[Andreas Wojtaschek]

Sounds like a Miranda DA. They are purple.

But I have no idea if the Miranda strips embedded audio off. The BMD does not. I can confirm this.

Cheers

Andreas

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Entertainment Producer IHK
mindandvision

[Andreas Wojtaschek]

1.) There is no Pause – Just stop (create a new file)

2.) https://www.blackmagic-design.com/media/4155106/Switchers_Manual.pdf (Page 28)

You’re welcome.

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Entertainment Producer IHK
mindandvision

[Andreas Wojtaschek]

Hi Marc,

as you described just drag the files into the Avid media folder. Then you can import the clips by dragging them into a bin inside Avid or by using the Avid media tool (It should be somewhere in the upper menus).

Regards

Andreas

—

Entertainment Producer IHK
mindandvision

[Andreas Wojtaschek]

The Canon DSLR do indeed output 1080i but with menu overlay only. You cannot switch this off. So the HDMI output of the Canon DSLRs are not usable for any recording or live purposes. Only the Nikon D800 offers a clean 1080i output.

Regards

Andreas

—

Entertainment Producer IHK
mindandvision

[Andreas Wojtaschek]

Sascha,

as pointed out the easiest and best (for Quality) way is to get yourself an USB BD-ROM device (cheap) and use AnyDVD to rip the m2t stream off of your BD. You can use these files in allmost any NLE and you are using the NATIVE material. If you use the decklink card you would DA convert in the BD player and AD convert in the Decklink card. There is no need for that. It only adds noise and color artifacts.

BD Players do some funny things on their outputs. I heard that it is possible for commercial BDs to block these analog outputs. You can never be sure what is coming out of these jacks.

Regards

Andreas

—

Entertainment Producer IHK
mindandvision

[Andreas Wojtaschek]

Sorry Mathieu,

that is not correct. The ATEM Television Studio has 6 inputs. 2 are shared between HDMI/SDI and 4 are SDI only.

You can indeed stream with the ATEM Television Studio because it has a built in H264 encoder. But you would have to use 2nd party software to do that like FFMPEG ore VLC.

Have a look here:
https://atemuser.com/forums/atem-vision-mixers/blackmagic-atems/livestream-atem-television-studio-justintv-or-ustreamtv

there are some examples on how to stream directly to the internet using the H264 stream of the ATVS.

Regards

Andreas

—

Entertainment Producer IHK
mindandvision

[Andreas Wojtaschek]

I’m 99% sure it will work.

I used a Hyperdeck Studio to record DNxHD MXF files. I tried to import them into Avid MC 5.0 and they work perfectly. You just have to copy the files to the MXF directory of your Avid data. Works.

Because it works with 5.0 it should also work with 5.5 – there is no reason why it shouldn’t.

Regards

Andreas

—

Entertainment Producer IHK
mindandvision

[Andreas Wojtaschek]

Guys,

if you are honest you must accept that FCP and even ProRes is dead. Apple will not alter FCP X to a professional app. It will stay on a level that is next to Magix Movie Maker. ProRes is related to FCP 7 and in my opinion not a futureproof format anymore, as the interest of Apple in acquirering professional users has vanished.

ProRes is a one way road:
You can use it only on Mac.
There is no real support from Apple anymore.
The majority of editing houses switch to other NLEs and to DNxHD or even XDCam as mastering codec.
Even the most hardware vendors are using DNxHD now in their products.
Do you still trust a company that kills it’s professional apps from one day to another? (FCP, Shake, FCP Server)
There are rumours that Apple will discontinue the Mac Pro line.

Why should Blackmagic add a codec that will not be relevant anymore in 2 or 4 years?
And in addition to that you could use the Quicktime DNxHD files in FCP without any problem! What is the advantage of using Prores on FCP if you can easily use the QT DNxHD files?

I would understand if Blackmagic would add the Cineform codec. That would be an improvement. But ProRes is only [cynicism on] for the nostalgic guys that can’t accept that Apple doesn’t care for them anymore but wants to sell IPad apps. [cynicism off]

I was an FCP editor for years but I had to move on. In our world it becomes more important to colaborate and to be compatible with all kinds of OS and NLE. To be tied to only one platform is really old thinking. And remember: Not the machine or the NLE is telling the story – the editor does, no matter what brand his NLE software is.

Regards

Andreas

—

Entertainment Producer IHK
mindandvision

[Andreas Wojtaschek]

I assume that you are running your recording in SD mode?

In this mode a 16:9 signal is indeed a picture 16:9 squeezed into a 4:3 recording. There is no “true and pixel native” 16:9 SD format. All that is changing when you use a 16:9 mode in SD is the pixel aspect ratio. The pixels are squeezed while recordeding and desqueezed when viewing.

Without knowing your exact setup I think the issue could be related to a missing 16:9 bit in the Hyperdeck stream. But that is just a guess.

When you look at the 4:3 picture, is this picture squeezed? If so then you should switch your monitor or beamer manually to 16:9 – that’s it.

If you have the 4:3 trouble in your NLE just use a 16:9 project in your prefered NLE and drop the files to the timeline. It should stretch the file to the correct format. Be sure that your NLE sees the file as 16:9 file. Maybe you have to change the clip properties.

Regards

Andreas

—

Entertainment Producer IHK
mindandvision

[Andreas Wojtaschek]

It is DNxHD220 and DNxHD185 for PAL users.

In a 1080i50 project I get around 330 minutes on a 512GB SSD so for a 256GB SSD it should be around 165 minutes for a 50i project.

It should be a little bit less if you are in a 60Hz area.

Regards

Andreas

—

Entertainment Producer IHK
mindandvision