[Jeff Brown]

Hi Greg– boy that sure sounds like the same problem, no? Thanks for the update. I need to get a table of my results to CalDigit and AJA; I’m wondering if there’s something with the CalDigit driver and large chunks o’ files. The AJA board should handle it fine: I’m pretty sure SpectSoft uses Xena hardware in their RAVE systems, and they get playback/record of 2K DPX files, though it is a dedicated Unix box (DDR).

-jeff

[Jeff Brown]

You could also add your 2nd disc, then copy all your footage & project files over to it. Rename the (project and footage) folder(s) on your original disc, so the new version can’t “find” it. Open from the 2nd disc, a search requestor will come up, select the “missing” footage on the new disc, and all the rest should be magically found. You’re now running off the new setup.

Also, embrace the idea of “incremental save”: even for a short project, I’ll have many project files, via “save as”.
Example:
myEdit_01.prproj
myEdit_02.prproj
myEdit_03.prproj

Essentially, when I reach the point I don’t want to repeat my work should I hose things, I save a new version. If things go horribly wrong, I can step back one version without losing too much work.

hope it helps,
-jeff

[Jeff Brown]

It seems to be only on Windows. If you are on Windows, “F1” and search for “AAF” should get you there…

-jeff

[Jeff Brown]

And on the commercial side, there is re:VisionFX “re:Flex” for AfterEffects. Considerably more $$ than free, though.

-jeff

[Jeff Brown]

Update– I just took a peek at Encore CS3, and a blu-ray project will only let you output a BD disc images. So much for my bright idea… Which doesn’t seem so bright anymore.

Of course, maybe you could still burn a BD disc image to a DVD. As to whether it would play back- see Vince’s answer.

-jeff

[Jeff Brown]

I haven’t tried it, but a possibility could be to create a disc image from Encore (or PPro CS4 if it lets you), and copy that to a DVD. But I don’t know if a blue-ray image is the same format as DVD-video (*.iso).

-jeff

[Jeff Brown]

What “kind” of HD do you plan to work with? I ask, because if you need extra hardware, such as an I/O board (AJA, Blackmagic, e.g.) and a big fast RAID, you will want to stay with recommended configs from the hardware vendors. I’ve had good results over the years with SuperMicro motherboards, either via vendors or DIY. But they do get pricey.

-jeff

[Jeff Brown]

[Jan Crittenden Livingston] “And BTW, the question was adressed to me(notice the title of the thread)”

I did see the title in passing… but I believe this is a public forum. I think if you read your post again, you’ll see you pretty much agreed with my point.

I’m not bashing: I’ve been trying to get my clients to switch from Sony to Panasonic. If I have to work with compression these days, I would rather have intraframe. But the gross generality was like saying “film will always be better than video.” Good video is better than crap film. I think there’s a parallel; it would depend on the implementation of the codec, data rates, not to mention the imaging chip, lens, etc. I certainly wouldn’t argue with your assessment of the 2 cameras in question. I just had to be picky about what seemed to be an edict.

-jeff

[Jeff Brown]

[Jan Crittenden Livingston] “Intraframe recording will always be better than interframe long GOP.”

Take this with a grain of salt: Jan is a Panasonic employee, after all. I do love Panny gear, but good long GOP will be better than bad intraframe. Shouldn’t be hard to imagine that. May not be the case in current product offerings, but such a sweeping statement just won’t hold in all cases.

-jeff

[Jeff Brown]

Tim has a lot more experience with this sort of thing, so defer to him, but my approach would be:
Load in your video to a 23.97 project. Interpret as 23.97.
Create a version of the audio that is re-rendered (audio only) for 23.97. Add that to the Premiere project. Check for sync.
The thinking behind this is that the visuals need a frame-to-frame correspondence to work; the audio is not frame-based. You can consider the audio “continuous”, so you have to actually convert the data to a new frame rate, commonly by a “rate conversion” or a “fit time” tool. And these are best done in dedicated audio software.

Not that it helps at this point, but if you are doing a video master, you can “think” at 24 FPS, but you have to “work” at 23.97. Which you probably have realized!

Also, I’m assuming you are looking at the actual clips on the timeline when referring to the 3-frame discrepancy, and not judging by timecode, which if drop-frame, can add another level of confusion. Sidebar: unless you have to meet broadcast timing, it won’t matter if you use drop or non-drop. You’d probably rather work in frames anyway.;>).

-jeff