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Today in DCC Workstation
Building
a Digital Video Editing System --Good, Fast and Cheap: Pick Two.
The PC Hardware You Need for Good, Better and
Best Digital Video Editing
by Charlie
White
--INTRO--;
--GOOD, BETTER, BEST DEFINED-- ; --GOOD--
; --BETTER-- ; --BEST--
; --CONCLUSION-- ; --TABLE
1: Video Storage Requirements-- ; --TABLE
2: Sample Configurations-- ; --TABLE 3: For
further information-- .
BEST
Now,
after fording a few waterfalls, paddling bravely upstream we finally reach
the river's source: broadcast video. The requirements are more sophisticated
here. For short-form work, perhaps lots of special effects will be needed.
Given the tight deadlines of most TV stations, operating speed will be
a primary consideration. And, only the highest video quality will do.
However, with a $40K cap on our imaginary budget, we can even get away
with uncompressed video.
Even if you don't go uncompressed, don't fret because at these prices,
you'll be hard-pressed to see any compression artifacts -- even with your
eyes nearly pressed into the screen. In this market segment, expect to
be able to perform dissolves and titling in real time, and be able to
do pretty much anything else you want with the video. If you want to compose
lots of layers, though, you'll still have to wait for rendering. Real-time,
multi-multi-layering (like, four or more) still isn't available for under
$40K, but almost. That is changing though, so if you can wait maybe even
a few months, even more speed will be within reach of the rest of us mere
mortals.
 Back
here on Earth, the market leaders in this territory are discreet
with its highly capable edit* system and Avid, with its extremely
powerful new Avid
Xpress 3.0 or Xpress 2.5 for Mac (soon to also be at version 3.0).
Even though
Avid touts Xpress 3.0 as being both for corporate and broadcast use, it
has most of the features broadcasters are looking for, including the ability
to independently and nondestructively manipulate multiple layers of video,
insert titles and add dissolves in real time, and export sequences to
any other Avid digital editing system. Another attribute that's important
in the broadcast environment: the majority of digital video editors are
familiar with the Avid interface. And, it doesn't hurt to drop the name
"Avid" (a now-generic video term equal to the power of the word "Kleenex")
when you're luring customers to rent out your edit bay for a few days.
So for a total system cost of around $32K (see table 2), you get many
of the features of Avid's $100K Media Composer, with the Avid bragging
rights thrown in at no extra charge. Well, maybe you do pay a slight premium
for that name, but it's probably worth it.
Lead
on to Conclusion
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