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I encode via the stock encoder that final cut pro 2.0 has which takes a factor of anywhere from 2 to 5 times the actual realtime length of the piece depending on how much content there is(audio streams, graphics, camera angles). Yes the stock is expensive....it runs about $10.00 per blank DVD. The Mpeg 2 format is the standard by which it's burned to DVD....Mpeg 2 takes up less space and actually fits close to 2 hours on a 4.7GB disc. Media 100 systems already output Mpeg 2 streams so there is no need for encoding...if I were to do it all over again....I'd go Media 100. I have a 3rd party realtime encoder that I use for lenghty transfers that makes my life easier. I know things change on a daily basis....so research is key in keeping pace with the technology changes.
Alex seems to have a full feeling for what DVDs are about and the politics that steered the post creative financial motivations that run the new revenue stream for corporate greed. Alex it is time to change this greed that has gone on for the last couple of thousand years....The DVD standards that are in place are the last barriers to break...
Alex, I'm quite sure you know that televison was never meant to be the beast that it is...that was greed that created that. Television was meant to be for the people...that's grass roots feelings you express when you say there should be one day of local programming....I agree since it's time for networks to give back. They've made quite a bundle in the last 40 years. One day is a must for encouraging original content on the airwaves to break up the unreality created by greeds reality TV.
Scott
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Well, I was referring to the theatres, should they ever go digital, (or when they do), I would like to see one day a week set aside for the local and or independent film/video maker to showcase their stuff...
I believe the studios and the digital projection systems people are going to convince the theatre owners to give up their 35mm projectors by saying they will be able to turn the digital broadcast signal on and off like water and choose their own programing or change programming at a moments notice...
Even if that is true, that just means you'll either see a live "Madonna, the Golden Years Concert", or the reincarnation of Sylvestor Stallone in digi-vision....
The promise of switchability will be intrepreted to mean new opportunitiesf for the local filmmaker to showcase their production, but that will quickly be forgotten, unless the promise is made up front and kept up front and center
A special situation has occured in LA in relation to television broadcast...
The City of Los Angeles was able to encourage, force, or convince many of the cable systems in the area to carry a common signal on a common channel....and LA 35 and LA 36 was born.
This has opened up avenues for educational programming that are not based on ratings.
It's also the only way I could participate in the LA Emmy Awards competition with an entry because every other channel is ratings or informercial based 24 hours a day, 7 days a week.
If your show does not get broadcast, or cablecast to a significant part of the market, you are not elegible to enter.
Our show was cablecast on LA 36, so we entered.
And we beat out local Channel 13 for the Emmy the the category we entered in!
I guarantee not one station, from PBS to any of the local LA Broadcast Channels, would have ever broadcast our 2 hour 13 minute opera of Faust.
But LA 36 did.
So, some type of local programming venues for local producers that are not ratings driven is crucial for diversity and quality to take root.
-Alex
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[This message has been edited by Alex (edited September 07, 2001).]
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Alex,
when our show is complete I will certainly be into seeking avenues to get it's message heard in as many avenues as possible. Perhpas when it is complete we can talk about positive avenues like LA 35 and LA 36. That's great that you've shared that here....I really appreciate that kind of inspiration.
Scott
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Man!
What does it take to get a straight answer around here?
I asked a pretty straight forward question:
"Is there a fundamental difference in the way DVDs are mass duplicated compared to CD mass duplication? Or is DVD mass duping more expensive simply because it's the newest flavor?"
I got a lot of answers but no information. So, I asked it again in a different way:
"I thought for mass production, they used a kind of high tech micro "stamping" process for CDs like the did for records. I thought that's what all the fuss was about when CDs came out and they were (and still are) more expensive than audio cassettes but cost much less to reproduce. I was under the impression that the same would hold true for DVDs. Am I just out of my mind? I would have sworn that I read something about replication of CDs that mentioned stamping. Anyone out there fill in the blanks for me? And, if true for CDs,then why would mass duplication of DVDs be different?"
And, again, much "techno-talk" but no real answers. I'm not interested in the name of the technology, whether it's a glass master or an ass-master or what it CAN'T do. I just want to know how DVD's are mass dulpicated and not how Scott has to duplicate them.
Sheesh. A guy could die of old age around here before anyone will say the words,"I don't know." ;
Roger
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Man!
What does it take to get a straight answer around here?
I asked a pretty straight forward question:
"Is there a fundamental difference in the way DVDs are mass duplicated compared to CD mass duplication? Or is DVD mass duping more expensive simply because it's the newest flavor?"
I got a lot of answers but no information. So, I asked it again in a different way:
"I thought for mass production, they used a kind of high tech micro "stamping" process for CDs like the did for records. I thought that's what all the fuss was about when CDs came out and they were (and still are) more expensive than audio cassettes but cost much less to reproduce. I was under the impression that the same would hold true for DVDs. Am I just out of my mind? I would have sworn that I read something about replication of CDs that mentioned stamping. Anyone out there fill in the blanks for me? And, if true for CDs,then why would mass duplication of DVDs be different?"
And, again, much "techno-talk" but no real answers. I'm not interested in the name of the technology, whether it's a glass master or an ass-master or what it CAN'T do. I just want to know how DVD's are mass dulpicated and not how Scott has to duplicate them.
Sheesh. A guy could die of old age around here before anyone will say the words,"I don't know." ;
Roger
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I don't know. (hope you didn't age too much http://www.hostboard.com/ubb/smile.gif
In audio CD replication, a CD-R can be used to bypass the "glass master" process. With modern data storage technologies a physical master disc probably isn't required. When CD's first came out, a 20MB hard dirve probably cost $2000.00 if not more. Today the digital content can be loaded and formated in a computer system that controls the duplication machinery so in essence the "glass master" is probably a data file these days.
As for the cost of replication, as with most anything, the more you make the cheaper the unit cost will be. I think the technology is still new and expensive so that is passed on to the consumer (those having the replication done.) The latest greatest tolls would also be aplicable.
I do think the DVD process is much the same as CD replication with the difference being in more layers, double sided, and of course higher data density. I believe the maximum data storage of a comercially released DVD is closer to 18GB, that would include both sides and all layers.
The cost of a consumer DVD "burner" has only just recently dropped below $1000.00. So the equipment for the replicators is still quite expensive I'm sure. Higher frequency lasers are expensive as well and I believe they are what is used to squeeze more information in the same physical space as a CD.
Just bits and pieces, I don't definitivly know.
-trevor
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[This message has been edited by trevorbr (edited September 07, 2001).]
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I think the answer was up above, Big Duplication houses use glass masters to make
DVD's very quickly ( a few seconds???)....
....but only after having spent thousands of dollars on the initial DVD Glass Master.
Scott, could you take your computer files that you use to make one DVD, and bring it to a mass duplicator that makes glass master DVD's, and have them make you a glass master for purposes of Mass DVD reproduction?
-Alex
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[QUOTE]Originally posted by Alex:
[B]"I think the answer was up above, Big Duplication houses use glass masters to make
DVD's very quickly ( a few seconds???)....
....but only after having spent thousands of dollars on the initial DVD Glass Master."
(Matt Pacini responds):
Alex, that still in no way answers Roger's question! That just says they do it differently than Scott, which I think everyone probably would have guessed by now.
Roger, I'll answer your question (staying in true form of this thread):
The hyperflatulating modulation generator, oscillates at the bi-polar frequency setting that enables it to create a dual-tension vortex, which when in-phase with the trans-Tesla Coil glass bio-buss, creates a quad-sector phase loop, resulting in a glass master, which is phase-coherent to the duplicating machine, provided it has a 128-bit bus, which as you probably know, is 64-bits oversampled, which, if you perform 3 logical shift right's, will leave you with another 64 bits of digital headroom, thereby enabling the oscillating hyperflatulating modulation generator to create a feedback loop, which in turn, assures proper latency in the DVD copies made from the master.
There, simple answer to your question!
Matt Pacini
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> Yes, only 4.7 gigabytes.
haha, it seems sarcasm doesn't always work well. i obviously (?) meant: using mpeg-2 compression, 4.7 gigabytes is *a lot*.
/matt
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> Yes it's called compression, but in fact with DVD it is even more than that, designers can actually dictate what parts of the "blue-sky" to repeat over and over to fit even longer movies on DVD.
do you have *any* idea how funny you are? you made my day, and yesterday. thank you.
/matt
