[Daniel Steiner]

Anyone find a fix for this? I’m having the same issue.

[Daniel Steiner]

Here’s a pretty great article on the animation involved and inspiration therein.

https://www.indiewire.com/article/from-audio-to-animation-how-kurt-cobain-montage-of-heck-captures-cobain-in-all-his-contradictions-20150504

“Each motion graphics sequence was built from still photographs that look straight down on pages from Cobain’s journals. The resulting full-frame photograph provided Nadelman with the means to manipulate the angle, grain, light and texture so that the image felt just as analogue as the accompanying audio.”

[Daniel Steiner]

Keith – I’m having similar issues. For me, the bug occurs when I try to export a sequence that’s been round-tripped into Audition, then sent back to Premiere CC and queued for export in Media Encoder. FOr whatever reason, both Premiere and Adobe Media Encoder think tracks 3 and 4 are muted. Every time I reopen the project, those tracks’ mute buttons are set to ON even though I continually un-mute them.

So far I’ve found a temporary solution which will only work because we’re exporting for the web and losing image quality anyway: in your export settings, click “Match Sequence Settings,” then export in Premiere – not Adobe Media Encoder. This is so far the only way I’ve had any luck.

FUnny everyone has been complaining about Multi-cam bugs. So far I’ve had a good experience (knocking super hard on my wooden desk).

Hope that helps…
Dan

[Daniel Steiner]

I’m getting a RED render bar over my multiclip created within pluraleyes. All of my footage specs match the timeline specs (XDCAM EX 720p60). Any ideas?

[Daniel Steiner]

Hey Michael, sorry to just get back to you…I’ve been totally swamped (and still working with FCP…Avid really has dropped the ball on this one).

I usually capture and transcode HDV to prores 422 simultaneously, or record straight to prores or transcode before editing. I more often that not go FCP -> compressor, but you just have to make sure you’re settings are all correct (square pixel, 16×9, etc etc). I have found earlier versions of compressor to buggier than all hell, but it’s goten noticeably better in the past few years. ALSO, if you’re using DVD studio pro, make sure your preview settings are set 16×9 and NOT 4:3 which is the default It took me years of pulling my hair out in frustration to find that one out

[Daniel Steiner]

All I have to say is that it’s tremendously irritating. You spend so much money on software that “is the industry standard” and it won’t work with I’d say 50% of the footage that’s given to me. Then there’s the typical thoughtless response that “well Avid is too big, too professional to work with HDV, and not meant for film students or low budgets. Stay with Fina Cut” What a huge cop-out.

Anyway, sorry for venting. To answer your question, I always just send my sequences to compressor, and use the DVD Best Quality 90 min. It will convert it right to MPEG2 data stream. If you’re working in HD, one way to safeguard against any potential screw ups with aspect ratios etc is to create a new 4:3 SD sequence (I use prores 422 SD). Take your HD sequence and just plop it into the new SD sequence, and it will letterbox it automatically. Take that new SD sequence and send to compressor. Everyone wins.

[Daniel Steiner]

Thanks for your response, Michael. I’ve already been to the Avid forums and I have a feeling their users aren’t as active as us Cowboys.

So, to answer your question, I”m on MC5.0, haven’t updated yet. And after running a bunch of tests, it seems I’m unable to capture more than about 15 seconds of HDV on the fly without getting a whole range of errors – in fact it’s exciting to see which one will pop up next and crash my machine. But for now I’ve got a deadline and don’t have time to deal with bus thread errors and dig or video overrun nonsense. I’m giving up for the time being and going back to my trustee FCP 7 for this one, though I was excited to use avid on a real project for the first time. C’est la vie.

I’ve never seen a program so buggy as MC5 with regard to HDV – it could just be a JVC problem, but I have a feeling it runs deeper than that, something to do with latency and busses and not testing MC5 on actual macs. granted I”m not on a “supported” machine, but the whole idea of “supported machines” I would have hoped would be dead by now to really open Avid up to the consumer market. Anyhow, that’s a whole other discussion altogether.

Please let me know if you hear about any workarounds as I’d love to get this working but I’m afraid I just don’t have time anymore :\

[Daniel Steiner]

Hey yall. I seem to be having the same problem….and it’s so frustrating! I’m a newcomer to Avid and am running MC5 on my macbookpro (which I should mention is more than robust enough for my everyday editing tasks in FCP with Prores422 HQ material…no problems to report).

So, I’m having some serious quirks involving batch capture of HDV clips from my JVC BR-HD50 in MC5. I go through my HDV tapes, log them, and then try to batch capture the offline clips. MC5 will run the clip, look as though it’s capturing the whole time, and then at the end of the “capture”, drop the whole thing and prompt an error message reading:

“HALTED ON CLIP [X]

EXCEPTION: DIG_VDM_OVERRUN”

Now, I’ve been using FCP for over 10 years, and I know all the tricks with dealing with tape: fast forward, rewind, run it for a few seconds, click on the “ignore time code breaks”, etc etc. But I’m positive that this here is a software issue with Avid, and I know it’s with Avid or the dialog between Avid and my JVC deck because, A) I’m able to capture on the fly just fine, and B) I’m able to batch capture these tapes flawlessly in FCP.

I also know that this is by no means the first instance of people having problems with Avid and HDV. The only thing I can figure is that maybe, and just MAYBE, my Lacie RAID that’s hooked up using esata via ExpressCard34, and the firewire800 port which is controlling the JVC deck, are both giving the motherboard a run for its money. But then why does it work perfectly in FCP every time?

Ay help would be greatly appreciated. After shelling out so much money on this great new system, it’s indeed frustrating to find out it can’t batch capture HDV…

[Daniel Steiner]

Look. I’ll put it right out there that I love Panasonic’s image quality. Native 4:2:2 and i frame encoding on DVCPROHD are all definite pros. I’ll also agree that JVC has been a little slow on the uptake, but some of these posted comments are moot.

The GY HD100 and 200 series were the first production models of HD cameras allowed to be produced by that company by the parent association / trade agreement held by of all these competing manufacturers. As it happens, Sony, JVC, Panasonic, Canon have all been cannibalizing technology off of one another for over a decade since the advent of Digital Video (which is why you’ll find JVC software inside of Sony cameras, Panny chip sets inside of Canon cameras and vise versa (you heard right)). Talk to any broadcast enigneer, and they’ll tell you these cameras are all mini frankensteins.

JVC has embraced this exciting, incestuous world and come out with unarguably the most flexible camera out there on the market. WIthout even mentioning the new HM700’s which have removed us from the proprietary racket of P2 and XDCAM cards, the JVC 200 series cameras are capable of shooting NATIVE, progressive, full raster HDV, XDCAM EX, AVI, AVI2, MXF and capturing all in 35mbs 4:2:2 via composite or HD-SDI. How about the ability to record to tape, hard drive, and sxs module SIMULTANEOUSLY.

Not bad for the first five years of a brand new manufacturer.

I own an HD100, the first generation of these cameras and have been more than pleased with its functionality and image quality. Most of all, having a shoulder mount is essential, which was maybe the only reason initially that kept me from buying the hvx200.

As for the lense: no, it’s not the best lense ever, but it’s fully manual broadcast lense, all the controls right where they should be, remote connector, it is worth more than the body of my camera alone.

And by the way, guess which exact lense is shipping with the HPX300…;)