAM, you can do it
with HDV. You can burn it on a Blu-ray recorder
via FireWire. You have a number of alternatives.
I’ve heard that still only about 4 or 5% of
commercials are delivered in HD.
No-one’s shooting commercials directly to HD
yet. The stance is that it can’t yet be done
efficiently at the PC level. Although it is OK to
use PCs for simple cut editing or transitions of
dissolve only, computers just don’t have the
power to deal with the heavy tasks of putting
everything together.
13
Download from Www.Somanuals.com. All Manuals Search And Download.
Wanting to make full use of HDV―Interview with a VC-300HD developer
The idea was for the VC-300HD to be able to
deal with most of the popular formats at present.
So why did they want to have a go at perfecting
the huge number of conversion patterns other
manufacturers weren’t interested in? Let's take a
look at initial product concept and the technical
backbone. Let's interview Hironori Mikami of
Roland, the person in charge of VC -300HD
development.
afford this kind of equipment for recording live
events. Then, even if we did record on it, it’s
better to convert it down to HDV, since we can’t
justify keeping the expensive format unchanged
just to have it always easily on hand for editing.
When DV first came out, everyone was putting
converters on the market. With HDV we’ve
hardly seen the same kind of thing. What’s more,
virtually nothing has become available for two-
way conversion of HDV-baseband. This situation
has opened the market for the VC-300HD.
To start, what was the initial impulse for
development? What was it that triggered the
process?
In designing the hardware, it must have
been hard to choose a processor and come
up with algorithms to do conversion in real
time.
The plan got underway with the idea “We
want to record to HDV simply and easily.“ The
company already makes the V-440HD, a multi-
format video mixer and can output from it be
recorded or not? At Roland, we often have events
that call for use of the V-440HD, but it is not that
easy to record the events. We felt that many V-
440HD users must have the same desire and need
for recording from the mixer.
Real-time conversion was an extremely high
priority for us. After all, one of the things that all
Roland products share is a capability for use in
live show production. That goes for both music
and images.
Coming down to specific technology, the
company already had some converter know-how
that we could apply. Our way into the market
was via experience with scaling control, which
has been built up from dealing with video mixer
products. When talking about video conversion,
you may assume audio is a comparatively minor
concern. But, as you know, audio processing
technology involves a mass of expertise with
real-time processing as well.
Currently, the only option for line recording in
HD is expensive broadcasting equipment that has
HD-SDI. It is not easy, however, to prepare and
Products, of course, can't be created simply by
combining existing devices, so we carried out
various technical surveys. These were not
confined within the company. We also needed
Hironori Mikami, in
charge Roland VC-
300HD development
14
Download from Www.Somanuals.com. All Manuals Search And Download.
the cooperation of people in the industry. We had
to get hold of technical standards, use our
connections with chip manufacturers, and
collaborate with camera manufacturers. I suppose
you could say that we studied pretty much 24/7.
conversion between 60 and 50 fields. But since
conversion from SD to 720p and vice versa is
one type of frame rate conversion, we needed to
provide that function.
Validating the conversions was really tough.
We started by making stuff we could use for
verification. We had to choose recording
equipment that could provide frame forwarding
and field forwarding. Then we had to check all
the camera and VTR connections, and more. It
involved a great deal of work.
When it comes to imaging devices, I think
Roland makes good use of analog
technology.
The thing I like about analog is that you can
connect to anything inexpensively. For example,
the thing that HDV, DVCPRO HD, and
HDCAM all have in common is analog
component output. There’s hardly ever a problem
with connection compatibility.
On the plus side, while we were doing this, we
became aware of just how valuable the VC-
300HD would be. Even in the non-linear world,
where everything seems possible, we were put
through the ringer when it came to making
samples for validation. For the catalog, we have
drawn up a basic conversion matrix of the
formats. It lists frame rates, image pixels, digital
and analog, and types of media and so on. The
number of combinations of matrices we used for
validation is an amazing 3,200. Only after each
one was operable, could we then pass the test.
Naturally, analog implementation technology
has been cultivated for musical instruments and
audio equipment. There is also a manageable risk
during development. Eventually, our image
devices also got some attention when, 13 years
ago, Roland started selling the ‘Video-kun’
desktop video editor. It was a board that installed
in a PC. Since then we have been putting energy
into analog video.
Well, you started shipping the product in
March 2007, are you likely to bring out
upgraded versions of the product? And,
does it have all the functions that were
planned for it?
Recently, the price of cameras with built-in
SDI has come down below the $10,000 mark so,
from now on, SDI will be used more and more.
Even so, for live shows, the superiority of analog
input–output will continue for a while.
We have been thinking about upgrading.
Function expansion: that’s another feature of the
VC-300HD. We were keen to include a lot more
functions in the first model, but opted first to get
the product out. This way we were able to further
develop the product by listening to what
everyone said about it and use that feedback to
expand the functions and improve usability.
From the point of view of broadcasting,
NTSC―PAL conversion is valuable by its
scarcity. I expect, however, pursuing a niche
like this will turn out to be a thorny path when
things like operation validation are taken into
consideration.
That function was certainly a tough one. If it
can easily perform conversions, I think the
applications will open up. It is tough to achieve
15
Download from Www.Somanuals.com. All Manuals Search And Download.
System proposal―Flexible format conversion is the key
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
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.
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
■Figure 3. Live recording
When shooting live concerts and other stage
events, producers generally switch between
several cameras. For recording at times like this,
HD VCR
HD-SDI
HD VCR
HD-SDI
SD VCR
DVI-I
SD Analog
Component
Preview Monitor
VC-300HD
Computer
Computer
HDV/DV
DVI-I
Figure 1. Using the VC-300HD various video formats can be acquired as HDV or DV.
16
Download from Www.Somanuals.com. All Manuals Search And Download.
HD Switcher
VHS VCR
HD VCR
HD/SD Analog Component
HD-SDI/SDI, HDV/DV, DVI-I
VC-300HD
Matrix Switcher
HD/SD Analog Component
HD-SDI/SDI, HDV/DV, DVI-I
HDV VCR
Figure 2. A multi-format converter is indispensable during post production, when many and varied video formats
have to be dealt with. Used together with a matrix switcher, the VC-300HD can greatly boost efficiency and
simplify conversion tasks from basic conversion to aspect ratio control, color adjustment, and other tweaks.
Source Preview
Projector
Audio Sources
Video Sources
HD Camera
HD Analog Component or RGB
SD Camera
V-440HD
PR Series
Video
Presenter
VC-300HD
HD-SDI
HDV
Computer
HD VCR
HDV VCR
Audio Mixer
Figure 3. Production of live performance and studio video shot using various sources can be carried out using
video mixing systems such as the Edirol V-440HD multi-format video mixer. If a VC-300HD is included in the
system, the video line and audio can be combined during acquisition. Audio delay control, built into the VC-
300HD, enables audio to be synchronized with the video.
there is often a need for so-called line recording.
Simple video switchers do not usually have DV
and HDV outputs. If you want to output in these
formats, the VC-300HD is your only option.
This is because, being more than a simple
image converter, the VC-300HD can be used for
merging output from an audio mixer line and
then enabling recording of the embedded DV or
HDV output. Before now, to record this type of
input, it was necessary to take along a studio
deck to handle separate image and sound input.
Recording is easier with a VC-300HD, even
when using things like HDV cameras.
17
Download from Www.Somanuals.com. All Manuals Search And Download.
Multi Format conversion with Multiple Interfaces in one unit
Video Input Format
IEEE1394 (i-LINK)
Component
DVI-I
HDV: 1080/59.94i, 1080/50i, 720/59.94p, 720/50p
DV: 480/59.94i, 576/50i
Y/Pb/Pr: 1080/59.94i, 1080/50i, 720/59.94p, 720/50p, 480/59.94p, 576/50p,
480/59.94i, 576/50i
Digital: 1600x1200/60 Hz, 1400x1050/60/75 Hz, 1360x768/60 Hz,
1280x1024/60/75 Hz, 1280x768/60 Hz, 1280x960/60 Hz, 1152x864/75 Hz,
1024x768/60/75 Hz, 800x600/60/75 Hz, 640x480/60/75 Hz, 1080/59.94p,
1080/50p, 1080/59.94i, 1080/50i, 720/59.94p, 720/50p
Analog: 1024x768/60 Hz, 800x600/60/75 Hz, 640x480/60/75 Hz
HD-SDI/SDI *
Video Sampling Rate
1080/59.94i, 1080/50i, 720/59.94p, 720/50p, 480/59.94i, 576/50i
SD: 4:4:4 (Y/Cb/Cr), 10 bits, 13.5 MHz
HD: 4:4:4 (Y/Pb/Pr), 10 bits, 74.1758 MHz/74.25 MHz
RGB: 4:4:4 (R/G/B), 10 bits, 25 MHz to 90 MHz
Video Output Format
IEEE1394 (i-LINK)
HDV: 1080/59.94i, 1080/50i, 720/59.94p, 720/50p
DV: 480/59.94i, 576/50i
Component
DVI-I
Y/Pb/Pr: 1080/59.94p, 1080/50p, 1080/59.94i, 1080/50i, 720/59.94p, 720/50p,
480/59.94p, 576/50p, 480/59.94i, 576/50i
Digital (RGB): 1080/59.94p, 1080/50p, 1080/59.94i, 1080/50i, 720/59.94p,
720/50p, 480/59.94p, 576/50p, 480/59.94i, 576/50i
Analog (Y/Pb/Pr): 1080/59.94p, 1080/50p, 1080/59.94i, 1080/50i, 720/59.94p,
720/50p, 480/59.94p, 576/50p, 480/59.94i, 576/50i
HD-SDI/SDI *
1080/59.94i, 1080/50i, 720/59.94p, 720/50p, 480/59.94i, 576/50i
Audio Input
IEEE1394
HDV: MPEG1 Layer II 16 bit 48 kHz 384 kbps
DV: Linear PCM 16 bit 48 kHz, Nonlinear PCM 12 bit 32 kHz(2ch)
Balanced XLR Type (ch1,ch2) : +4 dBu, -2 dBu, -4 dBu, -10 dBu Selectable
Unbalanced RCA phono type(ch3,ch4) : +0 dBu, -6 dBu, -8 dBu, -14 dBu
Selectable
Analog
Audio Sampling Rate: 24 bit, 48 kHz / 32 kHz
HD-SDI/SDI Embedded Audio * Linear PCM 24 bit 48 kHz
Audio Output
HDV: MPEG1 Layer II 16 bit, 48 kHz, 384 kbps
IEEE1394
DV: Linear PCM 16 bit, 48 kHz, Nonlinear PCM 12 bit, 32 kHz(2ch)
Balanced XLR Type (ch1,ch2) : +4 dBu, -2 dBu, -4 dBu, -10 dBu Selectable
Unbalanced RCA phono type (ch3,ch4) : +0 dBu, -6 dBu, -8 dBu, -14 dBu
Selectable
Analog
Audio Sampling Rate: 24 bit, 48 kHz / 32 kHz
Linear PCM 24 bit, 48 kHz
HD-SDI/SDI Embedded Audio *
0dBu=0.775Vrms
* VC-300HD Only
18
Download from Www.Somanuals.com. All Manuals Search And Download.
Multi Format conversion with Multiple Connectors in one unit
■Processing
Scaling: Scaling between the specified input and output
Frame Sync: Built in frame synchronizer and genlock to external device
Frame Rate Conversion: from 59.94 to 50 Hz etc.
Video Processing
I/P Conversion: De-interlace function built-in
Delay: Adjustment with Millisecond or Frame
Sample Rate Conversion: from 32 to 48 kHz etc.
Audio Processing
■Video Connectors
IEEE1394 Connector
(i.LINK)
Conforms to IEEE1394, HDV standards, Same con-
nector on front and rear
6-pin Type
BNC Type
COMPONENT Input
Connector
HD/SD: Y/Pb/Pr (75 ohms), Bi-Level, Tri-Level Sync
RGB (8 bit each)
DVI 29-pin single Digital RGB dot clock: 25-161MHz (VGA to UXGA)
DVI-I Input Connector
link
Analog RGB: R/G/B 0.7 Vp-p, 75 ohms, H/V 5VTTL,
RGB dot clock: 25-90MHz(VGA to XGA)
Supports embedded audio
Conforms to SMPTE259M, SMPTE272M,
SMPTE292M, SMPTE299M
HD-SDI/SDI Input Connector *
BNC Type
COMPONENT Output Connector BNC Type
DVI 29-pin single
HD/SD: Y/Pb/Pr (75 ohms), Bi-Level, Tri-Level Sync
RGB (8 bit each)
Digital RGB: same timing as analog component
Analog Component: Y/Pb/Pr (75 ohms)
DVI-I Output Connector
link
Supports embedded audio
Conforms to SMPTE259M, SMPTE272M,
SMPTE292M, SMPTE299M
HD-SDI/SDI Output Connector * BNC Type
REF Input
BNC Type
BNC Type
Black Burst, Bi-Level, Tri-Level Sync
Loop Thru Output
REF Output
■Audio Connectors
Input CH1, CH2
Input CH3, CH4
Output CH1, CH2
Output CH3, CH4
XLR type
20 k ohms
RCA phono type 20 k ohms
XLR type
600 ohms
1 k ohms
RCA phono type
■Others
Display
Character Type LCD: 20 characters, 2 lines (backlit LCD)
AC 117 V, AC 230 V, AC 240 V (50/60 Hz), AC 220 V (60 Hz)
60 W
Power Supply
Power Consumption
482 (430 without rack mount bracket) (W) x 309 (D) x 44 (H) mm * EIA-
1U Rack Mount Size
Dimensions
19 (16-15/16 without rack mount bracket) (W) x 12-3/16 (D) x 1-3/4 (H)
Weight
4.5 kg, 9 lbs 15 oz
Accessories
Owner's Manual, Rubber Foot x 4, Power Cord
19
Download from Www.Somanuals.com. All Manuals Search And Download.
copyright 2007 Roland Corporation. All rights reserved
All specification and appearances are subject to change without notice
Jul. 2007 RAM-7007 KS
WWW.rolandsystemsgroup.net
Download from Www.Somanuals.com. All Manuals Search And Download.
|