David Chai
Forum Replies Created
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Seems to me like you need to add all the components up to get the full package.
1 x chassis $8,345
1 x Crosspoint $19,995
72 x SDI interface $27,720
1 x power supply $2,995
72 x Remote Cable $5,400Total: $64,455
Yes you are correct about the remote, you need the breakout cable to access the RS422 ports.
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David Chai
Writer . Director
http://www.davidchai.com
dc@davidchai.com
212 363 0159 -
I had the same question that you did as I couldn’t find anyone who had done this before, and was able to do a test before actually recording for real. The two cameras we used were Sony EX-3’s, and I just used a horita black burst box, feeding the NTSC genlock to the cameras. If you don’t have the black burst, only one signal will be recognized in the Decklink 3D, the one feeding input A.
Using Media Express version 3.03, we selected the 1080i 3D capture input setting and recorded to PRORES422, internal RAID 0 with two drives. Did several hours capture with the stop on dropped frames check box on, and it was fine. But it will stop capture if you lose sync on one of the inputs (ie SDI cable is unplugged from one camera), and will lose the file altogether. So we kept the check box off (Do NOT stop capture on dropped frames).
Two files are created, one has an movie_RIGHT.mov on it. But you can just rename the files afterwards, and it’s all good. The audio is only recorded on one stream, but the two files have the same start time, so it’s easy to sync them together.
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David Chai
Writer . Director
http://www.davidchai.com
dc@davidchai.com
212 363 0159 -
I have actually captured two completely different streams successfully straight from two different camera feeds, but the cameras have to be genlocked together. Did a several hours recording and you can just rename the files afterwards. Worked great and saves having an extra computer/card to ingest an additional stream. Just make sure you press the stop capture and not the esc button or you’ll lose the files.
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David Chai
Writer . Director
http://www.davidchai.com
dc@davidchai.com
212 363 0159 -
Yes, it is 16×32. Having used both video hub studio and broadcast videohub which has 72×144 – worked flawlessly for almost a year now.
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David Chai
Writer . Director
http://www.davidchai.com
dc@davidchai.com
212 363 0159 -
You can use the FIND command, and the clips from the same interview probably have the same clip name. Highlight them all, and paste attributes.
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David Chai
Writer . Director
http://www.davidchai.com
dc@davidchai.com
212 363 0159 -
By far the best program is free, but it runs on windows.
Microsoft Expression Encoder 4 – the quality you get with this for low bitrates is unbelievable.
Tried mac version of WMV software, but in the end, Expression Encoder running on parallels is the way to go. It can save presets and batch process files, even the free version…Try it and see for yourself…
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David Chai
Writer . Director
http://www.davidchai.com
dc@davidchai.com
212 363 0159 -
I have the solution for you, but you may not want to hear it. Use a decklink card. The drivers for deck control actually work acurately. Someone told me this once, while I was working at a post facility, so we bought one to test as we were sick of layoffs that were randomly 1 frame off. And first try it was dead on. We switched 4 fcp stations for decklink cards and haven’t had to worry about 1 frame off layoff problems again. I dont work for blackmagic, just sharing my experience.
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Rent a Sony/Panasonic Switcher which has a built in Chromakeyer, and then you can feed the background with the Macpro and the front with the Camera HDSDI feed. Then you can preview the output in HDSDI live.
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David Chai
Writer . Director
http://www.davidchai.com
dc@davidchai.com
212 363 0159 -
The downconverter in FCP7 is a joke, compressor is also not good enough. The only decent scaling available in the FCP Suite is MOTION. But MPEG Streamclip does a better job on highly detailed material and it’s faster, and free.
MPEG STREAMCLIP WORKFLOW:
Export a HD movie (preferably PRORES 422 (not LT)
open in MPEG Streamclip.
Export to Quicktime using PRORES 422,
but make it NTSC size 720×480,
lower field dominance,
Check better downscaling
set Zoom size to 102.5 (otherwise you’ll get black bars on the side.
Leave X/Y on 1 to get 16:9 aspect ratio in SD (make sure you check 16×9 flag in DVD STUDIO)
Change X/Y to 1.33 if you want Letterboxed 4:3 SD.
Bring into Compressor and then compress it to MPEG2—————–
David Chai
Writer . Director
http://www.davidchai.com
dc@davidchai.com
212 363 0159 -
Don’t forget to add that $1,500 Nvidia Quadro card to take advantage of that brand new Mercury engine. If it wasn’t for Final Cut Pro, we would still be paying $50,000 for AVID (not that there’s anything wrong with AVID). Final Cut Pro is an awesome work horse and I’m sure everyone here has made many hours of programs with it without having to mortgage the house.
Premiere CS4 has been buggy and slow, and while CS5 looks amazing in some areas, especially AE, I see no need to abandon FCP for Premiere. Apple have a lot of little areas to improve on, but they have a very solid product, and the new version will only be better.