[Jeff Brown]

You would be taking advantage of greater vertical resolution, as you would be shooting in a “portrait” orientation. Typically used for a single person shot; humans are more often in a portrait orientation. And, the chip turns 90 deg. with the rest of the camera, so you’re still using the same area.

-jeff

[Jeff Brown]

Hey!! I posted before Vince! –but it was delayed, as I updated my profile, so the message was “moderated”. At least you got your info, Nelson. ;>)

-jeff

[Jeff Brown]

Do you frequently work with file sequences? If so, you’d probably prefer Premiere, as FCP to my knowledge still doesn’t know how to import file sequences. Premiere can recognize “numbered stills”, so a folder of TGA files comes in as one clip, not 900 single-frame stills.

I’m mostly an animator, so that’s my bias.

-jeff

[Jeff Brown]

Nelson,
In the project/bin window, before you add the clip to the timeline, choose clip->audio options->source channel mapping from the main menu. Then, you can specify to treat as “mono”, which will give you 2 linked mono clips instead of the default single stereo track.
If I remember correctly, you can do this to multiple clips at once. I think that you cannot change channel mapping once you use a clip on a timeline, so best to do it at the outset.

-Jeff

[Jeff Brown]

Project window: right click: “add item” : black.
It will be at your default still duration, change the duration as needed.

-jeff

[Jeff Brown]

Eric,
Unless we can take a look at the waveform, we’re shooting in the dark, to coin a phrase. Monitors lie. Desktop previews lie. ‘Scopes never lie. Well, hardly ever.
Also, it is very unlikely anything changed in the video during capture, as a Firewire capture is a direct transfer of digital data. Essentially a clone of the data on tape.
A good place to start would also be to import proper color bars from a reliable source, and see what those look like in Premiere. In fact, start with the Premiere bars for reference.

-Jeff

[Jeff Brown]

How are you capturing?

[Jeff Brown]

What is being done in Premiere? There are lots of choices that are cross-platform.
If there is 3rd party hardware on Premiere, use a codec for the hardware (AJA cards can accept 10-bit encoding). A universal, lossless codec is PNG compressed QuickTime (8-bit). Film folks sometimes prefer file sequences; TGA is the most reliable (also 8-bit), and works on Premiere and Discreet (Flame/Fire/Inferno), though FCP doesn’t play well with sequences. If the footage is not coming back to you from the Premiere side, there might be other choices that are better.

We still want more info… ;>)

-jeff

[Jeff Brown]

And for the next time around, you should find a checkbox that says “abort capture on dropped frames.” That way you’ll at least see a stopped machine, and know there is an issue.

-jeff

[Jeff Brown]

Caveat: if you want to edit non-HDV HD, that is, less-compressed HD, you will need a higher-end capture/output card, and a large disc array (RAID). You might now be able to edit MXF files without the above, but I’m not sure. Too many damn formats these days. The nice thing about digital standards: there are so many to choose from.

-jeff