Media 100i features EventStream technology, which allows users to synchronize HTML, JavaScripts and Flash animations by embedding events into their video timeline.

 

 


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July 11
Analysis: Media 100 i: Delivering the Future, Ahead of Schedule [continued]

Current Media 100 users in particular will see this a huge improvement over earlier implementations of Media 100's plugin architecture, which only allowed plugin hooks through the mechanism of transitions. That's fine for DVE, but for filtering, keying, credit rolls and other features that plugins like Boris RED could easily provide, required mental gymnastics that many users were unable or unwilling to make. One of my mantras has been that I want my computer to handle this kind of thinking for me, and it looks like Media 100 i will be doing just that.

Affecting effects creation
To get an idea of what it means to have integrated Boris RED with Media 100, take a look at an earlier article I wrote on RED. Among its most exciting features for editors is its advanced title creation, features spun off into a separate product also known as Boris Graffiti. Here are just a handful of those features:

  • Rotate text in 3D space with extrusion, beveled edges & light sources;
  • Format text using word wrap, tabs, kerning, edges and drop shadows;
  • Animate kerning with ease in/ease out keyframing;
  • Apply explosive particles and smooth animated blurs;
  • Auto-create single page rolls, crawls and multi page fades;
  • Break up text for individual animation of every letter;
  • High quality motion blur on title pages.

RED adds to this the ability to use custom EPS documents for creating motion graphic elements, including titles, that scale infinitely, with perfect smoothness.

Most interesting to consider is the timing of this: the release of Media 100 i is scheduled for the fall, about the same time that RED 2.0 ships with full-blown masking, paint and rotoscoping. I think it's safe to say that no sub-$20,000 editing system on the planet will offer titling, paint, keying, 3D, AE plugin support and more, with anything resembling this integral ease of use.

That's all as a result of integrating Boris RED, of course, but I don't want to miss the colossal news of Media 100 i's own realtime YUV color correction.

The look of the controls will be familiar to advanced Photoshop users: It's based on our old friends the curve and the histogram. Mastery of these tools allows manipulation to be carried out on part of the picture, rather than the whole thing: down to the level of a single pixel, without complicated masking.

The only place that I've seen this level of control for video before is in DigiEffect's remarkable Cinelook. The unique histogram-based color correction tools are in fact what I've used Cinelook for most often, rather than for its titular ability to make video look like film. It does that quite well, but it's not a feature that I need as often as I need strong color controls.

Even with ICE, however, Cinelook's controls are anything but real time, and take place primarily in computer colorspace (RGB). But the colors that computers display are in a different range of the spectrum than that of television (YUV). It's very easy for RGB color corrections to produce illegal broadcast colors. Media 100 takes care of this by keeping the colors in YUV space and does so in real time.

Avid saves this feature for their high-end Symphony series, whose entry level model costs several times more than Media 100 i's top of the line.

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