Eric Lagerlof
Forum Replies Created
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Thanks Jim & Eric. I can play the DNXHD files through Premiere using the Ultra Studio Express Box; it seems I need to make sure the box is connected to the TB port before I turn on the computer and I missed the bit in the BM desktop manual about setting the playback device in PPro’s preferences.
And yeah, Media Express is fussier than I thought, not intersted in other installed codecs. Working on a MacBook Pro with Win 8.1 but when I get back to the OSX side, I’ll try those BMD tools, so thanks for the link and your help.
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Matt, I understand your response. Question 3 however wasn’t fully answered – or, maybe it was.
In the Spyder manual it says:
“Each layer is generated by one of the Spyder input modules, and therefore a 1‐to‐1 relationship exists between the number of layers in a Spyder system and the number of physical input
cards contained within that system.”
I took this to mean that if you had 3 Attached/active inputs you only had 3 layers to play with, even in internal router mode. I was playing with Advanced 2012 on a MBPro with Parallels and it seemed to function this way. So I tried it under Bootcamp, both times with Windows 8, and it seems to work differently. I’m assuming now that the statement in the manual means that the number of layers will be defined by whether I have an 8 input model with 8 layers or the 16 layer model of Spyder with 16 layers available; regardless of how many are actually plugged into. Is this correct? And thanks for your responses.
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You mentioned 1/2″ cameras but I think you’re better off looking at 2/3″ cameras unless you really the 1/2″. At 175′, a lot of rental companies will not have a 33x or 44x type lens (or longer) for 1/2″ chip cameras. Vince’s suggestions make sense to me but perhaps you really need 1/2″ cams.
Can be done bit availability might be tricky. Also, are you going to want/need CCU’s? Changing iris on a jib is a pain without at least a paintbox(1/2″ cameras) and much easier once you move to the CCU’s you can get with typical pro 2/3″ cams.I don’t know about Sony, but I believe JVC had CCU’s for some of their 1/2″ cameras. Been awhile since I scoped that out.
Also, the comment about having your own com/tally. If this is part of the Blackmagic system, which I believe uses fiber, just be careful that the venue won’t mean that your cable runs aren’t going to be trashed by heavy traffic/gear, especially on that long run.
Just some thoughts.
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That answers one question. Though in this situation the ScreenPro 2’s EDID manager was set to 1280×720…
On another note, know some good tricks to get a Macbook Pro to send out 1280×720 via its VGA/DisplayPort output? 1280×768 seems to be all that’s on offer. And while the SP2 sees it(1280×768), it doesn’t seem to be able to resize it anywhere close to fitting a 16×9 screen in either 1:1 sampling mode or ‘Oversampling’ Mode. I own a MBPro, non-retina, and I still hate to seem them at shows with Barco or Analog Way switchers…aaarrgh!
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Seth, thanks for the info. I always assumed edit was only passed via digital connections (DVI, HDMI) and not good old analog via. I guess the newer vga connectors try and collect edid info?! The
Screen Pro 2’s edid manager was set to 1280×720 but I doubt its vga connectors were designed to send out that digital info.
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Thanks Michael. As an update I got a “Firewire 81:81 error” message this last time. PPro can capture from the FX1 so it soesn’t seem to be a hookup error. But I will check with Adobe, and again thanks for your interest.
Eric
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Michael, yes I did read it all. Actually, I’ve used this feature for a number of years and it all worked fine in AE CS2-4/Win XP Pro on the same computer as I’m using now with Win 7 64bit and CS5 suite. The computer is a bit underpowered; Quadcore 9450 w/8 gigs of ram and a NVidia 280 card.
The playback in PPro doesn’t quite work like in the Adobe promo 😉 -however the hardware accelaration does work. So I’m not sure if this is the issue(MPB resetting hardware/software) or what but it doesn’t seem to want to work- the FX1 and monitor just flash between a black screen and a blue one.
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It would be REALLY nice if someone could put some Barco training stuff on You Tube… Maybe Barco would try and shut it down?
Your response about inputs does make sense to me. It does seem like the flowchart for the show was incorrect. (The in-house guy who originally put the flowchart together eventually re-wired the system, staying up til about 4am. The show went well and the guy stayed awake through the whole show. To be 20-something years old again:-)
So it seems that the ScreenPro2 will need to be upstream of the router in any siuation where scaling is required. Good to know. Thanks.
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Vince, thanks for the reply. And your web site looks quite nice.
Can’t afford Barco’s training programs. I’m kicking myself for not having gone when Folsom was offering much less expensive training, though the ‘layers’ concept seems new to Barco. My two big problems are getting ‘free’ (non-work) time on any of this gear and secondly, wrapping my head around the manuals.
But let me try a couple questions, that may help me understand a recent situation. Someone tried hooking 5 computer sources to a Barco 16×16 matrix router and then patch the outputs to 4 seperate ScreenPro 2’s. Except he only used two inputs on each ScreenPro and was trying to use the router to send all 5 grafx machines to each ScreenPro 2 input. (Everything was on ethernet.) I wasn’t sure if the ScreenPro 2 Controller could not only tell the router to switch signals to any given ScreeenPro2 input but also load a new input configuration file with the signal to that input?
Another way to put this is to ask, ScreenPro controller or not, does each ScreenPro2 have to have one unique signal per input? Should he have DA’d each GRFX source to each ScreenPro 2 seperately?
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The footage is of kids, tables and a couple of boards in front of a white drop-down projector screen that I want to ‘project’ an image on. (This was a last-minute location change-due-to-rain, kind of thing.) I’ve already masked the layer so to limit the area which needed to be rotoscoped. There are chartboards, a table and mics in front of the screen that are stable foreground objects, but the kids enter into that frame area between those and the ‘background’ screen. Both the kids costumes and one of the chartboards are close enough in color to the screen that chroma/luminance keys are impossible.
Actually, the point is how best to manage long roroscope jobs. I’m going to try splitting the layer and using the freeze function over smaller parts of the footage and see if that works.