Jeff Mack
Forum Replies Created
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Since it’s late and I didn’t hear from anyone, I totally uninstalled all IOHD related stuff, reinstalled and
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oh wait, I went into wirecast where the IOHD was a media asset and deleted it. Then I went back to VTR Exchange and I had control of the codecs! It seems that wirecast was controlling the IOHD and had something messed up.Put it in the vault!
Jeff
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Sure, I realize that the the OP said his main concern was the time to transcode to Pro Res was his main issue, especially to be used in the field. Just a thught.
Jeff
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One battle I solved by going through their tech support is that the Pixel Aspect Ratio settings are imperative to get a good encode. It is basically a three step process. First set the resolution in the project properties, then i the media asset (camera settings tab) and then in the encoding setup.
Jeff
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Hi David,
This is what wirecast was made for. I use a MBP and a Sony Z-1 connected via F/w and it works great. I travel to many venues and hok into their internet. I have gotten as high as 1.5 up wirelessly and the results were perfect in the DV realm. I tried using HDV and you really have to hav a dedicated line for that. Your setup should work just fine. You send the audio in and switch it – I haven’t done that but I am sure it can be handled.
Jeff
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I have been using wirecast to send a 16×9 dv signal. I have a 750Kb up and I use the presets and modify it for 128 k for audio and 550 for video for a totl of 678 and it works pretty good.
Jeff
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I’d purchase a Ki Pro
Jeff
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Hey Shaun,
I have produced several concerts that were recorded and sent to DVD with 5.1.
Don’t think necessarily of recording to 5.1 but rather use additional crowd mics in strategic places to capture the atmosphere that you would want to have mixed into the concert to achieve the atmosphere that you are looking for. I would suggest talking with a studio engineer that will be mixing for 5.1. You know they don’t just mix 6 channels. They pan 20-30 channels and ad reverb to the surrounds and balance the whole project. To do it right with additional mics is not much more ewxpensive and can achieve a much nicer finished project than simply taking board feeds and trying to “create” a surround atmosphere. Also, supply your mixer and masterer a quicktime file of the show for reference.
Jeff
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Marco,
I found this but is only caries stereo. I doubt your receiver will have 4 inputs.
Good luck. BTW, what you are sending is a live stream. I mean you can’t send ac3 files?
Jeff
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Marco,
I don’t know any receiver with 1 aes input. Are you sure your stream would not be a dolby encoded signal or DTS? Either way, I don’t know of an aes into a receiver. They have optical inthat can take 8 channels and hdmi
Sorry
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Ah,
Forgot to mention the converter comes with a d sub breakout cable. On the one end of the box you input the d sub connector. The other end of the d sub connector are 8 xlr connectors ( 4 in and 4 out) With two converters you get 8 in and 8 out. You plug the transformers onto the xlr and then the bnc for the aes into your interface (kona) or in my case the IOHD. So in your case, I believe the kona 3 comes with similar breakout cable. The xlr out should carry two channels. I do not know how to deal with that. Now I am getting confused.
My workflow is:
MBPro to IOHD. IOHD 4 digital AES outs to transformer. Transformer to xlr to d sub cable which takes two channels and splits into 4 outputs. Since I have two converters, I get 6 analog ouputs. I map outputs in final cut pro timeline to each aes output on IOHD. What comes out on other end are 8 discrete channel. My receiver has 8 discrete inputs (I use an xlr to RCA cable.
Hope this helps.
Jeff