[Adrian Lort-phillips]

Neil, thanks for that.

As I understand it, it is a licensing issue that makes it not possible for low cost blu ray authoring at this stage… by the time that changes we shall presumably have moved on again.

Anyway I will look in to the Roxio options but cannot help thinking the future lies far away from the optical disc.

Adrian

Adrian Lort-Phillips
Radiant Media
http://www.radiantmedia.co.uk

[Adrian Lort-phillips]

Thank you Rafael,

That is very helpful.

Adrian

Adrian Lort-Phillips
Radiant Media
http://www.radiantmedia.co.uk

[Adrian Lort-phillips]

Hi Rafael

[Rafael Amador] “And why don’t you get your animation in Prores444 and put everything in a 1024×576 sequence.
Make the sequence Progressiove and de-interlace the footage.
Set as well “Render all YUV in High Precision”.”

Just to be clear:

Get the animator to export in ProRes444
Put everything in a 1024×576 sequence – so, a prores444 sequence mixing that animated prores444 and the standard prores together?
Make the sequence progressive – how? by setting fields to ‘none’?

Many thanks

Adrian

Adrian Lort-Phillips
Radiant Media
http://www.radiantmedia.co.uk

[Adrian Lort-phillips]

UPDATE

Taking the mountain to.. the man, I tried exporting my film footage into animation codec and then added them and the animated sequences onto a new animation codec timeline. Big files obviously but a much better result when compressed into flash. Is this the only way forward?

Adrian Lort-Phillips
Radiant Media
http://www.radiantmedia.co.uk

[Adrian Lort-phillips]

Rafael

Thanks as ever for the response.

I have stumbled somehow on this. From a networked PC with external hard drive attached, I have pulled the files from the mac raid and copied them onto the drive.

Now when I try to access those files on the PC they come up as green pixels and noise. I am running QT 7.6.4 on the PC.

Is there a corruption happening here?

I am grateful for your advice.

Adrian

Adrian Lort-Phillips
Radiant Media
http://www.radiantmedia.co.uk

[Adrian Lort-phillips]

Thanks for all this. I should explain that when aja made a song and dance about capturing and converting HDV to prores through firewire I assumed DV could not be captured this way… and was led down a dark alley of firewire capture anyway.

However, of course I was not thinking broadly enough around the problem. So with a combination of the above help I have taken a component feed from the DV player and used a capture preset that uses Firewire to control the deck and the kona card to capture analog video through the component. Audio is taken as a feed from the deck through the desk and then into the Kona card analog in.

Thanks for the guidance. A classic example of a knowledge gap being so wide that I did not understand the easy steps being offered. Perhaps my entry will provide other clueless people to bridge the gap.

The real fun begins, as I try to match the digibeta look with my DVCAM footage….

Adrian Lort-Phillips
Radiant Media
http://www.radiantmedia.co.uk

[Adrian Lort-phillips]

Right, thanks guys. So the general thinking is that I should get to prores with my DVCam. The only divergence seems to come about when looking at how I capture. Rafael and Chris suggest ways which lose timecode if I read them right. However Wayne suggests DV can be captured to prores in the way HDV can be, thru firewire…

Adrian Lort-Phillips
Radiant Media
http://www.radiantmedia.co.uk

[Adrian Lort-phillips]

Fair point Walter. I did not do that because while I have a digibeta deck I don’t have a decent dvcam deck. Only one with FireWire and phono type component outs. I know I can capture hdv to prores thanks to the kona but is it actually possible to take in dv as prores like that too? And I assume by what you’re saying prores and DV don’t mix?

Thanks. Adrian.

[Adrian Lort-phillips]

Not sure if my reply came through here, but thanks so much for your reply, Jerry. Confidently carrying on now…

Regards.

Adrian Lort-Phillips
Radiant Media
http://www.radiantmedia.co.uk