Gene Colburn -- email address bounces notices
Forum Replies Created
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[gary adcock] ”
it may be an issue with the camera you are using, it may not support simultaneous use of both ports.
If you can control the camera via FW does the video out via HDMI follow? if not it is a camera issue and not the IoHD.”Both ports are active, in fact we have had some odd settings one would not expect to work, actually work but not repeatably. (ex. Playback settings set to none with Aja I/O configed for HDMI. We actually did a couple of captures this way, and thought we found a solution. Saved as custom setting, and could not reproduce.)
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Thanks Jeremy
Yeah. Thats what we thought also. We can capture the HDMI in manual mode with no device control, but so far have not found a custom setting that will work. Any setting that calls for 1394 control appears to need 1394 video as well. If you try and trick the I/O settings for HDMI capture with 1394 control we get incompatible settings error.
Specifically, we are attempting to capture HDV material from a HVR-Z1U via HDMI utilizing Aja and ProRes422 1080I. Not analogue, but similiar capture constraints. This appears to be more an issue with Aja utilizing the IEEE1394 transport control interface entirely. Even though we have a secondary PCIe 1394 card for the Z1U. Am I missing something else here? I want to say this has got to work somehow. -
Does this work with the Sony’s Clip Browser Software? EX manual indicates files should be copied using the Browser software.
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[Litzwire] “(Yes, it’s one 6TB drive – freaky, huh?).”
Yes considering there is an inherent 2TB volume limit on winXP32. I wouldn’t trust any utility that gets around it. You might try to back up your existing stuff, and partition that drive. See if that fixes things. If your bins are corrupt, I would not be surprised if other things are as well. Did this system come pre-configured from a Matrox dealer this way? You might also post on Matrox forum.
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[BazinoZ] “One thing Adobe IS good for is driving people to FCP. There are many ‘basic professional’ needs that us professionals need like timecode ‘irregularities’ and especially audio thruput.”
I couldn’t agree more. I have not upgraded to CS3 for some of these very reasons. I will watch very closely the next roll out, but if its biz as has been, more of my investments will be elsewhere.
In response to timecode tape issues, I have found many to be machine NDF/DF – 4 field lock and gen lock issues. Adobe can do repeatable to tape match frame edits if all is adhered to through out the entire edit process. The RS422 serial timecode and 4f flags are accurate and adhere to SMPTE specs. Some of the issues are compounded by working with intermediaries, and various frame rates. That being said, clip TC functionality sucks.
When I see the capability of the other products Adobe offers, I am totally bewildered why Premiere is not on top of the NLE pack. I have done many 4 camera long format shows without loosing sync anywhere through out the entire process. No where, no dropped frames, anything. The last one done was almost 3 hours in length. I can’t do these shows with any other NLE I have tried. Unfortunately most of the work we do
is with hundreds of clips, not long format.Adobe Wake up
your time code sucks. So does audio. And if you really want a product (NLE) listen to the people that use them. -
It could be something as simple as device control settings. In Edit preferences (device control) you have some options for camera/vtr support. You may need to make some changes there to support the camera/vtr you are using.
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You can do this. You need to use the interpret footage function on import. You can then set up paramaters for the pixel aspect ration for the difference clips. Ex. Project settings are 4×3 60I. Import all of that footage as is. (Pixel Aspect 0.9 default) For the 16×9 imports use the interpret footage. You can set pixel aspect 1.2 and frame rates including HDV pull up here. It can get hairy though. I have only done this using nested timelines keeping the 4×3 stuff on V1 and 16×9 stuff as nested timeline on V2. If you try and intermix on V1 the transitions and effects do not work as I would expect them. Especially if you are disolving between effects with filters and a difference matte.
I think it would be wise however to send your client some sample footage to experiment with. -
For best case, Premiere will accept QT uncompressed. You need to export to a MS formatted removable drive however in order for him to read it.
Also what are the video format attributes you are exporting? (resolution, frame rates, etc.}
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[manbart] “Makes sense to me. I wonder what kind of real time performance I’d get in Premiere with Decklink or Multibridge, with their codec and high end quad core 3.0 extreme.”
Decklink and AJA are basically converter I/O boxes. They do little hardware acceleration like Matrox, Edius, Avid etc. They merely give you ability to work with their I/O configs in Premiere. Editing is basically native Premiere, with SDI, HDSDI, and YUV component rather than just IEEE1394 or HDV which is all that Premiere supports without hardware I/O.
That being said with fast multi-core cpu, fast raid storage, and graphic card, editing can be very efficient. Also very stable. All effects are Premiere or plug ins that are native to Premiere, and hardware independent.
I don’t know about Edius HQ codec. It looked good at NAB last year, but don’t use it here.
I don’t know why your system is crashing with CS3. If you start from scratch, clean install and latest drivers, prior to CS3 install – you should be ok. Are you on WinXP Pro or Vista? How are you setting up your scratch drives?
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[Chris Poisson] “ey Bob,
You are the guy who threatened to kill me a couple of years ago if I didn’t get a BB generator to solve some of my Kona woes, and I did, and I’m still alive, so something must’ve gone right.”
Bob has dead bodies in every pasture. Txf for the chuckle. Mine’s probably next.
The AJA IO/HD is kind of slick.