The entire video path in the Media 100 was YCrCb from the A/D converter forward. As I described in my 1996 review of Media 100, Data Translation's Vincent Video Engine includes the following video components: a luma/chroma separator, an A/D converter that converts analog video to 4:2:2 YUV (YCrCb) digital data, a variable bit-rate Motion-JPEG compressor, plus a circuit that loads YUV video into an RGB 160x120 frame-buffer that can be displayed within a window of any QuickTime application. And, the distortion certainly looks to be clipping.Īt the same `93 NAB, where I first saw Lightworks, Data Translation introduced its Media 100. Comparisons show the more a waveform that exceeds 100-percent in the FCP X scope, the greater distortion in the Lightworks “scope 90” to “scope 100” range. FCP X and Lightworks scopes do not agree. The same correspondence is not found in Figures 16 through 19. Moreover, the minimum values are approximately the same at 12-percent.
Figure 15 shows that when the peak waveform is less than 100-percent in Resolve (≈90%) the same value is found with Lightworks. Comparisons of both NLEs are in the Comparison Sidebar at the end of this article. As a further test, I imported a number of different formats into FCP X and Lightworks. What if ProRes 422 were not the only codec to clip Superwhites? As I write, a report has been posted on the Lightworks forum that an AVCHD codec may have the same problem as ProRes.
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