[Ansel Spear]

Thanks Morten.

…And the scales fell from my eyes and I could see!

Much appreciated.

[Ansel Spear]

Hi Morten

Excuses for jumping on this bandwagon…

I have been asked to produce a 12273 x 1080 Watchout comp split into 8 sections (projectors), each incorporating a 441px overlap.

I have produced a 12273 template in AE CS6, but cannot find a way of splitting the comp into 1080 sections.

Your experience would be appreciated.

Thanks.

[Ansel Spear]

I should have said that this was 1080p25. I haven’t tried any other format.

[Ansel Spear]

I’m having problems with erratic scrubbing when the reference monitor displaying the vectorscope/RGB parade is enabled (it needn’t be visible – it only needs to be tabbed.)

Here’s an Adobe thread…

https://forums.adobe.com/message/4482184#4482184

I’m not sure that this is a Blackmagic issue, as it persists when monitoring through the Intensity Pro is disabled.

[Ansel Spear]

I would like to add…

Upon further investigation, the external monitor (Intensity Pro) is AHEAD by about 24-30 frames. Although dropped frames are reported, the program monitor within the application remains in sync.

[Ansel Spear]

In the Project Window, have you dragged the h.264 source material onto the New Sequence icon to create a sequence based upon its attributes?

If so, do you have a red, yellow or no coloured line above the work area bar in the timeline?

If you have a red bar, there is an incompatibility between the sequence settings and source material.

[Ansel Spear]

What drives have you got? If you only have one system drive, you will get log-jams.

You need a minimum of 7,200 rpm, however it is recommended that you have at least 2 raid0 devices.

See Harm Millaard’s essential reading…

https://forums.adobe.com/thread/427772?tstart=30

[Ansel Spear]

Thanks Joshua.

You’ve raised another issue which I didn’t think existed…

So, to recap, you’re saying that, even though the source material is 1440x1080i, I should always edit it as full raster square pixels?

Maybe that’s why Blackmagic Intensity Pro doesn’t ship with any native HDV codecs!

I’ve still had no luck eradicating the red render bar. I know it affects diddlysquat really, but I’m fairly sure it’s a recent development when using Blackmagic codecs.

[Ansel Spear]

Had me confused for some time too. I think I’ve cracked it…

HDV = 1440 which is 16:9 anamorphic with a PAR of 1.333
HD – 1920 which is square pixel PAR 1

30p = progressive
60i = interleaved

If I’m doing a mixed edit using HDV footage (Sony Z1) and HD EXCAM material (Sony PMWV350), I uprez the HDV to 1920 square pixel and import it into the EXCAM timeline.

h.264 files sizes vary hugely dedpending upon the quality factor. Sorry I can’t be more specific. I did a job recently where the h.264 sequences (to be played on 30′ screens in a conference) had to be delivered via FTP. We were amazed at how much we could reduce the quality before it became unacceptable. In effect we knocked two-thirds off the file size.

[Ansel Spear]

Of course. D’oh!

Many thanks.