[Bob Zelin]

when you wiped everything – if you have one big mama partition, and a huge project, you will get into the same trouble again. You can only have so many files open at one time with AVID.

Bob Zelin

[Bob Zelin]

you did not give too many details so I will guess –

1) you have a huge project, and you did not partition your media drives, and now you have too many files. You media Database can’t retrieve your info.
Trash your media database files (MSM) on your media drives, and see if it will rebuild. Otherwise get more drives, and drag off some of the files.

2) your drives are just FULL – too full to operate. Are they full – get more drives, and drag off material.

3) you have a virus, and it’s slowing down the computer.

Want more guesses – give more info.

Bob Zelin

[Bob Zelin]

I just reread your post, and saw your concern about the cropped image.
You DO know that HD is a 16×9 format, and not a 4:3 format like NTSC video, so it will scan differently – right ?

bob Zelin

[Bob Zelin]

You have many problems –
First, if you have a TRUE 24p project, and not 23.98, you will be in trouble for the duration of the project. Jobs that finish in video should be shot in 23.98, not 24.

To display the HD image, you must buy a DVI computer monitor, or a monitor that will display HD that has analog RGB connectors on it. You can’t do this job with your composite TV monitor. the only way to fake it is to hook up the composite TV to the composite video connector on the Panasonic AJ-HD1200A video out, and monitor the AVID ADrenaline thru the deck.

If you look at the back of your AVID Adrenlaine HD, you will see on the HD board a DVI connector, and a RGB HD output. You can plug this into a Dell 2405FPW (about $1000), or a HP 2335 (about $1500), and many other monitors including the Apple 23″ Cinema display.

If you are cutting a REAL HD job, with an expensive AVID Adrenaline, and an expensive
Panasonic HD VTR, I can only assume you can afford to get a monitor. The best monitor to get is the Sony SDM-P234b, that will scan at 48Hz for your 24p image.

Bob Zelin

[Bob Zelin]

Hi –
this is the straight answer. This is a very easy cable to get.
Don’t you guys “live” in the professional video business ?

If you are in LA, you can get it at Pacific Radio on LaBrea
On line, you can get it from http://www.markertek.com, or http://www.milestek.com
There are hundreds of cable companies on line, like Cables To Go that sell
this cable.

You can also get these cables from Pipeline Digital, and http://www.addenda.com

These are all industry standard companies, where you get parts from for our business.
Even if you are an IT guy, most computer supply mail order catalogs have 9 pin Male D to 9 pin male D connectors.

If you ever bought a new Sony VTR, it comes with a 9 pin male to male cable.

Bob Zelin

[Bob Zelin]

I am totally confused by Bob’s post. The AJA I/O LA is a spectacular, excellent quality interface box for FCP. The image quality when using Analog Component Video Y, Pb, Pr (what you have on your Beta VTR’s) is as good or better than anything you can get on an AVID Media Composer. If this is not the quality you are getting, then you are doing something wrong. I have NO IDEA why you would even consider using S-Video when your professional VTRs (Beta, and DV) have analog component outputs. If you have chosen to use Firewire 800 drives (or better, like SCSI or SATA), you can easily record uncompressed 8 bit video. Even if you choose DVCPro50 as the codec, you will get excellent results.

If you are using S-Video, and recording at DV25, and using Firewire 400 drives, I have nothing to say, as your sources must be crap, and you are using a horrible medium to record on. The AJA I/O LA is an excellent product if it is configured properly. Using a Kona LH, or a Blackmagic Decklink Extreme, or an AVID Xpress Pro with Mojo will not result in better quality, as long as you insist on using S-Video with firewire 400 drives at DV25 resolution.

Bob Zelin
Orlando, FL.

[Bob Zelin]

NO NO NO NO NO
let me be clear in case you didn’t understand me the first time.
NO NO NO NO NO NO NO.

You cannot use ANY product from AJA, Blackmagic, Aurora, Pinnacle, or ANYBODY ELSE
with an AVID product. You can’t “trick” an AVID Xpress Pro to work with ANY of these products, other than the AVID Mojo.

There are assorted video to firewire converters from companies like Laird Telemedia, Convergent Designs, and Miranda (ProMax used to make one) that will convert assorted video formats to firewire, but you will ONLY get DV25 firewire signals – which means that your AVID DV Xpress will be able to take a Sony Beta VTR component signal in at DV25 – but it will be converted by one of these boxes to FIREWIRE. If you want any sort of “pro” interface for better quality, you MUST use the AVID MOJO. AVID is NOT cooperative with ANY of these manufacturers – it will NEVER HAPPEN, so stop asking.
As for VTR control, the best way to control a pro VTR with an AVID Xpress Pro or DV Xpress is still with the Keyspan USA-28x dual serial adaptor – don’t go thru the firewire interface box.

By the way, many people just buy an ADS Pyro converter box (I forgot the #) to get composite or S-Video into an AVID DV Xpress – it’s composite or S-Video only, and the quality is crap.

My advice to you is to learn FCP, and get an nice AJA I/O LA. You will be much happier.

Bob Zelin

[Bob Zelin]

If you take an SDI out from an AJA or Blackmagic or AVID product, go into an AJA HDP or Blackmagic HD Link, and feed the DVI input of a Apple Cinema, Sony SDM, Dell2405,
HP 2335, or ANY LCD monitor – a STANDARD DEF signal will LOOK LIKE CRAP. Let me be clear – to my knowlege, there is currently NO LCD MONITOR that looks as good as a Sony PVM series monitor (or equivalent JVC, Iki or Panasonic) for STANDARD DEF VIDEO.
There ain’t no “tricks”.

HD-SDI is another story. All the LCD’s are very good.

Bob Zelin

[Bob Zelin]

Lance writes –
Pretty harsh. I’ve cut everything from animation to a $40 million studio feature with the Mojo and never had a problem with one

Lance, I have NO IDEA of what you are talking about. You must be the classis “off line” editor, or “creative” editor. The AVID Mojo is Composite or Component only. It allows you to connect to a Sony Beta VTR – but when you do, you cannot see the output of the AVID, unless you loop the YRB signal thru the component signal of a Sony Pro monitor. There is no secondary output. And if you run in composite only, you can’t input from your Beta VTR. The typical hookup is YRB in and out of the Beta VTR, and then you monitor E/E thru the Beta VTR into your TV monitor. I work for everyone from the hi end to the lowest corporate users, and ALL OF THEM find this completely unacceptable. This is in addition to the fact that the cables keep falling out of the Mojo (they originally designed this product for composite and S-Video, and when everyone complained they could not use a beta, they jury rigged up cables to go from YRB to composite and S-Video). And as you mentioned all audio is unbalanced -10dB input/output. There are no BNC’s, and of course, no SDI. You can never use Firewire 800 drives to get 1:1, and the only resolutions available to you are 1:1, 15:1 and DV25. This is NOT a professional product. Just becuase it cuts well, does not mean that it interfaces well with the professional world. This product was designed to be a workstation for a producer in a newsroom that uses AVID Unity. It was not designed to be an editing station as you are using it – or as any FCP user would use with a Blackmagic or AJA product.

The AVID MOJO sucks. Plain and simple. I guess you don’t have much of a broadcast delivery demand, as you are off lining 40 million dollar features, that are simply matched back to film later.

Yes, the Mojo is HORRIBLE. You might as well throw out your Beta and Mojo, and get your off line tapes to DSR1800 with iLink, and just use the firewire port on the AVID – and monitor right thru the VTR.

There is a good reason Blackmagic and AJA have done so well.

Bob Zelin

[Bob Zelin]

Its a standard 9 pin M/M cable.

bob zelin