[Brian Wheeler]

Getting the files into FCP isn’t really a problem, I was just looking for a better way to rename and transfer rather than doing it file by file. But it looks like that’s the only way. Crap…

Brian Wheeler

[Brian Wheeler]

Derp, sorry. We’re in NTSC-D1 SD. My concern with making the timeline HD is that for the moment we’re using both HD and SD footage, in fact, we’re using more SD than HD until I figure out how to work this damned card…

Thank you so much or helping me with this. I’m at home with the SD workflow, but throw in HD and I’m (apparently) lost. I wish this card was as easy as the BlackMagic HD Extreme. But I suppose with more power comes more traps.

Brian Wheeler

[Brian Wheeler]

As we are still dumping to BETA for the time being (our master control is getting an overhaul as we speak/type)m we really can’t cut in HD yet, so we’re cutting using the Apple ProRes (HQ) easy setup. I did try the steps, but the card seemed to like that less as we lost all sync with the deck at that point.

Brian Wheeler

[Brian Wheeler]

Apologies, I had no intentions of being secretive, I’ve never posted here before.

I’m running (or rather trying to run) footage captured from a GY-HM700CHU in quicktime 720p on the new Final Cut Studio. We’re running OSX.6.3 out of an AJA KONA LHi card into a Sony BETASP PVW-2800 (I know…).

I’ve tried the footage in another bay using a Blackmagic card and it looks fine, and everything else coming through our deck is good, so it has to be the card. I’ve quadruple checked the settings and they all seem nominal. In fact, all the footage off the BETA SPs looks good, but with this high def stuff it looks like the colors are dithering, rather than blurring in a normal gaussian fashion. Sort of like you threw a posterizer effect on the frames.

I’m calling AJA now, but with NAB going on they haven’t been much help. I’ll have to call next week when they’re lead techs get back.

Brian Wheeler

[Brian Wheeler]

Analog out is in SMPTE, but nothing seems to be helping.

Brian Wheeler

[Brian Wheeler]

We are monitoring through an SD router, but I don’t see a downconvert option in the AJA control panel…

Brian Wheeler

[Brian Wheeler]

Hey Sven;
Bad news is probably not. Unless you want to take the time to nest each clip and name the timelines something like 01, 02, 03, etc. If space is the issue, you might try using the Media Manager to get rid of any unnecessary files and nuking your old render files.

But hopefully someone else here knows a better way. Best of luck!

Brian Wheeler

[Brian Wheeler]

Yeah, we’re monitoring out of the deck as the LHi doesn’t have a direct monitor option for some reason. And we’re coming out in YrB component.

I’ve connected it to the monitor and you’re right, the problem appears to be the deck down-converting the component input to composite for the monitors.

I’ve never seen this kind of problem before. I might try re-installing the LHi drivers anyway, just to be safe. Any suggestions on how to fix this?

Brian Wheeler

[Brian Wheeler]

For a :30, you really don’t need all that. We do use the full 1:00 of bars and tone, followed by :05 of slate, :05 black and a :05 black trailer.

On the slate the most common information is:
Client
Title
Duration
Date
Audio format
Producer
Editor

The last 2 are more for your records than anything else. Hope this helps.

Brian Wheeler

[Brian Wheeler]

Thanks for the help, but I don’t have a ProcAmp tab in the 7.0.1. control panel. This was easy in Avid, I must be missing something. Even the User Manual doesn’t have info on how to access that feature, like the signla is just going to magically correct itself. Help please.