[David Battistella]

But couldn’t you render it from AE to what ever native codec you are working in?

Annimation is also a 4:4:4 codec so it would be all that much harder to do in RT.

But this should be doable now with 10 bit uncompressed, DVCPRO50 or DV.

Nest and drop on top.

David

[David Battistella]

Noah,

I read that article. It’s great.

So do you set up a capture preset that removes the advanced frames. I find if you don’t then the24PA footage is a bit more “choppy” than regular 24P.

My capture preset is DV NTSC @29.97
advance pulldown removal is checked

is this correct or do you just use the FCP DVNTSC 48K preset.

David

[David Battistella]

You could also open the desired track with QuickTime and export the file as a 48k aiff file.

David

[David Battistella]

If it is a V only sequence you create with media manager then it will create new clips based on the V only.

Create a new project with media manager that is Vonly (using create offline)

Recapture that sequence

with both old and new projects open copy the audio from the old and paste into the new.

David

[David Battistella]

24P or 24PA?

What frame rate are you finishing in? (ulitmate delivery)

Without these two there is no poin tin discussion workflow.

David

[David Battistella]

UV is an essential in the mountains. You are going to want to cut the haze at altitude. An ND grad or any grad is a good idea too because you amy end up with a lot of High con situations that you want to compensate for.

IE: Sometimes you get the “stadium effect” when the sun sets behind a mountain and then you still have a sky that is F11 but the spot you are standing in is at 5.6 or so. An ND grad will help you compensate for those kinds of scenes. The Polarizer is a good idea too to cut a stop out of those blue skys and add some contrast to the natural haze that occurs at altitude.

David

[David Battistella]

Can someone please give me a step by step to set this to the very precise number of 67% until the new driver is released.

I can not believe that a simple system slider would override the performance of the board. Part of the reason we install these professional cards is to create an environment of perfect I/O unity.

It is good to know that it is being fixxed in the beta.

thanks,

David

[David Battistella]

It looks like SDTI is a SONY specific interface for doing high speed or faster than real time transfers into SONY edit stations. This is a sony specific protcol and I doubt that the AJA supports it via the HDSDI/SDI inputs.

It is also used for machiine to machine dubbing. But from what I am reading here

https://www.sony.ca/dvcam/manuals/DSR-1800-1800P.pdf

it’s all sony specific.

David

[David Battistella]

Thanks Gerry.

I don’t see the big avantage to mixxing in the timeline anyway. Why not capture all of the various formats in the codec in which you want to edit them? This is what has always made complete sense to me. You take beta, d-beta, DV and you capture it all 10-bit uncompressed or all at DVC PRO 50 or what ever you want to edit natively in.

This to me makes the most sense. I know that DV at uncompressed 10-bit data rates is a waste of space, but to me these are workflow/planning questions more than anything else. I can not see the huge advantage to mixing timeline resolutions.

David

[David Battistella]

“I know I have the output slider of the system prefs sound set at 67%.”

Can I get some clarification on this. Is the output of the KONA actually affected by this slider bar?

David